tag:blogger.com,1999:blog-4152698677968108492024-03-19T05:44:29.831-04:00Ad Imaginem DeiThoughts on the history of European art, from a Catholic perspectiveMargaret Duffyhttp://www.blogger.com/profile/03821836487895782384noreply@blogger.comBlogger407125tag:blogger.com,1999:blog-415269867796810849.post-42271761039214445732024-03-18T05:00:00.001-04:002024-03-18T05:00:00.338-04:00The Second Sorrowful Mystery – The Scourging At The Pillar<div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVKwGfIEeieITesdp-ddl1zAhz-UE_j69y8l0eLE1_HffrTO6yDD2jEq7zFmXra5h7Q-_ZzqKbodaKz0kROGJ7B8NJXMR6OXX9pMin0qkLTAR0uMhrdUbm2gmYZwHL5jjyP4Em-QJZHEhyAnozZ_EBPsXY1ur5g0f1mp_tEcdAFO5_CJtaT3wAkABqS74/s1887/1480_Signorelli_c.1480_Milan_Pinacoteca%20di%20Brera)2.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1887" data-original-width="1459" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVKwGfIEeieITesdp-ddl1zAhz-UE_j69y8l0eLE1_HffrTO6yDD2jEq7zFmXra5h7Q-_ZzqKbodaKz0kROGJ7B8NJXMR6OXX9pMin0qkLTAR0uMhrdUbm2gmYZwHL5jjyP4Em-QJZHEhyAnozZ_EBPsXY1ur5g0f1mp_tEcdAFO5_CJtaT3wAkABqS74/w494-h640/1480_Signorelli_c.1480_Milan_Pinacoteca%20di%20Brera)2.jpg" width="494" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Luca Signorelli, The Scourging of Christ<br />Italian, c. 1480<br />Milan, Pinacoteca di Brera</td></tr></tbody></table><i><br /></i>
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<i>"Then Pilate took Jesus and had him scourged."</i></div><div dir="ltr" style="text-align: left;" trbidi="on"><i><br /></i>
Gospel for Good Friday, the Passion of Our Lord Jesus Christ According to John<br />
(John 19:1)<br />
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<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">The Gospel of John is the only one of the Four Gospels that actually says that Pilate had Jesus scourged. The three Synoptic Gospels imply that something like this happened, either at the hands of the Romans under Pontius Pilate or at the hands of the Jewish Temple guards, who first arrested Him. They make references to rough treatment or say that Pilate said that he would have Jesus flogged. Nevertheless, Christian tradition affirms that Jesus suffered the horrific torture of scourging. </span><br />
<br /><span style="font-family: inherit;">We now know from archaeological evidence that much of what tradition says is actually true to the period. We have evidence that includes the skeleton of a crucified man who had been nailed to a cross through the feet, just like Jesus was (see discussion <a href="https://imaginemdei.blogspot.com/2016/03/stations-of-cross-eleventh-station.html" target="_blank">here</a>), and we have plenty of evidence for the terrible whip, the <i>flagrum</i> (plural: <i>flagra</i>) used by the Roman army. </span><br /><br /><br /><br /><br /><br />
These vicious implements, multiple strand whips to which hard pieces of metal or other materials were added, were intended to inflict as much damage as possible, ripping skin at times. The name flagrum is related to the verb “to flay”, which means to remove the skin from. We know that they existed and that they were used for discipline and for punishment. </div>
<span style="font-family: inherit;"><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOMEt4sX79O7fPT6dWrsKWD2N7FqjAFv588WnS9A2gE_LLFYyoy8ttBVomb1PhlwNWYQ4-7kr8J-aqMfy646HLdpu4exvr0ClkcuATCDr7ro67t1dj0l66dxMXwhxSwMbkFkjjCqUtHFwizou506fNCZM8e3ddAIEgMDxzlTcidLPNAINXF3kgtrAB_b4/s579/Flagrum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="579" data-original-width="485" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOMEt4sX79O7fPT6dWrsKWD2N7FqjAFv588WnS9A2gE_LLFYyoy8ttBVomb1PhlwNWYQ4-7kr8J-aqMfy646HLdpu4exvr0ClkcuATCDr7ro67t1dj0l66dxMXwhxSwMbkFkjjCqUtHFwizou506fNCZM8e3ddAIEgMDxzlTcidLPNAINXF3kgtrAB_b4/w536-h640/Flagrum.jpg" width="536" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Roman Flagrum</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div></span>
<span style="font-family: inherit;">The representation of the Scourging, sometimes also called “Christ At The Column” or "the Flagellation", is one that seems to have remained pretty much unchanged through the centuries, although there are some interesting variations. The scene generally consists of the figure of Christ, bound to a column, flanked by two tormentors. Other figures may or may not appear in the scene. Occasionally, Pilate may appear as well.</span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUT6_FOp3TaAjhS5V2l-itWUKekgjIrrnSnO1i4iwBI-CawW02PsODhqyB_LLVudG02aE0zX-49jdyhGo8PTMMbnhDnW-xM-i7Vv4Wy755poZ_VBQaVutwdquw84x0jKCzJLW0kCmsD5HwQRTJXn_PvZc1EKr2YwKeoKLAz4SLO9pYLGcd3Wh7gn78rA0/s1201/980_Master%20of%20the%20Registrum%20Gregorii_From%20the%20Codex%20Egberti_German,%20c.%20980_Trier,%20Stadtbibliothek_MS%20Cod.%2024.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1201" data-original-width="900" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUT6_FOp3TaAjhS5V2l-itWUKekgjIrrnSnO1i4iwBI-CawW02PsODhqyB_LLVudG02aE0zX-49jdyhGo8PTMMbnhDnW-xM-i7Vv4Wy755poZ_VBQaVutwdquw84x0jKCzJLW0kCmsD5HwQRTJXn_PvZc1EKr2YwKeoKLAz4SLO9pYLGcd3Wh7gn78rA0/w480-h640/980_Master%20of%20the%20Registrum%20Gregorii_From%20the%20Codex%20Egberti_German,%20c.%20980_Trier,%20Stadtbibliothek_MS%20Cod.%2024.jpg" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of the Registrum Gregorii, The Scourging at the Pillar<br />From the <u><i>Codex Egberti</i></u><br />German, c. 980<br />Trier, Stadtbibliothek<br />MS Cod. 24</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglXX_C9snibsRQQbUhF4rIAs1X7Vvi2bORspVpPsvwfPyHfhQKmurNAlGhPgBv9LDp8hY1cqwUCF9kuVLpYaqSQVReQCuKDp6LoB7KlgkqgixzwPgBH6vg-CctCHH3ZnlUDeiPkvngUS-V/s1600/Miniatures+of+Life+of+Christ_France_perhaps+Corbie_ca.1175_m44_008v.jpg" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglXX_C9snibsRQQbUhF4rIAs1X7Vvi2bORspVpPsvwfPyHfhQKmurNAlGhPgBv9LDp8hY1cqwUCF9kuVLpYaqSQVReQCuKDp6LoB7KlgkqgixzwPgBH6vg-CctCHH3ZnlUDeiPkvngUS-V/s640/Miniatures+of+Life+of+Christ_France_perhaps+Corbie_ca.1175_m44_008v.jpg" usa="true" width="465" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Scourging at the Pillar<br />Miniatures of the <i><u>Life of Christ</u></i><br />
French (probably Corbie), c. 1175<br />
New York, Morgan Library<br />
MS M 44, fol. 8v</td></tr>
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<span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8gqRGyZI4_YKeYcCZ09bD8GRNp9614JyIj5C-zAJtO2G6eWjX0nAhkbOX-HU3lgJdWLvX30Y5t5t5gvswDmsQhOD8NQMUOtX5c5XF6R4WE44gwF7XJVv7WJ51d2LIhzkppYkJdZESc9y_3PdF6ACXNlwY0T1v1EOKJs3QjkxnDJLSGqqj8KRdmO-Wdb0/s1763/1200_French,%20c.%201200-1220_London,%20Victoria%20and%20Albert%20Museum.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1763" data-original-width="1549" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8gqRGyZI4_YKeYcCZ09bD8GRNp9614JyIj5C-zAJtO2G6eWjX0nAhkbOX-HU3lgJdWLvX30Y5t5t5gvswDmsQhOD8NQMUOtX5c5XF6R4WE44gwF7XJVv7WJ51d2LIhzkppYkJdZESc9y_3PdF6ACXNlwY0T1v1EOKJs3QjkxnDJLSGqqj8KRdmO-Wdb0/w562-h640/1200_French,%20c.%201200-1220_London,%20Victoria%20and%20Albert%20Museum.jpg" width="562" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Scourging at the Pillar<br />French, c. 1200-1220<br />London, Victoria and Albert Museum</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRsp79gH7kqU4BtY79dET4ETmnUC5pKRTbDQS-t4d2Vt3r6vG1Qxy-hXjhxqeIZUJUFzNyHYWHvXZ3mRAnqgw2hkNPKVF_kOeDWNCU-kUGTG31HLI-hU5E07nsfkIC_12jGVZDlkEiYwr0g8ZPTqDpmksQMOA6Bk7CPNTKHGp6bFkHf408_uklk5v0k4I/s1345/1200_From%20a%20Psalter_English,%20c.%201200_Oxford,%20University%20of%20Oxford,%20Bodleian-Library-MS%20Gough%20Liturg%202,%20fol.%2027r.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1345" data-original-width="1022" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRsp79gH7kqU4BtY79dET4ETmnUC5pKRTbDQS-t4d2Vt3r6vG1Qxy-hXjhxqeIZUJUFzNyHYWHvXZ3mRAnqgw2hkNPKVF_kOeDWNCU-kUGTG31HLI-hU5E07nsfkIC_12jGVZDlkEiYwr0g8ZPTqDpmksQMOA6Bk7CPNTKHGp6bFkHf408_uklk5v0k4I/w486-h640/1200_From%20a%20Psalter_English,%20c.%201200_Oxford,%20University%20of%20Oxford,%20Bodleian-Library-MS%20Gough%20Liturg%202,%20fol.%2027r.jpg" width="486" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Scourging at the Pillar<br />From a <i><u>Psalter</u></i><br />English, c. 1200<br />Oxford, University of Oxford, Bodleian-Library<br />MS Gough Liturg 2, fol. 27r</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><h4 style="text-align: left;">A Static Image</h4><div dir="ltr" style="text-align: left;" trbidi="on">The earliest images of the Scourging at the Pillar seem more a pictogram of an event, than a true representation of someone being scourged. </div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">Indeed, in the Gothic period the scene almost resembles a courtly dance rather than a true scene of torture. And this is the image that persists for over 200 years.</div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr5l4QT6YyNPT8PqMSXKXhMJdbuPUVrgS218YHQTLKaQ_e7z0eYm_N_cvoAVq_TNymp30S3JFrxaaXVWKBBCLIVZu4PQ3CIELlZ2Q2wiZpJjQ7y0KmvR_0_Oai5KmR4BiYA9cptzs0w_zANnN0pMmB-IXyiIYtsMEmDkcHF5VQ3WfKqk-rL2sFwOpPBCY/s1901/1200_From%20a%20Psalter_French%20(Paris),%20c.%201200-1225_Paris,%20BNF_MS%20NAL%201392,%20fol.%2010v.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1528" data-original-width="1901" height="514" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr5l4QT6YyNPT8PqMSXKXhMJdbuPUVrgS218YHQTLKaQ_e7z0eYm_N_cvoAVq_TNymp30S3JFrxaaXVWKBBCLIVZu4PQ3CIELlZ2Q2wiZpJjQ7y0KmvR_0_Oai5KmR4BiYA9cptzs0w_zANnN0pMmB-IXyiIYtsMEmDkcHF5VQ3WfKqk-rL2sFwOpPBCY/w640-h514/1200_From%20a%20Psalter_French%20(Paris),%20c.%201200-1225_Paris,%20BNF_MS%20NAL%201392,%20fol.%2010v.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Scourging at the Pillar<br />From a <i><u>Psalter</u></i><br />French (Paris), c. 1200-1225<br />Paris, Bibliotheque nationale de France<br />MS NAL 1392, fol. 10v</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqrmPXuviIB3h8zZTfsxY03OvokTscEy1V4L8-8lswzCn-WXBN_P9fZefmvOR72Jnphfwg_rMXFgB8MUm-96SU1u1V5omP312LC9fJbTBLrW6MKv4gH9CAX7ZYihZghCJ01aPNYxnwnphNQ8ytl2-l6TiNG2UDQLa6k2x0Y4WU67LuXKY_pYs9Nd7cdD8/s2872/1225_From%20the%20Psalter%20of%20Saint%20Louis%20and%20Blanche%20of%20Castille_French,%20c.%201225_Paris,%20BNF_MS-1186%20r%C3%A9serve,%20fol.%2012v.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="2394" data-original-width="2872" height="534" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqrmPXuviIB3h8zZTfsxY03OvokTscEy1V4L8-8lswzCn-WXBN_P9fZefmvOR72Jnphfwg_rMXFgB8MUm-96SU1u1V5omP312LC9fJbTBLrW6MKv4gH9CAX7ZYihZghCJ01aPNYxnwnphNQ8ytl2-l6TiNG2UDQLa6k2x0Y4WU67LuXKY_pYs9Nd7cdD8/w640-h534/1225_From%20the%20Psalter%20of%20Saint%20Louis%20and%20Blanche%20of%20Castille_French,%20c.%201225_Paris,%20BNF_MS-1186%20r%C3%A9serve,%20fol.%2012v.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: start;">The Scourging at the Pillar</span><br style="text-align: start;" /><span style="text-align: start;">From the </span><u style="text-align: start;"><i>Psalter of St. Louis and Blanche of Castille</i></u><br style="text-align: start;" /><span style="text-align: start;">France (Paris), c. 1225</span><br style="text-align: start;" /><span style="text-align: start;">Paris, Bibliotheque nationale de France</span><br style="text-align: start;" /><span style="text-align: start;">MS-1186 reserve, fol. 23v</span></td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDvF6kmj-4LTgBM8mjIl1cBFJZXf1mUoasTKClkspvOp3OCB8PvYtNAf_9EwowOUoFX2T6llF7aptdD0u0Hkik5soKpdvRPG0wVQH1J-yX2mHvZUNRZRUF9ZxdSx5YAhU7YfK2g-5BVStGfbTiAw02K9qLNHDM6fVqwGTt_AlsNGz5NHZ9nAmoIjFfFs8/s1206/1250_From%20a%20Psalter%20aka%20the%20Psalter%20of%20Blanche%20of%20Castille_French%20(Paris),%20c.%201250_Paris,%20BNF_MS%20Latin%2010434,%20fol.%2015v.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1022" data-original-width="1206" height="542" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDvF6kmj-4LTgBM8mjIl1cBFJZXf1mUoasTKClkspvOp3OCB8PvYtNAf_9EwowOUoFX2T6llF7aptdD0u0Hkik5soKpdvRPG0wVQH1J-yX2mHvZUNRZRUF9ZxdSx5YAhU7YfK2g-5BVStGfbTiAw02K9qLNHDM6fVqwGTt_AlsNGz5NHZ9nAmoIjFfFs8/w640-h542/1250_From%20a%20Psalter%20aka%20the%20Psalter%20of%20Blanche%20of%20Castille_French%20(Paris),%20c.%201250_Paris,%20BNF_MS%20Latin%2010434,%20fol.%2015v.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Scourging at the Pillar<br />From a Psalter known as the <u><i>Psalter of Blanche of Castille</i></u><br />French (Paris), c. 1250<br />Paris, Bibliotheque nationale de France<br />MS Latin 10434, fol. 15v</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLxWkME3VkcZlyawCqeTg_1T6YQfc4gbS7WjbmM6URlOONWrZ9ZccnqxaHAGHJMxSaalozeclcwbIsmHcQ1ahf6JHhpcmEpLSJI1aO3dpMw4AeDGRjvKFGvfRKYXqq4OQCv6qxqUmrtSUHlDXdb6C9iH6av6NLvWJy010WFgmXiiGRsD2Bww6WqIdeSoU/s1175/1250_From%20a%20Psalter_French%20(Saint-Omer),%20c.%201250-1300_Paris,%20BNF_MS%20Smith-Lesou%C3%ABf%2020,%20fol.%2073r.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1175" data-original-width="1146" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLxWkME3VkcZlyawCqeTg_1T6YQfc4gbS7WjbmM6URlOONWrZ9ZccnqxaHAGHJMxSaalozeclcwbIsmHcQ1ahf6JHhpcmEpLSJI1aO3dpMw4AeDGRjvKFGvfRKYXqq4OQCv6qxqUmrtSUHlDXdb6C9iH6av6NLvWJy010WFgmXiiGRsD2Bww6WqIdeSoU/w624-h640/1250_From%20a%20Psalter_French%20(Saint-Omer),%20c.%201250-1300_Paris,%20BNF_MS%20Smith-Lesou%C3%ABf%2020,%20fol.%2073r.jpg" width="624" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Scourging at the Pillar<br />From a <i><u>Psalter</u></i><br />French (Saint-Omer), c. 1250-1300<br />Paris, Bibliotheque nationale de France<br />MS Smith-Lesouëf 20, fol. 73r</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDP4HIJInNl7OuT-5FDtjmCB5sFIDjEN3Un4p9iDTbKvTs6eUKRLnzHGNkZoeIdWwPAMBriG5O8KlPtPTPsjYNvBWoUEe8MFg8AeLGhUcK_KNgNfEkN6mK5y1lMG9Z7lDHKn_UwNIKd7fTCSvB9pbySL6fw_e88CKyIcEjv0mxj2hyphenhyphen-tMzpWDVtnAVGIc/s640/1275_From%20the%20Livre%20d%E2%80%99images%20de%20Madame%20Marie_Flemish%20(Hainaut),%20c.%201275-1300_Paris,%20Bibliotheque%20nationale%20de%20France_MS%20Nouvelle%20acquisition%20francaise%2016251,%20fol.%2036r.jpeg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="640" data-original-width="398" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDP4HIJInNl7OuT-5FDtjmCB5sFIDjEN3Un4p9iDTbKvTs6eUKRLnzHGNkZoeIdWwPAMBriG5O8KlPtPTPsjYNvBWoUEe8MFg8AeLGhUcK_KNgNfEkN6mK5y1lMG9Z7lDHKn_UwNIKd7fTCSvB9pbySL6fw_e88CKyIcEjv0mxj2hyphenhyphen-tMzpWDVtnAVGIc/w398-h640/1275_From%20the%20Livre%20d%E2%80%99images%20de%20Madame%20Marie_Flemish%20(Hainaut),%20c.%201275-1300_Paris,%20Bibliotheque%20nationale%20de%20France_MS%20Nouvelle%20acquisition%20francaise%2016251,%20fol.%2036r.jpeg" width="398" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Scourging at the Pillar<br />From the <u><i>Livre d’images de Madame Marie</i></u><br />Flemish (Hainaut), c. 1275-1300<br />Paris, Bibliotheque nationale de France<br />MS NAF 16251, fol. 36r</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv9G_Do4no4YvkXdXC_62K3MA14A6eyXlDH_g63l6HznAg8doNWOpZx6kpd3En3LF0pDimmCSUNEisIqD8_ayk59rGFSG9ps3UD60x73lADgydQo3TvSWBOflkye9JnDDwg-3GMPOFkGSxDa-w4H2XiqSICrJnZ9hj23RBIkT4DydkFTAqUNyEl9_rVuM/s985/1280_Cimabue_Italian,%20c.%201280_New%20York,%20The%20Frick%20Collectionz+3.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="985" data-original-width="800" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv9G_Do4no4YvkXdXC_62K3MA14A6eyXlDH_g63l6HznAg8doNWOpZx6kpd3En3LF0pDimmCSUNEisIqD8_ayk59rGFSG9ps3UD60x73lADgydQo3TvSWBOflkye9JnDDwg-3GMPOFkGSxDa-w4H2XiqSICrJnZ9hj23RBIkT4DydkFTAqUNyEl9_rVuM/w520-h640/1280_Cimabue_Italian,%20c.%201280_New%20York,%20The%20Frick%20Collectionz+3.jpg" width="520" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Cimabue, The Scourging at the Pillar<br />Italian, c. 1280<br />New York, The Frick Collection</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj04YQQcXo8Qqkt6NlHZ4KgLnP6Ds8E-QoCDmTiQuoRdOg-EVNFTZ6NlyYFW4iH4_G8QiGgXAafRFlnVa98Nqo61XBUVLJOUlqnan33db2VUU-Oc4jFeY55OsJzc4TnnKFtootfS6EuMbwXCBlWyZj_7CwBSqpJCKfgz6D1DBnZHIL1CxoDenQQl2SeAUw/s1487/1300_From%20a%20Psalter_English%20(East%20Anglia),%20c.%201300_Oxford,%20Bodleian%20Library_MS%20Gough%20Liturg-8,%20fol.%2049r.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1487" data-original-width="913" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj04YQQcXo8Qqkt6NlHZ4KgLnP6Ds8E-QoCDmTiQuoRdOg-EVNFTZ6NlyYFW4iH4_G8QiGgXAafRFlnVa98Nqo61XBUVLJOUlqnan33db2VUU-Oc4jFeY55OsJzc4TnnKFtootfS6EuMbwXCBlWyZj_7CwBSqpJCKfgz6D1DBnZHIL1CxoDenQQl2SeAUw/w392-h640/1300_From%20a%20Psalter_English%20(East%20Anglia),%20c.%201300_Oxford,%20Bodleian%20Library_MS%20Gough%20Liturg-8,%20fol.%2049r.jpg" width="392" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Scourging at the Pillar<br />From a <i><u>Psalter</u></i><br />English (East Anglia), c. 1300<br />Oxford, Bodleian Library<br />MS Gough Liturg-8, fol. 49r</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuNvKCiDeyddxkoh0bgz5ay1OaYWcRAoc8Z5wRqD8q7m6WboT6N8TqGF10bxdbFHhLQ_ISP0LfIFZQuCwUKWF6W1YLiq5VSI74fCcxLtZftbx5ZVsw7yNd9r8vicdlWkEhWPCdYRZ1DtXdkOaPVqc5fMLmd9oIl25M6_v_A8IheanBQw6f7Kl4RdSVFaE/s1017/1308_Duccio_1308-11_Siena_Museo%20dell-Opera%20del%20Duomo_2.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1000" data-original-width="1017" height="630" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuNvKCiDeyddxkoh0bgz5ay1OaYWcRAoc8Z5wRqD8q7m6WboT6N8TqGF10bxdbFHhLQ_ISP0LfIFZQuCwUKWF6W1YLiq5VSI74fCcxLtZftbx5ZVsw7yNd9r8vicdlWkEhWPCdYRZ1DtXdkOaPVqc5fMLmd9oIl25M6_v_A8IheanBQw6f7Kl4RdSVFaE/w640-h630/1308_Duccio_1308-11_Siena_Museo%20dell-Opera%20del%20Duomo_2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Duccio, Pilate Orders Jesus to be Scourged<br />Italian, 1308-1311<br />Siena, Museo dell'Opera del Duomo</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvZiaMMArRwDTwpYUZrS2N_MEtX9WtEzm_y6FSB284dHNDIeb-r6gXTqlFM9Bekstwrs6VgXNI6901ebQajDoHLNfPrQI5Zi5np1frKpVYXNp8pwmvW3m79zxG353GgI51gADeCnvgJY42UnRioO-CW3uIW6Or5aCzkj1HN2KfARD1AdwZH4jGDd_q1cY/s1011/1320-Pietro%20Lorenzetti_ca.%201320_Assisi_Lower%20Church_San%20Francesco-new_3.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="870" data-original-width="1011" height="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvZiaMMArRwDTwpYUZrS2N_MEtX9WtEzm_y6FSB284dHNDIeb-r6gXTqlFM9Bekstwrs6VgXNI6901ebQajDoHLNfPrQI5Zi5np1frKpVYXNp8pwmvW3m79zxG353GgI51gADeCnvgJY42UnRioO-CW3uIW6Or5aCzkj1HN2KfARD1AdwZH4jGDd_q1cY/w640-h550/1320-Pietro%20Lorenzetti_ca.%201320_Assisi_Lower%20Church_San%20Francesco-new_3.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pietro Lorenzetti, Pilate Orders the Scourging of Jesus<br />Italian, c. 1320<br />Assisi, Basilica of San Francesco, Lower Church</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZQ8KKWl-9Sip4PtT4uVoCA8IfAvSbgq6V70LAG3uIF2QUx724jcMbZR1JlYhv2rC7qxOqM82cdF9wV0a7VoydUzTZDdHMRntXIlhyLGNXdzeqEpslf-ewt5GtADSq8h7P4P_2UEl9RGPfgyvOXCwFalqjb_dTj3-_utGQxwGPFz2pV6_LOC6Xuek_MAQ/s2468/1325_From%20a%20Vie%20de%20saints_French%20(Paris),%20c.%201325-1350_Paris,%20BNF_MS%20Francais%20185,%20fol.%2010v.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1458" data-original-width="2468" height="378" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZQ8KKWl-9Sip4PtT4uVoCA8IfAvSbgq6V70LAG3uIF2QUx724jcMbZR1JlYhv2rC7qxOqM82cdF9wV0a7VoydUzTZDdHMRntXIlhyLGNXdzeqEpslf-ewt5GtADSq8h7P4P_2UEl9RGPfgyvOXCwFalqjb_dTj3-_utGQxwGPFz2pV6_LOC6Xuek_MAQ/w640-h378/1325_From%20a%20Vie%20de%20saints_French%20(Paris),%20c.%201325-1350_Paris,%20BNF_MS%20Francais%20185,%20fol.%2010v.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">The Scourging at the Pillar and Jesus Carrying the Cross</div><div style="text-align: center;">From a <i><u>Vie de saints</u></i></div><div style="text-align: center;">French (Paris), c. 1325-1350</div><div style="text-align: center;">Paris, Bibliotheque nationale de France</div><div style="text-align: center;">MS Francais 185, fol. 10v</div></td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6UXJIfSDuQRTKv5rkPCf7Qub0JVPfj9Oe5DqmbXmMqETCf-tMvwtbFhFwsgzDPDoCLSrPcxvTlqIu5vBA4w05tG6FodcvtY1ZeQznOBnRzlb9Y78nNhFAGX_hku1lbejUonIdpVoIhdKLZFqIv4UDV6h1k_Za4LOP35XZy9YBXG-MD5KQBqc8hkwbDyc/s1856/1325_Ugolino%20di%20Nerio_Italian,%20c.%201325_Berlin,%20Gem%C3%A4ldegalerie%20der%20Staatlichen%20Museen%20zu%20Berlin.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1229" data-original-width="1856" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6UXJIfSDuQRTKv5rkPCf7Qub0JVPfj9Oe5DqmbXmMqETCf-tMvwtbFhFwsgzDPDoCLSrPcxvTlqIu5vBA4w05tG6FodcvtY1ZeQznOBnRzlb9Y78nNhFAGX_hku1lbejUonIdpVoIhdKLZFqIv4UDV6h1k_Za4LOP35XZy9YBXG-MD5KQBqc8hkwbDyc/w640-h424/1325_Ugolino%20di%20Nerio_Italian,%20c.%201325_Berlin,%20Gem%C3%A4ldegalerie%20der%20Staatlichen%20Museen%20zu%20Berlin.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ugolino di Nerio, The Scourging at the Pillar<br />Italian, c. 1325<br />Berlin, Gemäldegalerie der Staatlichen Museen zu Berlin</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9v9SPWg18rWBI1PnX1eKRDZFsZOywSinJOpz6ce3rH_y5SgTN0KDKvdS1stzstYLbK-a_iazmrWKZgBfDQRwuoLsDO-w3FQRQCOFubOaNNd2IPLzSZ7JGGhXrKgvarrgOUCYVVGZZKCX59GEBeRvflUSrIkMTYKKdLzO8kzIYnbMm9r3aXo_zQ69hafU/s866/1335_Master%20of%20the%20Poldi%20Pezzoli%20Diptych_Italian,%20c.%201335-1340_Milan,%20Pinacoteca%20di%20Brera.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="866" data-original-width="614" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9v9SPWg18rWBI1PnX1eKRDZFsZOywSinJOpz6ce3rH_y5SgTN0KDKvdS1stzstYLbK-a_iazmrWKZgBfDQRwuoLsDO-w3FQRQCOFubOaNNd2IPLzSZ7JGGhXrKgvarrgOUCYVVGZZKCX59GEBeRvflUSrIkMTYKKdLzO8kzIYnbMm9r3aXo_zQ69hafU/w454-h640/1335_Master%20of%20the%20Poldi%20Pezzoli%20Diptych_Italian,%20c.%201335-1340_Milan,%20Pinacoteca%20di%20Brera.jpg" width="454" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of the Poldi Pezzoli Diptych, Pilate Orders the Scourging of Jesus<br />Italian, c. 1335-1340<br />Milan, Pinacoteca di Brera</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrmoxt6PpKgODNgRCMNbiVx4Nney9uvML9c2KBPDyMMrANbneuSQDwsgWJ53Ha8jlZL0yEHw9LpRmbKbaLv02Xj0i8zAm7KNMlN6PACmt8N9lGorMfDNq-FjA5Pb-s78lOjd17w-AEnTVdnaSbqnmv75rO-v8pQWM_neMUonSGPX1BQ71jgSQyfM5n7r4/s984/1350_From%20Vies%20de%20la%20Vierge%20et%20du%20Christ_Italian%20(Naples),%20c.%201350_Paris,%20BNF_MS%20Francais%209561,%20fol.%20171v+2.jpeg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="984" data-original-width="773" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrmoxt6PpKgODNgRCMNbiVx4Nney9uvML9c2KBPDyMMrANbneuSQDwsgWJ53Ha8jlZL0yEHw9LpRmbKbaLv02Xj0i8zAm7KNMlN6PACmt8N9lGorMfDNq-FjA5Pb-s78lOjd17w-AEnTVdnaSbqnmv75rO-v8pQWM_neMUonSGPX1BQ71jgSQyfM5n7r4/w502-h640/1350_From%20Vies%20de%20la%20Vierge%20et%20du%20Christ_Italian%20(Naples),%20c.%201350_Paris,%20BNF_MS%20Francais%209561,%20fol.%20171v+2.jpeg" width="502" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pilate Orders the Scourging of Jesus<br />From a <u><i>Vies de la Vierge et du Christ</i></u><br />Italian (Naples), c. 1350<br />Paris, Bibliotheque nationale de France<br />MS Francais 9561, fol. 171v</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><br /><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCI3I5lxD_u4uiUFIgaag7wxdgXjsWdFlTT6c4i4LPKWmGQyqOIN_Gjg8XPQ9hkyUH75kwUbcSJE8m2Cl6lUvtNezVFnWN9U1Q94S_QHIpbTUC1NpOvc6q8Oo9spql-xNEXDd1Bh17OT2LKkI5ltDWbo8xSMTfmeVPBj_5EFNnXPax0_NOOEJzh9SQ8-k/s1166/1350+From%20the%20Salisbury%20Psalter_English,%20c.%201350-1375_Paris,%20BNF_MS%20Latin%20765,%20fol.%2012r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCI3I5lxD_u4uiUFIgaag7wxdgXjsWdFlTT6c4i4LPKWmGQyqOIN_Gjg8XPQ9hkyUH75kwUbcSJE8m2Cl6lUvtNezVFnWN9U1Q94S_QHIpbTUC1NpOvc6q8Oo9spql-xNEXDd1Bh17OT2LKkI5ltDWbo8xSMTfmeVPBj_5EFNnXPax0_NOOEJzh9SQ8-k/w462-h640/1350+From%20the%20Salisbury%20Psalter_English,%20c.%201350-1375_Paris,%20BNF_MS%20Latin%20765,%20fol.%2012r.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: left;">The Scourging at the Pillar</span><br style="text-align: left;" /><span style="text-align: left;">From the <i><u>Salisbury Psalter</u></i></span><br style="text-align: left;" /><span style="text-align: left;">English, c. 1350-1375</span><br style="text-align: left;" /><span style="text-align: left;">Paris, Bibliotheque nationale de France</span><br style="text-align: left;" /><span style="text-align: left;">MS Latin 765, fol. 12r</span></td></tr></tbody></table><br /><br /><br /><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3fz-DX82JcW6Vgi95n_IgBsBEuEHAj3xa-7ZFXGtvmblTC8zQv_ZUcZXewJieFtbDzsxosMiAFH34FhGYVFxnPKkxNHMHiUy0_Ba1EQwSKodGTmSjOX5AAcgHuUYygKF_w6Mw2t0aIZRSu60oZBuY24mNIKr9kqcHBwuIEFRK0-LHWpapHyktva525hE/s6724/1365_Luca%20di%20Tomme_Italian,%20c.%201365_Amsterdam,%20Rijksmuseum.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="6724" data-original-width="4962" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3fz-DX82JcW6Vgi95n_IgBsBEuEHAj3xa-7ZFXGtvmblTC8zQv_ZUcZXewJieFtbDzsxosMiAFH34FhGYVFxnPKkxNHMHiUy0_Ba1EQwSKodGTmSjOX5AAcgHuUYygKF_w6Mw2t0aIZRSu60oZBuY24mNIKr9kqcHBwuIEFRK0-LHWpapHyktva525hE/w472-h640/1365_Luca%20di%20Tomme_Italian,%20c.%201365_Amsterdam,%20Rijksmuseum.jpg" width="472" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Luca di Tomme, Pilate Orders the Scourging of Jesus<br />Italian, c. 1365<br />Amsterdam, Rijksmuseum</td></tr></tbody></table><br /><br /><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGwHoP61lMh-cPn52pfdWxSd6sT4qV5dWoMc41Mqijm9U5yATXtHmaJWWvyQd4yePNaGrhI48542EIsqo465zcoSGF2DLoWBFXrCeocUZMr1kXlGIS3hfvXLQMR3ehAX9B-Xq5ttvk3-v0PnMpCXqq8h12_f_NR6wBlJA2XhPbsD9I3OBvSaRyCGZmnoY/s1429/1371_Jean%20Bondol%20and%20Others_From%20a%20Grande%20Bible%20Historiale%20Completee%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201371-1372_The%20Hague,%20Meermano%20Museum_%20MS%20RMMW%2010%20B%2023,%20fol.%20522r.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1429" data-original-width="1175" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGwHoP61lMh-cPn52pfdWxSd6sT4qV5dWoMc41Mqijm9U5yATXtHmaJWWvyQd4yePNaGrhI48542EIsqo465zcoSGF2DLoWBFXrCeocUZMr1kXlGIS3hfvXLQMR3ehAX9B-Xq5ttvk3-v0PnMpCXqq8h12_f_NR6wBlJA2XhPbsD9I3OBvSaRyCGZmnoY/w526-h640/1371_Jean%20Bondol%20and%20Others_From%20a%20Grande%20Bible%20Historiale%20Completee%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201371-1372_The%20Hague,%20Meermano%20Museum_%20MS%20RMMW%2010%20B%2023,%20fol.%20522r.jpg" width="526" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Jean Bondol and Others, The Scourging at the Pillar<br />From a <i><u><span style="line-height: 107%;">Grande
Bible Historiale Complet</span><span style="line-height: 107%;">é</span></u></i><span style="line-height: 107%;"><i><u>e</u></i> </span> by Guiard des Moulins<br />French (Paris), c. 1371-1372<br />The Hague, Meermano Museum_<br />MS RMMW 10 B 23, fol. 522r</span></td></tr></tbody></table><br /><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7nqOBFXbvoaUmz2r6ipkeu-kyF08e2HBEq5KJqDWX8QEYT8pJVhul2r_-P7m-G9gWsZlWQgUgN1rF4aBpsanKDpPhKIZZFEse3VGHhNidJnAyqH4GqZixoBNVPS-4xZGJ2sTeljEMnMcO-_z0S9ABsO2ODhTRUbq6MbPQLHHQLWwD_bU4oYyr1NTBeV8/s2340/1380_English,%20Late%2014th%20Century_London,%20Victoria%20and%20Albert%20Museum.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="2340" data-original-width="1657" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7nqOBFXbvoaUmz2r6ipkeu-kyF08e2HBEq5KJqDWX8QEYT8pJVhul2r_-P7m-G9gWsZlWQgUgN1rF4aBpsanKDpPhKIZZFEse3VGHhNidJnAyqH4GqZixoBNVPS-4xZGJ2sTeljEMnMcO-_z0S9ABsO2ODhTRUbq6MbPQLHHQLWwD_bU4oYyr1NTBeV8/w454-h640/1380_English,%20Late%2014th%20Century_London,%20Victoria%20and%20Albert%20Museum.jpg" width="454" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Scourging at the Pillar<br />English, Late 14th Century<br />London, Victoria and Albert Museum</td></tr></tbody></table><br /><br /><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh246QVpMpMMgtu3ItR8RXkPGHC8MERDQ9xIMJ5NRE3OiIIdmkFkukv8zWh4vaFbYHh8-gETuIT34Kn_wcQZQATATNfovpcEoWgZUgDMSta8ugwuV_rbSpPuwvnSWRUz_KgLvaNy-m174LACTReaoEY29LAJwR5A-nQzCualdWEEZEYsqtzkm6F3TU7DE/s599/1380_From%20a%20Book%20of%20Hours,%20aka%20Hours%20of%20Isabeau%20of%20Bavaria,%20Queen%20of%20France_French%20(Metz),%20c.%201380_Paris,%20BNF_MS%20Latin%2014033,%20fol.%2047r.jpeg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="599" data-original-width="595" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh246QVpMpMMgtu3ItR8RXkPGHC8MERDQ9xIMJ5NRE3OiIIdmkFkukv8zWh4vaFbYHh8-gETuIT34Kn_wcQZQATATNfovpcEoWgZUgDMSta8ugwuV_rbSpPuwvnSWRUz_KgLvaNy-m174LACTReaoEY29LAJwR5A-nQzCualdWEEZEYsqtzkm6F3TU7DE/w636-h640/1380_From%20a%20Book%20of%20Hours,%20aka%20Hours%20of%20Isabeau%20of%20Bavaria,%20Queen%20of%20France_French%20(Metz),%20c.%201380_Paris,%20BNF_MS%20Latin%2014033,%20fol.%2047r.jpeg" width="636" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Scourging at the Pillar<br />From a Book of Hours, known as the <u><i>Hours of Isabeau of Bavaria, Queen of France</i></u><br />French (Metz), c. 1380<br />Paris, Bibliotheque nationale de France<br />MS Latin 14033, fol. 47r</td></tr></tbody></table><br /><br /><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfnul6Yt_eVUKGwA8A5_f2Fn2d_XN0mjh4H8bkklgOeipVDN3yw7LNHiByWw6O7zClQkXt-qbOqimHwt8IbixoA7RZNDxFybX5z322Q8GFQfmT1ISzKQC_a29DKFCOPkXZlXZuthPdwV_GvAhQsl8l5vwhcAi3OYgeIFtfQnOSNl4f2gb0UafYyF9JcxA/s1457/1385_Jean%20le%20Noir_From%20the%20Petites%20Heures%20of%20Jean%20de%20Berry_French%20(Bourges),%20c.%201385-1390_Paris,%20BNF_MS%20Latin%2018014,%20fol.%2093v.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1457" data-original-width="1149" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfnul6Yt_eVUKGwA8A5_f2Fn2d_XN0mjh4H8bkklgOeipVDN3yw7LNHiByWw6O7zClQkXt-qbOqimHwt8IbixoA7RZNDxFybX5z322Q8GFQfmT1ISzKQC_a29DKFCOPkXZlXZuthPdwV_GvAhQsl8l5vwhcAi3OYgeIFtfQnOSNl4f2gb0UafYyF9JcxA/w504-h640/1385_Jean%20le%20Noir_From%20the%20Petites%20Heures%20of%20Jean%20de%20Berry_French%20(Bourges),%20c.%201385-1390_Paris,%20BNF_MS%20Latin%2018014,%20fol.%2093v.jpg" width="504" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jean le Noir, The Scourging at the Pillar<br />From the <i><u>Petites Heures of Jean de Berry</u></i><br />French (Bourges), c. 1385-1390<br />Paris, Bibliotheque nationale de France<br />MS Latin 18014, fol. 93v</td></tr></tbody></table><br /><br /><br /><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDK9U2AyjpVOoDTUW50KxBJCnryUiY9fjG-tOwPETlXpcRUWEe44jWIajvvPKPDTFk4n9wIb5Lo7pgx72XJ5Tkmv59sWOdEQPyq0YQ4ajr7-FrvO0kbl0RlDoV_6xtGnJa8m7WASxiuQYbv5pVhkx3T4Xq4RPOWiYHETOnFRNmdj8W7ADStbNJfspaVdM/s967/1385_Giovanni%20di%20Benedetto%20&%20Workshop_From%20a%20Missal_Italian%20(Milan),%20c.%201385-1390_Paris,%20BNF_MS%20Latin%20757m%20fol.%20254v.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="967" data-original-width="760" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDK9U2AyjpVOoDTUW50KxBJCnryUiY9fjG-tOwPETlXpcRUWEe44jWIajvvPKPDTFk4n9wIb5Lo7pgx72XJ5Tkmv59sWOdEQPyq0YQ4ajr7-FrvO0kbl0RlDoV_6xtGnJa8m7WASxiuQYbv5pVhkx3T4Xq4RPOWiYHETOnFRNmdj8W7ADStbNJfspaVdM/w502-h640/1385_Giovanni%20di%20Benedetto%20&%20Workshop_From%20a%20Missal_Italian%20(Milan),%20c.%201385-1390_Paris,%20BNF_MS%20Latin%20757m%20fol.%20254v.jpg" width="502" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Giovanni di Benedetto & Workshop, The Scourging at the Pillar<br />From a <u><i>Missal</i></u><br />Italian (Milan), c. 1385-1390<br />Paris, Bibliotheque nationale de France<br />MS Latin 757m fol. 254v</td></tr></tbody></table><br /><br /><br /></div><div><br /></div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4Lqfdjho2npfSVFldxGLHrfINeNjrl_FpZX-I4Iol_2yy598mk4Ee3Gyh_7apSJKnZgmQXYbNHAmuvds8ozrrbuvtpF4MNf0bZ1iL0uycRS3duvucWwK46wFmkgZsedplJrI27INx4mpy/s1600/Ghiberti_1403_Florence_Baptistry.jpg" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4Lqfdjho2npfSVFldxGLHrfINeNjrl_FpZX-I4Iol_2yy598mk4Ee3Gyh_7apSJKnZgmQXYbNHAmuvds8ozrrbuvtpF4MNf0bZ1iL0uycRS3duvucWwK46wFmkgZsedplJrI27INx4mpy/s640/Ghiberti_1403_Florence_Baptistry.jpg" usa="true" width="539" /></a></td></tr><tr><td class="tr-caption">Lorenzo Ghiberti, The Scourging at the Pillar<br />Italian, 1403<br />Florence, Baptistry Doors<br /><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbVIQy2MlCHqUAqUMpvliJIEFYrglEUyMsmJn2oVGty-ZA7nv-keGEGsTRdqtSdSl0S73ij5r9kpg2PFDRl82LW0uBrqyqP6AzA0WPcIvsLx1HAu8Q5q0Y8wy3FIpXmeQIRCWRLS1cnT6YPpm2PQnhsc5WYuEpM30b6VTZaB4bKpkkeVXDf4G8uSnlIHI/s1500/1400_Agnolo%20di%20Domenico%20Mazzieri_Italian,%2015th%20Century_Paris,%20Musee%20du%20Louvre.JPG" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit; font-size: medium;"><img border="0" data-original-height="605" data-original-width="1500" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbVIQy2MlCHqUAqUMpvliJIEFYrglEUyMsmJn2oVGty-ZA7nv-keGEGsTRdqtSdSl0S73ij5r9kpg2PFDRl82LW0uBrqyqP6AzA0WPcIvsLx1HAu8Q5q0Y8wy3FIpXmeQIRCWRLS1cnT6YPpm2PQnhsc5WYuEpM30b6VTZaB4bKpkkeVXDf4G8uSnlIHI/w640-h258/1400_Agnolo%20di%20Domenico%20Mazzieri_Italian,%2015th%20Century_Paris,%20Musee%20du%20Louvre.JPG" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: medium;">Agnolo di Domenico Mazzieri, The Scourging at the Pillar<br />Italian, 15th Century<br />Paris, Musée du Louvre</span><p class="MsoNormal"><span style="font-family: inherit; font-size: medium;"><o:p></o:p></span></p></td></tr></tbody></table><div style="text-align: left;"></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2sQsBgxYbm3tVpwnk6H6mLbRTIXOsLWoX_FJcAVk4iIVwj7EXl-sj-hVpqJczm3d_t7dYREj0L5lDHaN-qRHcjicRkdaXOngKbhFsYdV0gyXIwwKf-AEkJuE24INNGmEIuhDZPxrJyuuNIRWeT_tIXHTr3MATu6KDY054bX-B5krYkpZcu58sLG_zODI/s2416/1400_English,%2015th%20Century_London,%20Victoria%20and%20Albert%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit; font-size: medium;"><img border="0" data-original-height="2416" data-original-width="1815" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2sQsBgxYbm3tVpwnk6H6mLbRTIXOsLWoX_FJcAVk4iIVwj7EXl-sj-hVpqJczm3d_t7dYREj0L5lDHaN-qRHcjicRkdaXOngKbhFsYdV0gyXIwwKf-AEkJuE24INNGmEIuhDZPxrJyuuNIRWeT_tIXHTr3MATu6KDY054bX-B5krYkpZcu58sLG_zODI/w480-h640/1400_English,%2015th%20Century_London,%20Victoria%20and%20Albert%20Museum.jpg" width="480" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: medium;">The Scourging at the Pillar<br />English, 15th Century<br />London, Victoria and Albert Museum</span></td></tr></tbody></table></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYRa4Un0MbjF6DioptxVnOOb3TK-HvAjlZ2TEMYMz8uYdsQmuPEXl7Tcs5nfc5W_pwzL2Z5Af23-9yDGJvvuSIt53tDyY162A_uOX1fo7iD2Mp-sTb4gFF_x_0HN4fMiQmZvrycVP811UnZMIkJ4X0v4ml650_rIIGZYhhILKJNbaVwdAxiOE2k2ttuic/s3650/1400_Master%20of%20the%20Berswordt%20Altar_German,%20c.%201400_New%20York,%20Metropolitan%20Museum%20of%20Art.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit; font-size: medium;"><img border="0" data-original-height="3650" data-original-width="2720" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYRa4Un0MbjF6DioptxVnOOb3TK-HvAjlZ2TEMYMz8uYdsQmuPEXl7Tcs5nfc5W_pwzL2Z5Af23-9yDGJvvuSIt53tDyY162A_uOX1fo7iD2Mp-sTb4gFF_x_0HN4fMiQmZvrycVP811UnZMIkJ4X0v4ml650_rIIGZYhhILKJNbaVwdAxiOE2k2ttuic/w476-h640/1400_Master%20of%20the%20Berswordt%20Altar_German,%20c.%201400_New%20York,%20Metropolitan%20Museum%20of%20Art.jpg" width="476" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: medium;">Master of the Berswordt Altar, The Scourging at the Pillar<br />German, c. 1400<br />New York, Metropolitan Museum of Art</span></td></tr></tbody></table><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit; font-size: medium;"><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv9ohgYTyr4pwKxxrb4NLqi0AtA6T-NXa8qbf9cqmAdnS9F9FTh5ZeYXPnrfcw22UP9i2rjYUHYTfYQfiREXRdnjjjI0kXA7yC42aeGeT1-YuYbh3v3JEys4ks9y30Jmakhmz_gxmavAcVqKqCQX4w1WqyVKlrP8ogtRbUxunvC6SEYydRXdRQHMXJkiY/s2355/1400_English,%20c.%2015th%20Century_London,%20Victoria%20and%20Albert%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit; font-size: medium;"><img border="0" data-original-height="2355" data-original-width="1420" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv9ohgYTyr4pwKxxrb4NLqi0AtA6T-NXa8qbf9cqmAdnS9F9FTh5ZeYXPnrfcw22UP9i2rjYUHYTfYQfiREXRdnjjjI0kXA7yC42aeGeT1-YuYbh3v3JEys4ks9y30Jmakhmz_gxmavAcVqKqCQX4w1WqyVKlrP8ogtRbUxunvC6SEYydRXdRQHMXJkiY/w386-h640/1400_English,%20c.%2015th%20Century_London,%20Victoria%20and%20Albert%20Museum.jpg" width="386" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: medium;">The Scourging at the Pillar<br />English, c. 15th Century<br />London, Victoria and Albert Museum</span></td></tr></tbody></table></div><span style="font-family: inherit; font-size: medium;"><br /></span><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjkN8k_f-Df4Y2gn803CLhI040oRR1rfVsVcVTqbXyRvV45x0mBNSq5cgMHHJcf0mNTWXo5NfJEUVEo1-SzFzFv9J1rSL0rnCEe8cD-ymXgdBVXBE1UATq5pF5U59gt31-d3IjVAH-oaQscEmGlEkyuY7xv082l-0xD9hfkLTVZTtB4SYksf99fC8Owg8/s1565/1412_The%20Limbourg%20Brothers_From%20the%20Tres%20Rches%20Heures%20du%20Duc%20de%20Berry_Flemish,%20c.%201412-1416_Chantilly,%20Musee%20Conde_MS%2065,%20fol.%20144r.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit; font-size: medium;"><img border="0" data-original-height="1565" data-original-width="1000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjkN8k_f-Df4Y2gn803CLhI040oRR1rfVsVcVTqbXyRvV45x0mBNSq5cgMHHJcf0mNTWXo5NfJEUVEo1-SzFzFv9J1rSL0rnCEe8cD-ymXgdBVXBE1UATq5pF5U59gt31-d3IjVAH-oaQscEmGlEkyuY7xv082l-0xD9hfkLTVZTtB4SYksf99fC8Owg8/w408-h640/1412_The%20Limbourg%20Brothers_From%20the%20Tres%20Rches%20Heures%20du%20Duc%20de%20Berry_Flemish,%20c.%201412-1416_Chantilly,%20Musee%20Conde_MS%2065,%20fol.%20144r.jpg" width="408" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: medium;">The Limbourg Brothers, Pilate Orders the Scourging of Jesus<br />From the <u><i>Tres Rches Heures du Duc de Berry</i></u><br />Flemish, c. 1412-1416<br />Chantilly, Musée Condé<br />MS 65, fol. 144r</span></td></tr></tbody></table></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivvRYt5ge9hyphenhyphen7ebKX-7BcvMQ8AcZ6C7nrA_dqJg4bXn3UMZJuVqeRHVaGWFraslow_ZpmP6iX7XLH6171p11l-PVR58Y1-K9tTyB4qpNx5j1Ex2V7lHa2d8bx_aXLAVGLJ539EXTq3tNcjCr1Th0z6HmZQcQeNpIqpnN34oaI9wnuqJVDR8dAhlVv_WRo/s1235/1415_Enamel%20Plaque%20of%20the%20Flagellation%20of%20Christ_French,%20c.%201415-1425_Paris,%20Musee%20du%20Louvre,%20D%C3%A9partement%20des%20Objets%20d'art%20du%20Moyen%20Age,%20de%20la%20Renaissance%20et%20des%20temps%20modernes.JPG" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit; font-size: medium;"><img border="0" data-original-height="1230" data-original-width="1235" height="638" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivvRYt5ge9hyphenhyphen7ebKX-7BcvMQ8AcZ6C7nrA_dqJg4bXn3UMZJuVqeRHVaGWFraslow_ZpmP6iX7XLH6171p11l-PVR58Y1-K9tTyB4qpNx5j1Ex2V7lHa2d8bx_aXLAVGLJ539EXTq3tNcjCr1Th0z6HmZQcQeNpIqpnN34oaI9wnuqJVDR8dAhlVv_WRo/w640-h638/1415_Enamel%20Plaque%20of%20the%20Flagellation%20of%20Christ_French,%20c.%201415-1425_Paris,%20Musee%20du%20Louvre,%20D%C3%A9partement%20des%20Objets%20d'art%20du%20Moyen%20Age,%20de%20la%20Renaissance%20et%20des%20temps%20modernes.JPG" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: medium;">Enamel Plaque of the Flagellation of Christ<br />French, c. 1415-1425<br />Paris, Musee du Louvre, Département des Objets d'art du Moyen Age, de la Renaissance et des temps modernes</span></td></tr></tbody></table><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinrfvX2-1php7aFZ_xaHGpDTxFh0iMPeCmA7tDG7L9XkXZe1Njz0cuainxHX1OEy2ItUE8vX06kgfLSJ4mCL9bC7DR1jEfK6iahqR6cbWR0c2Dm0Dx2SuQdSWjjgrL_ttcP93Jq2cY5GiluKLC2iZpAM-crhyphenhyphen5vGJb03OC499sVofWO6H3QxRTTECkL2k/s1353/1425_Pelerinage%20de%20Jesus-Christ%20by%20Guillaume%20de%20Digulleville_France_Rennes-1425-50_BNF_Francais%20376_fol.216_3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit; font-size: medium;"><img border="0" data-original-height="1137" data-original-width="1353" height="538" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinrfvX2-1php7aFZ_xaHGpDTxFh0iMPeCmA7tDG7L9XkXZe1Njz0cuainxHX1OEy2ItUE8vX06kgfLSJ4mCL9bC7DR1jEfK6iahqR6cbWR0c2Dm0Dx2SuQdSWjjgrL_ttcP93Jq2cY5GiluKLC2iZpAM-crhyphenhyphen5vGJb03OC499sVofWO6H3QxRTTECkL2k/w640-h538/1425_Pelerinage%20de%20Jesus-Christ%20by%20Guillaume%20de%20Digulleville_France_Rennes-1425-50_BNF_Francais%20376_fol.216_3.jpg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: medium;">The Scourging at the Pillar<br />From the <i><u>Pelerinage de Jesus-Christ </u></i>by Guillaume de Digulleville<br />France (Rennes), c. 1425-1450<br />Paris, Bibliotheque nationale de France<br />MS Francais 376, fol.216</span></td></tr></tbody></table><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbHh97gf-H5J1GOoXlmqffowK343HyA94eqeH1Gu9A9YHsH-d3tqBP9G5lBxl-Xg103ZhcJ1Z6u3bS1xYih_JaWOEv74a2jH438tvLGovA7tUFlQTua5H9cg_kLn9HHbz0-1fJYWStoRSuHGoNiUvNbF8BoNvAkL2D75KYGbgmhloM9FDGiinWkd66Qu8/s2395/1440_English,%20c.%201440-1460_London,%20Victoria%20and%20Albert%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit; font-size: medium;"><img border="0" data-original-height="2395" data-original-width="1412" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbHh97gf-H5J1GOoXlmqffowK343HyA94eqeH1Gu9A9YHsH-d3tqBP9G5lBxl-Xg103ZhcJ1Z6u3bS1xYih_JaWOEv74a2jH438tvLGovA7tUFlQTua5H9cg_kLn9HHbz0-1fJYWStoRSuHGoNiUvNbF8BoNvAkL2D75KYGbgmhloM9FDGiinWkd66Qu8/w378-h640/1440_English,%20c.%201440-1460_London,%20Victoria%20and%20Albert%20Museum.jpg" width="378" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: medium;">The Scourging at the Pillar<br />English, c. 1440-1460<br />London, Victoria and Albert Museum</span></td></tr></tbody></table></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT9uvAe2IUwGDbKdrypLU-Czwfx-z9A4tqzKGtP7C3hXLMKObuCUJdyt8Wq0PxSRdkgEPlkTKdhszhi2y-1U2fQG1a_ydcHaAiAdBWQc68tTKUp4WVP-VeJVhAW8Oq1diOvV4TDABJQgSl0oC4_iIwyutbraVGIzVigNqHQNfo19T9h29oxojh6y2-r7Y/s2078/1450_Masters%20of%20teh%20Gold%20Scrolls_From%20a%20Book%20of%20Hours_Flemish,%20c.%201450_The%20Hague,%20Meermano%20Museum_MS%20RMMW%2010%20E%202,%20fol.%2075v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit; font-size: medium;"><img border="0" data-original-height="2078" data-original-width="1321" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT9uvAe2IUwGDbKdrypLU-Czwfx-z9A4tqzKGtP7C3hXLMKObuCUJdyt8Wq0PxSRdkgEPlkTKdhszhi2y-1U2fQG1a_ydcHaAiAdBWQc68tTKUp4WVP-VeJVhAW8Oq1diOvV4TDABJQgSl0oC4_iIwyutbraVGIzVigNqHQNfo19T9h29oxojh6y2-r7Y/w406-h640/1450_Masters%20of%20teh%20Gold%20Scrolls_From%20a%20Book%20of%20Hours_Flemish,%20c.%201450_The%20Hague,%20Meermano%20Museum_MS%20RMMW%2010%20E%202,%20fol.%2075v.jpg" width="406" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: medium;">Masters of the Gold Scrolls, The Scourging at the Pillar<br />From a <i><u>Book of Hours</u></i><br />Flemish, c. 1450<br />The Hague, Meermano Museum<br />MS RMMW 10 E 2, fol. 75v</span></td></tr></tbody></table></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjJ0Hth8N_xKqx_1rEyd_CzDVEqhjEE4kAOgwV3wYSiB4rz4j04p9Qxg4Sw3nLJ2FBIG6tGlSoYYcyRUD-tO2NhY5lKakMLSK_lPC_6jlZCXB5ZyyojJL7p3KSxn5Z2iOSvOm0Vnah6Tgqs-gOpqd8XUjKFM7ESxSELwq99Vyf6IWbaezrSH9WokJXbhU/s2642/1452_Master%20of%20Jouvenal%20des%20Ursins%20and%20Workshop_From%20a%20Book%20of%20Hours_French%20(Angers),%201452_Paris,%20BNF_MS%20NAL%203244,%20fol.%20252r_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit; font-size: medium;"><img border="0" data-original-height="2642" data-original-width="1745" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjJ0Hth8N_xKqx_1rEyd_CzDVEqhjEE4kAOgwV3wYSiB4rz4j04p9Qxg4Sw3nLJ2FBIG6tGlSoYYcyRUD-tO2NhY5lKakMLSK_lPC_6jlZCXB5ZyyojJL7p3KSxn5Z2iOSvOm0Vnah6Tgqs-gOpqd8XUjKFM7ESxSELwq99Vyf6IWbaezrSH9WokJXbhU/w422-h640/1452_Master%20of%20Jouvenal%20des%20Ursins%20and%20Workshop_From%20a%20Book%20of%20Hours_French%20(Angers),%201452_Paris,%20BNF_MS%20NAL%203244,%20fol.%20252r_2.jpg" width="422" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: medium;">Master of Jouvenal des Ursins and Workshop, The Scourging at the Pillar<br />From a <u><i>Book of Hours</i></u><br />French (Angers), 1452<br />Paris, Bibliotheque nationale de France<br />MS NAL 3244, fol. 252r</span></td></tr></tbody></table><div style="text-align: left;"></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXB71ZTLRxzkMihRXiSLQVE4EvirZ7t2ci5yzZ9W9SETNXWclVwZKpqPs_CjMp5JGKYa6Hsqs4VlJBSZDWHXuz0BVU1EETu9yZKGn_U3U-vql9036ZtViQY9F0NRtSpMEslvq9qTA-4ejb5ENsdccbH6LuWSB_ci03huGR7-kzaxm9eP-MIk6j_M_QjhM/s1113/1455_Piero%20della%20Francesca_detail_c.1455_Urbino_Galleria%20Nazionale%20delle%20Marche_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit; font-size: medium;"><img border="0" data-original-height="1113" data-original-width="1086" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXB71ZTLRxzkMihRXiSLQVE4EvirZ7t2ci5yzZ9W9SETNXWclVwZKpqPs_CjMp5JGKYa6Hsqs4VlJBSZDWHXuz0BVU1EETu9yZKGn_U3U-vql9036ZtViQY9F0NRtSpMEslvq9qTA-4ejb5ENsdccbH6LuWSB_ci03huGR7-kzaxm9eP-MIk6j_M_QjhM/w624-h640/1455_Piero%20della%20Francesca_detail_c.1455_Urbino_Galleria%20Nazionale%20delle%20Marche_2.jpg" width="624" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: medium;">Piero della Francesca, The Scourging at the Pillar<br />Italian, ca. 1455<br />Urbino, Galleria Nazionale delle Marche<br /></span></td></tr></tbody></table></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div></td></tr></tbody></table></div><h4 style="text-align: left;"><span style="font-family: inherit;">Increasing Violence</span></h4><div><span style="font-family: inherit;">However, starting around 1450, the levels of violence and cruelty depicted gradually increased, even though the composition of the figures remained basically unchanged.</span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8p3nFjlhRZcCmG_FriUuw-ycPWfGETJJZsccN3QbkYegdba3XWs1xK--g-A4uwLINNs5tJRUPTydnk6VhoDRjek_z6qKkMA6iYW9O-bNkvXbbQpkVoyIztLJ9F0Zdjn6ZLW5FKcpA4LqLDBjKPU_Z27bYZ4iaPdh3gUjgrZ-nabLcO3BEaXkarNlt/s1109/1463_Master%20Francois%20and%20Workshop_From%20Speculum%20historiale%20by%20Vincent%20of%20Beauvais_French%20(Paris),%201463_Paris,%20BNF_MS%20Francais%2050,%20fol.%20230r%20(2).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1109" data-original-width="700" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8p3nFjlhRZcCmG_FriUuw-ycPWfGETJJZsccN3QbkYegdba3XWs1xK--g-A4uwLINNs5tJRUPTydnk6VhoDRjek_z6qKkMA6iYW9O-bNkvXbbQpkVoyIztLJ9F0Zdjn6ZLW5FKcpA4LqLDBjKPU_Z27bYZ4iaPdh3gUjgrZ-nabLcO3BEaXkarNlt/w404-h640/1463_Master%20Francois%20and%20Workshop_From%20Speculum%20historiale%20by%20Vincent%20of%20Beauvais_French%20(Paris),%201463_Paris,%20BNF_MS%20Francais%2050,%20fol.%20230r%20(2).jpg" width="404" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master Francois and Workshop, The Scourging at the Pillar<br />From <i><u>Speculum historiale</u></i> by Vincent of Beauvais<br />French (Paris), 1463<br />Paris, Bibliotheque nationale de France<br />MS Francais 50, fol. 230r<br /><br /></td></tr></tbody></table></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgvGvZ3AIEMo4WpG7BUnj0IBFbOo9Sqfzcb_zR99soBy3eD36OZeb0aD6sGheYmdaNLI3FDMmalhWb-5eA9p5vneV1LvrUkHIXIQ7tzcdTUEAfQEv05dThRxUv-JwQ0k73YPpJ1ueUAVjoNIQrwoKowe3A56FlxobnvOAWJkyUFTPlIB19RhZijXVHxAs/s2700/1475_Jean%20Colombe_From%20a%20Vita%20Jesu%20Christi%20by%20Ludolph%20of%20Saxony_French%20(Bourges),%20c.%201475_Paris,%20BNF_MS%20Francais%20179,%20fol.%2093r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2422" data-original-width="2700" height="574" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgvGvZ3AIEMo4WpG7BUnj0IBFbOo9Sqfzcb_zR99soBy3eD36OZeb0aD6sGheYmdaNLI3FDMmalhWb-5eA9p5vneV1LvrUkHIXIQ7tzcdTUEAfQEv05dThRxUv-JwQ0k73YPpJ1ueUAVjoNIQrwoKowe3A56FlxobnvOAWJkyUFTPlIB19RhZijXVHxAs/w640-h574/1475_Jean%20Colombe_From%20a%20Vita%20Jesu%20Christi%20by%20Ludolph%20of%20Saxony_French%20(Bourges),%20c.%201475_Paris,%20BNF_MS%20Francais%20179,%20fol.%2093r.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jean Colombe, The Scourging at the Pillar<br />From a <i><u>Vita Jesu Christi</u></i> by Ludolph of Saxony<br />French (Bourges), c. 1475<br />Paris, Bibliotheque nationale de France<br />MS Francais 179, fol. 93r</td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfA2wkGkAu2zKdbabarlVwOUa8SGz5ablgfdakOXGxojJA6tpF_D1FGPbbrbT48iErBc5IAxMF4ICcJEZgO1cGjUdTNNHBjk4_O3gtG-0YlIIivysvHhoTm4aISUwBzAxguSEVUyh4WTBXtmhaIKgKzYpfZv1M8NUULCO5nRCRUZaSXMK-czVAdU8YbqY/s2364/1480_German,%20c.%201480-1490_New%20York,%20Metropolitan%20Museum%20of%20Art,%20the%20Cloisters%20Collection.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2352" data-original-width="2364" height="636" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfA2wkGkAu2zKdbabarlVwOUa8SGz5ablgfdakOXGxojJA6tpF_D1FGPbbrbT48iErBc5IAxMF4ICcJEZgO1cGjUdTNNHBjk4_O3gtG-0YlIIivysvHhoTm4aISUwBzAxguSEVUyh4WTBXtmhaIKgKzYpfZv1M8NUULCO5nRCRUZaSXMK-czVAdU8YbqY/w640-h636/1480_German,%20c.%201480-1490_New%20York,%20Metropolitan%20Museum%20of%20Art,%20the%20Cloisters%20Collection.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Scourging at the Pillar<br />German, c. 1480-1490<br />New York, Metropolitan Museum of Art, the Cloisters Collection</td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiszVczwNuJuToqHExK6JcWN3ikCbFJL_jXlJx5kCdo4PXakxG-UkQCo0UOHq9v687eAdA9V3Jn2XQFxII0EHZV9k-ZpnROrZVtVH0OVgbVtBggrDmbWCPnxSnZk1pWZtdPHzFN_5sJL9MEcqVA5yHvMFxm-ce7xgilBX20IJKDlKFN0vzTFJys10ooXqs/s1883/1485_Master%20of%20Edward%20IV_From%20a%20Speculum%20humanae%20salvationis_Flemish%20(Bruges),%20c.%201485_Paris,%20BNF_Ms%20Francais%206275,%20fol.%2021v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1503" data-original-width="1883" height="510" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiszVczwNuJuToqHExK6JcWN3ikCbFJL_jXlJx5kCdo4PXakxG-UkQCo0UOHq9v687eAdA9V3Jn2XQFxII0EHZV9k-ZpnROrZVtVH0OVgbVtBggrDmbWCPnxSnZk1pWZtdPHzFN_5sJL9MEcqVA5yHvMFxm-ce7xgilBX20IJKDlKFN0vzTFJys10ooXqs/w640-h510/1485_Master%20of%20Edward%20IV_From%20a%20Speculum%20humanae%20salvationis_Flemish%20(Bruges),%20c.%201485_Paris,%20BNF_Ms%20Francais%206275,%20fol.%2021v.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Edward IV, The Scourging at the Pillar<br />From a<i><u> Speculum humanae salvationis</u></i><br />Flemish (Bruges), c. 1485<br />Paris, Bibliotheque nationale de France<br />Ms Francais 6275, fol. 21v</td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiav7o_A-fdymTpRFnca2bj2XOdFl0JjDcclaJV3NFA8bXtTZLHQym3xncU5L0fln7Ryb70HFVFNyCCtbgovTEr8GnOvmZDzKMNSifzrDR1yOp9XuFaJ3EZdayzqaoJvaH3wP3vil9wZWuV-PvmN9UlWGDjSLkgRbjXWpNAgw9e4ofD5B6zn07zJBcI/s903/1490_Spanish%20(Catalan),%20End%20of%20the%2015th%20Century_Paris,%20BNF_MS%20Espagnol%20544,%20fol.%2028v.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="903" data-original-width="657" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiav7o_A-fdymTpRFnca2bj2XOdFl0JjDcclaJV3NFA8bXtTZLHQym3xncU5L0fln7Ryb70HFVFNyCCtbgovTEr8GnOvmZDzKMNSifzrDR1yOp9XuFaJ3EZdayzqaoJvaH3wP3vil9wZWuV-PvmN9UlWGDjSLkgRbjXWpNAgw9e4ofD5B6zn07zJBcI/w466-h640/1490_Spanish%20(Catalan),%20End%20of%20the%2015th%20Century_Paris,%20BNF_MS%20Espagnol%20544,%20fol.%2028v.jpeg" width="466" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Scourging at the Pillar, on the Back<br />From a <i><u>Speculum animae</u></i><br />Spanish (Catalan), End of the 15th Century<br />Paris, Bibliotheque nataionale de France<br />MS Espagnol 544, fol. 28v</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisijWKBgVFPT5n29N3gCMGQbTFvHfmfMoLQ7xY7BFsKP99SCdWEuvK3QCwlVJpOhIyI02HWvg102NSc8CCkQhlNMuRz7U1j1HMV3Kd2iMyVDt0THsR1JCP5guJKc3k1zxgYhqKphpaMRX4XKUqVash0Hxov6WFbY98mwlUdmsBFSXlu3ruei2r-NVJ/s887/1490_From%20Speculum%20animae_Spanish%20(Catalan),%20End%20of%20the%2015th%20Century_Paris,%20BNF_MS%20Espagnol%20544,%20fol.%2029r.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="887" data-original-width="649" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisijWKBgVFPT5n29N3gCMGQbTFvHfmfMoLQ7xY7BFsKP99SCdWEuvK3QCwlVJpOhIyI02HWvg102NSc8CCkQhlNMuRz7U1j1HMV3Kd2iMyVDt0THsR1JCP5guJKc3k1zxgYhqKphpaMRX4XKUqVash0Hxov6WFbY98mwlUdmsBFSXlu3ruei2r-NVJ/w468-h640/1490_From%20Speculum%20animae_Spanish%20(Catalan),%20End%20of%20the%2015th%20Century_Paris,%20BNF_MS%20Espagnol%20544,%20fol.%2029r.jpeg" width="468" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Scourging at the Pillar, on the Front<br />From a <i><u>Speculum animae</u></i><br />Spanish (Catalan), End of the 15th Century<br />Paris, Bibliotheque nataionale de France<br />MS Espagnol 544, fol. 29r</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht8ZPbwxzgSq-0vQUt6G_x9yAkdxSyKfBOetACk5t_mtrnVACQARDd0ihrffDldaIbXqZZSfV1OEsus9KM4s-bq4OjI_xrAaxqO3wnqTxUm7M1j1BIiDEsqYywUZqcLVn8evQUEDtDNBFp2RuJa93dmyJgiXKuC8J0Mnxizf0eswLM4RJ50J6GVMxoMv8/s3508/1497_Michael%20Pacher%20Fragment_German,%20c.%201497-1498_Vienna,%20Belvedere%20Museum.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2864" data-original-width="3508" height="522" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht8ZPbwxzgSq-0vQUt6G_x9yAkdxSyKfBOetACk5t_mtrnVACQARDd0ihrffDldaIbXqZZSfV1OEsus9KM4s-bq4OjI_xrAaxqO3wnqTxUm7M1j1BIiDEsqYywUZqcLVn8evQUEDtDNBFp2RuJa93dmyJgiXKuC8J0Mnxizf0eswLM4RJ50J6GVMxoMv8/w640-h522/1497_Michael%20Pacher%20Fragment_German,%20c.%201497-1498_Vienna,%20Belvedere%20Museum.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Michael Pacher, Fragment of a Scourging at the Pillar<br />German, c. 1497-1498<br />Vienna, Belvedere Museum</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkSJcnEcf5qXH2oxX2_Erb59quCOmnfSs78xwtC5MCGqHHxAW_vS3H9D56jWextD7VPHnD5aMDOioVsMkeiSIjqH8oJYEdU1mmzIte8xTdgzzJbnTbGOyodj5rztei3lqUC5DuwFXx4JeHmddbVzNZg4CQ9H-c-tJW4HlElIZF1leMTUisUyHDmZkhNB4/s1500/1500_Anton%20Woensam_German,%2016th%20Century_Chambery,%20Musee%20des%20Beaux-Arts.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1416" data-original-width="1500" height="604" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkSJcnEcf5qXH2oxX2_Erb59quCOmnfSs78xwtC5MCGqHHxAW_vS3H9D56jWextD7VPHnD5aMDOioVsMkeiSIjqH8oJYEdU1mmzIte8xTdgzzJbnTbGOyodj5rztei3lqUC5DuwFXx4JeHmddbVzNZg4CQ9H-c-tJW4HlElIZF1leMTUisUyHDmZkhNB4/w640-h604/1500_Anton%20Woensam_German,%2016th%20Century_Chambery,%20Musee%20des%20Beaux-Arts.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Anton Woensam, The Scourging at the Pillar<br />German, 16th Century<br />Chambery, Musée des Beaux-Arts</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmIAIj23mb0d_2Z4JsbWd6T5noOQx4nrpxnNMRMBBUy_DKILeFCrGcq9kuydCTBfoJGYfG99ERo9-Zbwwawa66XPlKSbOIIDGvHJW_lf5xC8AFqt_rnMR_VMNuVITnwcLFxrkCEsPHVDu_wDQ1enwBuEr5OFWN5SJ0w9h8aUyi_2yAI_hXjCWAu7X1UdY/s847/1500_Workshop%20of%20Jean%20Pichore_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%20150-1510_Paris,%20BNF_MS%20Latin%20923,%20fol.%2014r.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="847" data-original-width="607" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmIAIj23mb0d_2Z4JsbWd6T5noOQx4nrpxnNMRMBBUy_DKILeFCrGcq9kuydCTBfoJGYfG99ERo9-Zbwwawa66XPlKSbOIIDGvHJW_lf5xC8AFqt_rnMR_VMNuVITnwcLFxrkCEsPHVDu_wDQ1enwBuEr5OFWN5SJ0w9h8aUyi_2yAI_hXjCWAu7X1UdY/w458-h640/1500_Workshop%20of%20Jean%20Pichore_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%20150-1510_Paris,%20BNF_MS%20Latin%20923,%20fol.%2014r.jpeg" width="458" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Workshop of Jean Pichore, The Scourging at the Pillar<br />From a <u><i>Book of Hours</i></u><br />French (Paris), c. 150-1510<br />Paris, Bibliotheque nationale de France<br />MS Latin 923, fol. 14r</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyxvJ4QqEX46_p2CZtQdKS3FqDLAfJS29sTPc_hU_n2yUwYCjKXuD6TNgNl_GEDIwPdiiDXOVBKClpj3nN0E4LhIHMciRjGGyl-i1sFGI7_R9CRYJEbMJIagpTnU5tS7mFhYv_8k0JD864eOaWjFh_VHsq-FD2vPTKapEw0zEDlUlr9DUv6MWEi9t9skk/s1385/1502_Luca%20Signorelli_Italian,%201502_Cortona,%20Museo%20Diocesano.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="1385" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyxvJ4QqEX46_p2CZtQdKS3FqDLAfJS29sTPc_hU_n2yUwYCjKXuD6TNgNl_GEDIwPdiiDXOVBKClpj3nN0E4LhIHMciRjGGyl-i1sFGI7_R9CRYJEbMJIagpTnU5tS7mFhYv_8k0JD864eOaWjFh_VHsq-FD2vPTKapEw0zEDlUlr9DUv6MWEi9t9skk/w640-h278/1502_Luca%20Signorelli_Italian,%201502_Cortona,%20Museo%20Diocesano.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Luca Signorelli, The Scourging at the Pillar<br />Italian, 1502<br />Cortona, Museo Diocesano</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1JxhDR25hG5sHUxdpeK_TIKasgjICyn5n6E2ZajD731jV4q7orn2gMjRnyN_t9YDFaFcVtYaF7t3m_EGJDLDeEpLlwZpl_IoOYncUTyuJsHiSDrVmO-ecfClRDuEkVELZfKjA7UfDXpl2oVdp9Up-G1gCGJm4I214d7zplopNGie_lkyg1go_hA1yMw0/s4096/1512_Bacchiacca_Italian,%20c.%201512-1515_Washington,%20National%20Gallery%20of%20Art.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4096" data-original-width="3444" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1JxhDR25hG5sHUxdpeK_TIKasgjICyn5n6E2ZajD731jV4q7orn2gMjRnyN_t9YDFaFcVtYaF7t3m_EGJDLDeEpLlwZpl_IoOYncUTyuJsHiSDrVmO-ecfClRDuEkVELZfKjA7UfDXpl2oVdp9Up-G1gCGJm4I214d7zplopNGie_lkyg1go_hA1yMw0/w538-h640/1512_Bacchiacca_Italian,%20c.%201512-1515_Washington,%20National%20Gallery%20of%20Art.jpg" width="538" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bacchiacca, The Scourging at the Pillar<br />Italian, c. 1512-1515<br />Washington, National Gallery of Art</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVqHfnILJCl3LC0bfEP3_wVF6-c5LGBSA2XbjX7PUPA55QzLHz4dF1rofzLk-Y0xcxjBGc0CAgKX5_ekMnQw4gc4ooeDoEHOOKVHyjOlya9IxGx8Z4nu-DBwV4ilIK0XLVvZPQF-WWd92APm45hkxxbsofYmSHR_Jl713kNWZaIACzJOmUb0H2wQnnABw/s1223/1516_Sebastiano%20del%20Piombo_1516-24_Rome_San%20Pietro%20in%20Montorio_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1223" data-original-width="982" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVqHfnILJCl3LC0bfEP3_wVF6-c5LGBSA2XbjX7PUPA55QzLHz4dF1rofzLk-Y0xcxjBGc0CAgKX5_ekMnQw4gc4ooeDoEHOOKVHyjOlya9IxGx8Z4nu-DBwV4ilIK0XLVvZPQF-WWd92APm45hkxxbsofYmSHR_Jl713kNWZaIACzJOmUb0H2wQnnABw/w514-h640/1516_Sebastiano%20del%20Piombo_1516-24_Rome_San%20Pietro%20in%20Montorio_2.jpg" width="514" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sebastiano del Piombo, The Scourging at the Pillar<br />Italian, c. 1516-1524<br />Rome, Church of San Pietro in Montorio<br /><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td class="tr-caption"><br /><br /></td></tr></tbody></table></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCnGa2HTMUVRBrhdFJUwvu8BqzJ42siA6luMpq1amorIfoBUk3kAixOeczalLRc3sZVqmCCqNkXEoFpOVSIVy7JCuYeWRNFUMiL7YtYVECvLXcQq2ZaDSvwlicEJfPVMfMynlbyZtZ3MNuE0QxXKzyIUsUynIIVZxXPf4S4b7GbNtqDwZ4Rwl0EFiWyWE/s1027/1518_Altdorfer_1518_Sankt%20Florian%20bei%20Linz_Augustiner%20Chorherrenstift_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1027" data-original-width="667" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCnGa2HTMUVRBrhdFJUwvu8BqzJ42siA6luMpq1amorIfoBUk3kAixOeczalLRc3sZVqmCCqNkXEoFpOVSIVy7JCuYeWRNFUMiL7YtYVECvLXcQq2ZaDSvwlicEJfPVMfMynlbyZtZ3MNuE0QxXKzyIUsUynIIVZxXPf4S4b7GbNtqDwZ4Rwl0EFiWyWE/w416-h640/1518_Altdorfer_1518_Sankt%20Florian%20bei%20Linz_Augustiner%20Chorherrenstift_2.jpg" width="416" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Albrecht Altdorfer, The Scourging at the Pillar<br />German, 1518<br />Sankt Florian bei Linz, Augustinian Abbey</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqI0hI0Ia6MDc0KVYhm_kcoYG1vKA7YcirKHYFliKfW0q2tvIUTZkPYA5aJqWDJa1El13dD1OF-g220Ov1hR3D03kLeIQCdt9db9U6l8TPSXmtUHwyxMvzztaR0DIWcXRDRJWrbq-eCTtmp0wxSoRYYvzTzG842XUbUIj3LUsxYPHyEpRqBUi76kV5KIA/s1017/1518_Joerg%20Ratgeb_1518-19_Stuttgart_Staatsgalerie_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1017" data-original-width="534" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqI0hI0Ia6MDc0KVYhm_kcoYG1vKA7YcirKHYFliKfW0q2tvIUTZkPYA5aJqWDJa1El13dD1OF-g220Ov1hR3D03kLeIQCdt9db9U6l8TPSXmtUHwyxMvzztaR0DIWcXRDRJWrbq-eCTtmp0wxSoRYYvzTzG842XUbUIj3LUsxYPHyEpRqBUi76kV5KIA/w336-h640/1518_Joerg%20Ratgeb_1518-19_Stuttgart_Staatsgalerie_2.jpg" width="336" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Joerg Ratgeb, The Scourging at the Pillar<br />German, c. 1518-1519<br />Stuttgart, Staatsgalerie<br /><div style="text-align: left;">Although the central image is the Scourging, this picture includes multiple scenes from the Passion</div></td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTN6yDhnxxrv_7481N1VErAyCek1VZ0FhF97BalsyYHg-sh6jgx-X-4QT8Do5jDDLP_T-9JaaIaJpY2WJ29gWNm5qnux4DeJpmD9tHqjaTCLbCGvBGc1RRbgAMOuceB1K-YmcosGjT3XJPPtdotVDMPu8kk5IwVaW59S9YV2Y0MurnV-poequ4_XtTtl4/s2314/1525_Jean%20Penicaud%20the%20Elder_French,%20c.%201525_London,%20Victoria%20and%20Albert%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2314" data-original-width="1969" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTN6yDhnxxrv_7481N1VErAyCek1VZ0FhF97BalsyYHg-sh6jgx-X-4QT8Do5jDDLP_T-9JaaIaJpY2WJ29gWNm5qnux4DeJpmD9tHqjaTCLbCGvBGc1RRbgAMOuceB1K-YmcosGjT3XJPPtdotVDMPu8kk5IwVaW59S9YV2Y0MurnV-poequ4_XtTtl4/w544-h640/1525_Jean%20Penicaud%20the%20Elder_French,%20c.%201525_London,%20Victoria%20and%20Albert%20Museum.jpg" width="544" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jean Penicaud the Elder, The Scourging at the Pillar<br />French, c. 1525<br />London, Victoria and Albert Museum</td></tr></tbody></table><br /><br /><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLKq5vGIYZbRIfM6Llgyp6eFtJu88VTlL5UeEKtUTXDBpx3XbzavXS2KmIKIyP8H11TONkH4ia02YRBUbLuNeFU8-Ep7_eD8Hf3YNSsDGYDbS2FGQXgtB4qoBAjDnPzzycSzRfuebEU3YSaXtldL9hqFHPUOKDHImmm8iSNj1hVmTt8B_KpuzJsUTJALM/s1388/1537_Lucas%20Cranach%20the%20Elder_German,%201538_Vienna,%20Kunsthistorisches%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1388" data-original-width="1094" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLKq5vGIYZbRIfM6Llgyp6eFtJu88VTlL5UeEKtUTXDBpx3XbzavXS2KmIKIyP8H11TONkH4ia02YRBUbLuNeFU8-Ep7_eD8Hf3YNSsDGYDbS2FGQXgtB4qoBAjDnPzzycSzRfuebEU3YSaXtldL9hqFHPUOKDHImmm8iSNj1hVmTt8B_KpuzJsUTJALM/w504-h640/1537_Lucas%20Cranach%20the%20Elder_German,%201538_Vienna,%20Kunsthistorisches%20Museum.jpg" width="504" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Lucas Cranach the Elder, The Scourging at the Pillar<br />German, 1538<br />Vienna, Kunsthistorisches Museum</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_lu7dqj9bvK98fzVqjkFPMmBhmJ_EVdPv7I_r5zVZALu53AAxT0gw3fcxlAAO-Y7x-uUcHQCrHKCzN4SbXpy8i5X8cF-Jop0zUwgxdblv5XNrW52StuGdQtS7Cp4jAjFQdwfB244EL8pBs0BNfrVgKxDLfNXaFjSWx69SDQbLMjn6Mp8yo1IQpb1sS9c/s1271/1540_French%20(Saint%20Denis),%20c.%201540-1560_Paris,%20Musee%20du%20Louvre,%20D%C3%A9partement%20des%20Sculptures%20du%20Moyen%20Age,%20de%20la%20Renaissance%20et%20des%20temps%20modernes.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1036" data-original-width="1271" height="522" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_lu7dqj9bvK98fzVqjkFPMmBhmJ_EVdPv7I_r5zVZALu53AAxT0gw3fcxlAAO-Y7x-uUcHQCrHKCzN4SbXpy8i5X8cF-Jop0zUwgxdblv5XNrW52StuGdQtS7Cp4jAjFQdwfB244EL8pBs0BNfrVgKxDLfNXaFjSWx69SDQbLMjn6Mp8yo1IQpb1sS9c/w640-h522/1540_French%20(Saint%20Denis),%20c.%201540-1560_Paris,%20Musee%20du%20Louvre,%20D%C3%A9partement%20des%20Sculptures%20du%20Moyen%20Age,%20de%20la%20Renaissance%20et%20des%20temps%20modernes.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Scourging at the Pillar<br />French (Saint Denis), c. 1540-1560<br />Paris, Musée <br />du Louvre, Département des Sculptures du Moyen Age, de la Renaissance et des temps modernes</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidowaNTIF9ZVYjbsOrb32aI3yf2hFeBNYo2V19PO8HzVtLGZp_36bKrUGjsMtpbgYTfMjakO97Fnz-acv4tgd99I59has2zgoiJFpl5wvse6KGAEd-akWSs-Jtbz8boz8y4q-XTtojoy0KSBJVN1nSaEotS9fk8YbJoJgRmSR6ZJZbJ0hHYScXBlmSNCQ/s1024/1573_Federico%20Zuccaro_Italian,%201573_Rome,%20Oratorio%20del%20Gonfalone.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="755" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidowaNTIF9ZVYjbsOrb32aI3yf2hFeBNYo2V19PO8HzVtLGZp_36bKrUGjsMtpbgYTfMjakO97Fnz-acv4tgd99I59has2zgoiJFpl5wvse6KGAEd-akWSs-Jtbz8boz8y4q-XTtojoy0KSBJVN1nSaEotS9fk8YbJoJgRmSR6ZJZbJ0hHYScXBlmSNCQ/w472-h640/1573_Federico%20Zuccaro_Italian,%201573_Rome,%20Oratorio%20del%20Gonfalone.jpg" width="472" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Federico Zuccaro, The Scourging at the Pillar<br />Italian, 1573<br />Rome, Oratorio del Gonfalone</td></tr></tbody></table></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><h4 style="text-align: left;">The Violence Increases</h4><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;">Following on from the work of the Venetian painter, Titian, the violence reached a crescendo with the work of Caravaggio (another north Italian) and his followers at the beginning of the 17th century. The tormentors in these paintings really get into their work. </span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_VSdMsZqDt4pSJLQ6bAP7dXWjfUk4XgIATf8I6CmUL0GPNvo9Vd98kvqlIhJay3rAmNrgiepJ4rZ5Ttz8BC30KWGnWY3kF8sBzGo17dxnRxjblafhpUaF0XruMk9gidCZcT1jy5YEwEBqJo9pdX_eMWjOGYTQjOOMfI8ui0hO03iAJ6BjYnXJ7EstU0I/s800/1568_Titian_c.1568_Rome_Galleria%20Borghese_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="569" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_VSdMsZqDt4pSJLQ6bAP7dXWjfUk4XgIATf8I6CmUL0GPNvo9Vd98kvqlIhJay3rAmNrgiepJ4rZ5Ttz8BC30KWGnWY3kF8sBzGo17dxnRxjblafhpUaF0XruMk9gidCZcT1jy5YEwEBqJo9pdX_eMWjOGYTQjOOMfI8ui0hO03iAJ6BjYnXJ7EstU0I/w456-h640/1568_Titian_c.1568_Rome_Galleria%20Borghese_2.jpg" width="456" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Titian, The Scourging at the Pillar<br />Italian, c. 1560<br />Rome, Borghese Gallery</td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitrN3OGd3H5qmUmlR1jY01pNEvih5pPiICxG4H8Cn3lEy7XCOtXavV1Ps6ueV0d0w551Wfio_4qCYjq6ijpdHbBKOIxc7dCH7tXBBn6kYUeq4MjXgRO9t76zSOYbC8kOHNHqRE9NeJjwaYR0J5tXH6J00sAWDAd0tWfOph0-DYbvUb2fUmB2kyP6lL2fQ/s1000/1585_Leandro%20dal%20Ponte%20aka%20Bassano_Italian,%20c.%201585_Hartford,%20Wadsworth%20Atheneum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="617" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitrN3OGd3H5qmUmlR1jY01pNEvih5pPiICxG4H8Cn3lEy7XCOtXavV1Ps6ueV0d0w551Wfio_4qCYjq6ijpdHbBKOIxc7dCH7tXBBn6kYUeq4MjXgRO9t76zSOYbC8kOHNHqRE9NeJjwaYR0J5tXH6J00sAWDAd0tWfOph0-DYbvUb2fUmB2kyP6lL2fQ/w394-h640/1585_Leandro%20dal%20Ponte%20aka%20Bassano_Italian,%20c.%201585_Hartford,%20Wadsworth%20Atheneum.jpg" width="394" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Leandro Bassano, The Scourging at the Pillar<br />Italian, c. 1585<br />Hartford, Wadsworth Atheneum</td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf6HtOK-JWyIFgU8BM7v38aEZlJFO6963NuSowWbXO4PKx9ORZVDNw3-TlJ0GO3mA_6vW6z2dkYOVtDkRy_KxtYF55fm_2UYgzS5XR7XGaPSmMHRYB7tXSQEo8Q_sLmcSECKrKtsm1Vzs386oKfbv2hb2gcR4Nh5moLi541jIlNp584pfb-yPDYQa5Es4/s3644/1598_Franz%20Fallenter_Swiss,%201598_New%20York,%20Metropolitan%20Museum%20of%20Art.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3644" data-original-width="3626" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf6HtOK-JWyIFgU8BM7v38aEZlJFO6963NuSowWbXO4PKx9ORZVDNw3-TlJ0GO3mA_6vW6z2dkYOVtDkRy_KxtYF55fm_2UYgzS5XR7XGaPSmMHRYB7tXSQEo8Q_sLmcSECKrKtsm1Vzs386oKfbv2hb2gcR4Nh5moLi541jIlNp584pfb-yPDYQa5Es4/w636-h640/1598_Franz%20Fallenter_Swiss,%201598_New%20York,%20Metropolitan%20Museum%20of%20Art.jpg" width="636" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Franz Fallenter, The Scourging at the Pillar<br />Swiss, 1598<br />New York, Metropolitan Museum of Art</td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvkdchHu3MOzs1qXyclwVxebqQcbJNsDQ3-CE66JlvWUYedphrp6IrnFin34Ey9ar5YooLneUVg1v0PLAqtlmNmBSVwNnJkQefAKIQWK3qhnPQdqpCFb8u8hn-RABjbarJv11umZNG3_XSEi6Z7EzBFtQVKw2EXytL-FS_CaapokRay6smq2w7zEnqZFE/s1030/1605_Caravaggio_Italian,%201605_Rouen,%20Musee%20des%20Beaux-Arts.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="791" data-original-width="1030" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvkdchHu3MOzs1qXyclwVxebqQcbJNsDQ3-CE66JlvWUYedphrp6IrnFin34Ey9ar5YooLneUVg1v0PLAqtlmNmBSVwNnJkQefAKIQWK3qhnPQdqpCFb8u8hn-RABjbarJv11umZNG3_XSEi6Z7EzBFtQVKw2EXytL-FS_CaapokRay6smq2w7zEnqZFE/w640-h492/1605_Caravaggio_Italian,%201605_Rouen,%20Musee%20des%20Beaux-Arts.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Caravaggio, The Scourging at the Pillar<br />Italian, 1605<br />Rouen, Musée des Beaux-Arts</td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW7tn4Drk5JyK_aCtvDjC5e9Dp1v8aEUpBFQG6sJtJyZZpdyVLYk4jIK531-PFkdufw1PQ7B4HGYEXlZaWnmNOBwxMSRCTQjUTLP5qUII14QrOytOx7Z2jtVW4BQ2_v7l3lH674y3MUq-UxsCH6wKFNA5vTVUJrjaO1fRUZwLVjMU3v8spbX-4mEZ8mXc/s2567/1607_Caravaggio_c.1607_Naples_Museo%20Nazionale%20di%20Capodimonte_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2567" data-original-width="1920" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW7tn4Drk5JyK_aCtvDjC5e9Dp1v8aEUpBFQG6sJtJyZZpdyVLYk4jIK531-PFkdufw1PQ7B4HGYEXlZaWnmNOBwxMSRCTQjUTLP5qUII14QrOytOx7Z2jtVW4BQ2_v7l3lH674y3MUq-UxsCH6wKFNA5vTVUJrjaO1fRUZwLVjMU3v8spbX-4mEZ8mXc/w478-h640/1607_Caravaggio_c.1607_Naples_Museo%20Nazionale%20di%20Capodimonte_2.jpg" width="478" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Caravaggio, The Scourging at the Pillar<br />Italian, c. 1607<br />Naples, Museo Nazionale di Capodimonte</td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4VFV8I_qFqnWiSJHrQ06s7qwtuEyHHnYW8UPv_qQtj5vRSRC8ztk-SgzuE1ZabXwZDOdIEC7LCAV_w686IO-DpGzmejtUqdkxcmKj9oKeD0G48jYW2PBig-uSAua8652exGrphTinoeIiDD-HPpFa9TkV2emssV2vOliircAxVqu57IbgqGgH5Rae7zs/s1920/1615_Pier%20Francesco%20Mazzucchelli_Italian,%20c.%201615-1620_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1920" data-original-width="1327" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4VFV8I_qFqnWiSJHrQ06s7qwtuEyHHnYW8UPv_qQtj5vRSRC8ztk-SgzuE1ZabXwZDOdIEC7LCAV_w686IO-DpGzmejtUqdkxcmKj9oKeD0G48jYW2PBig-uSAua8652exGrphTinoeIiDD-HPpFa9TkV2emssV2vOliircAxVqu57IbgqGgH5Rae7zs/w442-h640/1615_Pier%20Francesco%20Mazzucchelli_Italian,%20c.%201615-1620_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="442" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pier Francesco Mazzucchelli, The Scourging of Jesus<br />Italian, c. 1615-1620<br />Madrid, Museo Nacional del Prado</td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoBuk9AJszJjnswYqj5u4y6VB8NSmQGPge6LH-IqM717SqYmo2QXDFRT2o2QG-LThg0TgDq-uA-sM0Kdc0HjIzbUbYWqvE0WaOBkNB56BOpT5vYGhILG_tEL2chgemWGoskrJph0Cge91UNlLlDvcUwN62e2POCxVLUulG_GiU8JOAWDMI8to4GYic5J0/s5428/1617_Peter%20Paul%20Rubens_Flemish,%20c.%201617_Ghent,%20Museum%20voor%20Schone%20Kunsten_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="5428" data-original-width="5048" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoBuk9AJszJjnswYqj5u4y6VB8NSmQGPge6LH-IqM717SqYmo2QXDFRT2o2QG-LThg0TgDq-uA-sM0Kdc0HjIzbUbYWqvE0WaOBkNB56BOpT5vYGhILG_tEL2chgemWGoskrJph0Cge91UNlLlDvcUwN62e2POCxVLUulG_GiU8JOAWDMI8to4GYic5J0/w596-h640/1617_Peter%20Paul%20Rubens_Flemish,%20c.%201617_Ghent,%20Museum%20voor%20Schone%20Kunsten_2.jpg" width="596" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Peter Paul Rubens, The Scourging at the Pillar<br />Flemish, 1617<br />Ghent, Museum voor Schone Kunsten</td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpVrTlw_XNgFUGhhkCiHvyj2mne6YwOhzY95cF_QUkn63af9XwKqFRKYOvtTfniu7OXvurwR3EoaY36tVnZDnyrCg1UNQ3cmOq-CQG-OWrXW3DoeK-7YzDa73fxzPSsTA3HlMRJ8SdSHRafdK3WkSuhzRFk5RgeNs3qP9Nhj6Oi0KRfwsJi-fSCZxT9IQ/s800/1630_Jacques%20Blanchard_French,%20c.%201630_Rennes,%20Musee%20des%20Beaux-Arts.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="726" data-original-width="800" height="580" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpVrTlw_XNgFUGhhkCiHvyj2mne6YwOhzY95cF_QUkn63af9XwKqFRKYOvtTfniu7OXvurwR3EoaY36tVnZDnyrCg1UNQ3cmOq-CQG-OWrXW3DoeK-7YzDa73fxzPSsTA3HlMRJ8SdSHRafdK3WkSuhzRFk5RgeNs3qP9Nhj6Oi0KRfwsJi-fSCZxT9IQ/w640-h580/1630_Jacques%20Blanchard_French,%20c.%201630_Rennes,%20Musee%20des%20Beaux-Arts.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jacques Blanchard, The Scourging at the Pillar<br />French, c. 1630<br />Rennes, Musée des Beaux-Arts</td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDlpIEupSspXV8tc0Muf1vOkglNI-d3JuaXXYZ9aQMt2PBhv2k8fsmWJhyCdlUR3z6DP1ZrEhhi9Qo3DlNwnu160YGvs0GZSG8KDET0CVFtcbr_rc5bNA32u0FELgtK6sym-kDgnLdZpdNvKv2kTn3wm1ARsX60zyJCyvdLLjQ3yFQ5zIiBNgvpF7q-po/s1920/1650_David%20Teniers_Flemish,%20Middle%20of%20the%2017th%20Century_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1920" data-original-width="1616" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDlpIEupSspXV8tc0Muf1vOkglNI-d3JuaXXYZ9aQMt2PBhv2k8fsmWJhyCdlUR3z6DP1ZrEhhi9Qo3DlNwnu160YGvs0GZSG8KDET0CVFtcbr_rc5bNA32u0FELgtK6sym-kDgnLdZpdNvKv2kTn3wm1ARsX60zyJCyvdLLjQ3yFQ5zIiBNgvpF7q-po/w538-h640/1650_David%20Teniers_Flemish,%20Middle%20of%20the%2017th%20Century_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="538" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">David Teniers, The Scourging at the Pillar<br />Flemish, Middle of the 17th Century<br />Madrid, Museo Nacional del Prado<br /><br /></td></tr></tbody></table></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQyZtWLih9tLF2nQtEhJw6rhvH5phdGZj2dfZYOdf2pz15qPb2G-TOuFiSZtk2bU9bG_rdSzrsQyblYNrBrGX0FiaApLAVItaAg5sOlwjYZaqxiAZKufs5pjzVYDRG3_sUlCTsOk_TNkUp42fEfgackstjj2UL4NV63F7IWhAUX_4tMZJ56dUnwMQtkpE/s1752/1657_Guercino_1657_Rome_Galleria%20Nazionale%20d'Arte%20Antica_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1752" data-original-width="1319" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQyZtWLih9tLF2nQtEhJw6rhvH5phdGZj2dfZYOdf2pz15qPb2G-TOuFiSZtk2bU9bG_rdSzrsQyblYNrBrGX0FiaApLAVItaAg5sOlwjYZaqxiAZKufs5pjzVYDRG3_sUlCTsOk_TNkUp42fEfgackstjj2UL4NV63F7IWhAUX_4tMZJ56dUnwMQtkpE/w482-h640/1657_Guercino_1657_Rome_Galleria%20Nazionale%20d'Arte%20Antica_2.jpg" width="482" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Guercino, The Scourging at the Pillar<br />Italian, 1657<br />Rome, Galleria Nazionale d'Arte Antica, Barbarini-Cornsini Galleries</td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6mTusyN5e72ArVfbAKGY2m-vebjpCwz19I4by-Fs-3YM94crnzK-74uM0Qu9_RiiAQqMSw69oXSPPiDQgFc3y0LAOaNGMHZtCzUDo53KzwW30xqBFk9FjULr2QDxHAtYye3Dxcz1hMKwUfW2CdQKzVOzRxfCNDQNbuq9L7r9PbILBrH4PxN3V1gzKKuw/s1529/1720_Nicola%20Grassi_Italian,%20c.%201720_Budapest,%20Sz%C3%A9pm%C3%BBv%C3%A9szeti%20M%C3%BAzeum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="1529" height="418" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6mTusyN5e72ArVfbAKGY2m-vebjpCwz19I4by-Fs-3YM94crnzK-74uM0Qu9_RiiAQqMSw69oXSPPiDQgFc3y0LAOaNGMHZtCzUDo53KzwW30xqBFk9FjULr2QDxHAtYye3Dxcz1hMKwUfW2CdQKzVOzRxfCNDQNbuq9L7r9PbILBrH4PxN3V1gzKKuw/w640-h418/1720_Nicola%20Grassi_Italian,%20c.%201720_Budapest,%20Sz%C3%A9pm%C3%BBv%C3%A9szeti%20M%C3%BAzeum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Nicola Grassi, The Scourging at the Pillar<br />Italian, c. 1720<br />Budapest, Szépmûvészeti Múzeum</td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYb9iE_o3XwIs0ssrT81B2XJdi8ykUjZq0IqvXdIJTR2amRHD22tgnbnb3S_evJS68NBN2Dry6HnHMzK89qFZbOD4U-NnsMvyA3xcof4OiZeythmJdE4_6QyJjFF_iXFnRmyeUxUp1lUoJ0GZrwqhIRQid7E6zX7VsFLojVRQkmYsOl0IMMRVguO77rNc/s2048/1750_Pierre%20Subleyras_Montauban_d.%201749_Musee%20Ingres_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1550" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYb9iE_o3XwIs0ssrT81B2XJdi8ykUjZq0IqvXdIJTR2amRHD22tgnbnb3S_evJS68NBN2Dry6HnHMzK89qFZbOD4U-NnsMvyA3xcof4OiZeythmJdE4_6QyJjFF_iXFnRmyeUxUp1lUoJ0GZrwqhIRQid7E6zX7VsFLojVRQkmYsOl0IMMRVguO77rNc/w484-h640/1750_Pierre%20Subleyras_Montauban_d.%201749_Musee%20Ingres_2.jpg" width="484" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pierre Subleyras, The Scourging at the Pillar<br />French, Before 1749<br />Montauban, <span style="line-height: 19.26px;">Mus</span><span face=""calibri" , sans-serif" style="line-height: 19.26px;">é</span><span style="line-height: 19.26px;">e</span> Ingres</td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfgTya1bOdCkTKcSMBhAz5IPIAcOJe0ioDvkxjx4FMlyCiSLoyqDoa9JsJLpLOleU-xm9fk9VLyvIyZage0t2qYa_RvPEsgeYxkiFRUnP68qOCs9thcO2BLpWNz2vDAsFHaH1h4MCo-f2hhM5xinWK1Xu8u4piUUGeb4IYIDjBSXgMTPlAU015otjMZr4/s1920/1754_Corrado%20Giaquinto_Italian,%20c.%201754_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1920" data-original-width="1298" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfgTya1bOdCkTKcSMBhAz5IPIAcOJe0ioDvkxjx4FMlyCiSLoyqDoa9JsJLpLOleU-xm9fk9VLyvIyZage0t2qYa_RvPEsgeYxkiFRUnP68qOCs9thcO2BLpWNz2vDAsFHaH1h4MCo-f2hhM5xinWK1Xu8u4piUUGeb4IYIDjBSXgMTPlAU015otjMZr4/w432-h640/1754_Corrado%20Giaquinto_Italian,%20c.%201754_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="432" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Corrado Giaquinto, The Scourging at the Pillar<br />Italian, c. 1754<br />Madrid, Museo Nacional del Prado</td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUaAcoPe-fF6Nq-X4m4hlVx90hu3BQqIss8ckh_vr8Z_IqsWoMWfqOsYb4BcX5slt7sfW0nbDxWIaznX4UTQGsSwsgC22vEwEgufXkQQ_YEhSucrNQx3mszjwwGLpR-0SuxO9tbNgm25rvnjH5zYf6SfQ1mAjHbbOyUIUxZg7GH7wKkUxCofRaB5kCBXs/s1776/1775_Andrea%20Pozzi_Italian,%20c.%201775-1800_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1426" data-original-width="1776" height="514" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUaAcoPe-fF6Nq-X4m4hlVx90hu3BQqIss8ckh_vr8Z_IqsWoMWfqOsYb4BcX5slt7sfW0nbDxWIaznX4UTQGsSwsgC22vEwEgufXkQQ_YEhSucrNQx3mszjwwGLpR-0SuxO9tbNgm25rvnjH5zYf6SfQ1mAjHbbOyUIUxZg7GH7wKkUxCofRaB5kCBXs/w640-h514/1775_Andrea%20Pozzi_Italian,%20c.%201775-1800_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Andrea Pozzi, The Scourgin at the Pillar<br />Italian, c. 1775-1800<br />Madrid, Museo Nacional del Prado</td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVgHxBUOoUC4QnfA7-myC5nKiAkJMxN7c8zzOWTS8vvCNPbGL2_XnqwyIjRDPtEqU7FBpf3jyGG_X7Pbu7vHfV1A4JBOjw7tHCvse1vA3yutmU_YA1ZuVfGNCahJsJj954LYQVqjBrbTlXBVwMPoTQfqaHY39Jz_Td1cX5rO9tXDSznvF5LZjwjETGiss/s1536/1886_James%20Tissot,%20The%20Scourging%20on%20the%20Front_French,%20c.%201886-1894_New%20York,%20Brooklyn%20Museum_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="1066" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVgHxBUOoUC4QnfA7-myC5nKiAkJMxN7c8zzOWTS8vvCNPbGL2_XnqwyIjRDPtEqU7FBpf3jyGG_X7Pbu7vHfV1A4JBOjw7tHCvse1vA3yutmU_YA1ZuVfGNCahJsJj954LYQVqjBrbTlXBVwMPoTQfqaHY39Jz_Td1cX5rO9tXDSznvF5LZjwjETGiss/w444-h640/1886_James%20Tissot,%20The%20Scourging%20on%20the%20Front_French,%20c.%201886-1894_New%20York,%20Brooklyn%20Museum_2.jpg" width="444" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">James Tissot, The Scourging on the Front<br />French, c. 1886-1894<br />New York, Brooklyn Museum</td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDTpzjBFJx8dD_JOMrMW6Pl7LdMa-fbHSLlbFvWRIrhDxPh1IxANy_RbV6BxfyfWtZ_Lj9aJcHTmt-vsf4fRnwiNoweZpDq6jLyOiu_SLokDnEUJohl4XOQgUXuHC7ZSGT4UunxzelQniaFeADMkvo1oVpziRjNJR3KmiWE0C-7qUvqunceiXUaQl2tHA/s1536/1886_James%20Tissot,%20The%20Scourging%20on%20the%20Back_French,%20c.%201886-1894_New%20York,%20Brooklyn%20Museum-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="957" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDTpzjBFJx8dD_JOMrMW6Pl7LdMa-fbHSLlbFvWRIrhDxPh1IxANy_RbV6BxfyfWtZ_Lj9aJcHTmt-vsf4fRnwiNoweZpDq6jLyOiu_SLokDnEUJohl4XOQgUXuHC7ZSGT4UunxzelQniaFeADMkvo1oVpziRjNJR3KmiWE0C-7qUvqunceiXUaQl2tHA/w398-h640/1886_James%20Tissot,%20The%20Scourging%20on%20the%20Back_French,%20c.%201886-1894_New%20York,%20Brooklyn%20Museum-2.jpg" width="398" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">James Tissot, The Scourging on the Back<br />French, c, 1886-1894<br />New York, Brooklyn Museum</td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><h4 style="text-align: left;"><span style="font-family: inherit;">Devotional Images</span></h4><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;">There was another way of depicting the Scourging, found in the realm of devotional iconography. These images begin to appear in the North, where devotional images often originate. They present the figure of the bleeding, wounded Jesus to the viewer for prayer and adoration. </span></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnKN8u0q3ponO4O4NDbjMxZl3IFrJ29OV9Bo8OJmpwddYZERCNDWQ8TdvskrNYzIlZs1xoRhyj3MNBG2dEVJS7T0JgahuKY9Ik6BCsknLTx8tW7XpMKxSzr52D8iJHJxNBCe8SNoF0S-d8yX-0B7r45joNbHRQmL-N2yqEA6eSz8VF63pnurjQgUjU2ds/s1720/1420-Follower%20of%20the%20master%20of%20the%20Gold%20Scrolls_From%20a%20Book%20of%20Hours_Flemish%20(Bruges),%20c.%201420-1440_Washington,%20Library%20of%20Congress_MS%20213,%20fol.%2044v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1720" data-original-width="1581" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnKN8u0q3ponO4O4NDbjMxZl3IFrJ29OV9Bo8OJmpwddYZERCNDWQ8TdvskrNYzIlZs1xoRhyj3MNBG2dEVJS7T0JgahuKY9Ik6BCsknLTx8tW7XpMKxSzr52D8iJHJxNBCe8SNoF0S-d8yX-0B7r45joNbHRQmL-N2yqEA6eSz8VF63pnurjQgUjU2ds/w588-h640/1420-Follower%20of%20the%20master%20of%20the%20Gold%20Scrolls_From%20a%20Book%20of%20Hours_Flemish%20(Bruges),%20c.%201420-1440_Washington,%20Library%20of%20Congress_MS%20213,%20fol.%2044v.jpg" width="588" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Follower of the master of the Gold Scrolls, Angels Adore the Wounded Christ<br />From a <u><i>Book of Hours</i></u><br />Flemish (Bruges), c. 1420-1440<br />Washington, Library of Congress<br />MS 213, fol. 44v</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCTNFHdMaVu3Htnx5BmjooWEdS8xUiAi7q2scasJSSFsmRhco0RJcqGVh3bF_-lCor4y9FuCeHJrsctzrZCWNTPtats2kKsZAHWPavQOMzuYQHMYoahLw5xzsZ2Yyv96NcrnztFR3VxyuIMdr5MKopb6JLMokvCXHQqaQ5XfYihURAwsQWjEbSaiDf08A/s1856/1485_Master%20of%20Edward%20IV_From%20a%20Speculum%20humanae%20salvationis_Flemish%20(Bruges),%20c.%201485_Paris,%20BNF_Ms%20Francais%206275,%20fol.%2045v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1473" data-original-width="1856" height="508" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCTNFHdMaVu3Htnx5BmjooWEdS8xUiAi7q2scasJSSFsmRhco0RJcqGVh3bF_-lCor4y9FuCeHJrsctzrZCWNTPtats2kKsZAHWPavQOMzuYQHMYoahLw5xzsZ2Yyv96NcrnztFR3VxyuIMdr5MKopb6JLMokvCXHQqaQ5XfYihURAwsQWjEbSaiDf08A/w640-h508/1485_Master%20of%20Edward%20IV_From%20a%20Speculum%20humanae%20salvationis_Flemish%20(Bruges),%20c.%201485_Paris,%20BNF_Ms%20Francais%206275,%20fol.%2045v.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Edward IV, A Donor Prays Before a Vision of the Scourging at the Pillar<br />From a <i><u>Speculum humanae salvationis</u></i><br />Flemish (Bruges), c. 1485<br />Paris, Bibliotheque nationale de France<br />MS Francais 6275, fol. 45v</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQpfPL4zu7TOTc5GrVubXqfOMkfOgF5Zyt0G-_JlNJCwRrFZLczOYod-jSuFRpTc7SmVhmphLRY8jhptFGtwCky4YHv4oVILaIJMCXQVxS3xWPrtUr_L5F8LqhzQZkgwkj6l0Z8LTPVNwIRUvFkQl0Ri9XtVV54Wg8q2N8QGo8J6eBot5IGZDbSVUvnVg/s1047/1485_Hans%20Memling,%20Christ%20at%20the%20Column_Flemish,%20c.%201485-1490_Barcelona,%20Coleccion%20Mateu01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1047" data-original-width="536" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQpfPL4zu7TOTc5GrVubXqfOMkfOgF5Zyt0G-_JlNJCwRrFZLczOYod-jSuFRpTc7SmVhmphLRY8jhptFGtwCky4YHv4oVILaIJMCXQVxS3xWPrtUr_L5F8LqhzQZkgwkj6l0Z8LTPVNwIRUvFkQl0Ri9XtVV54Wg8q2N8QGo8J6eBot5IGZDbSVUvnVg/w328-h640/1485_Hans%20Memling,%20Christ%20at%20the%20Column_Flemish,%20c.%201485-1490_Barcelona,%20Coleccion%20Mateu01.jpg" width="328" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Hans Memling, Christ at the Column<br />Flemish, c. 1485-1490<br />Barcelona, Coleccion Mateu</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxX9FtyHIavsKLqsB9trz49-WVhMgUWNfMIR2iYDlUbAdp9u4VqkPCtkOHzNDMUlWL0ie6shGqeR8HZmzvkwOowvBAkfza5_uyiUQz3AXoAhN0_5jVPoBkaF6dKpz1jfFY9gBODTk66ZAiWcTVvBylTFq3FyiKDj5FJB4mDLl2I4rU7sEW-XL2lzrCpZY/s1799/1500_Christ%20at%20the%20Column_Spanish,%20Early%2016th%20Century_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1799" data-original-width="804" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxX9FtyHIavsKLqsB9trz49-WVhMgUWNfMIR2iYDlUbAdp9u4VqkPCtkOHzNDMUlWL0ie6shGqeR8HZmzvkwOowvBAkfza5_uyiUQz3AXoAhN0_5jVPoBkaF6dKpz1jfFY9gBODTk66ZAiWcTVvBylTFq3FyiKDj5FJB4mDLl2I4rU7sEW-XL2lzrCpZY/w286-h640/1500_Christ%20at%20the%20Column_Spanish,%20Early%2016th%20Century_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="286" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Christ at the Column<br />Spanish, Early 16th Century<br />Madrid, Museo Nacional del Prado</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;">Artists also imagined the exhausted, wounded Christ painfully retrieving his garments or simply exhausted after the scourging. Frequently the Christ in this kind of image is shown as a focus for prayerful, sympathetic contemplation</span><span style="font-family: inherit;"> by both angels and humans. </span>This type of image became popular in the seventeenth century, especially in Spain. </div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMG1ww23WZhlbA4Kdg1tIO9pvCPXysVdn6tpOXWfoC-nhpi4lSF2oH2bWZoci2Uyl9wLaPRiXRFP8eUYXCnxvK1Bs8YzJ5bQUElqkzzpYPcP-redeNbLIJnVV3JoR88LvfeNmYRf_4B35RlGYWOC1h3lLTaumPp0vXXhOSLCgsVAux_13bpImKLxsLV8U/s800/1628_Diego%20Velazquez,%20Christ%20Contemplated%20by%20the%20Christian%20Soul_Spanish,%20c.%201628-1629_London,%20National%20Gallery_b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="644" data-original-width="800" height="516" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMG1ww23WZhlbA4Kdg1tIO9pvCPXysVdn6tpOXWfoC-nhpi4lSF2oH2bWZoci2Uyl9wLaPRiXRFP8eUYXCnxvK1Bs8YzJ5bQUElqkzzpYPcP-redeNbLIJnVV3JoR88LvfeNmYRf_4B35RlGYWOC1h3lLTaumPp0vXXhOSLCgsVAux_13bpImKLxsLV8U/w640-h516/1628_Diego%20Velazquez,%20Christ%20Contemplated%20by%20the%20Christian%20Soul_Spanish,%20c.%201628-1629_London,%20National%20Gallery_b.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Diego Velazquez, Christ Contemplated by the Christian Soul<br />Spanish, c. 1628-1629<br />London, National Gallery</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUG_gCgYfRlBM52DccKeJsDbzaDh-4bKXWJZ11E-nU4l6FJCAgSy8nHDyLFnWZs55Id4F3enD9bewBPFcihR5CPjAWvXmVn_aJ4r0Ta1_OBsl0SftIugTO7TRkkjHIfHlXcY89p0Yf3DWtSmZ5ODFalWrMV7cAeLhpfbuacnDXv6Aesu2YRfMTuBrhFus/s1920/1645_Alonso%20Cano,%20Christ%20Recovering%20His%20Garments%20after%20the%20Scourging_Spanish,%20c.%201645-1650_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1920" data-original-width="1131" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUG_gCgYfRlBM52DccKeJsDbzaDh-4bKXWJZ11E-nU4l6FJCAgSy8nHDyLFnWZs55Id4F3enD9bewBPFcihR5CPjAWvXmVn_aJ4r0Ta1_OBsl0SftIugTO7TRkkjHIfHlXcY89p0Yf3DWtSmZ5ODFalWrMV7cAeLhpfbuacnDXv6Aesu2YRfMTuBrhFus/w378-h640/1645_Alonso%20Cano,%20Christ%20Recovering%20His%20Garments%20after%20the%20Scourging_Spanish,%20c.%201645-1650_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="378" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Alonso Cano, Christ Recovering His Garments after the Scourging<br />Spanish, c. 1645-1650<br />Madrid, Museo Nacional del Prado</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtXawe66hqfFANBc1wg8VfayO3NRMotZw_TEIvb8U921o2-Bepm-3Cd-fAM3BCWkebY52vCY2fvU-TXLqlhconmNNhQYQxjpedCh0DZlLvbR-MmuYdqGeIlzjPux7mlC1hJgxEhv9p_kHowmCMq6ODKdsk4DDvI3eyyMc1yrwqJpEC_Uy1rKZaV47lfzY/s1248/1665_Bartolome%20Esteban%20Murillo_Christ%20after%20Flagellation_post%201665_MFA%20Boston_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="947" data-original-width="1248" height="486" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtXawe66hqfFANBc1wg8VfayO3NRMotZw_TEIvb8U921o2-Bepm-3Cd-fAM3BCWkebY52vCY2fvU-TXLqlhconmNNhQYQxjpedCh0DZlLvbR-MmuYdqGeIlzjPux7mlC1hJgxEhv9p_kHowmCMq6ODKdsk4DDvI3eyyMc1yrwqJpEC_Uy1rKZaV47lfzY/w640-h486/1665_Bartolome%20Esteban%20Murillo_Christ%20after%20Flagellation_post%201665_MFA%20Boston_2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bartolome Esteban Murillo, Christ After the Scourging<br />Spanish, After 1665<br />Boston, Museum of Fine Arts</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirxxCqmp9VA1NAe8x52Nz6KOXGtvpZrPJEurmPA5MHJnTS04Kdki45YQti8xe-ImvinRSET829fvPqWaldjthMUrV0FYLcRSzYXaoETbimELScaghNy8buYUGvw6V7FDT1oLqrJCNEGKyCHxZlTysL3Sf1MifzPPismmPMVIneZbhiqeS8Wvf1RNtuIaQ/s1357/1670_Bartolome%20Esteban%20Murillo,%20Christ%20at%20the%20Column%20with%20Saint%20Peter_Spanish,%20c.%201670_Paris,%20Musee%20du%20Louvre_3.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1357" data-original-width="1269" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirxxCqmp9VA1NAe8x52Nz6KOXGtvpZrPJEurmPA5MHJnTS04Kdki45YQti8xe-ImvinRSET829fvPqWaldjthMUrV0FYLcRSzYXaoETbimELScaghNy8buYUGvw6V7FDT1oLqrJCNEGKyCHxZlTysL3Sf1MifzPPismmPMVIneZbhiqeS8Wvf1RNtuIaQ/w598-h640/1670_Bartolome%20Esteban%20Murillo,%20Christ%20at%20the%20Column%20with%20Saint%20Peter_Spanish,%20c.%201670_Paris,%20Musee%20du%20Louvre_3.JPG" width="598" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bartolome Esteban Murillo, Christ at the Column with Saint Peter<br />Spanish, c. 1670<br />Paris, Musée du Louvre</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPz1CO-jqB8-IDwukT66O-OyH4KuCPhzJQynT7O5azrKJ_IHI7LzYG-iFU2E6sbsNNDVjwssiONzzPg6vKtKNbUKvsgdXYjfPKqTB90Y7JGDHwtsBPbUgmJJuByX4B1z1kw_dBFgxwwrz5_9WAs7WiVHtv5z_zT5PIDIk65TDn5qp67GU3cOjI1hlXyQM/s616/1725_Anonymous,%20After%20the%20Scourging_German,%20c.%201725-1730_Ettal,%20Abbey%20Church%20of%20the%20Assumption,%20Sacristy.png" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="616" data-original-width="346" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPz1CO-jqB8-IDwukT66O-OyH4KuCPhzJQynT7O5azrKJ_IHI7LzYG-iFU2E6sbsNNDVjwssiONzzPg6vKtKNbUKvsgdXYjfPKqTB90Y7JGDHwtsBPbUgmJJuByX4B1z1kw_dBFgxwwrz5_9WAs7WiVHtv5z_zT5PIDIk65TDn5qp67GU3cOjI1hlXyQM/w360-h640/1725_Anonymous,%20After%20the%20Scourging_German,%20c.%201725-1730_Ettal,%20Abbey%20Church%20of%20the%20Assumption,%20Sacristy.png" width="360" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Anonymous, Christ After the Scourging<br />German, c. 1725-1730<br />Ettal, Abbey Church of the Assumption, Sacristy</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on">According to art historian, John F. Mofitt, this unusual series of depictions of the aftermath of the Scourging derives from a number of works of advice on Christian prayer, stretching from the thirteenth-century <i><u>Meditationies Vitae Christi</u></i> by the Pseudo-Bonaventure to the sixteenth-century <u><i>Spiritual Exercises</i></u> of Saint Ignatius Loyola to the early seventeenth-century <u><i>Introduction to the Devout Life</i></u> of Saint Francis de Sales. All of these works proposed contemplation of the sufferings of Christ and the last, in particular, encouraged contemplation of the moments after the end of the Scourging.<b><u><span style="color: #2b00fe;">1</span></u></b></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit; line-height: 107%;">©</span><span style="font-family: inherit; line-height: 107%;"> M.
Duffy, 2013. Additional images added 2023. Images updated and new material added 2024.</span></div><div><br /></div><div>1. Moffitt, John F. "The Meaning of 'Christ After the Flagellation' in Siglo de Oro Sevillian Painting", <i>Wallraf-Richartz-Jahrbuch</i> , 1992, Vol. 53 (1992), pp. 139-154.</div><div class="separator" style="clear: both; text-align: center;"><a name="_Hlk147669273" style="text-align: left;"> </a></div>
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<p class="MsoNormal" style="border: none; mso-border-alt: solid windowtext .5pt; mso-padding-alt: 0in 4.0pt 1.0pt 4.0pt; padding: 0in;"><span style="background: white; color: #363936; font-family: Roboto;">Excerpts
from the <em><span style="border: 1pt none windowtext; padding: 0in;">Lectionary for Mass for Use in the Dioceses of
the United States of America, second typical edition</span></em> © 2001,
1998, 1997, 1986, 1970 Confraternity of Christian Doctrine, Inc., Washington,
DC. Used with permission. All rights reserved. No portion of this text may be
reproduced by any means without permission in writing from the copyright owner.</span><span style="font-family: Roboto;"><o:p></o:p></span></p>
</div><div><br /></div><div><span style="font-family: inherit;"><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div></span><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div class="blogger-post-footer">Copyright Margaret Duffy, 2008-2017</div>Margaret Duffyhttp://www.blogger.com/profile/03821836487895782384noreply@blogger.com0tag:blogger.com,1999:blog-415269867796810849.post-70050237447910808292024-03-05T05:30:00.001-05:002024-03-05T05:30:00.130-05:00Meditating on the Passion<div dir="ltr" style="text-align: left;" trbidi="on"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgOlFT87V0RULN0HJ6YLKnpW3yPjxZaibfhtRb8EH1MHuRbfD57T4v-ioM-HGndR_-JqzfVf6WjkuKe35wm_-Qbiukkq-PxW3UBP8WqjD9ESYN7ebb14tcOgankJ7Yim9-jVCQvV9VjaN49VTJmBdx1vPIj9g8Ay7PNNRfzmA79IfmGkXfTea8m_k5I1I/s2055/1440_Fra%20Angelico%20and%20Assistants,%20Mocking%20of%20Christ_Italian,%20c.%201440-1440_Florence,%20Convent%20of%20San%20Marco,%20Cell%20%237_W.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2055" data-original-width="1696" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgOlFT87V0RULN0HJ6YLKnpW3yPjxZaibfhtRb8EH1MHuRbfD57T4v-ioM-HGndR_-JqzfVf6WjkuKe35wm_-Qbiukkq-PxW3UBP8WqjD9ESYN7ebb14tcOgankJ7Yim9-jVCQvV9VjaN49VTJmBdx1vPIj9g8Ay7PNNRfzmA79IfmGkXfTea8m_k5I1I/w528-h640/1440_Fra%20Angelico%20and%20Assistants,%20Mocking%20of%20Christ_Italian,%20c.%201440-1440_Florence,%20Convent%20of%20San%20Marco,%20Cell%20%237_W.jpg" width="528" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div style="margin: 0px;"><span style="font-family: inherit;">Fra Angelico and assistants, Mocking of Christ</span></div><div style="margin: 0px;"><span style="font-family: inherit;">Italian, c. 1440-1441</span></div><div style="margin: 0px;"><span style="font-family: inherit;">Florence, Convent of San Marco, Cell #7</span></div></td></tr></tbody></table>
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Over the life of this blog I have written extensively about the iconography that surrounds the subject of the Passion of Christ. <br />Here is a series of links to many of those articles. They are organized around themes suggested by meditations, both theological and artistic, and by such devotions as the Rosary and the Stations of the Cross. </div><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">As we approach the second half of Lent, I offer them for your perusal.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">I updated many of these listings this year and last. Sometimes this has resulted in the addition of new material. In most cases I have replaced the picture files with newly available photos in higher definition than was available when the essays were originally written.<br />
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There is a great deal of material here that you can use to explore the themes presented. May you have a fruitful experience while using them.<br />
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<b><span style="color: #0b5394;">2012 Series: Meditations on the Passion</span></b></div>
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<span style="color: #0b5394;">Meditation on the Passion<o:p></o:p></span></div>
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<span style="color: #0b5394;">April 1, 2012<o:p></o:p></span></div>
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<span style="color: #0b5394;"><a href="http://imaginemdei.blogspot.com/2012/04/meditation-on-passion.html">http://imaginemdei.blogspot.com/2012/04/meditation-on-passion.html</a><o:p></o:p></span></div>
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<span style="color: #0b5394;">Meditation on the Passion – The Mocking of Christ by Fra Angelico<o:p></o:p></span></div>
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<span style="color: #0b5394;">April 4, 2012<o:p></o:p></span></div>
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<span style="color: #0b5394;"><a href="http://imaginemdei.blogspot.com/2012/04/meditation-on-passion-mocking-of-christ.html">http://imaginemdei.blogspot.com/2012/04/meditation-on-passion-mocking-of-christ.html</a><o:p></o:p></span></div>
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<span style="color: #0b5394;">Meditation on the Passion – The Ecce Homo<o:p></o:p></span></div>
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<span style="color: #0b5394;">April 5, 2012<o:p></o:p></span></div>
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<span style="color: #0b5394;">Meditation on the Passion – The Man of Sorrows<o:p></o:p></span></div>
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<span style="color: #0b5394;">April 6, 2012<o:p></o:p></span></div>
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<span style="color: #0b5394;">Meditation on the Passion – In the Tomb<o:p></o:p></span><br />
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<span style="color: #0b5394;">Meditation on the Passion -- The Instruments of the Passion </span><br />
<span style="color: #0b5394;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: #0b5394;">Meditation on the Passion -- The Man of Sorrows </span><span style="color: #0b5394;">with Instruments of the Passion</span><br />
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<span style="color: #0b5394;">April 7, 2012<o:p></o:p></span><br />
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<span style="color: #0b5394;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: #0b5394;">March 28, 2018</span><br />
<span style="color: #0b5394;"><br /></span>
<span style="color: #0b5394;"><br /></span></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="color: #0b5394;">March 29, 2018</span></div>
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<td style="padding: 0in 5.4pt; width: 261.8pt;" valign="top" width="436"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<span style="color: #0b5394;"><a href="http://imaginemdei.blogspot.com/2012/04/meditation-on-passion-waiting.html">http://imaginemdei.blogspot.com/2012/04/meditation-on-passion-waiting.html</a><o:p></o:p></span><br />
<span style="color: #0b5394;"><br /></span>
<br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="http://imaginemdei.blogspot.com/2018/03/meditation-on-passion-instruments-of.html"><span>http://imaginemdei.blogspot.com/2018/03/meditation-on-passion-instruments-of.html</span></a><br />
<br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><a href="http://imaginemdei.blogspot.com/2018/03/the-man-of-sorrows-with-instruments-of.html"><span>http://imaginemdei.blogspot.com/2018/03/the-man-of-sorrows-with-instruments-of.html</span></a></div>
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<a href="https://www.blogger.com/goog_1804688326"><br /></a></div>
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<td style="padding: 0in 5.4pt; width: 83.6pt;" valign="top" width="139"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326"><br /></a></div>
</td>
<td style="padding: 0in 5.4pt; width: 261.8pt;" valign="top" width="436"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326"><br /></a></div>
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<td colspan="3" style="padding: 0in 5.4pt; width: 553.5pt;" valign="top" width="923"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b><a href="https://www.blogger.com/goog_1804688326">2013 Series: The Sorrowful Mysteries</a></b></div>
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<td style="padding: 0in 5.4pt; width: 208.1pt;" valign="top" width="347"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">The Sorrowful Mysteries<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 83.6pt;" valign="top" width="139"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">March 26, 2013<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 261.8pt;" valign="top" width="436"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">http://imaginemdei.blogspot.com/2013/03/the-sorrowful-mysteries.html<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 208.1pt;" valign="top" width="347"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">The First Sorrowful Mystery – The Agony in the Garden<o:p></o:p></a></div>
</td>
<td style="padding: 0in 5.4pt; width: 83.6pt;" valign="top" width="139"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">March 27, 2013<o:p></o:p></a></div>
</td>
<td style="padding: 0in 5.4pt; width: 261.8pt;" valign="top" width="436"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">http://imaginemdei.blogspot.com/2013/03/the-first-sorrowful-mystery-agony-in.html<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 208.1pt;" valign="top" width="347"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">The Second Sorrowful Mystery – The Scourging at The Pillar<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 83.6pt;" valign="top" width="139"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">March 29, 2013<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 261.8pt;" valign="top" width="436"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">http://imaginemdei.blogspot.com/2013/03/the-second-sorrowful-mystery-scourging.html<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 208.1pt;" valign="top" width="347"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">The Third Sorrowful Mystery – The Crowning with Thorns<o:p></o:p></a></div>
</td>
<td style="padding: 0in 5.4pt; width: 83.6pt;" valign="top" width="139"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">March 29, 2013<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 261.8pt;" valign="top" width="436"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">http://imaginemdei.blogspot.com/2013/03/the-third-sorrowful-mystery-crowning.html<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 208.1pt;" valign="top" width="347"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">The Fourth Sorrowful Mystery – The Carrying of the Cross<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 83.6pt;" valign="top" width="139"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">March 29, 2013<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 261.8pt;" valign="top" width="436"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">http://imaginemdei.blogspot.com/2013/03/the-fourth-sorrowful-mystery-carrying.html<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 208.1pt;" valign="top" width="347"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">The Fifth Sorrowful Mystery – The Crucifixion<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 83.6pt;" valign="top" width="139"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">March 30, 2013<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 261.8pt;" valign="top" width="436"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">http://imaginemdei.blogspot.com/2013/03/the-fifth-sorrowful-mystery-crucifixion.html<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 208.1pt;" valign="top" width="347"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326"><br /></a></div>
</td>
<td style="padding: 0in 5.4pt; width: 83.6pt;" valign="top" width="139"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326"><br /></a></div>
</td>
<td style="padding: 0in 5.4pt; width: 261.8pt;" valign="top" width="436"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326"><br /></a></div>
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<td colspan="3" style="padding: 0in 5.4pt; width: 553.5pt;" valign="top" width="923"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<b><a href="https://www.blogger.com/goog_1804688326">2016 Series: The Stations of the Cross<o:p></o:p></a></b></div>
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<td style="padding: 0in 5.4pt; width: 208.1pt;" valign="top" width="347"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">The Stations of the Cross – Introduction<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 83.6pt;" valign="top" width="139"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">March 9, 2016<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 261.8pt;" valign="top" width="436"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">http://imaginemdei.blogspot.com/2016/03/the-stations-of-cross-introduction.html<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 208.1pt;" valign="top" width="347"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">The First Station, Jesus Is Condemned to Death<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 83.6pt;" valign="top" width="139"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">March 10, 2016<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 261.8pt;" valign="top" width="436"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">http://imaginemdei.blogspot.com/2016/03/stations-of-cross-first-station-jesus.html<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 208.1pt;" valign="top" width="347"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">The Second Station, Jesus Carries the Cross<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 83.6pt;" valign="top" width="139"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">March 14, 2016<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 261.8pt;" valign="top" width="436"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">http://imaginemdei.blogspot.com/2016/03/stations-of-cross-second-station-jesus.html<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 208.1pt;" valign="top" width="347"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">Jesus Falls -- The Third, Seventh and Ninth Stations<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 83.6pt;" valign="top" width="139"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">March 15, 2016<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 261.8pt;" valign="top" width="436"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">http://imaginemdei.blogspot.com/2016/03/stations-of-cross-jesus-falls-third.html<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 208.1pt;" valign="top" width="347"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">The Fourth Station, Jesus Meets His Mother<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 83.6pt;" valign="top" width="139"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">March 16, 2016<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 261.8pt;" valign="top" width="436"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">http://imaginemdei.blogspot.com/2016/03/stations-of-cross-fourth-station-jesus.html<o:p></o:p></a></div>
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</tr>
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<td style="padding: 0in 5.4pt; width: 208.1pt;" valign="top" width="347"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">The Fifth Station, Simon of Cyrene Helps Jesus to Carry the Cross<o:p></o:p></a></div>
</td>
<td style="padding: 0in 5.4pt; width: 83.6pt;" valign="top" width="139"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">March 16, 2016<o:p></o:p></a></div>
</td>
<td style="padding: 0in 5.4pt; width: 261.8pt;" valign="top" width="436"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">http://imaginemdei.blogspot.com/2016/03/stations-of-cross-fifth-station-simon.html<o:p></o:p></a></div>
</td>
</tr>
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<td style="padding: 0in 5.4pt; width: 208.1pt;" valign="top" width="347"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">The Sixth Station, Veronica Wipes the Face of Jesus<o:p></o:p></a></div>
</td>
<td style="padding: 0in 5.4pt; width: 83.6pt;" valign="top" width="139"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">March 17, 2016<o:p></o:p></a></div>
</td>
<td style="padding: 0in 5.4pt; width: 261.8pt;" valign="top" width="436"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">http://imaginemdei.blogspot.com/2016/03/stations-of-cross-sixth-station.html<o:p></o:p></a></div>
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</tr>
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<td style="padding: 0in 5.4pt; width: 208.1pt;" valign="top" width="347"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">The Eighth Station, Jesus Meets the Women of Jerusalem<o:p></o:p></a></div>
</td>
<td style="padding: 0in 5.4pt; width: 83.6pt;" valign="top" width="139"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">March 20, 2016<o:p></o:p></a></div>
</td>
<td style="padding: 0in 5.4pt; width: 261.8pt;" valign="top" width="436"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">http://imaginemdei.blogspot.com/2016/03/stations-of-cross-eighth-station-jesus.html<o:p></o:p></a></div>
</td>
</tr>
<tr>
<td style="padding: 0in 5.4pt; width: 208.1pt;" valign="top" width="347"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">The Tenth Station, Jesus Is Stripped of His Garments<o:p></o:p></a></div>
</td>
<td style="padding: 0in 5.4pt; width: 83.6pt;" valign="top" width="139"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">March 21, 2016<o:p></o:p></a></div>
</td>
<td style="padding: 0in 5.4pt; width: 261.8pt;" valign="top" width="436"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">http://imaginemdei.blogspot.com/2016/03/stations-of-cross-tenth-station-jesus.html<o:p></o:p></a></div>
</td>
</tr>
<tr>
<td style="padding: 0in 5.4pt; width: 208.1pt;" valign="top" width="347"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">The Eleventh Station, Jesus Is Nailed to the Cross<o:p></o:p></a></div>
</td>
<td style="padding: 0in 5.4pt; width: 83.6pt;" valign="top" width="139"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">March 22, 2016<o:p></o:p></a></div>
</td>
<td style="padding: 0in 5.4pt; width: 261.8pt;" valign="top" width="436"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">http://imaginemdei.blogspot.com/2016/03/stations-of-cross-eleventh-station.html<o:p></o:p></a></div>
</td>
</tr>
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<td style="padding: 0in 5.4pt; width: 208.1pt;" valign="top" width="347"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">The Twelfth Station, Jesus Dies On the Cross<o:p></o:p></a></div>
</td>
<td style="padding: 0in 5.4pt; width: 83.6pt;" valign="top" width="139"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">March 23, 2016<o:p></o:p></a></div>
</td>
<td style="padding: 0in 5.4pt; width: 261.8pt;" valign="top" width="436"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">http://imaginemdei.blogspot.com/2016/03/stations-of-cross-twelfth-station-jesus.html<o:p></o:p></a></div>
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<a href="https://www.blogger.com/goog_1804688326">The Thirteenth Station, The Body of Jesus is Taken Down from the
Cross<o:p></o:p></a></div>
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<a href="https://www.blogger.com/goog_1804688326">March 24, 2016<o:p></o:p></a></div>
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<a href="https://www.blogger.com/goog_1804688326">http://imaginemdei.blogspot.com/2016/03/stations-of-cross-thirteenth-station.html<o:p></o:p></a></div>
</td>
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<a href="https://www.blogger.com/goog_1804688326">The Fourteenth Station, The Body of Jesus Is Laid in the Tomb<o:p></o:p></a></div>
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<td style="padding: 0in 5.4pt; width: 83.6pt;" valign="top" width="139"><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">
<a href="https://www.blogger.com/goog_1804688326">March 26, 2016<o:p></o:p></a></div>
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<a href="http://imaginemdei.blogspot.com/2016/03/stations-of-cross-fourteenth-station.html">http://imaginemdei.blogspot.com/2016/03/stations-of-cross-fourteenth-station.html<o:p></o:p></a></div>
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<b><span style="color: #0b5394;">2019 with 2020 update</span></b><br />
<span style="color: #0b5394;"><br /></span>
<span style="color: #0b5394;">O Sacred Head Surrounded April 19, 2019 <a href="https://imaginemdei.blogspot.com/2019/04/o-sacred-head.html" target="_blank">https://imaginemdei.blogspot.com/2019/04/o-sacred-head.html</a></span><br />
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© M. Duffy, 2017, update 2020, 2022, 2023 and 2024.<o:p></o:p></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><div style="margin: 0px; text-align: center;"><br /></div></div>
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<div class="blogger-post-footer">Copyright Margaret Duffy, 2008-2017</div>Margaret Duffyhttp://www.blogger.com/profile/03821836487895782384noreply@blogger.com0tag:blogger.com,1999:blog-415269867796810849.post-36462220455608496382024-03-03T12:30:00.001-05:002024-03-04T01:04:00.834-05:00Moses and the Ten Commandments<p> </p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIxK-s1Dp2t3ckcHlzM4kOKd0f2ibfl_hReWN_yP4LGE_UfYfn50YUoMtsloaFdQXFAl9ERf2biTy2_b4ObdVDwJwUDWeCud_SBT_kRtIHjdh2fOnh5ylbwQCZzBlbqEH1I6B2IylJxGV0paNulSC6UFRNgmv2rJoMUYdwjkcKH0t1arUf5vRavCatFN8/s1449/1475_Master%20Francois_%20From%20City%20of%20God%20by%20Saint%20Augustine%20of%20Hippo_French%20(Paris),%20c.%201475_The%20Hague,%20Meermano%20Museum_MS%20RMMW%2010%20A%2011,%20fol.%20375v.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="920" data-original-width="1449" height="406" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIxK-s1Dp2t3ckcHlzM4kOKd0f2ibfl_hReWN_yP4LGE_UfYfn50YUoMtsloaFdQXFAl9ERf2biTy2_b4ObdVDwJwUDWeCud_SBT_kRtIHjdh2fOnh5ylbwQCZzBlbqEH1I6B2IylJxGV0paNulSC6UFRNgmv2rJoMUYdwjkcKH0t1arUf5vRavCatFN8/w640-h406/1475_Master%20Francois_%20From%20City%20of%20God%20by%20Saint%20Augustine%20of%20Hippo_French%20(Paris),%20c.%201475_The%20Hague,%20Meermano%20Museum_MS%20RMMW%2010%20A%2011,%20fol.%20375v.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master Francois, Moses Receiving the Ten Commandments<br />From <i><u>The City of God</u></i> by Saint Augustine of Hippo<br />French (Paris), c. 1475<br />The Hague, Meermano Museum<br />MS RMMW 10 A 11, fol. 375v</td></tr></tbody></table><br /><p></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">“In those
days, God delivered all these commandments:<br />
“I, the LORD, am your God, <br />
who brought you out of the land of Egypt, that place of slavery.<br />
You shall not have other gods besides me.<br />
You shall not carve idols for yourselves <br />
in the shape of anything in the sky above <br />
or on the earth below or in the waters beneath the earth; <br />
you shall not bow down before them or worship them.<br />
For I, the LORD, your God, am a jealous God, <br />
inflicting punishment for their fathers’ wickedness <br />
on the children of those who hate me, <br />
down to the third and fourth generation; <br />
but bestowing mercy down to the thousandth generation <br />
on the children of those who love me and keep my commandments.<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">“You shall
not take the name of the LORD, your God, in vain.<br />
For the LORD will not leave unpunished <br />
the one who takes his name in vain.<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">“Remember
to keep holy the sabbath day.<br />
Six days you may labor and do all your work, <br />
but the seventh day is the sabbath of the LORD, your God.<br />
No work may be done then either by you, or your son or daughter, <br />
or your male or female slave, or your beast, <br />
or by the alien who lives with you.<br />
In six days the LORD made the heavens and the earth, <br />
the sea and all that is in them; <br />
but on the seventh day he rested.<br />
That is why the LORD has blessed the sabbath day and made it holy.<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">“Honor
your father and your mother, <br />
that you may have a long life in the land <br />
which the LORD, your God, is giving you.<br />
You shall not kill.<br />
You shall not commit adultery.<br />
You shall not steal.<br />
You shall not bear false witness against your neighbor.<br />
You shall not covet your neighbor’s house.<br />
You shall not covet your neighbor’s wife, <br />
nor his male or female slave, nor his ox or ass, <br />
nor anything else that belongs to him.”<o:p></o:p></span></i></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">Exodus
20:1-17 (Gospel for the Third Sunday of Lent, Year B)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">One of the
most important of the documents that have come down to us from the ancient world is
the list of actions that we have come to call the Ten Commandments.<span style="mso-spacerun: yes;"> </span>They have been a guide for personal activities
and for societal laws since they were written down.<span style="mso-spacerun: yes;"> </span>There have been other ancient codes that have
come down to us from ancient Mesopotamia and Egypt, but it is this list of
prohibitions and recommendations that still has a living presence, like the God
whom the book of Exodus claims as its author. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p> </o:p></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_8tZ6LCKlDMOeh6mpigJCG5GLFqSVfAORrbnoTu4yKZOi4RjoEIqTGw5chCy4ZAiClhlEJwFWEblg25Dk2gyellh8mQcOGKmW8d6KySM89WmjyNLD2LWFnMDPlGkI9_Yhlmr_KBY3AqxWjDCkhpGUntMRC0grBWI-eKDC8xGn4hdoSKBFRBFyP9JDpnM/s2255/1190_From%20a%20Picture%20Bible_French%20(Saint-Omer),%20c.%201190-1200_The%20Hague,%20KB_MS%20KB%2076%20F%205,%20fol.%207r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2255" data-original-width="1503" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_8tZ6LCKlDMOeh6mpigJCG5GLFqSVfAORrbnoTu4yKZOi4RjoEIqTGw5chCy4ZAiClhlEJwFWEblg25Dk2gyellh8mQcOGKmW8d6KySM89WmjyNLD2LWFnMDPlGkI9_Yhlmr_KBY3AqxWjDCkhpGUntMRC0grBWI-eKDC8xGn4hdoSKBFRBFyP9JDpnM/w426-h640/1190_From%20a%20Picture%20Bible_French%20(Saint-Omer),%20c.%201190-1200_The%20Hague,%20KB_MS%20KB%2076%20F%205,%20fol.%207r.jpg" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Moses Receiving the Ten Commandments<br />From a <i><u>Picture Bible</u></i><br />French (Saint-Omer), c. 1190-1200<br />The Hague, Koninklijk Bibliotheek<br />MS KB 76 F 5, fol. 7r</td></tr></tbody></table><span style="font-family: "Book Antiqua",serif;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">In some ways
it might be said that the Commandments have no relationship with art history,
for how do you represent disembodied ideas in a visual format?<span style="mso-spacerun: yes;"> </span>However, there is one way in which they have
figured, in Christian art at least from the very beginning, in the narrative of
how they came to be received by the Israelite people.<span style="mso-spacerun: yes;"> </span>I use the word “Israelite” here because at
the point that the Commandments appear in the Bible the people are still
wandering following their escape from slavery in Egypt.<span style="mso-spacerun: yes;"> </span>They are the people descended from Israel,
otherwise known as Jacob.<span style="mso-spacerun: yes;"> </span>They have not
yet settled in the land beyond the Jordan and become “Jews” (the word is
derived from the area later known as the kingdom of Judea).<span style="mso-spacerun: yes;"> </span>They are still led by Moses.<span style="mso-spacerun: yes;"> </span>Indeed, it is Moses’ reception of the
Commandments and the community’s acceptance of them that signals the real
foundation of what became the Jews.<span style="mso-spacerun: yes;">
</span>Their disembodied God and his Commandments set them apart from the other
peoples of the Levant.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p> </o:p></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjuImcsv9EQRt90ZgpsDyj8_ONy4Xyu97-e2XYaRKJREB9zB-AN9gAEJpmL9t2lVlbtP5PfgdqMaI8YSXhujIh14K4gu5FDVMTnHHVGkbjwfz0V5o1kkMq1Tfj_OaAUaIh27ykwzuLBosATiyuP3KSDOgK-Y1Y7OIUQ7zkpHDOsU33GaTXKi9qr-sdvmo/s941/1400_Master%20of%20Rohan%20and%20Workshop_From%20De%20casibus%20by%20Boccaccio_French%20(Paris),%20First%20Quarter%20of%20the%2015th%20Century_Paris,%20BNF_MS%20Francais%20226,%20fol.%208r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="893" data-original-width="941" height="608" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjuImcsv9EQRt90ZgpsDyj8_ONy4Xyu97-e2XYaRKJREB9zB-AN9gAEJpmL9t2lVlbtP5PfgdqMaI8YSXhujIh14K4gu5FDVMTnHHVGkbjwfz0V5o1kkMq1Tfj_OaAUaIh27ykwzuLBosATiyuP3KSDOgK-Y1Y7OIUQ7zkpHDOsU33GaTXKi9qr-sdvmo/w640-h608/1400_Master%20of%20Rohan%20and%20Workshop_From%20De%20casibus%20by%20Boccaccio_French%20(Paris),%20First%20Quarter%20of%20the%2015th%20Century_Paris,%20BNF_MS%20Francais%20226,%20fol.%208r.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Rohan and Workshop, Moses Receives the Ten Commandments<br />From <u><i>De casibus</i></u> by Boccaccio<br />French (Paris), First Quarter of the 15th Century<br />Paris, Bibliotheque nationale de France<br />MS Francais 226, fol. 8r</td></tr></tbody></table><span style="font-family: "Book Antiqua",serif;"><br /></span><p></p>
<h4 style="text-align: left;"><span style="font-family: "Book Antiqua",serif;">The Commandments in Art</span></h4><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">So, it is in
the figure of Moses that we can begin to see the Commandments appear in
Christian art.<span style="mso-spacerun: yes;"> </span>And this happens
surprisingly quickly.<span style="mso-spacerun: yes;"> </span>There are several
images of Moses receiving the Commandments from the hand of God on early
Christian sarcophagi in the collection of the Pio-Cristiano Museum of the
Vatican Museums.<span style="mso-spacerun: yes;"> </span>They date from the
fourth century, just shortly after the Edict of Milan (315) guaranteed
religious toleration to Christians within the Roman Empire.<span style="mso-spacerun: yes;"> </span>These early images are pretty basic and
appear within a decorative program that includes many other images reflecting
stories from both the Old Testament and the Christian Gospels.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p> </o:p></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtIAIBxTe3lOapLO0etObSAP2xphyphenhyphen0vsIkHfPMpTJZLI-x71b6sHo10jF3z4F23cEuG9xSap8Nlod2OnCPZRi4uZZXIV3XStYUE1zBc-BaXZVckjo9zOm-SNDBalQ4EtwTkbtOkMWA34Osa7_01UQ3IRmZTmkidNnSZN4m1SykBP0lgAJIah74ZMuDqJw/s657/300_Front%20of%20Double%20Tiered%20Sarcophagus%20with%20Central%20Shell%20and%20Busts_Roman,%20c.%20300-330_Vatican%20City,%20Vatican%20Museums_Pio%20Cristiano%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="237" data-original-width="657" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtIAIBxTe3lOapLO0etObSAP2xphyphenhyphen0vsIkHfPMpTJZLI-x71b6sHo10jF3z4F23cEuG9xSap8Nlod2OnCPZRi4uZZXIV3XStYUE1zBc-BaXZVckjo9zOm-SNDBalQ4EtwTkbtOkMWA34Osa7_01UQ3IRmZTmkidNnSZN4m1SykBP0lgAJIah74ZMuDqJw/w640-h230/300_Front%20of%20Double%20Tiered%20Sarcophagus%20with%20Central%20Shell%20and%20Busts_Roman,%20c.%20300-330_Vatican%20City,%20Vatican%20Museums_Pio%20Cristiano%20Museum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Front of Double Tiered Sarcophagus with Central Shell and Busts<br />Roman, c. 300-330<br />Vatican City, Vatican Museums_Pio Cristiano Museum</td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /><o:p><br /></o:p></span><p></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi71wpgpgs116-HINoSJgQAY6WiBMlWI-3s-Wa_wceTDGLErMcbf4ma2s_a1vhsiy1wJ7bQDdEjFXDba2gMBZjxPMFSu_juQyRzGQIeWxQHlFpDDj1fnYejCnx7MBRyD_8msV_CEel0O9WWxG7iSOYQagem_W-wDtmsTbdRrrGDm6G0zICH8wLW_rRBvdM/s283/300_Front%20of%20Double%20Tiered%20Sarcophagus%20with%20Central%20Shell%20and%20Busts_Roman,%20c.%20300-330_Vatican%20City,%20Vatican%20Museums_Pio%20Cristiano%20Museum%20crop.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="163" data-original-width="283" height="369" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi71wpgpgs116-HINoSJgQAY6WiBMlWI-3s-Wa_wceTDGLErMcbf4ma2s_a1vhsiy1wJ7bQDdEjFXDba2gMBZjxPMFSu_juQyRzGQIeWxQHlFpDDj1fnYejCnx7MBRyD_8msV_CEel0O9WWxG7iSOYQagem_W-wDtmsTbdRrrGDm6G0zICH8wLW_rRBvdM/w640-h369/300_Front%20of%20Double%20Tiered%20Sarcophagus%20with%20Central%20Shell%20and%20Busts_Roman,%20c.%20300-330_Vatican%20City,%20Vatican%20Museums_Pio%20Cristiano%20Museum%20crop.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: justify;">Detail of the sarcophagus above, showing Moses Receiving the Ten Commandments to the left of the central shell and also showing another favorite Old Testament scene, the Sacrifice of Isaac, to the right.</td></tr></tbody></table><span style="font-family: "Book Antiqua",serif;"><br /><o:p><br /></o:p></span><p></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWDDErjtnRTRhy6cVp74XefVG2-Fa4nx6Bu0DT3ar68srvdzfhiVjZDPxU_roaVx-MtjuYG27w5CFUBiaA99_FMQ1dYNkLYTOYf28R5NQExtIqKh_X-_EBeWOeWZAWStj_L2SsyDJGwNRIXitVyLqqknyE499XbmkO0Cdf2u2ShRk28nrcQwflDgWCo4M/s664/325_Two-Tiered%20Sarcophagus%20with%20Shell%20and%20Busts_Roman,%20c.%20325-350_Vatican%20City,%20Vatican%20Museums,%20Museo%20Pio%20Cristiano.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="346" data-original-width="664" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWDDErjtnRTRhy6cVp74XefVG2-Fa4nx6Bu0DT3ar68srvdzfhiVjZDPxU_roaVx-MtjuYG27w5CFUBiaA99_FMQ1dYNkLYTOYf28R5NQExtIqKh_X-_EBeWOeWZAWStj_L2SsyDJGwNRIXitVyLqqknyE499XbmkO0Cdf2u2ShRk28nrcQwflDgWCo4M/w640-h334/325_Two-Tiered%20Sarcophagus%20with%20Shell%20and%20Busts_Roman,%20c.%20325-350_Vatican%20City,%20Vatican%20Museums,%20Museo%20Pio%20Cristiano.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Two-Tiered Sarcophagus with Shell and Busts<br />Roman, c. 325-350<br />Vatican City, Vatican Museums, Museo Pio Cristiano</td></tr></tbody></table><span style="font-family: "Book Antiqua",serif;"><br /><o:p><br /></o:p></span><p></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipY-VkUhQ8-bZKCn4DHV0iNQJoubZHGMcicXmd2pvdX4tTwbCTYVMudTQsD0e_L86TdmwQkabYMIJfXGtRZGx1BiBICizO8KlZojOKjCP-m86emHAq18-rkidfuXvoMXqJxrlc1O2NZanalukEKrGZ17zShYzCjQmEAEMiKD133Xc7_l4RwAopDim6J8A/s339/325_Two-Tiered%20Sarcophagus%20with%20Shell%20and%20Busts_Roman,%20c.%20325-350_Vatican%20City,%20Vatican%20Museums,%20Museo%20Pio%20Cristiano%20crop.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="227" data-original-width="339" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipY-VkUhQ8-bZKCn4DHV0iNQJoubZHGMcicXmd2pvdX4tTwbCTYVMudTQsD0e_L86TdmwQkabYMIJfXGtRZGx1BiBICizO8KlZojOKjCP-m86emHAq18-rkidfuXvoMXqJxrlc1O2NZanalukEKrGZ17zShYzCjQmEAEMiKD133Xc7_l4RwAopDim6J8A/w640-h428/325_Two-Tiered%20Sarcophagus%20with%20Shell%20and%20Busts_Roman,%20c.%20325-350_Vatican%20City,%20Vatican%20Museums,%20Museo%20Pio%20Cristiano%20crop.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: justify;">Detail of the sarcophagus above, also showing Moses Receiving the Ten Commandments to the left of the central shell and the Sacrifice of Isaac on the right.<br /><br /></span></td></tr></tbody></table><span style="font-family: "Book Antiqua",serif;"><br /><o:p><br /></o:p></span><p></p><p class="MsoNormal"><span style="font-family: "Book Antiqua", serif;">These straightforward
images focus on the figure of Moses receiving the tablets (occasionally a
scroll) of the Law from the disembodied hand of God or from a small image of
God which emerges from a cloud.</span><span style="font-family: "Book Antiqua", serif;"> </span><span style="font-family: "Book Antiqua", serif;">As we
will see, this way of telling the story had a long afterlife.</span><span style="font-family: "Book Antiqua", serif;"> </span><span style="font-family: "Book Antiqua", serif;">It is, in the main, the approach taken to
illustrating this story in the Eastern Church.</span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p> </o:p></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo_XsQpyaVwVIHXhT0XMLPKxdn8q-b2rauTrlaZx0MamenA9d1l_mTQPPWS04b8JXL9W5bx9Z023bmNT5SYIqpAGMG0PPIcsDE8y3GX4QbFhp3lxfQVNsPyWMj8Z1hVh09YZnr0ax6oS7QRIWDNThOSI2QueOZpB1GtJ_JfAaOAoRinKXuKHDv0V8kru8/s455/500_From%20the%20Monstery%20of%20Saint%20Catherine_Byzantine,%206th%20Century_Mount%20Sinai,%20Monastery%20of%20Saint%20Catherine%20of%20Sinai.jpg" style="margin-left: auto; margin-right: auto;"><span style="color: black; font-family: Book Antiqua, serif;"><img border="0" data-original-height="455" data-original-width="298" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo_XsQpyaVwVIHXhT0XMLPKxdn8q-b2rauTrlaZx0MamenA9d1l_mTQPPWS04b8JXL9W5bx9Z023bmNT5SYIqpAGMG0PPIcsDE8y3GX4QbFhp3lxfQVNsPyWMj8Z1hVh09YZnr0ax6oS7QRIWDNThOSI2QueOZpB1GtJ_JfAaOAoRinKXuKHDv0V8kru8/w420-h640/500_From%20the%20Monstery%20of%20Saint%20Catherine_Byzantine,%206th%20Century_Mount%20Sinai,%20Monastery%20of%20Saint%20Catherine%20of%20Sinai.jpg" width="420" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Book Antiqua, serif;">Moses Receiving the Commandments<br /></span>Byzantine, 6th Century<br />Mount Sinai, Monastery of Saint Catherine of Sinai</td></tr></tbody></table><br /><o:p style="font-family: "Book Antiqua", serif;"><br /></o:p><p></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWUQrAXMtZsqVWrHKwdA8_umkasP-3qewzUtyxR4Q2x-JIk7GVtDIO7Uoc9Xnpgy0FRo3OESGSQ6vwlda-vpWy4ttEey-nYiFZTLY6ILL4R4KMA0ba7qXvCBqfshWEvEtVa6nY2l3fuvtCvwgYgQy_Pc6SpVPV8xTI_CAWwYMTcu7oubla1t_RbDu8ajU/s1270/1200_Byzantine,%20Early%2012th%20Century_Sinai,%20Monastery%20of%20Saint%20Catherine.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1270" data-original-width="912" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWUQrAXMtZsqVWrHKwdA8_umkasP-3qewzUtyxR4Q2x-JIk7GVtDIO7Uoc9Xnpgy0FRo3OESGSQ6vwlda-vpWy4ttEey-nYiFZTLY6ILL4R4KMA0ba7qXvCBqfshWEvEtVa6nY2l3fuvtCvwgYgQy_Pc6SpVPV8xTI_CAWwYMTcu7oubla1t_RbDu8ajU/w460-h640/1200_Byzantine,%20Early%2012th%20Century_Sinai,%20Monastery%20of%20Saint%20Catherine.jpg" width="460" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Moses Receiving the Commandments<br />Byzantine, Early 12th Century<br />Sinai, Monastery of Saint Catherine</td></tr></tbody></table><span style="font-family: "Book Antiqua",serif;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">However, within
a short time this straightforward storytelling was expanded to include additional
portions of the Exodus story.<span style="mso-spacerun: yes;"> </span>And this
too would have a long life in both Eastern and Western Christian art.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p> </o:p></span></p>
<h4 style="text-align: left;"><span style="font-family: "Book Antiqua",serif;">Simple Storytelling</span></h4>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieFHE4KXeBB8eEQqytnvwO5IRTdeF6rcSPZcA0BiiKlFmnWBU_xOlHD35A3Vbqn49MvBJWuoCLaSFPk6Q2I1V1JoOrwxbxoYBzUSPhr5iUsEhsMHFg-LOYQGR0_QnhY8WC_NuENnv50NfDX6zX4RWfGC459AGmbHvclxouPa0n3DUepqdvQ9DKGNpB_aY/s958/1180_Master%20of%20the%20%20Story%20of%20Moses_Italian,%20c.%201180_Lucca,%20Church%20of%20San%20Frediano.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="886" data-original-width="958" height="592" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieFHE4KXeBB8eEQqytnvwO5IRTdeF6rcSPZcA0BiiKlFmnWBU_xOlHD35A3Vbqn49MvBJWuoCLaSFPk6Q2I1V1JoOrwxbxoYBzUSPhr5iUsEhsMHFg-LOYQGR0_QnhY8WC_NuENnv50NfDX6zX4RWfGC459AGmbHvclxouPa0n3DUepqdvQ9DKGNpB_aY/w640-h592/1180_Master%20of%20the%20%20Story%20of%20Moses_Italian,%20c.%201180_Lucca,%20Church%20of%20San%20Frediano.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of the Story of Moses, Moses Receiving the Commandments<br />Italian, c. 1180<br />Lucca, Church of San Frediano</td></tr></tbody></table><br /><p class="MsoNormal"><br /></p><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxEob0gHvuh46F8lgkOBmuwSDcOYbW8n2Rds78dgu1Nrv-qHBQL2mCpk9KNEKNQHvSCu2E3IkzP7DecCAxarTTB5MTWcjzeTVexfLHDNAr5MyvasFYhYRrcu_b3R0m6BU9m6yD3Ib47HARw7FdC6zVQ-Q9sQjJzjZRiMVTHDpBVWNTyAoUz4L4nnOrHQg/s1698/1320_Master%20of%20the%20Roman%20de%20Fauvel%20and%20Workshop_From%20a%20Bible%20historiale%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201320-1330_Paris,%20BNF_MS%20Francais%208,%20fol.%2060v.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1698" data-original-width="1616" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxEob0gHvuh46F8lgkOBmuwSDcOYbW8n2Rds78dgu1Nrv-qHBQL2mCpk9KNEKNQHvSCu2E3IkzP7DecCAxarTTB5MTWcjzeTVexfLHDNAr5MyvasFYhYRrcu_b3R0m6BU9m6yD3Ib47HARw7FdC6zVQ-Q9sQjJzjZRiMVTHDpBVWNTyAoUz4L4nnOrHQg/w610-h640/1320_Master%20of%20the%20Roman%20de%20Fauvel%20and%20Workshop_From%20a%20Bible%20historiale%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201320-1330_Paris,%20BNF_MS%20Francais%208,%20fol.%2060v.jpg" width="610" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of the Roman de Fauvel and Workshop, Moses Receiving the Ten Commandments<br />From a <u><i>Bible historiale</i></u> by Guiard des Moulins<br />French (Paris), c. 1320-1330<br />Paris, Bibliotheque nationale de France<br />MS Francais 8, fol. 60v</td></tr></tbody></table><p class="MsoNormal"><br /></p><p class="MsoNormal"><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvaq_uUA92pAQtaYegKFXHqND8WS4CDCL4dBa9nAfn4l2E4GybmLaK116cvCvl3hGLlRIB8V-BDWt8uCiBXCnQOl5yk-o8rp8egRMSlUuHBibBkm90JGBbe0pw9wI-lrW4JJ-ULTLjTa21QsK-LyRXJN9QWoTCKoY1OvulDJphAK-4csLZVsVUT7wGKLg/s1324/1332_Michiel%20van%20der%20Borch_From%20a%20Rhimebible%20by%20Jacob%20van%20Maerlant_Dutch(Utrecht),%201332_The%20Hague,%20Meermano%20Museum_MS%20RMMW%2010%20B%2021,%20fol.%2029v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1226" data-original-width="1324" height="592" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvaq_uUA92pAQtaYegKFXHqND8WS4CDCL4dBa9nAfn4l2E4GybmLaK116cvCvl3hGLlRIB8V-BDWt8uCiBXCnQOl5yk-o8rp8egRMSlUuHBibBkm90JGBbe0pw9wI-lrW4JJ-ULTLjTa21QsK-LyRXJN9QWoTCKoY1OvulDJphAK-4csLZVsVUT7wGKLg/w640-h592/1332_Michiel%20van%20der%20Borch_From%20a%20Rhimebible%20by%20Jacob%20van%20Maerlant_Dutch(Utrecht),%201332_The%20Hague,%20Meermano%20Museum_MS%20RMMW%2010%20B%2021,%20fol.%2029v.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Michiel van der Borch, God Presents the Ten Commandments to Moses<br />From a <i>Rhimebible </i>by Jacob van Maerlant<br />Dutch(Utrecht), 1332<br />The Hague, Meermano Museum<br />MS RMMW 10 B 21, fol. 29v</td></tr></tbody></table><br /><p class="MsoNormal"><br /></p><p class="MsoNormal"><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdzoZkM8abd9VgYpb-pR3yZjdiEL2s7kue__RFxdO5jYS9Hs99a3nvAhaUktUR12gH_al54GxKpvm5ThnR8C0WZzBwVGAsooP5usv-vqMUKlOqd6sU2TcmXMNtybmY_qOMnoZr8zzv8kTw6CbuCnViG-jAAvid0sPiRag1oTTwSp-enaCMJTtRhqubhAo/s966/1425_Lorenzo%20Ghiberti,%20Moses%20on%20Mount%20Sinai_Italian,%20c.%201425-1452_Florence,%20Baptistery,%20Eastern%20Doors,%20The%20Gates%20of%20Paradise.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="934" data-original-width="966" height="618" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdzoZkM8abd9VgYpb-pR3yZjdiEL2s7kue__RFxdO5jYS9Hs99a3nvAhaUktUR12gH_al54GxKpvm5ThnR8C0WZzBwVGAsooP5usv-vqMUKlOqd6sU2TcmXMNtybmY_qOMnoZr8zzv8kTw6CbuCnViG-jAAvid0sPiRag1oTTwSp-enaCMJTtRhqubhAo/w640-h618/1425_Lorenzo%20Ghiberti,%20Moses%20on%20Mount%20Sinai_Italian,%20c.%201425-1452_Florence,%20Baptistery,%20Eastern%20Doors,%20The%20Gates%20of%20Paradise.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Lorenzo Ghiberti, Moses on Mount Sinai<br />Italian, c. 1425-1452<br />Florence, Baptistery, Eastern Doors, The Gates of Paradise</td></tr></tbody></table><br /><p class="MsoNormal"><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAg5-2gikxgOVLigjXPQ6tE1Eco6s1DVCsra7Qrfsy8gv2sBcc1glIdCMq5rwa2mcKK7BcvzhHxq_gHe2S6EIAkXBagQLfO9k-takSmbNFtMAPW11-srlipLpoJn-s1jtM2XhzC4Sqr_x-LBoqjhty2y3mpFbmJnZx4GdKilsonVaRWrjPNweQnLp_HsI/s3508/1865+Joseph%20von%20Fuehrich,%20God%20Writing%20the%20Commandments_Austrian,%201835_Vienna,%20Belvedere%20Museum.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2891" data-original-width="3508" height="528" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAg5-2gikxgOVLigjXPQ6tE1Eco6s1DVCsra7Qrfsy8gv2sBcc1glIdCMq5rwa2mcKK7BcvzhHxq_gHe2S6EIAkXBagQLfO9k-takSmbNFtMAPW11-srlipLpoJn-s1jtM2XhzC4Sqr_x-LBoqjhty2y3mpFbmJnZx4GdKilsonVaRWrjPNweQnLp_HsI/w640-h528/1865+Joseph%20von%20Fuehrich,%20God%20Writing%20the%20Commandments_Austrian,%201835_Vienna,%20Belvedere%20Museum.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Joseph von Führich, God Writing the Commandments<br />Austrian, 1835<br />Vienna, Belvedere Museum<br /><div style="text-align: justify;">This composition departs from tradition in a number of ways, especially by showing God in this dynamic pose, clearly derived from Michelangelo's Creation of Adam from the Sistine Chapel ceiling.</div></td></tr></tbody></table><p class="MsoNormal"><o:p><br style="font-family: "Book Antiqua", serif;" /></o:p></p><p class="MsoNormal"><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaHwP_CoEqCYWdcDToHemyrDgcDSAso66DGtkdmwdPVEN6k5emQ2AMvOQvylYGe4In1V6CACCB3heUrsA4aY-LbfQPQo9dB0dIU2jZ8szcJjZVvqmfK-eD4r51Kl3kG1HcOQyM3GjWRa-z01RmIFeihNahlNi3z9x2Wz7qcxcx5Q5XUsqXVK1hhCmTPho/s2048/1860_Richard%20Julius%20Jungtow_From%20Die%20Bibel%20in%20Bildern_German,%201860_Rome,%20Biblioteca%20Hertziana.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1605" data-original-width="2048" height="502" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaHwP_CoEqCYWdcDToHemyrDgcDSAso66DGtkdmwdPVEN6k5emQ2AMvOQvylYGe4In1V6CACCB3heUrsA4aY-LbfQPQo9dB0dIU2jZ8szcJjZVvqmfK-eD4r51Kl3kG1HcOQyM3GjWRa-z01RmIFeihNahlNi3z9x2Wz7qcxcx5Q5XUsqXVK1hhCmTPho/w640-h502/1860_Richard%20Julius%20Jungtow_From%20Die%20Bibel%20in%20Bildern_German,%201860_Rome,%20Biblioteca%20Hertziana.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Richard Julius Jungtow, God Presents Moses with the Commandments<br />From <i><u>Die Bibel in Bildern</u></i><br />German, 1860<br />Rome, Biblioteca Hertziana</td></tr></tbody></table><br /><p class="MsoNormal"><br /></p><h4 style="text-align: left;"><span style="font-family: "Book Antiqua", serif;">Telling More
than One Part of the Story at Once</span></h4><div><span style="font-family: "Book Antiqua", serif;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIMS7nqUFWku6yPY7JLjPgPLpOEq40tjDoN2s5NDTxRiXuo_trpeUmmeP6SXWvyaDInV-pIN2utO6CvjYX95M_lHwB2eXxJoXER3dKPWwYVixteLjeCjL3Du4SsYseuyys5lOv_b99hOKqcaUIPGRZ8zc9mO20WT6gekE2huhvZJ12G6BwIMG4faMlfnY/s951/500_From%20a%20Bible,%20The%20Ashburnham%20Pentateuch_Unknown%20origin,%206th%20-7th%20Century_Paris,%20BNF_MS%20NAL%202334,%20fol.%2076r.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="951" data-original-width="809" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIMS7nqUFWku6yPY7JLjPgPLpOEq40tjDoN2s5NDTxRiXuo_trpeUmmeP6SXWvyaDInV-pIN2utO6CvjYX95M_lHwB2eXxJoXER3dKPWwYVixteLjeCjL3Du4SsYseuyys5lOv_b99hOKqcaUIPGRZ8zc9mO20WT6gekE2huhvZJ12G6BwIMG4faMlfnY/w544-h640/500_From%20a%20Bible,%20The%20Ashburnham%20Pentateuch_Unknown%20origin,%206th%20-7th%20Century_Paris,%20BNF_MS%20NAL%202334,%20fol.%2076r.jpeg" width="544" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Story of the Ten Commandments<br />From a <u><i>Bible, The Ashburnham Pentateuch</i></u><br />Unknown origin, 6th -7th Century<br />Paris, Bibliotheque nationale de France<br />MS NAL 2334, fol. 76r<br /><div style="text-align: justify;">The story here moves from top to bottom. At the top Moses prepares to receive the Commandments from God. In the middle Moses reads the Law to the people at an altar. In the bottom level we see the tent containing the Commandments in the Ark of the Covenant.</div></td></tr></tbody></table><br /><br /><span style="font-family: "Book Antiqua", serif;"><br /></span></div><div><span style="font-family: "Book Antiqua", serif;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSWJX6ef0Rgu7ommPEDhyphenhyphenu19pTuZUH3qRQPJ1MAG3NywLlWXF1fMvPJesIhPAmSrWDk5J34p4YcBH_M2Px2kt0URLM91J_jU-2O53hl3opFNN2suS28wNUKeUzJkUiJALtuVDES93apbTwH-FPn7uPld2c3tfo7iQ-xrbdno2fHm-PhFxtTooPg_gn8M8/s1023/845_From%20the%20Vivien%20Bible_French%20(Tours),%20c.%20845-851_Paris,%20BNF_MS%20Latin%201,%20fol.%2027v.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1023" data-original-width="789" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSWJX6ef0Rgu7ommPEDhyphenhyphenu19pTuZUH3qRQPJ1MAG3NywLlWXF1fMvPJesIhPAmSrWDk5J34p4YcBH_M2Px2kt0URLM91J_jU-2O53hl3opFNN2suS28wNUKeUzJkUiJALtuVDES93apbTwH-FPn7uPld2c3tfo7iQ-xrbdno2fHm-PhFxtTooPg_gn8M8/w494-h640/845_From%20the%20Vivien%20Bible_French%20(Tours),%20c.%20845-851_Paris,%20BNF_MS%20Latin%201,%20fol.%2027v.jpeg" width="494" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Moses Receives the Commandments from God (top) and Presents Them to the People<br />From the <i><u>Vivien Bible</u></i><br />French (Tours), c. 845-851<br />Paris, Bibliotheque nationale de France<br />MS Latin 1, fol. 27v</td></tr></tbody></table><br /><span style="font-family: "Book Antiqua", serif;"><br /></span></div><div><span style="font-family: "Book Antiqua", serif;"><br /></span></div><div><span style="font-family: "Book Antiqua", serif;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh16IRlK6yxb2PggHgtR-388Qp3GJl_AQUFj0jWcREAKarPew1UTUzQimsw2WFtBhAInGmPMxPWm5xEJZJEe0c2-uRKYf_cdFUupIDMkkc2rlY5MU9zG3CULOLDknpIw0e7Aq3P-Xp7lYWEGHsfWeaJ2OqQ01WcXy2zsezji5-gr-HBQc4FVkY4cm1CuqA/s1512/920_From%20the%20Codex%20Reginensis_Byzantine,%20c.%2010th%20-%2011th%20Century_Vatican%20City,%20Biblioteca%20apostolica%20vaticana_MS%20Reg.gr.1.pt.B,%20fol.%20155v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1512" data-original-width="1021" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh16IRlK6yxb2PggHgtR-388Qp3GJl_AQUFj0jWcREAKarPew1UTUzQimsw2WFtBhAInGmPMxPWm5xEJZJEe0c2-uRKYf_cdFUupIDMkkc2rlY5MU9zG3CULOLDknpIw0e7Aq3P-Xp7lYWEGHsfWeaJ2OqQ01WcXy2zsezji5-gr-HBQc4FVkY4cm1CuqA/w432-h640/920_From%20the%20Codex%20Reginensis_Byzantine,%20c.%2010th%20-%2011th%20Century_Vatican%20City,%20Biblioteca%20apostolica%20vaticana_MS%20Reg.gr.1.pt.B,%20fol.%20155v.jpg" width="432" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Moses Ascends the Mountain and Receives the Commandments from God<br />While the People Wait Below<br />From the <i><u>Codex Reginensis</u></i><br />Byzantine, c. 10th - 11th Century<br />Vatican City, Biblioteca apostolica vaticana<br />MS Reg.gr.1.pt.B, fol. 155v</td></tr></tbody></table><br /><span style="font-family: "Book Antiqua", serif;"><br /></span></div><div><span style="font-family: "Book Antiqua", serif;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWp4no_jjwnxSg36Vcwc161X9T_2Y3szVssowYa19SvGA18E134OYtgvGRYmv98kJUxsZS_nf4FfMGin0vFt4wHigXXKNKnh5opfFgL2yW-Icmq3UpTvtukwRtSDoihkSydPyIpO3lEK8SyN2dr8RcwYA5hqbk6kDnhTXYgLvBj7iCs1AC4w3sS06FcJA/s1015/940_From%20the%20Paris%20Psalter_Byzantine,%20c.%20940-960_Paris,%20BNF_MS%20Grec%20139,%20fol.%20422v.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1015" data-original-width="912" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWp4no_jjwnxSg36Vcwc161X9T_2Y3szVssowYa19SvGA18E134OYtgvGRYmv98kJUxsZS_nf4FfMGin0vFt4wHigXXKNKnh5opfFgL2yW-Icmq3UpTvtukwRtSDoihkSydPyIpO3lEK8SyN2dr8RcwYA5hqbk6kDnhTXYgLvBj7iCs1AC4w3sS06FcJA/w576-h640/940_From%20the%20Paris%20Psalter_Byzantine,%20c.%20940-960_Paris,%20BNF_MS%20Grec%20139,%20fol.%20422v.jpeg" width="576" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Moses Is Called by God and Ascends the Mountain to Receive the Commandments <br />While the People Wait<br />From the <i><u>Paris Psalter</u></i><br />Byzantine, c. 940-960<br />Paris, Bibliotheque nationale de France<br />MS Grec 139, fol. 422v</td></tr></tbody></table><br /><span style="font-family: "Book Antiqua", serif;"><br /></span></div><div><span style="font-family: "Book Antiqua", serif;"><br /></span></div><div><span style="font-family: "Book Antiqua", serif;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKpbjQuMFYEHEqWfOLeMYn03W0KJ3A1BB6k7awWSNLelVxJ7oQOI_hboxTsbf_9CiNqqNg3ZU8ezPex5l-1VR9nzzvfqXfRYiboPg19hd4r8tV8HpW813BNw7TQEZ7JhN5bMQp0z5uO6RW2NHcnCnmsk0CZAlGtp1hGDfLie8Qak1L_p8ewDHIinIWuys/s2567/1200_From%20The%20Munich%20Golden%20Psalter_English%20(Oxford),%20c.%201200-1225_Munich,%20Bayerische%20Staatsbibliothek_MS%20Clm%20835,%20fol.%2018v%20bottom.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2093" data-original-width="2567" height="522" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKpbjQuMFYEHEqWfOLeMYn03W0KJ3A1BB6k7awWSNLelVxJ7oQOI_hboxTsbf_9CiNqqNg3ZU8ezPex5l-1VR9nzzvfqXfRYiboPg19hd4r8tV8HpW813BNw7TQEZ7JhN5bMQp0z5uO6RW2NHcnCnmsk0CZAlGtp1hGDfLie8Qak1L_p8ewDHIinIWuys/w640-h522/1200_From%20The%20Munich%20Golden%20Psalter_English%20(Oxford),%20c.%201200-1225_Munich,%20Bayerische%20Staatsbibliothek_MS%20Clm%20835,%20fol.%2018v%20bottom.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Moses Receives the Commandments from God While the People Worship the Golden Calf<br />From <u><i>The Munich Golden Psalter</i></u><br />English (Oxford), c. 1200-1225<br />Munich, Bayerische Staatsbibliothek<br />MS Clm 835, fol. 18v </td></tr></tbody></table><br /><div><br /><span style="font-family: "Book Antiqua", serif;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><span style="font-family: "Book Antiqua", serif;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZyWNRSEZrclNN3AH17yK-0WS3nHvNyv63uTmBfbLbCWqMFAZhI1xk1a9ub33vooC0zNjl1Bfoh_FQD0h_Xa1vz5mPxbRaiBhzOgpQiv94CgGSrkALbOrwC4qyNskP2vXNbKK9ympyz1WnMB1nssTzExMQR8lQsjFQqThMXZYp_Ic_HjcOVqYAFnRPNDI/s898/1270_From%20a%20Psalter_French%20(Paris),%20c.%201270_Paris,%20BNF_MS%20Latin%2010525_fol.%2035v.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="898" data-original-width="695" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZyWNRSEZrclNN3AH17yK-0WS3nHvNyv63uTmBfbLbCWqMFAZhI1xk1a9ub33vooC0zNjl1Bfoh_FQD0h_Xa1vz5mPxbRaiBhzOgpQiv94CgGSrkALbOrwC4qyNskP2vXNbKK9ympyz1WnMB1nssTzExMQR8lQsjFQqThMXZYp_Ic_HjcOVqYAFnRPNDI/w496-h640/1270_From%20a%20Psalter_French%20(Paris),%20c.%201270_Paris,%20BNF_MS%20Latin%2010525_fol.%2035v.jpeg" width="496" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Moses Receives the Commandments from God, Then Destroys Them in Anger <br />Because the Israelites Worshipped the Golden Calf<br />From a <u><i>Psalter</i></u><br />French (Paris), c. 1270<br />Paris, Bibliotheque nationale de France<br />MS Latin 10525, fol. 35v</td></tr></tbody></table><br /><div><span style="font-family: "Book Antiqua", serif;"><br /></span></div><div><span style="font-family: "Book Antiqua", serif;"><br /></span></div><div><span style="font-family: "Book Antiqua", serif;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIJzJgnLAiAfnGYDkv6FBig9SF0Tctuw-ZjeqYqd6nVQ34JE6ZeSTdQyhq43P9u3CUOlPWal8QRseaYLInb7TnvsiAiTo46DqpOkpa_BLeQrj1rkoy1EUrOz9YbKyDfPfKJk01Ldw2I2pz5w3lINaXPfeNNoQqbayBSshJ7dbBUvmEWuUcLZOYn0Xb6xo/s857/1300_Master%20of%20the%20Roman%20de%20Fauvel_From%20a%20Bible%20historiale%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201300-1325_Parisk%20BNF_MS%20Francais%20156,%20fol.%2031r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="854" data-original-width="857" height="638" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIJzJgnLAiAfnGYDkv6FBig9SF0Tctuw-ZjeqYqd6nVQ34JE6ZeSTdQyhq43P9u3CUOlPWal8QRseaYLInb7TnvsiAiTo46DqpOkpa_BLeQrj1rkoy1EUrOz9YbKyDfPfKJk01Ldw2I2pz5w3lINaXPfeNNoQqbayBSshJ7dbBUvmEWuUcLZOYn0Xb6xo/w640-h638/1300_Master%20of%20the%20Roman%20de%20Fauvel_From%20a%20Bible%20historiale%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201300-1325_Parisk%20BNF_MS%20Francais%20156,%20fol.%2031r.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of the Roman de Fauvel<br />From a <u><i>Bible historiale</i></u> by Guiard des Moulins<br />French (Paris), c. 1300-1325<br />Parisk Bibliotheque nationale de France<br />MS Francais 156, fol. 31r<br /><div style="text-align: justify;">There are two scenes here with the same characters. At the left Moses and Aaron discuss something. While on the right, Moses (now showing the effects of his contact with the divine) receives the Commandments and Aaron comments.</div></td></tr></tbody></table><br /><span style="font-family: "Book Antiqua", serif;"><br /></span></div><div><br /></div>
<h3 style="text-align: left;"><span style="font-family: "Book Antiqua",serif;">Other Ways of
Depicting the Story</span></h3>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">However, not
all images of the Ten Commandments are involved in storytelling.<span style="mso-spacerun: yes;"> </span>Some are more complicated.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p> </o:p></span></p>
<h4 style="text-align: left;"><span style="font-family: "Book Antiqua",serif;">Typology</span></h4>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">One way in
which our ancestors thought about the world was to search for “types”.<span style="mso-spacerun: yes;"> </span></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJkHnkDTFQSXS3gkLtnkWIk4ZiPX9CFGO_wXl1fQFPEb8dCXQOFA2rHqZtTnu864YkUVjNI9MN_nOfaeZWdHCqXnCgNzaUsW0ooyHsWlA-pMwcGpYqPi_JOWwv7UhWKa7v8HykmaZKO3fQCKOkpFmjPKoRszqGB2tfPrgJ5NFTm8YACxjJd9LgMSRY8Sw/s1929/900_Moses%20Receiving%20the%20Commandments%20and%20Thomas%20_German%20(Trier),%2010th%20Century_Berlin,%20Bode%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1929" data-original-width="1704" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJkHnkDTFQSXS3gkLtnkWIk4ZiPX9CFGO_wXl1fQFPEb8dCXQOFA2rHqZtTnu864YkUVjNI9MN_nOfaeZWdHCqXnCgNzaUsW0ooyHsWlA-pMwcGpYqPi_JOWwv7UhWKa7v8HykmaZKO3fQCKOkpFmjPKoRszqGB2tfPrgJ5NFTm8YACxjJd9LgMSRY8Sw/w566-h640/900_Moses%20Receiving%20the%20Commandments%20and%20Thomas%20_German%20(Trier),%2010th%20Century_Berlin,%20Bode%20Museum.jpg" width="566" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Moses Receiving the Commandments and Thomas Probing the Wounds of Christ<br />German (Trier), 10th Century<br />Berlin, Bode Museum<br /><div style="text-align: justify;">Both of these images concern the self-revelation of God to human beings, through the Commandments and through touch.</div></td></tr></tbody></table><p></p><div style="text-align: justify;"><br /></div><span style="font-family: "Book Antiqua",serif;"><br /></span><p></p><p class="MsoNormal"><span style="font-family: "Book Antiqua", serif;"><br /></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua", serif;">One of the best-known examples of this is the
<i><u>Biblia pauperum</u></i> in which an image from the life of Christ (Under Grace) is conflated with two
other images from the Old Testament, one before the reception of the
Commandments (Before the Law) drawn from the Books of Genesis and Exodus and
the other after its reception (Under the Law) drawn from the remaining Books of
the Old Testament.</span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p> </o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt8DZkXtaJssLDRH8esK-e8fn0tRWwM1Bj3ltBywBMqjydVY3jW_Yws3A4Ee1Ctmewy1h5jyzoYc2_NAbqh_hCAhPhNweYkvYBa7SU2_UIjEeo40MxTRfIHg_1NGql2ItZtUkH862M8dMGQ5Mq3V01lYqVNX_d9xU2LAUGmG5f57p0Q1cVCDAiELT5Sqw/s989/1470_Joseph,%20Jonah,%20Christ_From%20a%20Biblia%20pauperum_French%20(Hesdin%20or%20Amiens),%20c.%201470_The%20Hague,%20Meermano%20Museum_MS%20KB%20MMW%2010%20A%2015,%20fol.%2033r_cropped_2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="577" data-original-width="989" height="374" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt8DZkXtaJssLDRH8esK-e8fn0tRWwM1Bj3ltBywBMqjydVY3jW_Yws3A4Ee1Ctmewy1h5jyzoYc2_NAbqh_hCAhPhNweYkvYBa7SU2_UIjEeo40MxTRfIHg_1NGql2ItZtUkH862M8dMGQ5Mq3V01lYqVNX_d9xU2LAUGmG5f57p0Q1cVCDAiELT5Sqw/w640-h374/1470_Joseph,%20Jonah,%20Christ_From%20a%20Biblia%20pauperum_French%20(Hesdin%20or%20Amiens),%20c.%201470_The%20Hague,%20Meermano%20Museum_MS%20KB%20MMW%2010%20A%2015,%20fol.%2033r_cropped_2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Rambures Master, Joseph Thrown into the Well (Before the Law), Jesus Laid in the Tomb (Under Grace) and Jonah Thrown to the Whale (Under the Law)<br />From a <i><u>Biblia pauperum</u></i><br />French (Hesdin or Amiens). c 1470<br />The Hague, Meermano Museum<br />MS RMMW 10 A 15, fol. 28</td></tr></tbody></table><span style="font-family: "Book Antiqua",serif;"><br /><o:p><br /></o:p></span><p></p><p class="MsoNormal"><span style="font-family: "Book Antiqua", serif;">However,
there is another work of a similar kind that uses a different set of “types”.</span><span style="font-family: "Book Antiqua", serif;"> </span><span style="font-family: "Book Antiqua", serif;">The is the <i style="text-decoration-line: underline;">Speculum humanae salvationis</i> <i style="text-decoration-line: underline;">(</i></span><span style="font-family: "Book Antiqua", serif; text-align: center;"><i><u>Le Miroir de l'humaine salvation</u></i> in French)</span><span style="font-family: "Book Antiqua", serif;">.</span><span style="font-family: "Book Antiqua", serif;"> </span><span style="font-family: "Book Antiqua", serif;">The incidents chosen for it are different from
the <i><u>Biblia pauperum</u></i>, although they follow the same idea.</span><span style="font-family: "Book Antiqua", serif;"> </span><span style="font-family: "Book Antiqua", serif;">There is also more variation in the episodes
that different illustrators chose for these books, within certain limits to be
sure.</span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua", serif;">These works of typology had their heyday in the later medieval period, roughly from the mid-13</span><sup style="font-family: "Book Antiqua", serif;">th</sup><span style="font-family: "Book Antiqua", serif;"> century to the beginning of the 16</span><sup style="font-family: "Book Antiqua", serif;">th</sup><span style="font-family: "Book Antiqua", serif;"> century, when they collided with the upsets associated with the Reformation, which made that way of viewing the Bible obsolete.</span><span style="font-family: "Book Antiqua", serif;"> </span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua", serif;"> </span><span style="font-family: "Book Antiqua", serif;">These books were intended primarily for a lay audience and those that are extant are usually cheaply made, with inferior illustrations, but there are some notable exceptions which are of high quality.</span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p> </o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgluKF8WEP5qeQEDbokeBhiSpMyNRUpbNHSYgHtU71UySo19CKuhRQnfcZLYzAXAUSKUuSeUqW4PxhQVX4xejjFlFL9-8LbmuSYKJMx053XbnbQQ-HqbuHwLoiwxyMKbPThaZi2hvUM5dZW75rOVmlWF1Btl0d3vFrTyZ9lp0GaebJkYR6JiArP2S69HfA/s1404/1400_Speculum%20humanae%20salvationis_Swiss%20(Basel),%20Early%2015th%20Century_Paris,%20BNF_MS%20Latian%20512,%20fol.%2035v-36r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="441" data-original-width="1404" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgluKF8WEP5qeQEDbokeBhiSpMyNRUpbNHSYgHtU71UySo19CKuhRQnfcZLYzAXAUSKUuSeUqW4PxhQVX4xejjFlFL9-8LbmuSYKJMx053XbnbQQ-HqbuHwLoiwxyMKbPThaZi2hvUM5dZW75rOVmlWF1Btl0d3vFrTyZ9lp0GaebJkYR6JiArP2S69HfA/w640-h202/1400_Speculum%20humanae%20salvationis_Swiss%20(Basel),%20Early%2015th%20Century_Paris,%20BNF_MS%20Latian%20512,%20fol.%2035v-36r.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pentecost, The Tower of Babel, Moses Receiving the Commandments, Elijah Telling the Widow to Fill Her Water Jars (which will become oil)<br />From a <u><i>Speculum humanae salvationis</i></u><br />Swiss (Basel), Early 15th Century<br />Paris, Bibliotheque nationale de France<br />MS Latin 512, fol. 35v-36r</td></tr></tbody></table><span style="font-family: "Book Antiqua",serif;"><br /><o:p><br /></o:p></span><p></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv21gRHeKYHKiNol6-pLJtvqSiOqqkWlVKVsXG8YnQWnAJPnuE8X2O61Ktj0nr_zRTf__6L3p2RDIl8_IJJjNRuUcc2qYKy_VmMuftPB21JhxhF96U777yqmzcKGGLBZ0qKAKLBRgkj68tbRoRNohRkMWKE8-ypXW-flYl3RpIclrXTA82ArlaRVsVcQw/s1944/1432_Speculum%20humanae%20salvationis_Austrian%20(Innsbruck),%201432_Madrid,%20Biblioteca%20Nacional%20de%20Espana_MS%20Vitr.%2025-7%20(olim%20B.%2019),%20fol.%2032v-33r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="533" data-original-width="1944" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv21gRHeKYHKiNol6-pLJtvqSiOqqkWlVKVsXG8YnQWnAJPnuE8X2O61Ktj0nr_zRTf__6L3p2RDIl8_IJJjNRuUcc2qYKy_VmMuftPB21JhxhF96U777yqmzcKGGLBZ0qKAKLBRgkj68tbRoRNohRkMWKE8-ypXW-flYl3RpIclrXTA82ArlaRVsVcQw/w640-h176/1432_Speculum%20humanae%20salvationis_Austrian%20(Innsbruck),%201432_Madrid,%20Biblioteca%20Nacional%20de%20Espana_MS%20Vitr.%2025-7%20(olim%20B.%2019),%20fol.%2032v-33r.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Ascension, Jacob's Ladder, Moses Receiving the Commandments, Elijah Telling the Widow to Fill Her Water Jars<br />From a <i><u>Speculum humanae salvationis</u></i><br />Austrian (Innsbruck), 1432<br />Madrid, Biblioteca Nacional de Espana<br />MS Vitr. 25-7 (olim B. 19), fol. 32v-33r</td></tr></tbody></table><span style="font-family: "Book Antiqua",serif;"><br /><o:p><br /></o:p></span><p></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx9t2d2zqQdwrBlZKDy8R6dznGbIFqTzEdtdo_mIYMdMSatBSXsr47XDI2NusJp9BxXJQ0JLcGteZURZ1hPbj_GTg0jbishDXKgMhHATKmZHZQBn7dWo43UvdrrpKlhvieejtDjBx8WOgz2szuGYlK6Wb_DPrmUU5OiQuG27wWsK8eB9RpfyH5CFQdfI8/s1308/1455_Le%20Miroir%20de%20humaine%20salvation_Flemish,%201455_Chicago,%20Newberry%20Library_MS%20Case%2040,%20pp.%2074-75.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="364" data-original-width="1308" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx9t2d2zqQdwrBlZKDy8R6dznGbIFqTzEdtdo_mIYMdMSatBSXsr47XDI2NusJp9BxXJQ0JLcGteZURZ1hPbj_GTg0jbishDXKgMhHATKmZHZQBn7dWo43UvdrrpKlhvieejtDjBx8WOgz2szuGYlK6Wb_DPrmUU5OiQuG27wWsK8eB9RpfyH5CFQdfI8/w640-h178/1455_Le%20Miroir%20de%20humaine%20salvation_Flemish,%201455_Chicago,%20Newberry%20Library_MS%20Case%2040,%20pp.%2074-75.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pentecost, The Tower of Babel, Moses Receiving the Commandments and Elijah Telling the Widow to Fill Her Water Jars<br />From a <u style="font-style: italic;">Le Miroir de l'humaine salvation</u><br />Flemish, 1455<br />Chicago, Newberry Library<br />MS Case 40, pp. 74-75</td></tr></tbody></table><span style="font-family: "Book Antiqua",serif;"><br /><o:p><br /></o:p></span><p></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUto5mSGv-W08JG3h1KkUtVI1jW6hJ8QZBsC-HO18y4RyrvBIrIPxRob6b-PdOiFFTQSwOFGb1xObX8ro7aeQzjnBUSxdvof-Lk0SlZM-mZqkYclqz-e9azeGKZc6ZcKavb5wDFHbjFYsE4v4bnJzVc7_VaIOSk4CuZd0MlLzdpZFvaKE9vX0SvD8DcKk/s1412/1500_Circle%20of%20the%20Master%20of%20James%20IV%20of%20Scotland_Speculum%20humanae%20salvationis_Flemish,%20c.%201500_Chantilly,%20Musee%20Conde_MS%20139,%20fol.%2035v-36r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="371" data-original-width="1412" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUto5mSGv-W08JG3h1KkUtVI1jW6hJ8QZBsC-HO18y4RyrvBIrIPxRob6b-PdOiFFTQSwOFGb1xObX8ro7aeQzjnBUSxdvof-Lk0SlZM-mZqkYclqz-e9azeGKZc6ZcKavb5wDFHbjFYsE4v4bnJzVc7_VaIOSk4CuZd0MlLzdpZFvaKE9vX0SvD8DcKk/w640-h168/1500_Circle%20of%20the%20Master%20of%20James%20IV%20of%20Scotland_Speculum%20humanae%20salvationis_Flemish,%20c.%201500_Chantilly,%20Musee%20Conde_MS%20139,%20fol.%2035v-36r.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Circle of the Master of James IV of Scotland, Pentecost, The Tower of Babel, Moses Receiving the Commandments and Elijah Telling the Widow to Fill Her Water Jars<br />From a<i><u> Speculum humanae salvationis</u></i><br />Flemish, c. 1500<br />Chantilly, Musée Condé<br />MS 139, fol. 35v-36r</td></tr></tbody></table><span style="font-family: "Book Antiqua",serif;"><br /><o:p><br /></o:p></span><p></p><p class="MsoNormal"><span style="font-family: "Book Antiqua", serif;"> </span><span style="font-family: "Book Antiqua", serif;"> </span></p>
<h4 style="text-align: left;"><span style="font-family: "Book Antiqua",serif;">Symbolic</span></h4>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">Another way
of representing the Commandments is one that I would call symbolic.<span style="mso-spacerun: yes;"> </span>These images focus primarily on the
Commandments themselves.<span style="mso-spacerun: yes;"> </span>Most frequently
they are shown as being held by Moses for our consideration, but occasionally the image is focused exclusively on the Commandments.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p> </o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaKEYOALYss-FyfKM3XzV7pOqqzLYVF3G5-g1knKOj08DhpbO0rIaJTT-jkhwKPE-JY5XJm-IvFsatc2FU5U8SRynWO8vdMdANBQbYH8w6GDt-l3TTWm4er2ubAN59LHoCmTdKS0Ut-wW-C1sR7Tj9efL0aHrZbgI7igk4O-rZac3JWg4SjQEM2cakheI/s3776/1408_Lorenzo%20Monaco,%20Moses_Italian,%20c.%201408-1410_New%20York,%20Metropolitan%20Museum%20of%20Art.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3776" data-original-width="2749" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaKEYOALYss-FyfKM3XzV7pOqqzLYVF3G5-g1knKOj08DhpbO0rIaJTT-jkhwKPE-JY5XJm-IvFsatc2FU5U8SRynWO8vdMdANBQbYH8w6GDt-l3TTWm4er2ubAN59LHoCmTdKS0Ut-wW-C1sR7Tj9efL0aHrZbgI7igk4O-rZac3JWg4SjQEM2cakheI/w466-h640/1408_Lorenzo%20Monaco,%20Moses_Italian,%20c.%201408-1410_New%20York,%20Metropolitan%20Museum%20of%20Art.jpg" width="466" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Lorenzo Monaco, Moses<br />Italian, c. 1408-1410<br />New York, Metropolitan Museum of Art</td></tr></tbody></table><span style="font-family: "Book Antiqua",serif;"><br /><o:p><br /></o:p></span><p></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtLq5xjPTqmjk9-Y6JclfoPzHuq2i1dkp7nJGgyBzoBQYUWKnkRcuaTixYLm6nxNCoiWA7CKdvO9HnDLqREFgmj2wthpsuBs-GYPbm0pyM2_NMqYahXw0Cl-bqMhn6bgTQEnh0lf1jSP7_OFHien9keLnT7n0Aw0bpCw-2E9E2GGjRZ2ue0mitEsaJidQ/s1370/1450_Master%20of%20Jacquemart%20Pilavaine_From%20Postilla%20litteralis%20by%20Nicolas%20of%20Lyra_Flemish%20(Hainaut),%20c.%201450-1475_The%20Hague,%20KB_MS%20KB%20128%20C%208,%20fol.%209r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="913" data-original-width="1370" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtLq5xjPTqmjk9-Y6JclfoPzHuq2i1dkp7nJGgyBzoBQYUWKnkRcuaTixYLm6nxNCoiWA7CKdvO9HnDLqREFgmj2wthpsuBs-GYPbm0pyM2_NMqYahXw0Cl-bqMhn6bgTQEnh0lf1jSP7_OFHien9keLnT7n0Aw0bpCw-2E9E2GGjRZ2ue0mitEsaJidQ/w640-h426/1450_Master%20of%20Jacquemart%20Pilavaine_From%20Postilla%20litteralis%20by%20Nicolas%20of%20Lyra_Flemish%20(Hainaut),%20c.%201450-1475_The%20Hague,%20KB_MS%20KB%20128%20C%208,%20fol.%209r.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Jacquemart Pilavaine, The Commandments<br />From <u><i>Postilla litteralis</i></u> by Nicolas of Lyra<br />Flemish (Hainaut), c. 1450-1475<br />The Hague, Koninklijk Bibliotheek<br />MS KB 128 C 8, fol. 9r</td></tr></tbody></table><span style="font-family: "Book Antiqua",serif;"><br /><o:p><br /></o:p></span><p></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEFXJbkxMy_iRbop65z6fL83ZYKhGxZte-QPwBQg0at-VOG68TXfRAQWjlE2rXMRa0DTuVUqzz6EuCIYILZS0Z-OZdKgzSyBOBb-ZmTROWn05XMmZldJSaJvCgYVu-S5jf7tTnuTBIKGKHUmNJIhOiGP5JV3XeLNdlWqsNVM9r9dHk03pgYhszLYoU2qI/s3836/1532_Valentin%20Bousch,%20Moses%20Presenting%20the%20Tablets%20of%20the%20Law_French%20(Lorraine),%201532_New%20York,%20Metropolitan%20Museum%20of%20Art.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3836" data-original-width="2311" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEFXJbkxMy_iRbop65z6fL83ZYKhGxZte-QPwBQg0at-VOG68TXfRAQWjlE2rXMRa0DTuVUqzz6EuCIYILZS0Z-OZdKgzSyBOBb-ZmTROWn05XMmZldJSaJvCgYVu-S5jf7tTnuTBIKGKHUmNJIhOiGP5JV3XeLNdlWqsNVM9r9dHk03pgYhszLYoU2qI/w386-h640/1532_Valentin%20Bousch,%20Moses%20Presenting%20the%20Tablets%20of%20the%20Law_French%20(Lorraine),%201532_New%20York,%20Metropolitan%20Museum%20of%20Art.jpg" width="386" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Valentin Bousch, Moses Presenting the Tablets of the Law<br />French (Lorraine), 1532<br />New York, Metropolitan Museum of Art</td></tr></tbody></table><span style="font-family: "Book Antiqua",serif;"><br /><o:p><br /></o:p></span><p></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiic8lI9YpZ44dQhWiqPKJ_AIt-_zEUDWDOSySZQjL1cYkt3rU_PHmK-BFoo4WGsbAUtqO_Tmf4PCwNWe6MYTPGmtfemy9sfE9W4R07CFfCCfBvOlu7FFsIvZxwc36RmeIO0xpZpUiAfkkmbicembdga_P406FJa2a0nJ3Z18BRaOnFKhIIFC_aO35Dtzk/s1500/1542_Michelangelo%20Buonarroti_Italian,%20c.%201542-1545_Rome,%20Church%20of%20San%20Pietro%20in%20Vincoli_side.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="1437" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiic8lI9YpZ44dQhWiqPKJ_AIt-_zEUDWDOSySZQjL1cYkt3rU_PHmK-BFoo4WGsbAUtqO_Tmf4PCwNWe6MYTPGmtfemy9sfE9W4R07CFfCCfBvOlu7FFsIvZxwc36RmeIO0xpZpUiAfkkmbicembdga_P406FJa2a0nJ3Z18BRaOnFKhIIFC_aO35Dtzk/w614-h640/1542_Michelangelo%20Buonarroti_Italian,%20c.%201542-1545_Rome,%20Church%20of%20San%20Pietro%20in%20Vincoli_side.jpg" width="614" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Michelangelo Buonarroti, Moses<br />Italian, c. 1542-1545<br />Rome, Church of San Pietro in Vincoli_</td></tr></tbody></table><span style="font-family: "Book Antiqua",serif;"><br /><o:p><br /></o:p></span><p></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_G-UmBup0dU7s-WldMP9nHZGCE9I-UpjMxe57ZvXoPRFUf9pR-y1egaAZC4FxMUV8wDRcT4oWB2kKMVBLOOMrmkCRIclQvVMljQCCbHRMST8LCOVF8Z2ZZYlVa1HJgnpYNqOQ1zwzaciGxN9W1AINAcCucEWO7l8hj598DUmusdJiSEp9KEyC20rhvPw/s3542/1560_Moses%20Showing%20the%20Tables%20of%20the%20Law%20with%20the%20Ten%20Commandments%20in%20Calligraphy_Flemish,%20c.%201560-1600+Amsterdam,%20Rijksmuseum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3542" data-original-width="2249" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_G-UmBup0dU7s-WldMP9nHZGCE9I-UpjMxe57ZvXoPRFUf9pR-y1egaAZC4FxMUV8wDRcT4oWB2kKMVBLOOMrmkCRIclQvVMljQCCbHRMST8LCOVF8Z2ZZYlVa1HJgnpYNqOQ1zwzaciGxN9W1AINAcCucEWO7l8hj598DUmusdJiSEp9KEyC20rhvPw/w406-h640/1560_Moses%20Showing%20the%20Tables%20of%20the%20Law%20with%20the%20Ten%20Commandments%20in%20Calligraphy_Flemish,%20c.%201560-1600+Amsterdam,%20Rijksmuseum.jpg" width="406" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Moses Showing the Tables of the Law with the Ten Commandments in Calligraphy<br />Flemish, c. 1560-1600<br />Amsterdam, Rijksmuseum</td></tr></tbody></table><span style="font-family: "Book Antiqua",serif;"><br /><o:p><br /></o:p></span><p></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9A6WgWlFD_OqD8iKe4srrG80_Ml_TB0qbzg1Avtv4SsBxNcew9sQy_OifPscpBN5xBO_5eNf5-mWupzcVhBguuMvmuAxkQtbkwSTd_rob_H4XIQBlYQYJXYS6cftNCsfRod0DBK0VWgTnH5qa9VAn5-j5foCmrzrBqd9IUN4VQ6aWc8HxikQCrBP0N2Q/s1098/1607_Michael%20Spiess,%20Moses_German,%201607_Burg%20bei%20Magdeburg,%20Evangelical%20Church%20of%20Saint%20Nicolas.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1098" data-original-width="625" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9A6WgWlFD_OqD8iKe4srrG80_Ml_TB0qbzg1Avtv4SsBxNcew9sQy_OifPscpBN5xBO_5eNf5-mWupzcVhBguuMvmuAxkQtbkwSTd_rob_H4XIQBlYQYJXYS6cftNCsfRod0DBK0VWgTnH5qa9VAn5-j5foCmrzrBqd9IUN4VQ6aWc8HxikQCrBP0N2Q/w364-h640/1607_Michael%20Spiess,%20Moses_German,%201607_Burg%20bei%20Magdeburg,%20Evangelical%20Church%20of%20Saint%20Nicolas.jpg" width="364" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Michael Spiess, Moses<br />German, 1607<br />Burg bei Magdeburg, Evangelical Church of Saint Nicolas</td></tr></tbody></table><span style="font-family: "Book Antiqua",serif;"><br /><o:p><br /></o:p></span><p></p><p class="MsoNormal"><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU7aq1kYDze2AnvXyji9qviY8jMLG24ATveMIxtNkpl0NDEr6Z749_ehvT7BRsT_gLSb-5ArlyP9KW9_3uen7SC6K3NVsnGnzEgEY65vpj97JSCT16EeB_0x7FlQGA8kVTWEYJRQU3nD8p_uAVbwEdC1DADTeCa0efwF1ZiN2B_5zpczU23sGTTbD6ieU/s1250/1648_Philippe%20de%20Champaigne,%20Moses%20with%20the%20Ten%20Commandments_Flemish,%201648_Saint%20Petersburg,%20State%20Hermitage%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1250" data-original-width="996" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU7aq1kYDze2AnvXyji9qviY8jMLG24ATveMIxtNkpl0NDEr6Z749_ehvT7BRsT_gLSb-5ArlyP9KW9_3uen7SC6K3NVsnGnzEgEY65vpj97JSCT16EeB_0x7FlQGA8kVTWEYJRQU3nD8p_uAVbwEdC1DADTeCa0efwF1ZiN2B_5zpczU23sGTTbD6ieU/w510-h640/1648_Philippe%20de%20Champaigne,%20Moses%20with%20the%20Ten%20Commandments_Flemish,%201648_Saint%20Petersburg,%20State%20Hermitage%20Museum.jpg" width="510" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Philippe de Champaigne, Moses with the Ten Commandments<br />Flemish, 1648<br />Saint Petersburg, State Hermitage Museum</td></tr></tbody></table><br /><p class="MsoNormal"><br /></p><p class="MsoNormal"><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQlYboI5FL_OI2UBYQxvx3TavWFcne3lw4psfriOsUcF98-3AQHY8lVx-2arMu4bQKmkcF4q3RmDW8DqMcOhGOhb_blrsEhm4wEa9ZBrIvLP_5xcdnqiJc_nEv4OSD9H8U2d5zX4_V5qg6tii3iuGa2PxYX-o1gEdJeCQl6mHndvOKj-uZjWlcwxoF6nY/s2091/1659_Rembrandt%20Harmenszoon%20van%20Rijn,%20Moses%20with%20the%20Tablets%20of%20the%20Law_Dutch,%201659_Berlin,%20Gemaeldegalerie%20der%20Staatlichen%20Museen%20zu%20Berlin.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2091" data-original-width="1700" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQlYboI5FL_OI2UBYQxvx3TavWFcne3lw4psfriOsUcF98-3AQHY8lVx-2arMu4bQKmkcF4q3RmDW8DqMcOhGOhb_blrsEhm4wEa9ZBrIvLP_5xcdnqiJc_nEv4OSD9H8U2d5zX4_V5qg6tii3iuGa2PxYX-o1gEdJeCQl6mHndvOKj-uZjWlcwxoF6nY/w520-h640/1659_Rembrandt%20Harmenszoon%20van%20Rijn,%20Moses%20with%20the%20Tablets%20of%20the%20Law_Dutch,%201659_Berlin,%20Gemaeldegalerie%20der%20Staatlichen%20Museen%20zu%20Berlin.jpg" width="520" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Rembrandt Harmenszoon van Rijn, Moses with the Tablets of the Law<br />Dutch, 1659<br />Berlin, Gemaeldegalerie der Staatlichen Museen zu Berlin</td></tr></tbody></table><br /><p class="MsoNormal"><br /></p><p class="MsoNormal"><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNZgmkM8w3jTWr2bShE7XSn6ZE3YuECZ_M8-7vsdVcBpGe6Kifs9OGKU8L4wH0aqgsl33kvh6pFVenvjmhSp5uHVETP1ISxEK9rJqCMhKpexhVWM7TrG3ax5_NJhTITj3KhktYT8RpqaNHBbv4LifZ0JXf6aiebpO0RKfC9UvDk2DEgKPMYAJHGNR3p6c/s1200/1698_Melchior%20Michael%20Steidl_Austrian,%201698_Lambach,%20Monstery%20Church%20of%20the%20Assumption.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="631" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNZgmkM8w3jTWr2bShE7XSn6ZE3YuECZ_M8-7vsdVcBpGe6Kifs9OGKU8L4wH0aqgsl33kvh6pFVenvjmhSp5uHVETP1ISxEK9rJqCMhKpexhVWM7TrG3ax5_NJhTITj3KhktYT8RpqaNHBbv4LifZ0JXf6aiebpO0RKfC9UvDk2DEgKPMYAJHGNR3p6c/w336-h640/1698_Melchior%20Michael%20Steidl_Austrian,%201698_Lambach,%20Monstery%20Church%20of%20the%20Assumption.jpg" width="336" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Melchior Michael Steidlm, Moses<br />Austrian, 1698<br />Lambach, Monstery Church of the Assumption</td></tr></tbody></table><br /><p class="MsoNormal"><br /></p><p class="MsoNormal"><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWL5aKkRBfanzUUlfROA9qMl9w09Lw9tn3tAXr0cFwz_76-iD4Qe_oEwK9NAaOA8zhi62TvdIe8sNZAJb3j-dM8KyB4AVhtr9yMy3B7uR2PokxVvQXuxHAJzVd-mQUa3FIWH1xpXvzXvJQtmo2r7fvVX82IGnh03SfOAiGSSOro2rAbrpY4ZVAV7L5fnI/s1001/1751_Anton%20Weidlich_German,%201751_Egloffstein,%20Evangelical%20Parish%20Church%20of%20Saint%20Bartholomew.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1001" data-original-width="378" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWL5aKkRBfanzUUlfROA9qMl9w09Lw9tn3tAXr0cFwz_76-iD4Qe_oEwK9NAaOA8zhi62TvdIe8sNZAJb3j-dM8KyB4AVhtr9yMy3B7uR2PokxVvQXuxHAJzVd-mQUa3FIWH1xpXvzXvJQtmo2r7fvVX82IGnh03SfOAiGSSOro2rAbrpY4ZVAV7L5fnI/w242-h640/1751_Anton%20Weidlich_German,%201751_Egloffstein,%20Evangelical%20Parish%20Church%20of%20Saint%20Bartholomew.jpg" width="242" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Anton Weidlich, Moses with the Ten Commandments<br />German, 1751<br />Egloffstein, Evangelical Parish Church of Saint Bartholomew</td></tr></tbody></table><br /><p class="MsoNormal"><br /></p>
<h4 style="text-align: left;"><span style="font-family: "Book Antiqua",serif;">Unusual Images
</span></h4>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">There are
also a few images that are unusual.<span style="mso-spacerun: yes;"> </span>They
may tell the story differently or reduce the figure of Moses receiving the
Commandments to an insignificant corner of the work.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p> </o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS4-tRJXcO93ceQPfB9mwoUinSq_K-y5aSYBFPapQL2JUVHbrm5OyLLlhpcaBh_Q4ZyFfKCEkHHhPQ__Wx_tb1jl5uayd6wBKwFynjsFWK-3KL46H6uLe7k3ZVIeIjMu922vX4jedQo9ixThiLFqX6hmoIlaHVOalmFzpn3QFg3iDgHzIBNsDQ-uE7PGY/s1368/1385_From%20a%20Bible%20historiale%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201385-1390_Paris,%20BNF_MS%20Francais%2020090,%20fol.%2075v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1368" data-original-width="1238" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS4-tRJXcO93ceQPfB9mwoUinSq_K-y5aSYBFPapQL2JUVHbrm5OyLLlhpcaBh_Q4ZyFfKCEkHHhPQ__Wx_tb1jl5uayd6wBKwFynjsFWK-3KL46H6uLe7k3ZVIeIjMu922vX4jedQo9ixThiLFqX6hmoIlaHVOalmFzpn3QFg3iDgHzIBNsDQ-uE7PGY/w580-h640/1385_From%20a%20Bible%20historiale%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201385-1390_Paris,%20BNF_MS%20Francais%2020090,%20fol.%2075v.jpg" width="580" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Moses Receives the Ten Commandmens<br />From a Bible historiale by Guiard des Moulins<br />French (Paris), c. 1385-1390<br />Paris, Bibliotheque nationale de France<br />MS Francais 20090, fol. 75v<br /><div style="text-align: justify;">This is unusual because it sets the event not in the outdoors on the holy mountain, but indoors in what could to be a study (in a tent perhaps?), where Moses has apparently been dictating to a secretary.</div></td></tr></tbody></table></span></p><div style="text-align: justify;"><span style="font-family: "Book Antiqua",serif;"><br /></span></div><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span><p></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1eKKhuZbwgKP7deSZPMMFM8xqiCEccIHk5aefG5MLjvxu9NgNSdLtACpakSS_zGgHPItiJfMntRmZ6S6Dp5GT64dDs1DFr11ldRTXZlHqSY9aCuSDbjaUOS2jYi-wmwIzrPDtiM9JxHmyax_l3QqkKkHV4sRv6yAn89ZAHLADV4YydtI79xgprdLGL_g/s2009/1463_Master%20Francois%20and%20Workshop_From%20Speculum%20historiale%20by%20Vincent%20of%20Beauvais_French%20(Paris),%201463_Paris,%20BNF_MS%20Francais%2050,%20fol.%2056r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2009" data-original-width="1525" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1eKKhuZbwgKP7deSZPMMFM8xqiCEccIHk5aefG5MLjvxu9NgNSdLtACpakSS_zGgHPItiJfMntRmZ6S6Dp5GT64dDs1DFr11ldRTXZlHqSY9aCuSDbjaUOS2jYi-wmwIzrPDtiM9JxHmyax_l3QqkKkHV4sRv6yAn89ZAHLADV4YydtI79xgprdLGL_g/w486-h640/1463_Master%20Francois%20and%20Workshop_From%20Speculum%20historiale%20by%20Vincent%20of%20Beauvais_French%20(Paris),%201463_Paris,%20BNF_MS%20Francais%2050,%20fol.%2056r.jpg" width="486" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master Francois and Workshopm Moses Receives the Ten Commandments and Brings Them to the People<br />From a <u><i>Speculum historiale </i></u>by Vincent of Beauvais<br />French (Paris), 1463<br />Paris, Bibliotheque nationale de France<br />MS Francais 50, fol. 56r<br /><div style="text-align: justify;">This is the only image I have seen where the effects of Moses' exposure to the glory of God draws a response from the people. The men and women waiting at the base of the mountain, shield their eyes from the radiance as Moses approaches them.</div></td></tr></tbody></table></span></p><div style="text-align: justify;"><span style="font-family: "Book Antiqua",serif;"><br /></span></div><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span><p></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh53j5yW9Kh-kcmGjYoF9hdWq4QBs-MGjvg19YGKrC8OIHl1nt_d_ceAUf_k4OkOiosE2PAW2CAbNwGcPnaZNNQcMxbNaco8eYlcSNuWmGLDU9_cuYWrPtp3SDOlihU8a1HGxxUeNs3QyMauRZRuJyL4SgjAaZfVK-Rjy4OeOg63z-gYSgq2JYqwTwdGO4/s1601/1576-Jacopo%20Bassano_Autumn,%20Moses%20Receives%20the%20Ten%20Commandments_Italian,%20c.%201586_Vienna,%20Kunsthistorisches%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1113" data-original-width="1601" height="444" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh53j5yW9Kh-kcmGjYoF9hdWq4QBs-MGjvg19YGKrC8OIHl1nt_d_ceAUf_k4OkOiosE2PAW2CAbNwGcPnaZNNQcMxbNaco8eYlcSNuWmGLDU9_cuYWrPtp3SDOlihU8a1HGxxUeNs3QyMauRZRuJyL4SgjAaZfVK-Rjy4OeOg63z-gYSgq2JYqwTwdGO4/w640-h444/1576-Jacopo%20Bassano_Autumn,%20Moses%20Receives%20the%20Ten%20Commandments_Italian,%20c.%201586_Vienna,%20Kunsthistorisches%20Museum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jacopo Bassano_Autumn, Moses Receives the Ten Commandments<br />Italian, c. 1586<br />Vienna, Kunsthistorisches Museum<br /><div style="text-align: justify;">At the end of the sixteenth century and into the beginning of the seventeenth there was a fashion to produce works of art with religious subject matter i which the religious subject was squeezed into odd spaces or deep in the background. The Bassano family of painters used this kind of composition in most of their very popular paintings. In this one the subject of Moses receiving the Commandments is pushed into the far left upper corner, and made so small it is barely visible unless you are looking for it.</div></td></tr></tbody></table><br /><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwtIMECgB0JY4leyi_YUlF657tGnW5bUVNp-KVpTnAvRLyFMYqYO6j8PiTaUdU2hun5ZBAfeT8aCsIeB1z26OJYZUW5nGv9YSCxcTYKeh0LQAa9wbpvMbJi1bH7nkTOHQGj2tnQ3zsBetuOySefNK9HsS3OVe-Ns32tqzVqLgUxVhHrECg7dx-gbv-3JM/s1920/1750_Thaddeus%20Kuntz,%20Moses%20on%20Sinai_Polish,%20c.%201750-1793_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1920" data-original-width="725" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwtIMECgB0JY4leyi_YUlF657tGnW5bUVNp-KVpTnAvRLyFMYqYO6j8PiTaUdU2hun5ZBAfeT8aCsIeB1z26OJYZUW5nGv9YSCxcTYKeh0LQAa9wbpvMbJi1bH7nkTOHQGj2tnQ3zsBetuOySefNK9HsS3OVe-Ns32tqzVqLgUxVhHrECg7dx-gbv-3JM/w242-h640/1750_Thaddeus%20Kuntz,%20Moses%20on%20Sinai_Polish,%20c.%201750-1793_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="242" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Thaddeus Kuntz, Moses on Sinai<br />Polish, c. 1750-1793<br />Madrid, Museo Nacional del Prado<br /><div style="text-align: justify;">In spite of the title this is really an apotheosis of Moses in heaven, the only one I have come across.</div></td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><br /></p>
<h3 style="text-align: left;"><span style="font-family: "Book Antiqua",serif;">A Word About
Those Horns</span></h3>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">One thing
that always merits a mention whenever one is describing images of Moses is the
presence of horns on his head.<span style="mso-spacerun: yes;"> </span>What are
they doing there and what do they mean?<span style="mso-spacerun: yes;">
</span>Are they likening Moses to the devil?<span style="mso-spacerun: yes;">
</span>Are they an instance of anti-Semitism?<span style="mso-spacerun: yes;">
</span>To both these questions the answer is a firm <b>NO.</b><o:p></o:p></span><span style="font-family: "Book Antiqua", serif; font-size: 12pt; vertical-align: super;"><i><span style="color: #2b00fe;">1</span></i></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">The truth is
much simpler and has to do with language and translation.<span style="mso-spacerun: yes;"> </span>The original Old Testament Scriptures were
written in Hebrew.<span style="mso-spacerun: yes;"> </span>In the two centuries
before the birth of Christ a group of Hebrew scholars in Alexandria, Egypt made
a translation from the Hebrew into Greek, the universal language of the time.<span style="mso-spacerun: yes;"> </span>It was the version used by most Jews at the
time of Jesus.<span style="mso-spacerun: yes;"> </span>It is now known as the
Septuagint, as the number of translators is traditionally said to be seventy-two.<span style="mso-spacerun: yes;"> </span>This was the version of the Old Testament
used by the earliest Christians and which continues in use in the Greek
speaking Church to this day.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">However, those
Christians of the West who spoke and read Latin couldn’t easily use it.<span style="mso-spacerun: yes;"> </span>So, at the end of the fourth century Saint
Jerome set out to translate the Old Testament from the original Hebrew into
Latin, using the Septuagint as a guide.<span style="mso-spacerun: yes;">
</span>His translation became known as the Vulgate and was the standard Old
Testament Bible in use in western Europe until the sixteenth century.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">Translation
can be a real minefield as nuances in the language being translated may not be
known to the translator.<span style="mso-spacerun: yes;"> </span>Further, over
time the meanings of words sometimes change.<span style="mso-spacerun: yes;">
</span>This is one of those instances of misunderstanding.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">In Exodus
Chapter 34, Moses returns from his second trip to the top of the mountain,
where he is shown the glory of God and receives a duplicate set of tablets to
replace the originals that Moses destroyed in his anger over the Israelites
decision to create the golden idol of a calf to worship when they lost faith in
Moses’ return from his first visit. On his second return the Bible says <i>“ As
Moses came down from Mount Sinai with the two tablets of the covenant in his
hands, he did not know that the skin of his face had become radiant* while he
spoke with the Lord.<span style="mso-spacerun: yes;"> </span>When Aaron, then,
and the other Israelites saw Moses and noticed how radiant the skin of his face
had become, they were afraid to come near him.”</i> (Exodus 34:29-30).<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">When
translating this passage from the Hebrew, Saint Jerome had to choose what words
to use to convey the meaning of some passages.<span style="mso-spacerun: yes;">
</span>Since there was no Google Translate in the fourth century, or even a
dictionary, Jerome was limited in his word kit to those words he knew or could
ask opinions on from those around him.<span style="mso-spacerun: yes;">
</span>So, when it came time to translate the passage above, with its reference
to the skin of Moses face becoming radiant, he chose a Latin word that
indicated a projection from one’s head.<span style="mso-spacerun: yes;">
</span>The word was “cornuto”.<span style="mso-spacerun: yes;"> </span>However,
this word also means “horned”.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>This word applies only to the Latin Vulgate
translation.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">Therefore,
when later western European Christian artists came to illustrate the story of
Exodus and Moses reception of the Commandments, they probably read it as the equivalent
of saying <i>“As Moses came down from Mount Sinai with the two tablets of the
covenant in his hands, he did not know that the skin of his face had become <b>horned
</b>while he spoke with the Lord.”</i> (Exodus 34:29)<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">This simple
mistake was probably as puzzling to them as it seems to us.<span style="mso-spacerun: yes;"> </span>But, that was what the Vulgate said, so that
was what they presented, even by some very great artists.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><span style="mso-spacerun: yes;">I would suggest that a glimpse of this confusion is evident if you look at a series of manuscript images from the West, beginning around the start of the fourteenth century, when the horned Moses was still new. It appears that the horns arrive, not as springing from the head of Moses, but from a cap that he wears on his head. Only gradually do the horns move from the cap to spring directly form his scalp.</span></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEwgaS7lIcWLz6s_qiZAJ04TbJaUIFeFKoBurCuzSTbvk5DLhyvgEFhu3ISev5_g2_Cbv3SfQI6txjIfaK2h6M7zV1jZyI6lteBwzd_sRiLc6frIxztyZsAGoEREnT7QORnZxfGSwdoaKXpVz-SRB-zA47vmiG_We06ViEZI8_HF50VExb6-CFMnh4QXw/s1032/1300_From%20a%20Bible%20historiale%20by%20Vincent%20of%20Beauvais_French%20(Saint-Omer),%2014th%20Century_Paris,%20BNF_MS%20Fran%C3%A7ais%20152,%20fol.%2058v-a.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1032" data-original-width="1021" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEwgaS7lIcWLz6s_qiZAJ04TbJaUIFeFKoBurCuzSTbvk5DLhyvgEFhu3ISev5_g2_Cbv3SfQI6txjIfaK2h6M7zV1jZyI6lteBwzd_sRiLc6frIxztyZsAGoEREnT7QORnZxfGSwdoaKXpVz-SRB-zA47vmiG_We06ViEZI8_HF50VExb6-CFMnh4QXw/w634-h640/1300_From%20a%20Bible%20historiale%20by%20Vincent%20of%20Beauvais_French%20(Saint-Omer),%2014th%20Century_Paris,%20BNF_MS%20Fran%C3%A7ais%20152,%20fol.%2058v-a.jpg" width="634" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Moses Receiving the Commandments from God<br />From a <u><i>Bible historiale</i></u> by Vincent of Beauvais<br />French (Saint-Omer), 14th Century<br />Paris, Bibliotheque nationale de France<br />MS Français 152, fol. 58v-a</td></tr></tbody></table><span style="font-family: "Book Antiqua",serif;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_S9Gr96E5qqOCaHCaxCvCF_ye5b7xqsQwjS26ADf8T7EBDg7NkIO_guqdFUfnWxZX9JRMiCAAKE4gJM0eTc5ztO6hG_yZYhvBSAcvuN9HD96Zw8Fj14QOCtbLeU6Jrglow3nDwnyf2NBEODi8f_L9E_84r0d2YW70jrSy3VeD7XhWztEtrrtdHTTtFh8/s1015/1300_From%20a%20Bible%20historiale%20by%20Vincent%20of%20Beauvais_French%20(Saint-Omer),%2014th%20Century_Paris,%20BNF_MS%20Fran%C3%A7ais%20152,%20fol.%2060r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1015" data-original-width="926" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_S9Gr96E5qqOCaHCaxCvCF_ye5b7xqsQwjS26ADf8T7EBDg7NkIO_guqdFUfnWxZX9JRMiCAAKE4gJM0eTc5ztO6hG_yZYhvBSAcvuN9HD96Zw8Fj14QOCtbLeU6Jrglow3nDwnyf2NBEODi8f_L9E_84r0d2YW70jrSy3VeD7XhWztEtrrtdHTTtFh8/w584-h640/1300_From%20a%20Bible%20historiale%20by%20Vincent%20of%20Beauvais_French%20(Saint-Omer),%2014th%20Century_Paris,%20BNF_MS%20Fran%C3%A7ais%20152,%20fol.%2060r.jpg" width="584" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Moses Receiving the Commandments from God<br />From a <u><i>Bible historiale</i></u> by Vincent of Beauvais<br />French (Saint-Omer), 14th Century<br />Paris, Bibliotheque nationale de France<br />MS Français 152, fol. 60r</td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span><p></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgob_2DQQaI3fX9_HfyGM0WP7dMHeiHnd-03wof1PFEjf592-x698gDgxpb2zYqCD412pRmjDao_n0ygG2Gl2wgkSJ6a6tR7p2PRNMrxB5d2huXn2ZM97gEESOJ47jga9DUMRpFXvH2kFchA8_FHuIPUbrYMAlxLleQ6VmfW5ESm3sjikCHV_Ar1ch9Uqg/s1612/1320_Master%20of%20Fauvel_Froma%20Bible%20historiale%20completee%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201320=1340_The%20Hague,%20KB_MS%20KB%2071%20A%2023,%20fol.%2062r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1612" data-original-width="1300" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgob_2DQQaI3fX9_HfyGM0WP7dMHeiHnd-03wof1PFEjf592-x698gDgxpb2zYqCD412pRmjDao_n0ygG2Gl2wgkSJ6a6tR7p2PRNMrxB5d2huXn2ZM97gEESOJ47jga9DUMRpFXvH2kFchA8_FHuIPUbrYMAlxLleQ6VmfW5ESm3sjikCHV_Ar1ch9Uqg/w516-h640/1320_Master%20of%20Fauvel_Froma%20Bible%20historiale%20completee%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201320=1340_The%20Hague,%20KB_MS%20KB%2071%20A%2023,%20fol.%2062r.jpg" width="516" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Fauvel, Moses Receiving the Commandments from God<br />From a<i><u> Bible historiale completee</u></i> by Guiard des Moulins<br />French (Paris), c. 1320=1340<br />The Hague, Koninklijk Bibliotheek<br />MS KB 71 A 23, fol. 62r</td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span><p></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRPnfjz6gxtLAvDjsI3lNzP04Msud0YK7nfT-GPd-jztKOhY-lZRCAY57P7Uz1HAPj0DjtxzMZEWny3dDWk8LJLjEr5EKFrZnYizncStfLpf_Fo9yBH6hu2olBXrWkupcVdjIsPOCQjdyFDFnJqChhcKve0rFS-JyLFT1EvQrk-oY1Z7GlMN8ugkiQZvk/s1828/1320_Master%20of%20the%20Roman%20de%20Fauvel%20and%20Workshop_From%20a%20Bible%20historiale%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201320-1330_Paris,%20BNF_MS%20Francais%208,%20fol.%2068r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1828" data-original-width="1547" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRPnfjz6gxtLAvDjsI3lNzP04Msud0YK7nfT-GPd-jztKOhY-lZRCAY57P7Uz1HAPj0DjtxzMZEWny3dDWk8LJLjEr5EKFrZnYizncStfLpf_Fo9yBH6hu2olBXrWkupcVdjIsPOCQjdyFDFnJqChhcKve0rFS-JyLFT1EvQrk-oY1Z7GlMN8ugkiQZvk/w542-h640/1320_Master%20of%20the%20Roman%20de%20Fauvel%20and%20Workshop_From%20a%20Bible%20historiale%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201320-1330_Paris,%20BNF_MS%20Francais%208,%20fol.%2068r.jpg" width="542" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of the Roman de Fauvel and Workshop<br />From a <u><i>Bible historiale </i></u>by Guiard des Moulins<br />French (Paris), c. 1320-1330<br />Paris, Bibliotheque nationale de France<br />MS Francais 8, fol. 68r</td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span><p></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq84Ap1UiP16nGSvfR1OLSeSjBNN25WRjzynTBvohLChQTxaeZdvBFj9grkdQKqQGsA0e7sDyA_G4eWdbAyNzZf_sk0tu6aVPicoBQGXiSpUHgk6W33BMbVt-J1OLiCsgi1yHowCCTvBcixyF5P2Nh17neg_Or3Bak6xEuT1MOayjTLSumImvn7ozlKSU/s1536/1350_Moses%20Receives%20the%20Law_From%20a%20Bible%20historiale%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201350-1375_Paris,%20BNF_MS%20Francais%202,%20fol.%2058r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1246" data-original-width="1536" height="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq84Ap1UiP16nGSvfR1OLSeSjBNN25WRjzynTBvohLChQTxaeZdvBFj9grkdQKqQGsA0e7sDyA_G4eWdbAyNzZf_sk0tu6aVPicoBQGXiSpUHgk6W33BMbVt-J1OLiCsgi1yHowCCTvBcixyF5P2Nh17neg_Or3Bak6xEuT1MOayjTLSumImvn7ozlKSU/w640-h520/1350_Moses%20Receives%20the%20Law_From%20a%20Bible%20historiale%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201350-1375_Paris,%20BNF_MS%20Francais%202,%20fol.%2058r.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Moses Receives the Law<br />From a <u><i>Bible historiale</i></u> by Guiard des Moulins<br />French (Paris), c. 1350-1375<br />Paris, Bibliotheque nationale de France<br />MS Francais 2, fol. 58r</td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span><p></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7fdjdIIsH9JL_sxk_IaYqp4EovPp5DFA0mX4phA-BQvlwxKnI3fdx_FLA8V2RqEgg0qHuXnzYxwqpG4U0k7GYzG7dsk219b4SyD8VOWenogRjJnoa4LBicNFWqTX__agtWRKoj4w2AIgL7DCv-7BSw3qUQrMZx8o-cZtqjIHoi3NCJLJwxOd-tt33H4Y/s1075/1370_Master%20of%20the%20Livre%20du%20Sacre%20and%20Workshop_From%20a%20Speculum%20historiale%20by%20Vincent%20of%20Beauvais_French%20(Paris),%20c.%201370-1380_Paris,%20BNF_MS%20NAF%2015939,%20fol.%2048v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1047" data-original-width="1075" height="624" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7fdjdIIsH9JL_sxk_IaYqp4EovPp5DFA0mX4phA-BQvlwxKnI3fdx_FLA8V2RqEgg0qHuXnzYxwqpG4U0k7GYzG7dsk219b4SyD8VOWenogRjJnoa4LBicNFWqTX__agtWRKoj4w2AIgL7DCv-7BSw3qUQrMZx8o-cZtqjIHoi3NCJLJwxOd-tt33H4Y/w640-h624/1370_Master%20of%20the%20Livre%20du%20Sacre%20and%20Workshop_From%20a%20Speculum%20historiale%20by%20Vincent%20of%20Beauvais_French%20(Paris),%20c.%201370-1380_Paris,%20BNF_MS%20NAF%2015939,%20fol.%2048v.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of the Livre du Sacre and Workshop, God Presents the Commandments to Moses<br />From a <u><i>Speculum historiale</i></u> by Vincent of Beauvais<br />French (Paris), c. 1370-1380<br />Paris, Biblioteque nationale de FranceF<br />MS Nouvelle acquisition francaise 15939, fol. 48v</td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span><p></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW2mnOtSVr5A-yfn2PhZjBUTq4DoB5OVlvWuF4UAw-2e5z1xL9NSesQHq4-ZPgjGM2lOiHsQphCxRkxD6jWVn5K7EhZKNmcXiY6e77YZN2FcsC1IGOQ6SbXrpScKFswRyx32fJcC4qi580bLbfrNDZJjBFB4gEMiazG_kiqjiqhVPUqC4vlsAEmU6lHi4/s1324/1371_Jean%20Bondol%20and%20Others_From%20the%20Grande%20Bible%20Historiale%20Completee%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201371-1372_The%20Hague,%20Meermano%20Museum_MS%20RMMW%2010%20B%2023,%20fol.59v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="844" data-original-width="1324" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW2mnOtSVr5A-yfn2PhZjBUTq4DoB5OVlvWuF4UAw-2e5z1xL9NSesQHq4-ZPgjGM2lOiHsQphCxRkxD6jWVn5K7EhZKNmcXiY6e77YZN2FcsC1IGOQ6SbXrpScKFswRyx32fJcC4qi580bLbfrNDZJjBFB4gEMiazG_kiqjiqhVPUqC4vlsAEmU6lHi4/w640-h408/1371_Jean%20Bondol%20and%20Others_From%20the%20Grande%20Bible%20Historiale%20Completee%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201371-1372_The%20Hague,%20Meermano%20Museum_MS%20RMMW%2010%20B%2023,%20fol.59v.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jean Bondol and Others, Moses Receives the Ten Commandments<br />From a <i><u>Grande Bible Historiale Completee</u></i> by Guiard des Moulins<br />French (Paris), c. 1371-1372<br />The Hague, Meermano Museum<br />MS RMMW 10 B 23, fol.59v</td></tr></tbody></table><br /><p></p><p class="MsoNormal"><br /></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">As the
Renaissance and later the Reformation introduced more widely representative
textual scholarship and new translations of the Scriptures, the incidence of
horns on the head of Moses diminished.<span style="mso-spacerun: yes;">
</span>By the seventeenth century, they were entirely gone. Some nineteenth-century
artists did add emanations from Moses’ head, but of beams of light, not horns.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV2fcpKosrVRhK9lTbcfNqpKB7XrXXfAQZ5jpN8QJlHWPfPvdx2SoG7u71IIKHqh2n4c8r-5ooSND8TgWE0vdz2fghEqqp_X6-VrLE_SXjlfRRlesKQK1sfCvsu58FR_CTUKGOTVbbJXO1jqkuTXsTPugxcvoThZW32jiZTt-zOuaWfNfrJQCSfQJoQBw/s1599/1410_Master%20of%20Lucon%20and%20Workshop,%20Allegory%20of%20Abstinence_From%20Livre%20de%20bonnes%20meurs%20by%20Jacques%20Legrand_French%20(Paris),%201410_Paris,%20BNF_MS%20Francais%201023,%20fol.%2020v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1489" data-original-width="1599" height="596" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV2fcpKosrVRhK9lTbcfNqpKB7XrXXfAQZ5jpN8QJlHWPfPvdx2SoG7u71IIKHqh2n4c8r-5ooSND8TgWE0vdz2fghEqqp_X6-VrLE_SXjlfRRlesKQK1sfCvsu58FR_CTUKGOTVbbJXO1jqkuTXsTPugxcvoThZW32jiZTt-zOuaWfNfrJQCSfQJoQBw/w640-h596/1410_Master%20of%20Lucon%20and%20Workshop,%20Allegory%20of%20Abstinence_From%20Livre%20de%20bonnes%20meurs%20by%20Jacques%20Legrand_French%20(Paris),%201410_Paris,%20BNF_MS%20Francais%201023,%20fol.%2020v.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Lucon and Workshop, Allegory of Abstinence<br />From the <i><u>Livre de bonnes meurs</u></i> by Jacques Legrand<br />French (Paris), 1410<br />Paris, Bibliotheque nationale de France<br />MS Francais 1023, fol. 20v<br /><div style="text-align: justify;">Here the projections from Moses' head actually take the form of decorative representations of light, no horns involved.</div></td></tr></tbody></table><p></p><div style="text-align: justify;"><br /></div><span style="font-family: "Book Antiqua",serif;"><br /></span><p></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLifukyG765jJ60UG7hPlVcIKfFvi79Rau_TXiU5U55MMcpYIFQLp0RLt_4qnZm7ITTjopeA2OhGIIEGDZNBtl58gXLytzkzxzpaIULBaMbheo9NYaqJ8VXI-uhRbd32oGLqjA97I1qKcyhMvKoB9YpaJNrwer3XuZYv77pJ6L5REVdfJoSjXvd7OccEY/s1060/1447_Master%20of%20Jouvenel%20des%20Ursins%20and%20Workshop_From%20Mare%20historiarum_by%20John%20of%20Cologne_French%20(Anjou),%20c.%201447-1455_Paris,%20BNF_MS%20Latin%204915,%20fol.%2036v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="765" data-original-width="1060" height="462" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLifukyG765jJ60UG7hPlVcIKfFvi79Rau_TXiU5U55MMcpYIFQLp0RLt_4qnZm7ITTjopeA2OhGIIEGDZNBtl58gXLytzkzxzpaIULBaMbheo9NYaqJ8VXI-uhRbd32oGLqjA97I1qKcyhMvKoB9YpaJNrwer3XuZYv77pJ6L5REVdfJoSjXvd7OccEY/w640-h462/1447_Master%20of%20Jouvenel%20des%20Ursins%20and%20Workshop_From%20Mare%20historiarum_by%20John%20of%20Cologne_French%20(Anjou),%20c.%201447-1455_Paris,%20BNF_MS%20Latin%204915,%20fol.%2036v.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Jouvenel des Ursins and Workshop, Moses Receives the Commandments<br />From a <u><i>Mare historiarum</i></u> by John of Cologne<br />French (Anjou), c. 1447-1455<br />Paris, Bibliotheque nationale de France<br />MS Latin 4915, fol. 36v<br /><div style="text-align: justify;">Here the "horns" appear more in the nature of the "horns" of an episcopal miter, turned around. This is a reminder that it is from the idea of the horn (not the animal kind, but the kind that can be used to send a warning) that that particular item of headgear derives. Bishops are said to display the "horns" of both Testaments, which are the foundations of the Church.</div></td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span><p></p><p class="MsoNormal"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUYFvHKGn-SnlRW_z69xoFvNsj25m6dwJ0cpBwfT2trbNQRxqhrAGnKf1m1qpVf9c_zCYAi-G7u51vgk8EAUWBtwwHEjJXDBxaTP_n_H4Li3A5ieAFWgynHAoUzhEPeL9H2BAuELFFdbTfDBgpOc-QePMN7A7zOACDc_inJ1WyNyGJXx588bae_koEvFU/s1992/1625_Guercino_Italian,%20c.%201625-1626_Rome,%20Galleria%20Colonna.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1992" data-original-width="1830" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUYFvHKGn-SnlRW_z69xoFvNsj25m6dwJ0cpBwfT2trbNQRxqhrAGnKf1m1qpVf9c_zCYAi-G7u51vgk8EAUWBtwwHEjJXDBxaTP_n_H4Li3A5ieAFWgynHAoUzhEPeL9H2BAuELFFdbTfDBgpOc-QePMN7A7zOACDc_inJ1WyNyGJXx588bae_koEvFU/w588-h640/1625_Guercino_Italian,%20c.%201625-1626_Rome,%20Galleria%20Colonna.jpg" width="588" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Guercino, Moses with the Tables of the Commandments<br />Italian, c. 1625-1626<br />Rome, Galleria Colonna<br />There is no hint of horns here.<br /><br /><br /><div style="text-align: left;"><br /></div></td></tr></tbody></table><br /><br /><span style="font-family: "Book Antiqua",serif;"><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBRqLIdtGcgCONAbMuTtBft7rTxagjT1r8x1JN7xM4TrN7QIw2XzX4QLUhS7q6BFF9o-MmWj15mg5PcZxu5fGjSGTSJCvzyhYT-whtpv2OVK-uPLb6JUX0GXcjz6-S7RQanXBr9X13Lz-q4tItnukBodWgEq2gmFg_nyCsve2ASGvgUaUlzcR684U5Ltg/s1321/1628_Valentin%20de%20Boulogne,%20Moses%20with%20the%20Tables%20of%20the%20Law_French,%201628_Vienna,%20Kunsthistorisches%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1321" data-original-width="1046" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBRqLIdtGcgCONAbMuTtBft7rTxagjT1r8x1JN7xM4TrN7QIw2XzX4QLUhS7q6BFF9o-MmWj15mg5PcZxu5fGjSGTSJCvzyhYT-whtpv2OVK-uPLb6JUX0GXcjz6-S7RQanXBr9X13Lz-q4tItnukBodWgEq2gmFg_nyCsve2ASGvgUaUlzcR684U5Ltg/w506-h640/1628_Valentin%20de%20Boulogne,%20Moses%20with%20the%20Tables%20of%20the%20Law_French,%201628_Vienna,%20Kunsthistorisches%20Museum.jpg" width="506" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Valentin de Boulogne, Moses with the Tables of the Law<br />French, 1628<br />Vienna, Kunsthistorisches Museum<br />No horns here either, just a suggestion of radiance.</td></tr></tbody></table><p></p><br /><br /><br /><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL0FDQiiCHsMO2J3AFGDc7C1jyxAdTKOowjW77I7-0yhIkW1EODsiXwCmlvRmBHbuB6cOh_L2sw9xnTAqLgPdsmHiXlWZBWCwELZG-RbfbSsHB9yJV1CEPLJ1iGajJrHqY3SRVPIFlZ2kvIlvseCwdBtWoszY82nB0ugVFJ4a1AbFwLdmUVbx84gm2WSI/s512/1645_Philippe%20de%20Champaigne,%20Mosts%20and%20teh%20Law_Flemish,%20c.%201645-1663_Amiens,%20Musee%20de%20PIcardie.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="512" data-original-width="389" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL0FDQiiCHsMO2J3AFGDc7C1jyxAdTKOowjW77I7-0yhIkW1EODsiXwCmlvRmBHbuB6cOh_L2sw9xnTAqLgPdsmHiXlWZBWCwELZG-RbfbSsHB9yJV1CEPLJ1iGajJrHqY3SRVPIFlZ2kvIlvseCwdBtWoszY82nB0ugVFJ4a1AbFwLdmUVbx84gm2WSI/w486-h640/1645_Philippe%20de%20Champaigne,%20Mosts%20and%20teh%20Law_Flemish,%20c.%201645-1663_Amiens,%20Musee%20de%20PIcardie.jpg" width="486" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Philippe de Champaigne, Moses and the Commandments<br />Flemish, c. 1645-1663<br />Amiens, <span style="line-height: 107%;">Mus</span><span style="line-height: 107%;">é</span><span style="line-height: 107%;">e</span> de PIcardie</span></td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvaYiETCAOLMKsT1RN2elX5n4HXjYZMYCey1BSYqHo32B77AjgcZRZTQgty-4_3sXNxKWqew11x61kTXN_8NLPfKcxFNL-n6SuVjxTiwkVV8GWgJqDg7I-93-HHofc1n_fM_CgB-A8E17FZG2qO7KM9HO5Oak3L19kn1oHHf58HUP0SEdfn726uf_eaPI/s1250/1866_John%20Rogers%20Herbert,%20Moses%20with%20the%20Ten%20Commandments_English,%20c.%201866-1867_Hamburg,%20Hamburger%20Kunsthalle.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="673" data-original-width="1250" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvaYiETCAOLMKsT1RN2elX5n4HXjYZMYCey1BSYqHo32B77AjgcZRZTQgty-4_3sXNxKWqew11x61kTXN_8NLPfKcxFNL-n6SuVjxTiwkVV8GWgJqDg7I-93-HHofc1n_fM_CgB-A8E17FZG2qO7KM9HO5Oak3L19kn1oHHf58HUP0SEdfn726uf_eaPI/w640-h344/1866_John%20Rogers%20Herbert,%20Moses%20with%20the%20Ten%20Commandments_English,%20c.%201866-1867_Hamburg,%20Hamburger%20Kunsthalle.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">John Rogers Herbert, Moses with the Ten Commandments<br />English, c. 1866-1867<br />Hamburg, Hamburger Kunsthalle</td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9JB4ZHKqsyqqqSnYAZFSxRdJObjJfk37yLDL6MPcW67pqlWIEMrqw6scokkfmYNr4eoiVvPxNEOpWNb6JkVXXN9a3TiotXxy3-XillrrJOC2AJMMKaDkK5mwQb3wjgMVfGAVrz7lxrzXLtmW5TlCb9BkdgoB75mVE1eR6Yb5snxujP3zUh_ixu1B26sY/s828/1896_James%20Tissot,%20Moses%20and%20the%20Ten%20Commandments_French,%20c.%201896=1902_New%20York,%20The%20Jewish%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="828" data-original-width="454" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9JB4ZHKqsyqqqSnYAZFSxRdJObjJfk37yLDL6MPcW67pqlWIEMrqw6scokkfmYNr4eoiVvPxNEOpWNb6JkVXXN9a3TiotXxy3-XillrrJOC2AJMMKaDkK5mwQb3wjgMVfGAVrz7lxrzXLtmW5TlCb9BkdgoB75mVE1eR6Yb5snxujP3zUh_ixu1B26sY/w350-h640/1896_James%20Tissot,%20Moses%20and%20the%20Ten%20Commandments_French,%20c.%201896=1902_New%20York,%20The%20Jewish%20Museum.jpg" width="350" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">James Tissot, Moses and the Ten Commandments<br />French, c. 1896-1902<br />New York, The Jewish Museum</td></tr></tbody></table><span style="font-family: "Book Antiqua", serif;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">M. Duffy,
2024<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p> </o:p></span></p>
<p class="MsoListParagraph" style="mso-list: l0 level1 lfo1; text-indent: -0.25in;"><!--[if !supportLists]--><span style="font-family: "Book Antiqua",serif; mso-bidi-font-family: "Book Antiqua"; mso-fareast-font-family: "Book Antiqua";"><span style="mso-list: Ignore;">1.<span style="font: 7pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="font-family: "Book Antiqua",serif;"><span style="mso-spacerun: yes;"> </span>The classic discussion of this issue is Mellinkoff,
Ruth.<span style="mso-spacerun: yes;"> </span><u>The Horned Moses in Medieval
Art and Thought</u>, University of California Press, Berkeley and Los Angeles,
1970.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p> </o:p></span></p><div class="blogger-post-footer">Copyright Margaret Duffy, 2008-2017</div>Margaret Duffyhttp://www.blogger.com/profile/03821836487895782384noreply@blogger.com0tag:blogger.com,1999:blog-415269867796810849.post-23660421355361509702024-02-20T08:15:00.001-05:002024-02-20T08:15:30.793-05:00The Sign of Jonah<div dir="ltr" style="text-align: left;" trbidi="on">
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<i><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6CZ1qIhn2sjv19RLmPKOouRWLINyKFu2ZUaxHw-ETECWoOsKHdwpTljCJyzpefks-g6bCP6MXb_OZHYYKJltLqQ7ZXej8rhQe9z50fJQJbxOlwt_OxDKg-uLpLWyT2xW1IHKOqSzNb-qo_6fjW6bvk1i-QcvWOqIHN-1ujeVRSiBlCL5MzdoKnqStz0A/s6762/1593_Antonie%20Wierix%20the%20Elder%20afer%20Bernardino%20Passeri_From%20Jerome%20Nadal%20Evangelicae%20historiae%20imagines_Flemish,%20c.%201593_Amsterdam,%20Rijksmuseum.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="6762" data-original-width="4360" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6CZ1qIhn2sjv19RLmPKOouRWLINyKFu2ZUaxHw-ETECWoOsKHdwpTljCJyzpefks-g6bCP6MXb_OZHYYKJltLqQ7ZXej8rhQe9z50fJQJbxOlwt_OxDKg-uLpLWyT2xW1IHKOqSzNb-qo_6fjW6bvk1i-QcvWOqIHN-1ujeVRSiBlCL5MzdoKnqStz0A/w412-h640/1593_Antonie%20Wierix%20the%20Elder%20afer%20Bernardino%20Passeri_From%20Jerome%20Nadal%20Evangelicae%20historiae%20imagines_Flemish,%20c.%201593_Amsterdam,%20Rijksmuseum.jpg" width="412" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Anton Wierix after Bernardino Passeri, The Sign of Jonah<br /> From <i style="text-decoration-line: underline;">Evangelicae historiae imagines</i> by JeromeNadal<br />Flemish, 1593<br />Amsterdam, Rijksmuseum<br /><div align="left">This engraving illustrates the passage from <span style="text-align: center;">Luke's Gospel. Jesus is seen</span><br /><span style="text-align: center;">in </span><span style="text-align: center;">the </span><span style="text-align: center;">foreground </span><span style="text-align: center;">speaking to the people, while the background </span><span style="text-align: center;">presents </span><br /><span style="text-align: center;">the Old Testament references. A lettered </span><span style="text-align: center;">key below the picture explains </span><br /><span style="text-align: center;">the meaning. See the note * at the end of this article for the English </span></div><div align="left"><span style="text-align: center;">translations.</span></div></td></tr></tbody></table><br />"While still more people gathered in the crowd, Jesus said to them,</i><br />
<i>"This generation is an evil generation;</i><br />
<i>it seeks a sign, but no sign will be given it,</i><br />
<i>except the sign of Jonah. </i><br />
<i>Just as Jonah became a sign to the Ninevites,</i><br />
<i>so will the Son of Man be to this generation.</i><br />
<i>At the judgment </i><br />
<i>the queen of the south will rise with the men of this generation </i><br />
<i>and she will condemn them,</i><br />
<i>because she came from the ends of the earth</i><br />
<i>to hear the wisdom of Solomon,</i><br />
<i>and there is something greater than Solomon here. </i><br />
<i>At the judgment the men of Nineveh will arise with this generation </i><i>and condemn it,</i><br />
<i>because at the preaching of Jonah they repented,</i><br />
<i>and there is something greater than Jonah here.”</i><br />
<span face=""verdana" , sans-serif" style="font-size: x-small;"><br /></span>
(Luke 11:29-32) </div><div dir="ltr" style="text-align: left;" trbidi="on">Gospel for Wednesday in the First Week of Lent<span style="color: blue;"><b>*</b></span><br />
<br />
In the Gospel reading for the Wednesday in the First Week of Lent Jesus speaks of the “sign of Jonah”. Just what is that?<br />
<br />
The story of Jonah relates how, after receiving the call of God to preach repentance to the town of Nineveh (in today’s Iraq) Jonah was afraid and tried to run away from his mission by sea. The ship he was traveling in was caught by a fierce storm and the sailors blamed Jonah (presumably the only passenger). To appease the sea they threw Jonah overboard (at his own suggestion), where he was swallowed by “a great fish” (later ages would call it a whale or, sometimes, a sea monster). However, Jonah was not digested by the fish, but remained alive in its belly. Jonah prayed to God, asking for deliverance and he was delivered. After three days and nights the fish spat him out. After this ordeal Jonah did go to Nineveh, where his preaching was successful.<span style="color: blue; font-size: x-small;"><u><b>1</b></u></span><br /><br />
The meaning of this “sign” is clear to Christians. As Jonah was in the belly of the fish for three days and nights and was returned unharmed to dry land, so Jesus remained three days in the tomb and returned glorified. But, unlike the people of Nineveh, who repented after hearing Jonah’s preaching, not all will recognize the preaching of Jesus and His followers. </div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4TPZsXt8ZJfKfcswyLshOBOZDCT6z4G1Tze7l9RynXn5c0vPHKU_vygoo6n6UaNIb-Lt6HlBHJep0lIdZ2UGN43WyF6kTtJX7RizIlGvbol2F9mqB4cnu-lLja81ICrx7-fPgfrEZQk1XxJu-WiWWVzv4URxJa2_hASaIi6FMmBFyO2QpJAVBjDjURZk/s519/350_Jonah_Roman,%20mid-4th_Rome,%20catacomb%20of%20Priscilla.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="405" data-original-width="519" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4TPZsXt8ZJfKfcswyLshOBOZDCT6z4G1Tze7l9RynXn5c0vPHKU_vygoo6n6UaNIb-Lt6HlBHJep0lIdZ2UGN43WyF6kTtJX7RizIlGvbol2F9mqB4cnu-lLja81ICrx7-fPgfrEZQk1XxJu-WiWWVzv4URxJa2_hASaIi6FMmBFyO2QpJAVBjDjURZk/w640-h500/350_Jonah_Roman,%20mid-4th_Rome,%20catacomb%20of%20Priscilla.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jonah Thrown Into the Sea<br />Roman, mid-4th century<br />Rome, Catacomb of Priscilla</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">This parallel between Jonah’s three days and nights buried, as it were, in the belly of the fish and Jesus’ time buried in the tomb caused the earliest Christians to see Jonah as a precursor of Jesus, a type or sign of what was to come. Not surprisingly, therefore, images of Jonah became popular among early Christians. In fact <i>“Next to the Good Shepherd, Jonah was the most popular biblical character, appearing in Early Christian visual art ten times more than any other figure. Jonah is also unique in that he is depicted as part of a narrative sequence. Paintings and relief sculpture alike show him being tossed over the side of the boat (into the sea monster’s mouth), being spit up again, and reclining on dry land.”</i><span style="color: blue; font-size: x-small;"><u><b>2</b></u></span><br />
<br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRE_wn1OfEPRxIRaPCpsxMHiFNsPrdVZk2nKW6_ZmvNuidjeHSgqhYLs8RhH8HbGirChWPkewGWQiUgTuP_fDlikLzDNnmZrArdDR1sWLZC5Gwh6JzMcQanr6RWEkQxFA2LMRXhfK4woSJ_3-6MEVGZnSxGybM8iiX9SLUn7uuVgkRZYbAnai2naKjyC8/s667/350_Epigraph%20Tomb%20Slab%20with%20Engraved%20Jonah,%20Sea%20Monster%20and%20Dove_Roman,%20Second%20Half%20of%20the%204th%20Century_Vatican%20City,%20Vatican%20Musseums,%20Pio%20Cristiano%20Museum.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="327" data-original-width="667" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRE_wn1OfEPRxIRaPCpsxMHiFNsPrdVZk2nKW6_ZmvNuidjeHSgqhYLs8RhH8HbGirChWPkewGWQiUgTuP_fDlikLzDNnmZrArdDR1sWLZC5Gwh6JzMcQanr6RWEkQxFA2LMRXhfK4woSJ_3-6MEVGZnSxGybM8iiX9SLUn7uuVgkRZYbAnai2naKjyC8/w640-h314/350_Epigraph%20Tomb%20Slab%20with%20Engraved%20Jonah,%20Sea%20Monster%20and%20Dove_Roman,%20Second%20Half%20of%20the%204th%20Century_Vatican%20City,%20Vatican%20Musseums,%20Pio%20Cristiano%20Museum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Epigraph Tomb Slab with an Engraved Jonah, the Sea Monster and a Dove<br />Roman, Second Half of the 4th Century<br />Vatican City, Vatican Museums, Pio Cristiano Museum</td></tr></tbody></table><br /><br /><h4 style="text-align: left;">Early Christian Art</h4>
In the visual arts, Christianity was barely out of the era of discreet and tightly held symbolism, where the main visual expression was simple <a href="http://www.fisheaters.com/symbols.html" target="_blank">symbols</a>, such as the well known outlined fish (ichthys) or the anchor or the Chi Rho, when Jonah began to appear. This is not too surprising. Since the Hebrew Bible was known to the wider Roman public, stories from it could be read by the uninitiated at their face value. The deeper, Christian, meaning of the story of Jonah would be grasped by those who understood the parallels. So, to some extent, even while readable as a straightforward story to all, the Jonah images were still symbolic to Christians.<br />
<br />
Early images appear in several media: sculpture, painting, decorations on glass, beginning (so far as we currently know) in the late 3rd century. Some examples are shown here. They include paintings, sarcophagi and other sculpture.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVMaca5WhyphenhyphenkbPgBmG31BOUq-LPx1ZpwTW-J762bp7sRRBcfMvxnqk_ggi5izI52ezBDQreaGfl_D3Iyi1Fic9IPN4_1a3HI7qnoAY6qcY2Gg6LUXPe5mbW68PXEx5QAz3KSnR0tPzgOZe5dsYOk-v4sDyK2DHkqdAWCCHo7JGTuoGv4CUVurbtuuH19e0/s687/275_Sarcophgus%20front%20w%20Jonah%20&%20Christian%20Scenes_marble_Rome_late%203rd%20c_Vatican%20Museums_2.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="216" data-original-width="687" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVMaca5WhyphenhyphenkbPgBmG31BOUq-LPx1ZpwTW-J762bp7sRRBcfMvxnqk_ggi5izI52ezBDQreaGfl_D3Iyi1Fic9IPN4_1a3HI7qnoAY6qcY2Gg6LUXPe5mbW68PXEx5QAz3KSnR0tPzgOZe5dsYOk-v4sDyK2DHkqdAWCCHo7JGTuoGv4CUVurbtuuH19e0/w640-h202/275_Sarcophgus%20front%20w%20Jonah%20&%20Christian%20Scenes_marble_Rome_late%203rd%20c_Vatican%20Museums_2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sarcophagus Front with Jonah and Christian Scenes<br />Marble, Rome, Late 3rd Century<br />Vatican City, Vatican Museums, Museo Pio-Cristiano</td></tr></tbody></table><div><br /></div><div><br /></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxDbhly-MKQl2936ABXVy5jAvsAdtL-EtuIoImqtqGZBkk9ctDNjy899hjHc-hFn5PvIX2P97X0iE45ffrL7nkDHUp23n271T9FYnGGdTKfqJ7IiVtWnqfEPbF-KqodPucHV-N1e9eB99xnC0hQag-pzKIP5lmWrM5nh6YD82bbP0h8GZkNP8OqP6KGQ0/s947/275_Sarcophgus%20front%20w%20Jonah%20&%20Christian%20Scenes_Detail_Rome_late%203rd%20c_Vatican%20Museums.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="673" data-original-width="947" height="455" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxDbhly-MKQl2936ABXVy5jAvsAdtL-EtuIoImqtqGZBkk9ctDNjy899hjHc-hFn5PvIX2P97X0iE45ffrL7nkDHUp23n271T9FYnGGdTKfqJ7IiVtWnqfEPbF-KqodPucHV-N1e9eB99xnC0hQag-pzKIP5lmWrM5nh6YD82bbP0h8GZkNP8OqP6KGQ0/w640-h455/275_Sarcophgus%20front%20w%20Jonah%20&%20Christian%20Scenes_Detail_Rome_late%203rd%20c_Vatican%20Museums.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Detail of the Sarcophagus Front (above) with Jonah and Christian Scenes<br />Marble, Rome, Late 3rd Century<br />Vatican City, Vatican Museums, Museo Pio-Cristiano</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9iAFOUgQ_FIq_3JNQ5inCNBsV0Bwf30HMqoWPPn7mDdqbAwhQ5gpvJr8Hjp2mQeSJD6-HKKfZaTsXplHaoXrVcrC1D64n36DDy9ar-xT1r0G0tA7kuZIt89zM5xp6-7Ru2S3Cpm7swYfY-Y7_cgPUibO48LmYkyYWkLSwBRYL1G0tgQ0OupCTm9kzfso/s844/280_Jonah%20Swallowed_Asia%20Minor_c.%20280-290_Cleveland,%20Museum%20of%20ARt_2.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="844" data-original-width="537" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9iAFOUgQ_FIq_3JNQ5inCNBsV0Bwf30HMqoWPPn7mDdqbAwhQ5gpvJr8Hjp2mQeSJD6-HKKfZaTsXplHaoXrVcrC1D64n36DDy9ar-xT1r0G0tA7kuZIt89zM5xp6-7Ru2S3Cpm7swYfY-Y7_cgPUibO48LmYkyYWkLSwBRYL1G0tgQ0OupCTm9kzfso/w408-h640/280_Jonah%20Swallowed_Asia%20Minor_c.%20280-290_Cleveland,%20Museum%20of%20ARt_2.jpg" width="408" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jonah Swallowed<br />Asia Minor, Late 3rd Century<br />Cleveland, Museum of Art</td></tr></tbody></table><br /><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMVZjhpRb8u7QKzyBHARX1ZGq7bEI-nCLXAibzaXw8Qt8wjGnuWIjue2Isx3zlLIbrHqNxC2kjg8EvvS2Xu44oIeE2XdDA6cak9HdxLGqt4Chju63fo3dICgoyyS79bm4b1ipDTBBPxmxglTFxxWZ-KdjMrc9PNz_ySl80LdT2Xd7j1G60IOcc6BWheVQ/s697/280_Jonah%20cast%20up_Asia%20Minor_c.%20280-290_Cleveland,%20Museum%20of%20Art_2.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="697" data-original-width="649" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMVZjhpRb8u7QKzyBHARX1ZGq7bEI-nCLXAibzaXw8Qt8wjGnuWIjue2Isx3zlLIbrHqNxC2kjg8EvvS2Xu44oIeE2XdDA6cak9HdxLGqt4Chju63fo3dICgoyyS79bm4b1ipDTBBPxmxglTFxxWZ-KdjMrc9PNz_ySl80LdT2Xd7j1G60IOcc6BWheVQ/w596-h640/280_Jonah%20cast%20up_Asia%20Minor_c.%20280-290_Cleveland,%20Museum%20of%20Art_2.jpg" width="596" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jonah Cast Up<br />Asia Minor, Late 3rd Century<br />Cleveland, Museum of Art</td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxPegNJDj20Q2m1enQY9-lncXMSEpJUAtKZfqPs1wGhPfLu4beEklw7sYSLNgKDSlg1bnai3pcpNolNqi4zGHfaUWyoFFTX5MQdz3MoMcvJPDkII28YfFLJZhizmi-C2krO1he1rHv58f35MMTCWtHEaM_2eQ23-f6vT87W06raowkFHxZqerTHvX9AlE/s3273/300_Table%20Base%20w%20Jonah%20Swallowed%20and%20Cast%20Up_ea.%204th_Asia%20Minor%20(Tarsos)_Met_2.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="2915" data-original-width="3273" height="570" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxPegNJDj20Q2m1enQY9-lncXMSEpJUAtKZfqPs1wGhPfLu4beEklw7sYSLNgKDSlg1bnai3pcpNolNqi4zGHfaUWyoFFTX5MQdz3MoMcvJPDkII28YfFLJZhizmi-C2krO1he1rHv58f35MMTCWtHEaM_2eQ23-f6vT87W06raowkFHxZqerTHvX9AlE/w640-h570/300_Table%20Base%20w%20Jonah%20Swallowed%20and%20Cast%20Up_ea.%204th_Asia%20Minor%20(Tarsos)_Met_2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Marble Table Base with Jonah Swallowed and Cast Up<br />Asia Minor, Early 4th Century<br />New York, Metropolitan Museum of Art</td></tr></tbody></table><br /><br /><h4 style="text-align: left;">The Middle Ages</h4>
By the Middle Ages, the sign of Jonah had become a widely recognized “type” or prefiguration for the Entombment of Jesus following the Crucifixion. <br /><br />For example, in the Klosterneuburg Altarpiece of Nicholas of Verdun, made in 1181 for the abbey church where it still remains, it appears as the “type” for the period “Under the Law”.</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitzx87ygXhyCD1kNKe9z27hdk4Gll4aBH5rjjVG79d8sapQmi1encQfUGLrGfSXnZ8bN8VL50QS0WhKGkZ8xfxXzjgRCPDS8_72k5Fy7ryuXAZFNDoa3RzWhu8UKERm-eg1R4Nk55chn9Y1cdY9bcdQ9R9YK0aQFCKpZQfUx0Deb4-C-IM271MR7PHtpg/s2394/1181_Klosterneuburg%20Altar_3-tiers%20Joseph%20Jesus%20Jonah_Mosan,%201181_Klosterneuburg%20Abbey_2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2394" data-original-width="811" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitzx87ygXhyCD1kNKe9z27hdk4Gll4aBH5rjjVG79d8sapQmi1encQfUGLrGfSXnZ8bN8VL50QS0WhKGkZ8xfxXzjgRCPDS8_72k5Fy7ryuXAZFNDoa3RzWhu8UKERm-eg1R4Nk55chn9Y1cdY9bcdQ9R9YK0aQFCKpZQfUx0Deb4-C-IM271MR7PHtpg/s16000/1181_Klosterneuburg%20Altar_3-tiers%20Joseph%20Jesus%20Jonah_Mosan,%201181_Klosterneuburg%20Abbey_2.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div>Section of Klosterneuburg Altarpiece showing the three levels. </div><div style="text-align: left;">At the top Joseph is thrown into the well, in the middle Jesus is placed in the tomb, at the bottom Jonah is thrown to the fish.</div></td></tr></tbody></table></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div class="separator" style="clear: both; text-align: justify;"><span style="text-align: left;">The scenes in the altarpiece are divided into three tiers: at the top are the scenes that took place “Before the Law” (that is, before the Exodus), at the bottom are the scenes that took place “Under the Law” (that is, between the Exodus and the Incarnation). In the middle row are the scenes “Under Grace”, that is from the New Testament. In this case, Jonah is thrown into the mouth of the fish at the bottom, Joseph is thrown into the well at the top and Jesus is placed in the tomb in the middle.</span></div><div dir="ltr" style="text-align: left;" trbidi="on"><br />
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<br /><h4 style="text-align: left;">Understanding Through "Types"</h4>This use of “types” was also common in manuscript painting during the Middle Ages. This appears particularly in such popular books of secular devotion as <u><i>Books of Hours</i></u> or the <i><u>Speculum humanae salvationis </u></i>(The Mirror of Human Salvation) which prompted readers to connect scenes from the Old and New Testaments as a way of understanding both. This is done in the same manner (and usually with the same subjects) as were used in the Klosterneuburg Altarpiece. That is: Joseph being thrown into the well (Before the Law), the Entombment of Jesus (Under Grace) and Jonah being eaten by the whale (Under the Law). All three subjects are generally used, but occasionally only two may be chosen and, in a few cases, an extra, fourth subject may be added, taken from either the Old or the New Testament.</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpgKS-ET8adq5vPTQNqmCmbK-4QjPCgcc4R5hhyphenhyphenSdpCploxCKP_tMmIHSvIm9Knyy0rpz3We2Zqu3usybzEJ8ZMmi3w6QJ93KR1sM3-IcCqL2A_SdlBgPSijvcf-2AqAdGTVre9rZN56r3oUP_2S8WxJ43HUHM0XaV5N4ycujXGWia0rUdXWLBHZ7JFjo/s1351/1425_entombment%20&%20Jonah,%20From%20a%20Book%20of%20Hours_Dutch%20(Utrecht),c.%201425_The%20Hague,%20KB_MS%20KB%20133%20M%20131,%20fol.%2090v-91r_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="917" data-original-width="1351" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpgKS-ET8adq5vPTQNqmCmbK-4QjPCgcc4R5hhyphenhyphenSdpCploxCKP_tMmIHSvIm9Knyy0rpz3We2Zqu3usybzEJ8ZMmi3w6QJ93KR1sM3-IcCqL2A_SdlBgPSijvcf-2AqAdGTVre9rZN56r3oUP_2S8WxJ43HUHM0XaV5N4ycujXGWia0rUdXWLBHZ7JFjo/w640-h434/1425_entombment%20&%20Jonah,%20From%20a%20Book%20of%20Hours_Dutch%20(Utrecht),c.%201425_The%20Hague,%20KB_MS%20KB%20133%20M%20131,%20fol.%2090v-91r_2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Entombment of Christ and Jonah Thrown into the Sea<br />From a <i><u>Book of Hours</u></i><br />Dutch, ca. 1425<br />The Hague, Koninklijk Bibliotheek<br />MS 133 M 131, fol. 90v and 91r<br />On the left page is the Entombment, while the capital on the right page is Jonah</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi60sNGVFdnCidhYpUn0JhtxWSCqRyMbKvHAmBdXFY62FKFnkTKqsty0PV9OjIDoLCu_D9rNFjEvDfMJ2QXb3AMDWDzaVD311Vohg69XBdA_P7IOO48ZT1u1HS7Rq-KRxKoxVbc9JBSzlOR-QjDnxo1tulPgTR3k3KjuC1j9cHXoqYcC01ZSfd0hN_a1zs/s1436/1450_Circle%20of%20the%20Master%20of%20the%20Mansel_From%20a%20Speculum%20humanae%20salvationis_French%20(Saint-Omer),%20c.%201450_%20Saint-Omer,%20Bibliotheque%20municipale_MS%20183,%20fol.%2028v-29r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="414" data-original-width="1436" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi60sNGVFdnCidhYpUn0JhtxWSCqRyMbKvHAmBdXFY62FKFnkTKqsty0PV9OjIDoLCu_D9rNFjEvDfMJ2QXb3AMDWDzaVD311Vohg69XBdA_P7IOO48ZT1u1HS7Rq-KRxKoxVbc9JBSzlOR-QjDnxo1tulPgTR3k3KjuC1j9cHXoqYcC01ZSfd0hN_a1zs/w640-h184/1450_Circle%20of%20the%20Master%20of%20the%20Mansel_From%20a%20Speculum%20humanae%20salvationis_French%20(Saint-Omer),%20c.%201450_%20Saint-Omer,%20Bibliotheque%20municipale_MS%20183,%20fol.%2028v-29r.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Circle of the Master of the Mansel, Joseph Is Thrown Down the Well, Jonah is Thrown into the Sea, Jesus Breaks Down the Gates of Hell and an Angel Brings Relief to Souls in Purgatory<br />From a <u><i>Speculum humanae salvationis</i></u><br />French (Saint-Omer), c. 1450<br />Saint-Omer, Bibliotheque municipale<br />MS 183, fol. 28v-29r</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-22T5737yCrF7QPUkwVlV4iGfAKSgcQEzRixnQmAxcjZIyVhp7tgWaXbciLj-yxfyCNQQ7VtvNvlbrvji3sysOaGYQc9_jWiA23Hg_IBMidzZhAzbF6eSIBO-3CpVQE9BzlteGr7a-F-az5sg8Cjtba0Mz4F_l7CZzjB2aIEyGMZbdIof5kDtNHomUrg/s1300/1460.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="765" data-original-width="1300" height="376" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-22T5737yCrF7QPUkwVlV4iGfAKSgcQEzRixnQmAxcjZIyVhp7tgWaXbciLj-yxfyCNQQ7VtvNvlbrvji3sysOaGYQc9_jWiA23Hg_IBMidzZhAzbF6eSIBO-3CpVQE9BzlteGr7a-F-az5sg8Cjtba0Mz4F_l7CZzjB2aIEyGMZbdIof5kDtNHomUrg/w640-h376/1460.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jonah Thrown Overboard and Jonah Cast Out by the Whale<br />From a <u><i>Speculum humanae salvationis</i></u><br />Flemish (Bruges), c. 1460<br />Chicago, Newberry Library<br />MS 40, fol. 28r</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_PjVJc0b1YoHjxIYRbcohOLnERzoe-8JFCFjGgmmQVVuDu8Q7etS9pYTMstd8Vr_fJl_gXQxfACoD8bGeY0fu0RT8OLtCv5RWdYwJq1BFrl6P27CY5EUQ3bBS80leRCpcXr-Dew0WvoXgaLamY5W4nQ_ywUH253G7cujNwFf8jkLxAlTXbrxY-Bj_guE/s989/1470_Joseph,%20Jonah,%20Christ_From%20a%20Biblia%20pauperum_French%20(Hesdin%20or%20Amiens),%20c.%201470_The%20Hague,%20Meermano%20Museum_MS%20KB%20MMW%2010%20A%2015,%20fol.%2033r_cropped_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="577" data-original-width="989" height="374" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_PjVJc0b1YoHjxIYRbcohOLnERzoe-8JFCFjGgmmQVVuDu8Q7etS9pYTMstd8Vr_fJl_gXQxfACoD8bGeY0fu0RT8OLtCv5RWdYwJq1BFrl6P27CY5EUQ3bBS80leRCpcXr-Dew0WvoXgaLamY5W4nQ_ywUH253G7cujNwFf8jkLxAlTXbrxY-Bj_guE/w640-h374/1470_Joseph,%20Jonah,%20Christ_From%20a%20Biblia%20pauperum_French%20(Hesdin%20or%20Amiens),%20c.%201470_The%20Hague,%20Meermano%20Museum_MS%20KB%20MMW%2010%20A%2015,%20fol.%2033r_cropped_2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Rambures Master, Joseph Thrown into the Well, Entombment of Jesus, and<br />Jonah Thrown to the Fish<br />From a <u><i>Biblia pauperum</i></u><br />French (Hesdin or Amiens), ca. 1470<br />The Hague, Meermano Museum<br />MS MMW 10 A 15, fol. 33r</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">One manuscript from the very end of this period, in about the year 1500, uses two separate groupings of "types" to teach its readers. One group centers around the Entombment of Jesus and includes events related to the theme of burial. The other focuses on the Resurrection and uses events related to that theme. The story of Jonah appears in both sets of pictures.</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVRkFDO0i31q5YTAdluAiXoFZQgzkauU4ZTWWncAMiNPUuxCadDNAIih7Mtb1U5BKJSX1wTPYHCvt0Jh5VFN-BAPKpLY2J1UibWPUZd_WC3KDS6G8ZN198Q6-TLBgyla6lRyKtBPRiQK4Fjl3oEDLN6VKfib2rivCTJib5HN-_y63ZtdPFhK2A9Q3fwH8/s2888/1500_Master%20of%20Edward%20IV,%20Entombment,%20David%20Mourning,%20Joseph,%20Jonah%20Overboard_From%20a%20Miroir%20de%20l'humaine%20salvation_French,%20c.%201500_Chantilly,%20Musee%20Conde_MS%20139,%20fol.%2040.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="723" data-original-width="2888" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVRkFDO0i31q5YTAdluAiXoFZQgzkauU4ZTWWncAMiNPUuxCadDNAIih7Mtb1U5BKJSX1wTPYHCvt0Jh5VFN-BAPKpLY2J1UibWPUZd_WC3KDS6G8ZN198Q6-TLBgyla6lRyKtBPRiQK4Fjl3oEDLN6VKfib2rivCTJib5HN-_y63ZtdPFhK2A9Q3fwH8/w640-h160/1500_Master%20of%20Edward%20IV,%20Entombment,%20David%20Mourning,%20Joseph,%20Jonah%20Overboard_From%20a%20Miroir%20de%20l'humaine%20salvation_French,%20c.%201500_Chantilly,%20Musee%20Conde_MS%20139,%20fol.%2040.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Master of Edward IV, The Entombment of Jesus, David Mourning Abner, Joseph Thrown Down the Well and Jonah Thrown Overboard<br />From a <i><u>Miroir de l'humaine salvation</u></i><br />French, c. 1500<br />Chantilly, Musée Condé<br />MS 139, fol. 40</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJmgn-6-Mcn8vUlO2Raa_yBiw-6HBu1ve6Mp1I9rGlVZ8k3nIQajOIx7cGspxtB-VBI92rsWocM2JaT5YFlVDMO1JR2rLCCD_swi32JThPQGP90M-dmdVsiCTavdpwme51JjiYSmzmo00ohVPpo2J1HHn65NWHCGHZgWaGGWOakEv7-GUpSelxpUjMcA8/s2941/1500_Master%20of%20Edward%20IV,%20Resurrection,%20Samson,%20Jonah%20Cast%20Out,%20Rejected%20Stone_From%20a%20Miroir%20de%20l'humaine%20salvation_French,%20c.%201500_Chantilly,%20Musee%20Conde_MS%20139,%20fol.%2045.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="769" data-original-width="2941" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJmgn-6-Mcn8vUlO2Raa_yBiw-6HBu1ve6Mp1I9rGlVZ8k3nIQajOIx7cGspxtB-VBI92rsWocM2JaT5YFlVDMO1JR2rLCCD_swi32JThPQGP90M-dmdVsiCTavdpwme51JjiYSmzmo00ohVPpo2J1HHn65NWHCGHZgWaGGWOakEv7-GUpSelxpUjMcA8/w640-h168/1500_Master%20of%20Edward%20IV,%20Resurrection,%20Samson,%20Jonah%20Cast%20Out,%20Rejected%20Stone_From%20a%20Miroir%20de%20l'humaine%20salvation_French,%20c.%201500_Chantilly,%20Musee%20Conde_MS%20139,%20fol.%2045.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Master of Edward IV, The Resurrection, Samson Carrying Off the Gates of Gaza, Jonah Cast Out by the Whale and the Stone Rejected by the Builders<br />From a <u><i>Miroir de l'humaine salvation</i></u><br />French, c. 1500<br />Chantilly, Musée Condé<br />MS 139, fol. 45</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><h4 style="text-align: left;">Biblical Illustrations</h4>
However, the most common use of images of the story of Jonah, from the early medieval period into the Renaissance and beyond, is simply as a Biblical illustration, independent of typology. Examples of this view of Jonah also abound in manuscript illumination, painting, sculpture and later in prints and ceramics.</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfWFtDKb9XxxZ3gBZe8VwEzBSaFdEpTV6QxvLwHxxFNWpQGQl_Lm4dIHyfY6cRU4On4c-V2uW7mds2YoigZtWWRc8krpN1uENGrOsuPQnXRjvIY7oKLMX4KK7m3XZ0qLe844o6urBhBzv5kkLzFFge0yoZJ5sncklrje8vmhYe9U9mkinQtCzIBFOrq-w/s1141/950_Story%20of%20Jonah_From%20Cantica%20with%20Commentary_Byzantine%20(Constantinople),%20Mid-9th%20Century_Paris,%20BNF_MS%20Grec%20139,%20fol.%20431v.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1141" data-original-width="925" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfWFtDKb9XxxZ3gBZe8VwEzBSaFdEpTV6QxvLwHxxFNWpQGQl_Lm4dIHyfY6cRU4On4c-V2uW7mds2YoigZtWWRc8krpN1uENGrOsuPQnXRjvIY7oKLMX4KK7m3XZ0qLe844o6urBhBzv5kkLzFFge0yoZJ5sncklrje8vmhYe9U9mkinQtCzIBFOrq-w/w518-h640/950_Story%20of%20Jonah_From%20Cantica%20with%20Commentary_Byzantine%20(Constantinople),%20Mid-9th%20Century_Paris,%20BNF_MS%20Grec%20139,%20fol.%20431v.jpeg" width="518" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Story of Jonah<br />From <u><i>Cantica with Commentary</i></u><br />Byzantine (Constantinople), Mid-9th Century<br />Paris, Bibliotheque nationale de France<br />MS Grec 139, fol. 431v</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqpbjx3eTVFscsn4u1sakpRhdnGboRpVr4OHIT50YcAw49Tb0s7s6jtb_NzePI87ivj0PhYwVISLtK259R4DZyrUmETuPIo_QfG-L6LTzu9qgglFlG_Zq4Zms5kvyU-wnoTnoShxrr9d4bXE02zViCt4Qy1QoKiJLFHN2JRw0Kamj99ff56AAxc1-QhPc/s640/1200_From%20the%20Golden%20Munich%20Psalter_English%20(Oxford),%20c.%201200-1225_Munich,%20Bayerisches%20Staatsbibliothek_MS%20Clm%20835,%20fol.%20111v.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="586" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqpbjx3eTVFscsn4u1sakpRhdnGboRpVr4OHIT50YcAw49Tb0s7s6jtb_NzePI87ivj0PhYwVISLtK259R4DZyrUmETuPIo_QfG-L6LTzu9qgglFlG_Zq4Zms5kvyU-wnoTnoShxrr9d4bXE02zViCt4Qy1QoKiJLFHN2JRw0Kamj99ff56AAxc1-QhPc/w586-h640/1200_From%20the%20Golden%20Munich%20Psalter_English%20(Oxford),%20c.%201200-1225_Munich,%20Bayerisches%20Staatsbibliothek_MS%20Clm%20835,%20fol.%20111v.png" width="586" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Story of Jonah<br />From the <u><i>Golden Munich Psalter</i></u><br />English (Oxford), c. 1200-1225<br />Munich, Bayerisches Staatsbibliothek<br />MS Clm 835, fol. 111v</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB6uIgABOOEfv96MTnSljMEsloZeB0j46IDtWNrACf1a07A3DYM8ddh_eOz6j7zRRwG5pBc_rY_3EtJhQNn-_-BxTZafx9n50kuvzdKtiWwJZM7PZWrp3Ow823C4-FXrBtS425NkTSU3yU1mUOc77yRoe34LoazPBLyDSmwy_cN1DVD5q8-nGOunx1AVQ/s895/1200_Jonah%20Cast%20Out_From%20a%20Bible_French%20(South),%20c.%2013th-14th%20Century_Paris,%20BNF_MS%20Latin%2037%20(Vol.%203),%20fol.%20236r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="895" data-original-width="721" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB6uIgABOOEfv96MTnSljMEsloZeB0j46IDtWNrACf1a07A3DYM8ddh_eOz6j7zRRwG5pBc_rY_3EtJhQNn-_-BxTZafx9n50kuvzdKtiWwJZM7PZWrp3Ow823C4-FXrBtS425NkTSU3yU1mUOc77yRoe34LoazPBLyDSmwy_cN1DVD5q8-nGOunx1AVQ/w516-h640/1200_Jonah%20Cast%20Out_From%20a%20Bible_French%20(South),%20c.%2013th-14th%20Century_Paris,%20BNF_MS%20Latin%2037%20(Vol.%203),%20fol.%20236r.jpg" width="516" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jonah Cast Out by the Whale<br />From a <i><u>Bible</u></i><br />French (South), c. 13th-14th Century<br />Paris, Bibliotheque nationale de France<br />MS Latin 37 (Vol. 3), fol. 236r</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtcGhi5DzjHRAYYnWaAv0onCGiSqnwBftTMC3aRw7pMb5VT2c2sPmJ8R4iKTpg5vyL-8jyAAH2T6rL22uJM0dOsObmMgAHNc7bzhKFdRIk8vcjpZhROW6jrnXzw2Rf_VucdpFWSRfVdHx1Cxkx1LWyMAKjgc0OPoTxVWcBXbqhDGLttBDIVo4yBnxzXh4/s1632/1320_Master%20of%20the%20Roman%20de%20Fauvel,%20Jonah%20Spit%20Out_From%20a%20Bible%20historiale%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201320-1330_Paris,%20BNF_MS%20Francais%208,%20fol.%20342r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1453" data-original-width="1632" height="570" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtcGhi5DzjHRAYYnWaAv0onCGiSqnwBftTMC3aRw7pMb5VT2c2sPmJ8R4iKTpg5vyL-8jyAAH2T6rL22uJM0dOsObmMgAHNc7bzhKFdRIk8vcjpZhROW6jrnXzw2Rf_VucdpFWSRfVdHx1Cxkx1LWyMAKjgc0OPoTxVWcBXbqhDGLttBDIVo4yBnxzXh4/w640-h570/1320_Master%20of%20the%20Roman%20de%20Fauvel,%20Jonah%20Spit%20Out_From%20a%20Bible%20historiale%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201320-1330_Paris,%20BNF_MS%20Francais%208,%20fol.%20342r.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Master of the Roman de Fauvel, Jonah Cast Out by the Whale<br />From a <u><i>Bible historiale</i></u> by Guiard des Moulins<br />French (Paris), c. 1320-1330<br />Paris, Bibliotheque nationale de France<br />MS Francais 8, fol. 342r</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhm2XXEuaS9oI1go-bNuWuAImpi5TqZCe_Gu7hLn9LS2pcJEf6UGJ_gZ_9yRf2XM-4gpgE1vg2-qq89s1mr12TWYZjvgusMQHkrdeWM09YTFBh3k_iykLirghUOLTxxvXXXCulnNmdaWZitJw0rZYekANEjZlR5lSWu91-t0n_MWVFPPOTr7ENI5-7oWo/s1466/1350_Jonah%20Cast%20Out_From%20a%20Bible%20historiale%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201350-1375_Paris,%20BNF_MS%20Francais%20162,%20fol.%20130v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1211" data-original-width="1466" height="528" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhm2XXEuaS9oI1go-bNuWuAImpi5TqZCe_Gu7hLn9LS2pcJEf6UGJ_gZ_9yRf2XM-4gpgE1vg2-qq89s1mr12TWYZjvgusMQHkrdeWM09YTFBh3k_iykLirghUOLTxxvXXXCulnNmdaWZitJw0rZYekANEjZlR5lSWu91-t0n_MWVFPPOTr7ENI5-7oWo/w640-h528/1350_Jonah%20Cast%20Out_From%20a%20Bible%20historiale%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201350-1375_Paris,%20BNF_MS%20Francais%20162,%20fol.%20130v.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jonah Cast Out of the Whale<br />From a <u><i>Bible historiale</i></u> by Guiard des Moulins<br />French (Paris), c. 1350-1375<br />Paris, Bibliotheque nationale de France<br />MS Francais 162, fol. 130v</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNwzNPMRuNSZeHBtYRiRv28bYx43c0TAXAMIBlM0O4X_yNsg61teXwCvPwWs2gOEcCuURXFqbP5pFp1fMrFoyltQu-qhQ6s53gBWl0lGBA-gQgP3QZUgvCUn5GInorqAUO7p1H1t1AGi85gTmmY65kztBS1AMjPdnbjBxxyxAJMGqkt5MRnF0x0SPXzko/s990/1400_Jonah%20Cast%20Out_From%20a%20Bible%20historiale%20by%20Guiard%20des%20Moulins_Franch%20(Paris),%20c.%201400_Paris,%20BNF_MS%20Francais%2010,%20fol.%20452v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="990" data-original-width="790" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNwzNPMRuNSZeHBtYRiRv28bYx43c0TAXAMIBlM0O4X_yNsg61teXwCvPwWs2gOEcCuURXFqbP5pFp1fMrFoyltQu-qhQ6s53gBWl0lGBA-gQgP3QZUgvCUn5GInorqAUO7p1H1t1AGi85gTmmY65kztBS1AMjPdnbjBxxyxAJMGqkt5MRnF0x0SPXzko/w510-h640/1400_Jonah%20Cast%20Out_From%20a%20Bible%20historiale%20by%20Guiard%20des%20Moulins_Franch%20(Paris),%20c.%201400_Paris,%20BNF_MS%20Francais%2010,%20fol.%20452v.jpg" width="510" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jonah Cast Out by the Whale<br />From a <u><i>Bible historiale</i></u> by Guiard des Moulins<br />Franch (Paris), c. 1400<br />Paris, Bibliotheque nationale de France<br />MS Francais 10, fol. 452v</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlYcaTE6lT6BuHFsEiLWGvwP9HegVzj3-vLQRZYlIH9EqfON2b4aTHM09YzJ0x-zq-CAUKjE8dhntVAY-1cTOEPHXGLCTkai16FaP9JMACTEAVIyiIiAJzkyK4RRlR_TnqaD0udAc7-RDBJuVUQAXThzjsA4_bH9koHkALW843yOcig8r27Zds3KMsKao/s3214/1483_Maitre%20de%20Boece,%20Jonah%20Thrown%20Overboard_From%20Jewish%20Antiquities%20by%20Flavius%20Josephus_Flemish%20(Bruges),%201483_Paris,%20BNF_MS%20Francais%2013,%20fol.%20240r_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2598" data-original-width="3214" height="518" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlYcaTE6lT6BuHFsEiLWGvwP9HegVzj3-vLQRZYlIH9EqfON2b4aTHM09YzJ0x-zq-CAUKjE8dhntVAY-1cTOEPHXGLCTkai16FaP9JMACTEAVIyiIiAJzkyK4RRlR_TnqaD0udAc7-RDBJuVUQAXThzjsA4_bH9koHkALW843yOcig8r27Zds3KMsKao/w640-h518/1483_Maitre%20de%20Boece,%20Jonah%20Thrown%20Overboard_From%20Jewish%20Antiquities%20by%20Flavius%20Josephus_Flemish%20(Bruges),%201483_Paris,%20BNF_MS%20Francais%2013,%20fol.%20240r_2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Master of Boethius, Jonah Thrown Overboard<br />From <i style="text-decoration-line: underline;">Jewish Antiquities</i> by Flavius Josephus<br />Flemish (Bruges), 1483<br />Paris, Bibliotheque nationale de France<br />MS Francais 13, fol. 240</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi36uaGHFXmxgvsvlw9hlG-Msv2vVF8WSCC8iNkzC2SG4e_4KMBqFydDgUAP-odTp3dLjZLUGJHsY_ljQ-x0zJ8WIkoQi5tTNyyr2BrFo1zIqFHBY5JrX47yjcoKghUJVc4IsXnvb2kpjRV-f3ZZqEcweyBhSlY6V6-miH09jroltb8AwVHjywPeoSvvxg/s613/1485_Jonah%20Thrown%20into%20the%20Sea_French,%20Late%2015th%20Century_Paris,%20Mus%C3%A9e%20de%20Cluny%20-%20Mus%C3%A9e%20national%20du%20Moyen%20%C3%82ge.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="613" data-original-width="520" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi36uaGHFXmxgvsvlw9hlG-Msv2vVF8WSCC8iNkzC2SG4e_4KMBqFydDgUAP-odTp3dLjZLUGJHsY_ljQ-x0zJ8WIkoQi5tTNyyr2BrFo1zIqFHBY5JrX47yjcoKghUJVc4IsXnvb2kpjRV-f3ZZqEcweyBhSlY6V6-miH09jroltb8AwVHjywPeoSvvxg/w542-h640/1485_Jonah%20Thrown%20into%20the%20Sea_French,%20Late%2015th%20Century_Paris,%20Mus%C3%A9e%20de%20Cluny%20-%20Mus%C3%A9e%20national%20du%20Moyen%20%C3%82ge.jpg" width="542" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jonah Thrown into the Sea<br />French, Late 15th Century<br />Paris, Musée de Cluny - Musée national du Moyen Âge</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQSXdIOWwgLVaJID6lxIVGYsCbk4wOHlcDREjXm5QnK-jZnxxa9i0RGhxyHUnaISu7F7qOMNXDqKXj4Z6SCzJMA2b4Rm2ZAZ8RloKf2rjS3UOWMCG18Ml7A_QuxGHkfdhXpSw_Eyk4F0xQLgX_KMOvVcYXVm9B_jFvvsdTSVArs4_qhSSD1PN7roUb5dY/s617/1508_Michelangelo,%20Jonah_Italian,%20c.%201508-1512_Vatican%20City,%20Sistine%20Chapel.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="617" data-original-width="530" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQSXdIOWwgLVaJID6lxIVGYsCbk4wOHlcDREjXm5QnK-jZnxxa9i0RGhxyHUnaISu7F7qOMNXDqKXj4Z6SCzJMA2b4Rm2ZAZ8RloKf2rjS3UOWMCG18Ml7A_QuxGHkfdhXpSw_Eyk4F0xQLgX_KMOvVcYXVm9B_jFvvsdTSVArs4_qhSSD1PN7roUb5dY/w550-h640/1508_Michelangelo,%20Jonah_Italian,%20c.%201508-1512_Vatican%20City,%20Sistine%20Chapel.jpg" width="550" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Michelangelo, Jonah<br />Italian, c. 1508-1512<br />Vatican City, Apostolic Palace, Sistine Chapel<br /><div style="text-align: left;">In this famous fresco from the Sistine Chapel Michelangelo treats the whale more as an attribute of Jonah than as a part of the Biblical narrative.</div></td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHv50iXmI1uElSnPK-2oKxLFH1y_nHb5aCuERZ3O6Saet6iIKCulnNEZLqCr5yhVYx0nTjiWknJkk6QyshBWNgEW4fjl99TB9iGbADYrfDC6kRnStKXoYBUFsBtAhgeDj6xgkXXbTKJUGwWYvCyOgZRvSbZMe3jgp8Y5qwC5zz0kv1hxIKAIoDAhTTqNc/s1262/1577_Tintoretto,%20Jonah%20Cast%20Out%20of%20the%20Whale_Italian,%20c.%201577-1578_Venice,%20Scuola%20Grande%20di%20San%20Rocco_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1262" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHv50iXmI1uElSnPK-2oKxLFH1y_nHb5aCuERZ3O6Saet6iIKCulnNEZLqCr5yhVYx0nTjiWknJkk6QyshBWNgEW4fjl99TB9iGbADYrfDC6kRnStKXoYBUFsBtAhgeDj6xgkXXbTKJUGwWYvCyOgZRvSbZMe3jgp8Y5qwC5zz0kv1hxIKAIoDAhTTqNc/w640-h456/1577_Tintoretto,%20Jonah%20Cast%20Out%20of%20the%20Whale_Italian,%20c.%201577-1578_Venice,%20Scuola%20Grande%20di%20San%20Rocco_2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Tintoretto, Jonah Cast Out By the Fish<br />Italian, c. 1577-1578<br />Venice, Scuola Grande di San Rocco</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnQJcocs18zvwgLAOy9Kv-R3Kiy9RGJD1mchUkNtQ2iJcipJR1lFQ5zYNTTdoIVDokjqhgAP4N6WL4pi808VatoYIaTzIHUc5m4jqYTg3Nm1eKKwOGhCQ6E1xG7IeENydm3BCGov02dgUZDjySngFBIY8g6CCaU03-lNwibmBU5TGO3PYrYTNMcLPKLMM/s750/1580_Majolica%20Plate%20Depicting%20Jonah_French,%20Late%2016th%20Century_%20Cleveland,%20Museum%20of%20Art.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="731" data-original-width="750" height="624" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnQJcocs18zvwgLAOy9Kv-R3Kiy9RGJD1mchUkNtQ2iJcipJR1lFQ5zYNTTdoIVDokjqhgAP4N6WL4pi808VatoYIaTzIHUc5m4jqYTg3Nm1eKKwOGhCQ6E1xG7IeENydm3BCGov02dgUZDjySngFBIY8g6CCaU03-lNwibmBU5TGO3PYrYTNMcLPKLMM/w640-h624/1580_Majolica%20Plate%20Depicting%20Jonah_French,%20Late%2016th%20Century_%20Cleveland,%20Museum%20of%20Art.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Majolica Plate Depicting Jonah Cast Out by the Whale<br />French, Late 16th Century<br />Cleveland, Museum of Art</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4cYTKKFsJEvgzr_gH_YYvlJgzOx1diy-XRl3CczoY9nTLde6nTct24zK_fIb4BDtPfjT_mZN2w9_yi2r25XE_4ogdCetuIZQ_GgY9fa3eD3mwmG8eGKS1ReraDx-ekBH-uyidjVf8lZWPuVth_vVNLVzP4oyL2E73fP5k20WubbvcXYu8kSF6DgVZj9c/s4000/1585_Antonius%20Wierix%20the%20Younger%20after%20Maerten%20de%20Vos,%20Jonah%20Cast%20on%20Shore%20by%20the%20Fish_Flemish,%20c.%201585_New%20%20York,%20Metropolitan%20Museum%20of%20Art,%20Department%20of%20Drawings%20and%20Prints.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3079" data-original-width="4000" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4cYTKKFsJEvgzr_gH_YYvlJgzOx1diy-XRl3CczoY9nTLde6nTct24zK_fIb4BDtPfjT_mZN2w9_yi2r25XE_4ogdCetuIZQ_GgY9fa3eD3mwmG8eGKS1ReraDx-ekBH-uyidjVf8lZWPuVth_vVNLVzP4oyL2E73fP5k20WubbvcXYu8kSF6DgVZj9c/w640-h492/1585_Antonius%20Wierix%20the%20Younger%20after%20Maerten%20de%20Vos,%20Jonah%20Cast%20on%20Shore%20by%20the%20Fish_Flemish,%20c.%201585_New%20%20York,%20Metropolitan%20Museum%20of%20Art,%20Department%20of%20Drawings%20and%20Prints.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Antonius Wierix the Younger after Maerten de Vos, Jonah Cast on Shore by the Fish<br />Flemish, c. 1585<br />New York, Metropolitan Museum of Art, Department of Drawings and Print</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6CSqKc1HLXHYi7wolCOaXnRdbxCpkGnbHHDNx9FLgRGFM5845r3nBL4EDuiWr-clvjssffY1j0A3NVVgofphssVdb0kqTmx67dxozlvxwPzXkih22fPmB31OPWEx6IIJOAG33pIOa-4oakxWw8QL1fo-V2MS64EaFaz_z-KYZhNCAhyphenhyphenlBPjL46DW1TXs/s1859/1600_Crispijn%20van%20de%20Passe%20after%20Martin%20de%20Vos,%20Jonah%20Cast%20Out_From%20The%20Story%20of%20Jonah_Flemish,%20c.%201600_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1859" data-original-width="1279" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6CSqKc1HLXHYi7wolCOaXnRdbxCpkGnbHHDNx9FLgRGFM5845r3nBL4EDuiWr-clvjssffY1j0A3NVVgofphssVdb0kqTmx67dxozlvxwPzXkih22fPmB31OPWEx6IIJOAG33pIOa-4oakxWw8QL1fo-V2MS64EaFaz_z-KYZhNCAhyphenhyphenlBPjL46DW1TXs/w440-h640/1600_Crispijn%20van%20de%20Passe%20after%20Martin%20de%20Vos,%20Jonah%20Cast%20Out_From%20The%20Story%20of%20Jonah_Flemish,%20c.%201600_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="440" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Crispijn van de Passe after Martin de Vos, Jonah Cast Out<br />From The Story of Jonah<br />Flemish, c. 1600<br />Madrid, Museo Nacional del Prado</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZBAZrJmkfhk6vsayki9DoydocwrQd-VmuUbZ59WjzncJigsxSiJAIdqP2JvIcXyVbGtoV0SDXQC-84LnXleLLB8jK3PQvppF0aoffLIzuodgD8JjCFMVq4T8yauyJqyeV5yOVqQbPKgXS_g1S7T1Bryon7Bhyzp7lqzvcAf9vb2UAJSfptWhPid4PHHU/s1235/1600_Paul%20Bril,%20Voyage%20of%20Jonah_Flemish,%20c.%201600_Lille_Mus%20de%20B-A_dup%20of%20original%20from%20Scala%20Santa_2_Page_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="908" data-original-width="1235" height="470" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZBAZrJmkfhk6vsayki9DoydocwrQd-VmuUbZ59WjzncJigsxSiJAIdqP2JvIcXyVbGtoV0SDXQC-84LnXleLLB8jK3PQvppF0aoffLIzuodgD8JjCFMVq4T8yauyJqyeV5yOVqQbPKgXS_g1S7T1Bryon7Bhyzp7lqzvcAf9vb2UAJSfptWhPid4PHHU/w640-h470/1600_Paul%20Bril,%20Voyage%20of%20Jonah_Flemish,%20c.%201600_Lille_Mus%20de%20B-A_dup%20of%20original%20from%20Scala%20Santa_2_Page_1.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span><span>Paul Bril, Voyage of Jonah</span><br /><span>Flemish, ca. 1600</span><br /><span>Lille, <span style="line-height: 19.26px;">Mus</span><span style="line-height: 19.26px;">é</span><span style="line-height: 19.26px;">e</span> des Beaux-Arts</span></span><br /><div style="text-align: left;">This is a copy by the artist of a painting done for the interior of the Scala Santa (Holy Stairs) at Saint John Lateran in Rome. <span style="color: blue; font-size: x-small;"><u><b>4</b></u></span></div></td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP4jsUMIeN_032kfikflq2bzYo2IvmkoGsGVoJ3rLuEu3FpGfcgvepBdBj_E8oZw1s333n44B1wUvlQspUzFA2gd-eeleatKxI0WtsaJhGUEQGAdKBei65Xb9BruKZEHGKntIUngkJNpngQ_4aBVZlU3WN3p9pAUX5kckyztbwwYcaCAURnNxtOwUR-v0/s830/1896_james%20Tissot,%20Jonah_French,%20c.%201896-1902_New%20York,%20The%20Jewish%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="830" data-original-width="410" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP4jsUMIeN_032kfikflq2bzYo2IvmkoGsGVoJ3rLuEu3FpGfcgvepBdBj_E8oZw1s333n44B1wUvlQspUzFA2gd-eeleatKxI0WtsaJhGUEQGAdKBei65Xb9BruKZEHGKntIUngkJNpngQ_4aBVZlU3WN3p9pAUX5kckyztbwwYcaCAURnNxtOwUR-v0/w316-h640/1896_james%20Tissot,%20Jonah_French,%20c.%201896-1902_New%20York,%20The%20Jewish%20Museum.jpg" width="316" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">James Tissot, Jonah<br />French, c. 1896-1902<br />New York, The Jewish Museum<br />From Tissot's series of illustrations of the Old Testament.</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">
The “sign of Jonah” can be as easily understood today as it has been at any time since the Gospel of Luke was written slightly over 1,900 years ago. <span style="color: blue; font-size: x-small;"><u style="font-weight: bold;">3</u> </span><span style="font-family: georgia; font-size: small;">Unless, of course, it is treated as the subject of a children's toy.</span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: x-small;"><span style="font-family: georgia;"><br /></span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: x-small;"><span style="font-family: georgia;"><br /></span></span>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxgAUNwft-Xb5t4ucmm0YbwqcATe4f3UUSY2vBchinDXb5LtoPq7AOPBPGr-6ZUADd7M6NQKdOPsPCIpsmTrwHfBL1TOAu8i7ZWrvC4l5c0DU-yFP8lMxEZ-_AX3y8LwZiFbLokQW_MeW5c8VR6jUcGF36k_zYkLjXOdgenqMYLPBGLRrR-wiQagrkIdI/s3961/1939_Rose%20Campbell-Gerke,%20Toy%20Bank-'Jonah%20and%20the%20Whale'_American,%20c.%201939_Washington,%20National%20Gallery%20of%20Art.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="2585" data-original-width="3961" height="418" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxgAUNwft-Xb5t4ucmm0YbwqcATe4f3UUSY2vBchinDXb5LtoPq7AOPBPGr-6ZUADd7M6NQKdOPsPCIpsmTrwHfBL1TOAu8i7ZWrvC4l5c0DU-yFP8lMxEZ-_AX3y8LwZiFbLokQW_MeW5c8VR6jUcGF36k_zYkLjXOdgenqMYLPBGLRrR-wiQagrkIdI/w640-h418/1939_Rose%20Campbell-Gerke,%20Toy%20Bank-'Jonah%20and%20the%20Whale'_American,%20c.%201939_Washington,%20National%20Gallery%20of%20Art.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Rose Campbell-Gerke, Toy Bank: 'Jonah and the Whale'<br />American, c. 1939<br />Washington, National Gallery of Art</td></tr></tbody></table><br /><br />
________________<br />
* See also Matthew 12:38-42 and 16:1-4. The translations for the comments on the first image are:</div><div dir="ltr" style="text-align: left;" trbidi="on"><p class="MsoNormal"><i>A House in Capernaum. </i></p>
<p class="MsoNormal"><i>B Some of the Scribes and Pharisees maliciously ask for a
sign. </i></p>
<p class="MsoNormal"><i>C Christ, in his spirit of zeal, answered them again: An
evil generation, etc.</i></p>
<p class="MsoNormal"><i>D Jonah flees: He is swallowed up and cast out by Cetus (the whale); He came to Nineveh; He preached.</i></p>
<p class="MsoNormal"><i>E Solomon on the throne of his glory, to whom the Queen of
Sheba came. (The Queen of Sheba is also known as the Queen of the South.) </i></p>
<p class="MsoNormal"><i>F A man from whom one demon had come out. </i></p>
<p class="MsoNormal"><i>G Seven other devils rushed upon him.</i><o:p></o:p></p>
<br />
1. Jonah, Chapters 1-3 can be accessed at <a href="http://www.usccb.org/bible/jonah/1">http://www.usccb.org/bible/jonah/1</a><br />
<br />
2. Robin M. Jensen, “Early Christian Images and Exegesis”, in Spier, Jeffrey, et al., <u>Picturing the Bible, The Earliest Christian Art</u>, New Haven and Fort Worth, Yale University Press in association with the Kimball Art Museum, 2007, p. 71.<br />
<br />
3. Most scholars place the date for the Gospel of Luke in the last decade of the first century, AD 80-90. See <a href="http://www.usccb.org/bible/scripture.cfm?bk=Luke&ch">http://www.usccb.org/bible/scripture.cfm?bk=Luke&ch</a>=<br />
<br />
4. The Bril frescoes have recently been restored. See: <a href="http://www.vatican-patrons.org/wishbook2012/Scala_Santa.pdf">http://www.vatican-patrons.org/wishbook2012/Scala_Santa.pdf</a> as well as <a href="http://news.bbc.co.uk/2/hi/8376263.stm">http://news.bbc.co.uk/2/hi/8376263.stm</a> and <a href="http://calitreview.com/5547">http://calitreview.com/5547</a> The restoration has completely changed one's view of Bril's work.<br />
<br />
<br />
© M. Duffy, 2012, Revised with additional information and images 2024.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="border: 1pt solid windowtext; mso-border-alt: solid windowtext .5pt; mso-element: para-border-div; padding: 1pt 4pt;">
<p class="MsoNormal" style="border: none; mso-border-alt: solid windowtext .5pt; mso-padding-alt: 1.0pt 4.0pt 1.0pt 4.0pt; padding: 0in;"><span style="background: white; color: #363936; font-family: Roboto;">Excerpts from the <em><span style="border: 1pt none windowtext; padding: 0in;">Lectionary for Mass for Use in the Dioceses of the United States
of America, second typical edition</span></em> © 2001, 1998, 1997, 1986,
1970 Confraternity of Christian Doctrine, Inc., Washington, DC. Used with
permission. All rights reserved. No portion of this text may be reproduced by
any means without permission in writing from the copyright owner.</span><span style="font-family: Roboto;"><o:p></o:p></span></p>
</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><br /><div class="separator" style="clear: both; text-align: left;"><br /></div><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div>
<div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="blogger-post-footer">Copyright Margaret Duffy, 2008-2017</div>Margaret Duffyhttp://www.blogger.com/profile/03821836487895782384noreply@blogger.com0tag:blogger.com,1999:blog-415269867796810849.post-63168355191211671062024-02-18T12:00:00.001-05:002024-02-18T15:54:48.782-05:00"I set my bow in the clouds"<p> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF5Qz5hhwOZ-icBlteqzZyf6MKNVD5arNHzTVR-T2sTOxDVOhI6044KaGWnbAI2umyw16pVuIM-e6UrU1JJXWzA6HARdhvUfmq1AokF0E-m2WJbB4QocTLqii-SoSbW2CZvF63odh2noKMJhp42L8VwjAlVoFzBXgIsQgtC0osMual02CvsgSgFYTqsHs/s768/1721_Jean%20Joubert,%20Sacrifice%20of%20Noah_French,%20c.%201721-1725_Paris,%20Musee%20du%20Louvre,%20D%C3%A9partement%20des%20Arts%20graphiques.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="601" data-original-width="768" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF5Qz5hhwOZ-icBlteqzZyf6MKNVD5arNHzTVR-T2sTOxDVOhI6044KaGWnbAI2umyw16pVuIM-e6UrU1JJXWzA6HARdhvUfmq1AokF0E-m2WJbB4QocTLqii-SoSbW2CZvF63odh2noKMJhp42L8VwjAlVoFzBXgIsQgtC0osMual02CvsgSgFYTqsHs/w640-h500/1721_Jean%20Joubert,%20Sacrifice%20of%20Noah_French,%20c.%201721-1725_Paris,%20Musee%20du%20Louvre,%20D%C3%A9partement%20des%20Arts%20graphiques.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jean Joubert, The Sacrifice of Noah<br />French, c. 1721-1725<br />Paris, Musee du Louvre, Département des Arts graphiques</td></tr></tbody></table><br /></p><p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">“God said
to Noah and to his sons with him:<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">"See,
I am now establishing my covenant with you<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">and your
descendants after you<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">and with
every living creature that was with you:<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">all the
birds, and the various tame and wild animals<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">that were
with you and came out of the ark.<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">I will
establish my covenant with you,<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">that never
again shall all bodily creatures be destroyed<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">by the
waters of a flood;<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">there
shall not be another flood to devastate the earth."<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">God added:<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">"This
is the sign that I am giving for all ages to come,<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">of the
covenant between me and you<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">and every
living creature with you:<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">I set my
bow in the clouds to serve as a sign<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">of the
covenant between me and the earth.<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">When I
bring clouds over the earth,<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">and the
bow appears in the clouds,<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">I will
recall the covenant I have made<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">between me
and you and all living beings,<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">so that
the waters shall never again become a flood<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-family: "Book Antiqua",serif;">to destroy
all mortal beings."<o:p></o:p></span></i></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">Genesis
9:8-15 <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">(First
Reading for the First Sunday of Lent, Year B)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p> </o:p></span></p>
<h4 style="text-align: left;"><span style="font-family: "Book Antiqua",serif;">The New
Beginnings of Lent</span></h4>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">Lent is a
time for new beginnings.<span style="mso-spacerun: yes;"> </span>Each year
Christians are invited to think again, to reform their lives, to start anew in
their efforts to follow Christ.<span style="mso-spacerun: yes;"> </span>In the
liturgical readings also there are new beginnings.<span style="mso-spacerun: yes;"> </span>Each year the Gospel for the first Sunday of
Lent is drawn from the account of the temptations of Christ from each of the
Synoptic Gospels in turn.<span style="mso-spacerun: yes;"> </span>The temptations
of Christ mark the beginning of the public ministry of Jesus, the point at
which he leaves his hitherto quiet life in Nazareth and takes to the roads of
Galilee and Judea, gathering disciples and preaching the good news of the
Kingdom of God.<span style="mso-spacerun: yes;"> </span>In Year B the first, Old
Testament, reading is also the story of a new beginning.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p> </o:p></span></p>
<h4 style="text-align: left;"><span style="font-family: "Book Antiqua",serif;">The Story of
Noah</span></h4>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">It is the end
of the story of Noah and the great Flood.<span style="mso-spacerun: yes;">
</span>In this story Noah receives God’s command to build a huge ship, an ark,
big enough for himself, his wife, his family and two of every animal
alive.<span style="mso-spacerun: yes;"> </span>God tells him that he is about to
destroy the sinful people of the earth with a great Flood, but that Noah and
his family and the animals they bring with them will survive to repopulate the
cleansed earth.<span style="mso-spacerun: yes;"> </span>Noah does as he is
commanded.<span style="mso-spacerun: yes;"> </span>He builds the ark, in spite
of the derision of his neighbors and, at a further command from God, he loads
the ship with one pair of all the animals on the earth, plus the food for all
of them.<span style="mso-spacerun: yes;"> </span>Then he and his family board as
well and the rains come and come and come and come.<span style="mso-spacerun: yes;"> </span>The earth floods and remains flooded for
months.<span style="mso-spacerun: yes;"> </span>All living things not on board
the ark die in the waters.<span style="mso-spacerun: yes;"> </span>It takes further
months for the water to begin to evaporate.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzLArScSvWId714sVAFuutX3LzDrxMRP_N4geTIOpdwk57VKlMeZTQJcdeqYypRyDyR79m6wLCk2ahiZiQ6V4nXYUjdMxV8jJ5hwfR-6AHQmkWOteUKCOFK2y7sIgyBvS4hgi12ZfiK7c2fvoZ0DSD2EMp_Kdk4K7QyQZzYOHtUGy-n8ZquDl2AnSwVIg/s1104/1370_Mast%20of%20the%20Livre%20du%20Sacre%20of%20Charles%20V_Fr%20a%20Speculum%20historiale%20by%20Vincent%20of%20Beavais_French%20(Paris),%20c.%201370-1380_Paris,%20BNF_MS%20Nouvellel%20%20acquisition%20francaise%2015939,%20fol.%2026v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1076" data-original-width="1104" height="624" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzLArScSvWId714sVAFuutX3LzDrxMRP_N4geTIOpdwk57VKlMeZTQJcdeqYypRyDyR79m6wLCk2ahiZiQ6V4nXYUjdMxV8jJ5hwfR-6AHQmkWOteUKCOFK2y7sIgyBvS4hgi12ZfiK7c2fvoZ0DSD2EMp_Kdk4K7QyQZzYOHtUGy-n8ZquDl2AnSwVIg/w640-h624/1370_Mast%20of%20the%20Livre%20du%20Sacre%20of%20Charles%20V_Fr%20a%20Speculum%20historiale%20by%20Vincent%20of%20Beavais_French%20(Paris),%20c.%201370-1380_Paris,%20BNF_MS%20Nouvellel%20%20acquisition%20francaise%2015939,%20fol.%2026v.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of the Livre du Sacre of Charles V, Noah and His Wife in the Ark<br />From a <u><i>Speculum historiale</i></u> by Vincent of Beavais<br />French (Paris), c. 1370-1380<br />Paris, Bibliotheque nationale de Franc<br />MS Nouvelle acquisition francaise 15939, fol. 26v<br /><div style="text-align: left;">In this charming image, Noah and his wife peer out of the ark as a raven leaves and a dove returns from a scouting mission. As yet there is no rainbow. The blue, white and red circle at the upper right is a symbolic representation of the sun amid clouds. In addition, it is behind the ark so that Noah and his wife cannot even see it.</div></td></tr></tbody></table><br /></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">Eventually Noah
sends out birds, ravens and a dove, to see if there is any dry land.<span style="mso-spacerun: yes;"> </span>The birds are unsuccessful at first, but
eventually they bring him evidence that the land has dried sufficiently for
plants to begin to grow again.<span style="mso-spacerun: yes;"> </span>The ark
finally comes to rest on a mountain and the people and the animals leave and
begin to spread out over the earth again.<span style="mso-spacerun: yes;">
</span>At this point Noah prepares a sacrifice to thank God for saving them and
it is then that God speaks once again.<span style="mso-spacerun: yes;">
</span>He announces that he will make an agreement, a covenant, with Noah and
his family to never again drown all living things.<span style="mso-spacerun: yes;"> </span>The covenant includes not only the humans but
all the other living things that were aboard the ark.<span style="mso-spacerun: yes;"> </span>And the sign of the covenant will be the
rainbow that appears in the sky after rain.<span style="mso-spacerun: yes;">
</span>It will be a reminder that God will never again so completely devastate
the earth with water.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijEb-2sNSVGaEAvNLuxKfovrTNWDsD8HM_28y9GuIeBUbS6W1K-cwcY0XsmwEjNq0ECD4FGE38x5bw6BZmOfcpcFNhvDC6E7svcBqEQe8Q5jjh3plhC0IKw1oftUNYpBgnTXkWdEzpYm63sJazB9f29nVlil64xPEOHEp3VdEKNy-w7EX4X5sRvyyi52M/s1679/1460_Master%20of%20Coeetivy,%20Scenes%20from%20the%20OT_From%20Histoire%20ancienne%20jusqu'a%20Cesar_French%20(Paris),%20c.%201460-1465_Paris,%20BNF_MS%20Francais%2064,%20fol.%2017r%20det.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1535" data-original-width="1679" height="586" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijEb-2sNSVGaEAvNLuxKfovrTNWDsD8HM_28y9GuIeBUbS6W1K-cwcY0XsmwEjNq0ECD4FGE38x5bw6BZmOfcpcFNhvDC6E7svcBqEQe8Q5jjh3plhC0IKw1oftUNYpBgnTXkWdEzpYm63sJazB9f29nVlil64xPEOHEp3VdEKNy-w7EX4X5sRvyyi52M/w640-h586/1460_Master%20of%20Coeetivy,%20Scenes%20from%20the%20OT_From%20Histoire%20ancienne%20jusqu'a%20Cesar_French%20(Paris),%20c.%201460-1465_Paris,%20BNF_MS%20Francais%2064,%20fol.%2017r%20det.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Coeetivy, Scenes from the Old Testament, Noah in the Ark<br />From <i><u>Histoire ancienne jusqu'a Cesar</u></i><br />French (Paris), c. 1460-1465<br />Paris, Bibliotheque nationale de France<br />MS Francais 64, fol. 17r (detail)<br /><div style="text-align: left;">This image moves the appearance of the rainbow to the time that Noah is still in the ark, sending out the birds as scouts.</div></td></tr></tbody></table><br /></o:p></span></p>
<h4 style="text-align: left;"><span style="font-family: "Book Antiqua",serif;">The Rainbow</span></h4>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">Rainbows have
always seemed a trifle magical.<span style="mso-spacerun: yes;"> </span>Even
now, when we understand the physical mechanism that makes them, the breakdown
of light into the color spectrum that occurs as the light passes through
raindrops, there is still something ethereal and otherworldly about them.<span style="mso-spacerun: yes;"> </span>Imagine how it must have seemed to people who
did not realize how the shining, translucent arch of colors was created!<span style="mso-spacerun: yes;"> </span>No wonder that the biblical authors imagined this
thing of beauty was a sign of God’s benevolence, for the rainbow usually means
that the rain is over of at least that it is ending.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">For artists, picturing
a rainbow may be a bit daunting.<span style="mso-spacerun: yes;"> </span>Real rainbows
are subtle and ephemeral.<span style="mso-spacerun: yes;"> </span>Such an effect
isn’t easy to reproduce, especially so before the development of oil paint in the later middle ages, so they mostly were content to depict a rainbow as
solid, multicolored bands forming an arch shape.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p> </o:p></span></p>
<h4 style="text-align: left;"><span style="font-family: "Book Antiqua",serif;">Early
Depictions:<span style="mso-spacerun: yes;"> </span>Late Antiquity and the Middle
Ages</span></h4>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">While depictions of Noah and the ark date from the earliest works of Christian art following the Edict of Milan in 315, these images focus primarily on the central act of the story, the building, stocking and survival of the ark during the Flood. Images of the aftermath do not appear for some time. The earliest one I was able to find dates from the sixth century copy of the Book of Genesis, known as the Vienna Genesis. </span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">Early depictions of
the rainbow sign of the covenant between God and Man generally interpret the story
simply, as an image that focuses on the confrontation between God, whether
shown in full figure or as just a symbolic hand extended from the heavens, and
Noah.<span style="mso-spacerun: yes;"> </span>It appears in virtually every
medium available.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p> </o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYkFhOnPRpw8_Q-bgE9nOlQ5kLDX062so86XMJaKWwSrhiake3N3V7baSaRQWTnbdaTm-8yApaOOeosG6Ku5tbu40jjZBqCoMlT3LDA_ekXef5QSZrrrmfx1H6HgFcpUI5fKQxrvNqUYt8yBh_crx3oA-ZZJ5aKkBgACDABmHhyXAt5AetfiQc8-eZmYU/s969/500_From%20the%20Vienna%20Genesis_Greek,%206th%20century_Vienna,%20Osterreichische%20Nationalbibliothek_MS%20Codex%20Vindobonensis%20theol.%20grec.%2031.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="655" data-original-width="969" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYkFhOnPRpw8_Q-bgE9nOlQ5kLDX062so86XMJaKWwSrhiake3N3V7baSaRQWTnbdaTm-8yApaOOeosG6Ku5tbu40jjZBqCoMlT3LDA_ekXef5QSZrrrmfx1H6HgFcpUI5fKQxrvNqUYt8yBh_crx3oA-ZZJ5aKkBgACDABmHhyXAt5AetfiQc8-eZmYU/w640-h432/500_From%20the%20Vienna%20Genesis_Greek,%206th%20century_Vienna,%20Osterreichische%20Nationalbibliothek_MS%20Codex%20Vindobonensis%20theol.%20grec.%2031.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Rainbow of the Covenant<br />From the <i><u>Vienna Genesis</u></i><br />Greek, 6th century<br />Vienna, Österreichische Nationalbibliothek<br />MS Codex Vindobonensis theol. grec. 31</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFOrpCy6Ct8t5vINC20Hni6OrbXI024NtN1rhLyvb9LzLi_EdNz4498eWnxw8BZ55rNGHYPJnNTKLZ5UaEYK04W_rhJLPneKtSbzg-hfYevlTiWrWgbvyhxuu8RB4oXQ2OcZ30saGFprRGW_qU1EPfOv-HaMr8II_4f07ZFRlnp5bKMc1r7BCvtaAVwFQ/s771/1000_God%20Tells%20Noah%20to%20Leave%20the%20Ark%20and%20Makes%20a%20Covenant%20with%20Him_Italian,%2011th-12th%20Century+Salerno,%20Museo%20Diocesano%20San%20Matteo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="370" data-original-width="771" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFOrpCy6Ct8t5vINC20Hni6OrbXI024NtN1rhLyvb9LzLi_EdNz4498eWnxw8BZ55rNGHYPJnNTKLZ5UaEYK04W_rhJLPneKtSbzg-hfYevlTiWrWgbvyhxuu8RB4oXQ2OcZ30saGFprRGW_qU1EPfOv-HaMr8II_4f07ZFRlnp5bKMc1r7BCvtaAVwFQ/w640-h308/1000_God%20Tells%20Noah%20to%20Leave%20the%20Ark%20and%20Makes%20a%20Covenant%20with%20Him_Italian,%2011th-12th%20Century+Salerno,%20Museo%20Diocesano%20San%20Matteo.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">God Tells Noah to Leave the Ark and Makes a Covenant with Him<br />Italian, 11th-12th Century<br />Salerno, Museo Diocesano San Matteo</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM5nfmSsEPi0tPtnNaG2kSUr44okLTS0zdxXbPsgcJGWfMx_vFBKxvS66NSySwsU35tpWBWg9BaVYwwaPsbdqeY_rM2a01zbf4KHHO4MQhU1CEvh12AQEt_5Bg9lBxqmt-iuqvtNdqAVTi9AvIVOv0i5BJB1vLRnGyP8v8eOMWFszOyZJnSsLKbQRppO0/s825/1150_Mosaic_Byzantine,%20c.%201150-1171_Palermo,%20Palazzo%20dei%20Normanni,%20Cappella%20Palatina.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="523" data-original-width="825" height="406" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM5nfmSsEPi0tPtnNaG2kSUr44okLTS0zdxXbPsgcJGWfMx_vFBKxvS66NSySwsU35tpWBWg9BaVYwwaPsbdqeY_rM2a01zbf4KHHO4MQhU1CEvh12AQEt_5Bg9lBxqmt-iuqvtNdqAVTi9AvIVOv0i5BJB1vLRnGyP8v8eOMWFszOyZJnSsLKbQRppO0/w640-h406/1150_Mosaic_Byzantine,%20c.%201150-1171_Palermo,%20Palazzo%20dei%20Normanni,%20Cappella%20Palatina.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Mosaic Artist, God Makes a Covenant with Noah<br />Byzantine, c. 1150-1171<br />Palermo, Palazzo dei Normanni, Cappella Palatina</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6NqfkursXEaf4pGpGj54Wc8Yk9AiD3WtcoayTAe6-dxHt3e9bIeyPWhIUPFMD8S9-7z1z57lXnzfQTSH1dW8UxNmLAK2L1hhvupm9mA8YOJEr357_0ycwMt0R_VE2IG3W9PGi3IMHWN3foXlHNa0jr7Z0rjY0wdZxPjNTtLwdsVcEBGzeEsa-0bW4PtE/s452/1174_Sacrifice%20of%20Noah_Italian,%20c.%201147-1189_Monreale,%20Church%20of%20Santa%20Maria%20la%20Nuova_copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="370" data-original-width="452" height="524" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6NqfkursXEaf4pGpGj54Wc8Yk9AiD3WtcoayTAe6-dxHt3e9bIeyPWhIUPFMD8S9-7z1z57lXnzfQTSH1dW8UxNmLAK2L1hhvupm9mA8YOJEr357_0ycwMt0R_VE2IG3W9PGi3IMHWN3foXlHNa0jr7Z0rjY0wdZxPjNTtLwdsVcEBGzeEsa-0bW4PtE/w640-h524/1174_Sacrifice%20of%20Noah_Italian,%20c.%201147-1189_Monreale,%20Church%20of%20Santa%20Maria%20la%20Nuova_copy.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Sacrifice of Noah<br />Italian, c. 1147-1189<br />Monreale, Church of Santa Maria la Nuova<br /><div style="text-align: left;">You may have to enlarge this to see the tiny figure of God peering down from a cloud to talk to Noah.</div></td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmgJD2p53rThVCl_4EBJ7NsjWg2gfbbh3UA-9qpISvEFqHxKN9NE8vO3zu9sqxD9_BxexTBUwS9f1ibCzu4_VIU6HOEQ2NZPo6fxso55yx4jo2FsjJP-1qBvbZ-ypekU0hVXR-JC54pKQXnuny7xfWyOejxOlopbx28diRkjn7zMcwuj7ZhNINGAFBHsw/s509/1180_Mosaic_Byzantine,%20c.%201180-1189_Monreale,%20Church%20of%20Santa%20Maria%20Nuova.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="420" data-original-width="509" height="528" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmgJD2p53rThVCl_4EBJ7NsjWg2gfbbh3UA-9qpISvEFqHxKN9NE8vO3zu9sqxD9_BxexTBUwS9f1ibCzu4_VIU6HOEQ2NZPo6fxso55yx4jo2FsjJP-1qBvbZ-ypekU0hVXR-JC54pKQXnuny7xfWyOejxOlopbx28diRkjn7zMcwuj7ZhNINGAFBHsw/w640-h528/1180_Mosaic_Byzantine,%20c.%201180-1189_Monreale,%20Church%20of%20Santa%20Maria%20Nuova.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Mosaic Artist, The Sacrifice of Noah<br />Byzantine, c. 1180-1189<br />Monreale, Church of Santa Maria Nuova</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6RjvUV5jKc5cAa3YxMRUdli7yQ8RyFr6jTXFcfoGUHlBcDHQRVe9SAtbw7XVdeIslD_k8S-o21MOgLU8HLmgHRui8Dde5cWIlhOkS7PD5ZFiqMBZATaF6ef0lYReGTG-gL3DkMDV9bmxWY5xNMYTnWLa9rH5E_JpiRWzrI1hP1Sr2c3LoM_MKn40k6zg/s437/1195_From%20a%20Commentary%20on%20Psalms%201-50%20by%20Simon%20of%20Tournnai_french,%20c.%2011950-1205_New%20%20York,%20Pierpont_MS%20M%20338,%20fol.%20145r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="290" data-original-width="437" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6RjvUV5jKc5cAa3YxMRUdli7yQ8RyFr6jTXFcfoGUHlBcDHQRVe9SAtbw7XVdeIslD_k8S-o21MOgLU8HLmgHRui8Dde5cWIlhOkS7PD5ZFiqMBZATaF6ef0lYReGTG-gL3DkMDV9bmxWY5xNMYTnWLa9rH5E_JpiRWzrI1hP1Sr2c3LoM_MKn40k6zg/w640-h424/1195_From%20a%20Commentary%20on%20Psalms%201-50%20by%20Simon%20of%20Tournnai_french,%20c.%2011950-1205_New%20%20York,%20Pierpont_MS%20M%20338,%20fol.%20145r.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">God's Covenant with Noah<br />From a <i><u>Commentary on Psalms 1-50</u></i> by Simon of Tournnai<br />French, c. 11950-1205<br />New York, Pierpont Morgan Library<br />MS M 338, fol. 145r<br /><div style="text-align: left;">The illuminator of this work decided to show the event with three separate pictures, not as a unified whole. Therefore, Noah and God appear as small figures within the decorative capital letters of the text, while the rainbow appears at the top of the page.</div></td></tr></tbody></table><br /><br /><br /><o:p><br /></o:p></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVFzKOebZWgAy4HuG6u9l6ZtRAK0LRtH9FlD9vsXnVwqMIWG_Hy2mfMjiKaxb_IGWe4TTcA0-UfdLbrH6PUvwfeMxH9bKnp1Ol0olhJTb5I3KDVCDQZ1mU0O_CMeJ_Sgf__u53PnIRLjHiP4hxxsW0j5HZ07uSoGGM2A4F5ydifm5rt5DoyVpYA0BOwTk/s281/1200_Sign%20of%20God's%20Promise_French,%2012th-13th%20Century_Chartres,%20Cathedral%20of%20Notre%20Dame%20copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="281" data-original-width="277" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVFzKOebZWgAy4HuG6u9l6ZtRAK0LRtH9FlD9vsXnVwqMIWG_Hy2mfMjiKaxb_IGWe4TTcA0-UfdLbrH6PUvwfeMxH9bKnp1Ol0olhJTb5I3KDVCDQZ1mU0O_CMeJ_Sgf__u53PnIRLjHiP4hxxsW0j5HZ07uSoGGM2A4F5ydifm5rt5DoyVpYA0BOwTk/w631-h640/1200_Sign%20of%20God's%20Promise_French,%2012th-13th%20Century_Chartres,%20Cathedral%20of%20Notre%20Dame%20copy.jpg" width="631" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Sign of God's Promise<br />French, 12th-13th Century<br />Chartres, Cathedral of Notre Dame<br /><br /></td></tr></tbody></table><br /><br /><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Bds7Bb1DtPNM7G4Teoy3BAdpFXhwRsL5nXVLmjIkRYFNiV-s9FtIegt62rGPKeQim4rVmJXKG8KaMqVqvagk9BRtWW2tRv6KoYVPMJCMV1QtzuUSrTJPagKLIIM4VuFt94713hDdQTbEhaTVFo4zBmoM0qqD4LXAkGNmmPv9oj4-jrD60kWGwKXe8gI/s808/1335_God's%20Covenant%20with%20Noah_German,%20c.%201335_Wienhausen,%20Evangelical%20Convent%20and%20Former%20Cistercian%20Cloister%20of%20Saint%20Mary.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="808" data-original-width="619" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Bds7Bb1DtPNM7G4Teoy3BAdpFXhwRsL5nXVLmjIkRYFNiV-s9FtIegt62rGPKeQim4rVmJXKG8KaMqVqvagk9BRtWW2tRv6KoYVPMJCMV1QtzuUSrTJPagKLIIM4VuFt94713hDdQTbEhaTVFo4zBmoM0qqD4LXAkGNmmPv9oj4-jrD60kWGwKXe8gI/w490-h640/1335_God's%20Covenant%20with%20Noah_German,%20c.%201335_Wienhausen,%20Evangelical%20Convent%20and%20Former%20Cistercian%20Cloister%20of%20Saint%20Mary.jpg" width="490" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">God's Covenant with Noah<br />German, c. 1335<br />Wienhausen, Evangelical Convent and Former Cistercian Cloister of Saint Mary</td></tr></tbody></table><br /><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeYDSx_ud83RQ2KNb4PUGJHGsrp3OuzKE-vbHw9apJh_b4-yTY7ckuZGRVvSyPO0pCnIYzN4Qr3zJ9-JvuHIBF67W9TnWf4vAx4M7Bl4ryHqRaPecpgAjhmQK9_RZyeD8TRl20HelErscJ6oCSGAc4qaALfRmlcm1InYv5cbMORhYRmhD5CloEvTvs3E4/s1855/1447_Paolo%20Uccello,%20Scenes%20from%20the%20life%20of%20Noah_Italian,%20c.%201447-1448_Florence,%20Church%20of%20Santa%20Maria%20Novella,%20Green%20Cloister_Rainbow.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1364" data-original-width="1855" height="470" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeYDSx_ud83RQ2KNb4PUGJHGsrp3OuzKE-vbHw9apJh_b4-yTY7ckuZGRVvSyPO0pCnIYzN4Qr3zJ9-JvuHIBF67W9TnWf4vAx4M7Bl4ryHqRaPecpgAjhmQK9_RZyeD8TRl20HelErscJ6oCSGAc4qaALfRmlcm1InYv5cbMORhYRmhD5CloEvTvs3E4/w640-h470/1447_Paolo%20Uccello,%20Scenes%20from%20the%20life%20of%20Noah_Italian,%20c.%201447-1448_Florence,%20Church%20of%20Santa%20Maria%20Novella,%20Green%20Cloister_Rainbow.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Paolo Uccello, The Sacrifice of Noah and God's Covenant with Noah<br />From Scenes from the life of Noah<br />Italian, c. 1447-1448<br />Florence, Church of Santa Maria Novella, Green Cloister</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><h4 style="text-align: left;"><span style="font-family: "Book Antiqua", serif;">The Renaissance, Mannerism and the Proto-Baroque</span></h4>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">The same holds
true for works produced in the periods known as the Renaissance and Mannerist periods. During these periods woodcuts and engravings came to replace painted illuminations as the
illustrations in books.<span style="mso-spacerun: yes;"> </span>And both mural
and panel painting spread far and wide.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p> </o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><span> </span><b><i>Book Illustrations</i></b></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVVn9s35CBT-bsSGEGq-0U0etE-MVFr1rR0y0jHY6LvQyCNtwEqBjPqasEYcLf7QmJEl_DKn6oaQFYu34Hwk5Ti8OcU4AA98jMd_mEy9fNWK3V7MccsLLQ0B8SMkoVGK2RLCsPW6QogN7lnX3ts4GQ9m1gJKVyTE0mFYLWUm_5c-r46JO4LfH6SZtqiVk/s1000/1500_Mongrammist%20FA,%20God%20Shows%20Noah%20and%20His%20Family%20the%20Rainbow_German,%2016th%20Century_Dresden,%20Staatliche%20Kunstsammlungen,%20Kupferstich-Kabinett.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="706" data-original-width="1000" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVVn9s35CBT-bsSGEGq-0U0etE-MVFr1rR0y0jHY6LvQyCNtwEqBjPqasEYcLf7QmJEl_DKn6oaQFYu34Hwk5Ti8OcU4AA98jMd_mEy9fNWK3V7MccsLLQ0B8SMkoVGK2RLCsPW6QogN7lnX3ts4GQ9m1gJKVyTE0mFYLWUm_5c-r46JO4LfH6SZtqiVk/w640-h452/1500_Mongrammist%20FA,%20God%20Shows%20Noah%20and%20His%20Family%20the%20Rainbow_German,%2016th%20Century_Dresden,%20Staatliche%20Kunstsammlungen,%20Kupferstich-Kabinett.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Mongrammist FA, God Shows Noah and His Family the Rainbow<br />German, Early 16th Century<br />Dresden, Staatliche Kunstsammlungen, Kupferstich-Kabinett</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho-BCv8L-ebjNTlVG6iX_1t1f6RcZVJuujB4riGiYyr9jtL0NHkQWdLwhw5RYs_KjmoPdfyvtI-rrt22gRp-yIo83Unobf-7gFxKHeZqSKuUV0UoHo0vm5-8JVkiIOoSMiLpt4XZK501xG5gkAJthttYhPV5ZTK_3yFnyjV_wlpxRs5n18WhbQyk4DW-8/s1794/1534_Monogrammist%20MS,%20Scenes%20from%20the%20story%20of%20Noah%20after%20the%20Flood_From%20a%20Luther%20Bible_German,%201534_London,%20Trustees%20of%20the%20British%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1322" data-original-width="1794" height="472" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho-BCv8L-ebjNTlVG6iX_1t1f6RcZVJuujB4riGiYyr9jtL0NHkQWdLwhw5RYs_KjmoPdfyvtI-rrt22gRp-yIo83Unobf-7gFxKHeZqSKuUV0UoHo0vm5-8JVkiIOoSMiLpt4XZK501xG5gkAJthttYhPV5ZTK_3yFnyjV_wlpxRs5n18WhbQyk4DW-8/w640-h472/1534_Monogrammist%20MS,%20Scenes%20from%20the%20story%20of%20Noah%20after%20the%20Flood_From%20a%20Luther%20Bible_German,%201534_London,%20Trustees%20of%20the%20British%20Museum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Monogrammist MS, Scenes from the story of Noah after the Flood<br />From a <i><u>Luther Bible</u></i><br />German, 1534<br />London, Trustees of the British Museum</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqAhG4m93Q_JtMr3iSBuAOYuuczsHUotsg2F2mYeLor0d34k_VT_wOj7MpLBThnL3I_7qgMBIdCuEsXLcnJDvCz3twxjqqv7bs1fsGw1V-LEbAyQg7EWp7JJsocb6ZHz2hVpCGKfs-O5_0-OgUKSqGwRF1uqs5Tj7oC6W8r4dlJUr-eEwyjuNAhFWTZLQ/s1109/1551_Hans%20Bol%20for%20Gerard%20de%20Jode,%20After%20the%20Flood_Flemish,%20c.%2015510-1600_Wolfenb%C3%BCttel,%20Herzog%20August%20Bibliothek.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="680" data-original-width="1109" height="392" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqAhG4m93Q_JtMr3iSBuAOYuuczsHUotsg2F2mYeLor0d34k_VT_wOj7MpLBThnL3I_7qgMBIdCuEsXLcnJDvCz3twxjqqv7bs1fsGw1V-LEbAyQg7EWp7JJsocb6ZHz2hVpCGKfs-O5_0-OgUKSqGwRF1uqs5Tj7oC6W8r4dlJUr-eEwyjuNAhFWTZLQ/w640-h392/1551_Hans%20Bol%20for%20Gerard%20de%20Jode,%20After%20the%20Flood_Flemish,%20c.%2015510-1600_Wolfenb%C3%BCttel,%20Herzog%20August%20Bibliothek.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Hans Bol for Gerard de Jode, After the Flood_<br />Flemish, c. 15510-1600<br />Wolfenbüttel, Herzog August Bibliothek</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8WgamK5Q3QFC1a9QtQYA6U9_hsZQ_fTmiMIPirh8qVnUZb7mNYKthSU0EArwP2gs9wJ1mWZ5F9mt6gyOwR2QB0U3ZVvu_0_XiNk2C0T4dAkTuQQ6T7pfhJwPGpcQvi0choA1TTjTzW9MOlBOMLN95tbZy6e3bjQwPMPUrdAYr67Br0OBBle8NO6GabYc/s1500/1569_Philips%20Galle%20After%20Maarten%20van%20Heemskerck,%20Sacrifice%20of%20Noah_From%20The%20Disasters%20of%20the%20Jewish%20People_Flemish,%201569_Philadelphia,%20Museum%20of%20Art.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1026" data-original-width="1500" height="438" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8WgamK5Q3QFC1a9QtQYA6U9_hsZQ_fTmiMIPirh8qVnUZb7mNYKthSU0EArwP2gs9wJ1mWZ5F9mt6gyOwR2QB0U3ZVvu_0_XiNk2C0T4dAkTuQQ6T7pfhJwPGpcQvi0choA1TTjTzW9MOlBOMLN95tbZy6e3bjQwPMPUrdAYr67Br0OBBle8NO6GabYc/w640-h438/1569_Philips%20Galle%20After%20Maarten%20van%20Heemskerck,%20Sacrifice%20of%20Noah_From%20The%20Disasters%20of%20the%20Jewish%20People_Flemish,%201569_Philadelphia,%20Museum%20of%20Art.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Philips Galle After Maarten van Heemskerck, The Sacrifice of Noah<br />From <u><i>The Disasters of the Jewish People</i></u><br />Flemish, 1569<br />Philadelphia, Museum of Art</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><b><i><span> </span>Tapestry</i></b></o:p></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: "Book Antiqua", serif; margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqkq-6_Z00-_8plBTva3juwI9Emn1RpFNILhazkCDPavD4VpnPBt1fJbq_FqNwtXVGFNfKN5feVzxbga1DwJs85WjVVJHAgjbCpwRsoThrIJ4TwwMg4yZCxW1yFxdatO91gxbGX0S-Lw6hdAff5eOQ8eee6KFQxUXaDS2lGh20gYRw00hASK_oo8zjMoI/s3703/1567_Willem%20de%20Pannemaker%20after%20Michiel%20Coxie%20the%20Elder,%20God%20Blesses%20Noah's%20Family_Flemish,%20After%201567_Amsterdam,%20Rijksmuseum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2803" data-original-width="3703" height="484" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqkq-6_Z00-_8plBTva3juwI9Emn1RpFNILhazkCDPavD4VpnPBt1fJbq_FqNwtXVGFNfKN5feVzxbga1DwJs85WjVVJHAgjbCpwRsoThrIJ4TwwMg4yZCxW1yFxdatO91gxbGX0S-Lw6hdAff5eOQ8eee6KFQxUXaDS2lGh20gYRw00hASK_oo8zjMoI/w640-h484/1567_Willem%20de%20Pannemaker%20after%20Michiel%20Coxie%20the%20Elder,%20God%20Blesses%20Noah's%20Family_Flemish,%20After%201567_Amsterdam,%20Rijksmuseum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Willem de Pannemaker after Michiel Coxie the Elder, God Blesses Noah's Family<br />Flemish, After 1567<br />Amsterdam, Rijksmuseum<br /><br /></td></tr></tbody></table>
<h4 style="text-align: left;"><b style="font-family: "Book Antiqua", serif;"><i><br /></i></b></h4><h4 style="text-align: left;"><b style="font-family: "Book Antiqua", serif;"><i><span> </span>Paintings</i></b></h4><h4 style="text-align: left;"><span style="font-family: "Book Antiqua",serif;"> <span style="font-weight: normal;"><i>The Bassano Workshop</i><i><br /></i></span></span></h4><div><span style="font-family: Book Antiqua, serif;">One interesting sidelight on the paintings of this subject is that the Italian Bassano family seems to have developed a specialty in painting this subject. There are numerous paintings attributed to the members of the family, whether by actual documentation or by attribution. What is most interesting about them, however, is their uniform manner of telling this story. No matter the attribution and no matter the actual manner of painting, the compositions are virtually identical. It appears that there was one family blueprint for painting the subject, which every member followed.</span></div><div><span style="font-family: Book Antiqua, serif;"><br /></span></div><div><span style="font-family: Book Antiqua, serif;"><br /></span></div><h4 style="text-align: left;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDnajwM8DgfWbtXbMKEip4rvqO3GTLb9zuGrOnopq2AOJyTyeu0j6TZBOkGur5lMSLtBmOXByllBJKylJo-jZXFJc-6txOA0bqnJz1HUx5l2iZW4lxKJNjgAqC5SD2I_SwEB15RLxUN2u8ynbCWUWIe-IkLUkDHdq70QzP60JwbjIyWpw3SsUpUA8lvzk/s1920/1550_Workshop%20of%20Bassano%20family,%20Noah%20After%20the%20Deluge_Italian,%20Second%20Half%20of%20the%2016th%20Century_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1358" data-original-width="1920" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDnajwM8DgfWbtXbMKEip4rvqO3GTLb9zuGrOnopq2AOJyTyeu0j6TZBOkGur5lMSLtBmOXByllBJKylJo-jZXFJc-6txOA0bqnJz1HUx5l2iZW4lxKJNjgAqC5SD2I_SwEB15RLxUN2u8ynbCWUWIe-IkLUkDHdq70QzP60JwbjIyWpw3SsUpUA8lvzk/w640-h452/1550_Workshop%20of%20Bassano%20family,%20Noah%20After%20the%20Deluge_Italian,%20Second%20Half%20of%20the%2016th%20Century_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Workshop of Bassano family, The Sacrifice of Noah After the Deluge<br />Italian, Second Half of the 16th Century<br />Madrid, Museo Nacional del Prado</td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span></h4><div><span style="font-family: "Book Antiqua",serif;"><br /></span></div><h4 style="text-align: left;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSVJiYZOtodlDqcveDAMI1FhkvMVbuTtAtgMZ5Xgdf8yr0czlE210RXlar9P-FkzaiaTv5Q2QHtkWrgtMLlDf5RbHQZT2CPUUvph_UOx9IYENP09U_8UhK_gREfKST1HdaMGeskeeOKXodPoXTfq91Y0q6EasrxjW8b_5HQPzNhpYch9VBsfXs08yik3Y/s2951/1575_Leandro%20Bassano,%20Sacrifice%20of%20Noah%20After%20the%20Deluge_Italian,%20c.%201575-1600_Madrid,%20Real%20Academia%20de%20Bellas%20Artes%20de%20San%20Fernando.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2017" data-original-width="2951" height="438" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSVJiYZOtodlDqcveDAMI1FhkvMVbuTtAtgMZ5Xgdf8yr0czlE210RXlar9P-FkzaiaTv5Q2QHtkWrgtMLlDf5RbHQZT2CPUUvph_UOx9IYENP09U_8UhK_gREfKST1HdaMGeskeeOKXodPoXTfq91Y0q6EasrxjW8b_5HQPzNhpYch9VBsfXs08yik3Y/w640-h438/1575_Leandro%20Bassano,%20Sacrifice%20of%20Noah%20After%20the%20Deluge_Italian,%20c.%201575-1600_Madrid,%20Real%20Academia%20de%20Bellas%20Artes%20de%20San%20Fernando.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Leandro Bassano, The Sacrifice of Noah After the Deluge<br />Italian, c. 1575-1600<br />Madrid, Real Academia de Bellas Artes de San Fernando</td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span></h4><div><span style="font-family: "Book Antiqua",serif;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMftL8w09NXvKaEz1eNzpVHqgu1GqSMWCYtGcbcFMyPBkekjTEMGmxviSd_dnjNaxRzLxbIc4IUaOIL62VA3oiPz5H5qJkKHO1KcDW842VanIY5mfDOnISbiXflDZba907dUsdjpmfn8BeDMGsyf0VKbjVlZlK3O_0N6bqo_WTSg6AswMWGEOVWbdm2dU/s800/1580_Jacopo%20Bassano,%20The%20Sacrifice%20of%20Noah_Italian,%20c.%201580-1592_rome,%20Galleria%20Borghese.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="579" data-original-width="800" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMftL8w09NXvKaEz1eNzpVHqgu1GqSMWCYtGcbcFMyPBkekjTEMGmxviSd_dnjNaxRzLxbIc4IUaOIL62VA3oiPz5H5qJkKHO1KcDW842VanIY5mfDOnISbiXflDZba907dUsdjpmfn8BeDMGsyf0VKbjVlZlK3O_0N6bqo_WTSg6AswMWGEOVWbdm2dU/w640-h464/1580_Jacopo%20Bassano,%20The%20Sacrifice%20of%20Noah_Italian,%20c.%201580-1592_rome,%20Galleria%20Borghese.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jacopo Bassano, The Sacrifice of Noah After the Deluge<br />Italian, c. 1580-1592<br />Rome, Galleria Borghese</td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span></div><div><span style="font-family: "Book Antiqua",serif;"><i><span> </span>Other Painters</i></span></div><div><span style="font-family: "Book Antiqua",serif;"><br /></span></div><div><span style="font-family: "Book Antiqua",serif;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh11pyWwPqIbySVQxMO7EmAw-54Tn1xv3dKxLnjDLphLBgtQKxOxamCsobldi-jDzuGzgGgOKTVaIcGEXKXlDvvfDvXJvmMTSc_uVu6hrGE0ECXA9E4bUgOYCoQGA60nT7FdkOC6-bbK5o59fq2_2RqgNuZ_cq-1UaS9bUwx7GCpx4CN29xNjbWmSN6yA/s1720/1587_Baldassare%20Croce,%20God's%20Covenant%20with%20Noah_Italian,%20c.%201587-1588_Rome,%20San%20Giovannin%20in%20Laterano%20Complex,%20Scala%20Santa,%20Left%20Stairway.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="956" data-original-width="1720" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh11pyWwPqIbySVQxMO7EmAw-54Tn1xv3dKxLnjDLphLBgtQKxOxamCsobldi-jDzuGzgGgOKTVaIcGEXKXlDvvfDvXJvmMTSc_uVu6hrGE0ECXA9E4bUgOYCoQGA60nT7FdkOC6-bbK5o59fq2_2RqgNuZ_cq-1UaS9bUwx7GCpx4CN29xNjbWmSN6yA/w640-h356/1587_Baldassare%20Croce,%20God's%20Covenant%20with%20Noah_Italian,%20c.%201587-1588_Rome,%20San%20Giovannin%20in%20Laterano%20Complex,%20Scala%20Santa,%20Left%20Stairway.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Baldassare Croce, God's Covenant with Noah<br />Italian, c. 1587-1588<br />Rome, San Giovanni in Laterano Complex, Scala Santa, Left Stairway</td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span></div><div><span style="font-family: "Book Antiqua",serif;"><br /></span></div><div><span style="font-family: "Book Antiqua",serif;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRT8YjPL4OjjaUECv8mt6yiwORL7Kbn__WU1_ccC0khpPjKe3MwhhH2dKgF9yN7WV5qola0snnp19psMOB7wBi8N-ahO4gWtjcgGKu51xKd5YBVkzPP_KMuRO3HoDea0ZxAZyS8IH5lecmE4yLhjPRN1koOQTJmwH3qnK_8o-XOE3H4x_vDFqmTZLHiI0/s1019/1590_Antonio%20Viviani,%20Sacrifice%20of%20Noah_Italian,%20c.%201585-1596_Rome,%20Palazzo%20Barberini.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="838" data-original-width="1019" height="526" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRT8YjPL4OjjaUECv8mt6yiwORL7Kbn__WU1_ccC0khpPjKe3MwhhH2dKgF9yN7WV5qola0snnp19psMOB7wBi8N-ahO4gWtjcgGKu51xKd5YBVkzPP_KMuRO3HoDea0ZxAZyS8IH5lecmE4yLhjPRN1koOQTJmwH3qnK_8o-XOE3H4x_vDFqmTZLHiI0/w640-h526/1590_Antonio%20Viviani,%20Sacrifice%20of%20Noah_Italian,%20c.%201585-1596_Rome,%20Palazzo%20Barberini.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Antonio Viviani, The Sacrifice of Noah<br />Italian, c. 1585-1596<br />Rome, Palazzo Barberini</td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span></div><div><span style="font-family: "Book Antiqua",serif;"><br /></span></div><div style="text-align: left;"><i style="font-family: "Book Antiqua", serif;"><b>The Growing Absence of God</b></i></div>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">One thing
that really surprised me while I was working on assembling the pictures for
this essay was that, over the course of the sixteenth century, the figure of God disappears from many works of art.<span style="mso-spacerun: yes;"> </span>He is either missing entirely or has been
replaced by the tetragrammaton, the Hebrew name for God, written in Hebrew
letters.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-MNgyQyk60DebkBhmWn2-J3LV7BlpfpsbVotBMrK7UNukJoEoyswhxxiSsbWiPHV6dsMSGFJHafR5xMhg9XqhZvsYz0pD9qnru4UpXxQZR9szcxl0sXPQ-cwfxBK5cAmHRjLKGRWRUAoNSGO6_PaiHBevgU6tt8intpoeJ_QhS6Xr1oFHLzg1zaMaYP8/s2500/1581_Pieter%20van%20der%20Borcht,%20Sacrifice%20of%20Noah%20and%20Covenant%20with%20God_From%20Imagines%20et%20Figurae%20Bibliorum_Flemish,%201581_London,%20Trustees%20of%20the%20British%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1831" data-original-width="2500" height="468" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-MNgyQyk60DebkBhmWn2-J3LV7BlpfpsbVotBMrK7UNukJoEoyswhxxiSsbWiPHV6dsMSGFJHafR5xMhg9XqhZvsYz0pD9qnru4UpXxQZR9szcxl0sXPQ-cwfxBK5cAmHRjLKGRWRUAoNSGO6_PaiHBevgU6tt8intpoeJ_QhS6Xr1oFHLzg1zaMaYP8/w640-h468/1581_Pieter%20van%20der%20Borcht,%20Sacrifice%20of%20Noah%20and%20Covenant%20with%20God_From%20Imagines%20et%20Figurae%20Bibliorum_Flemish,%201581_London,%20Trustees%20of%20the%20British%20Museum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pieter van der Borcht, The Sacrifice of Noah and the Covenant with God<br />From <i><u>Imagines et Figurae Bibliorum</u></i><br />Flemish, 1581<br />London, Trustees of the British Museum</td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p> </o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNjy49CPJh4HN-SwliSOFnfa1NrKdK-5WDN-p_8MH5Av8aON6Rs0YMqV_anXYYezHysZHSdwUdOaGH228tmwyppKhppxVTP9qhKNBhAcmzlKHVKxFJkraKFFMp3acqUTV8-FV-Al5a3k_7e6p4Jeq6K5Vj18BkuFjJlXa4xz7vGSOPdD1EK9OBAIC11w4/s5756/1600_Attributed%20to%20symon%20Novelanus,%20The%20Sacrifice%20of%20Noah_From%20Figurae%20et%20imagines%20bibliorum_Dutch,%20c.%201600_Amserdam,%20Rijksmuseum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4182" data-original-width="5756" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNjy49CPJh4HN-SwliSOFnfa1NrKdK-5WDN-p_8MH5Av8aON6Rs0YMqV_anXYYezHysZHSdwUdOaGH228tmwyppKhppxVTP9qhKNBhAcmzlKHVKxFJkraKFFMp3acqUTV8-FV-Al5a3k_7e6p4Jeq6K5Vj18BkuFjJlXa4xz7vGSOPdD1EK9OBAIC11w4/w640-h464/1600_Attributed%20to%20symon%20Novelanus,%20The%20Sacrifice%20of%20Noah_From%20Figurae%20et%20imagines%20bibliorum_Dutch,%20c.%201600_Amserdam,%20Rijksmuseum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Attributed to Symon Novelanus, The Sacrifice of Noah<br />From <i><u>Figurae et imagines bibliorum</u></i><br />Dutch, c. 1600<br />Amserdam, Rijksmuseum</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjF6P8pN0B1NaJwyR4oWFMgO5VUQHUoVl9-dKKQexBrh7-fMWoa6wsbM6ZUuflqg9NOF8rQTcx0kRdIjKLX6bgFJ6FnImrD3oP4XCJjJPbnYTlJ2sSNpfUX3kx5RXj4DJ81F3e5RL8rdnr1-v599CxZhT86CMYRs5iwcjzy2oc9tEi9vHgCvM6OJcRmvE/s3336/1612_Crispijn%20de%20Passe%20the%20Elder,%20God%20Enters%20into%20a%20Covenant%20with%20Noah_From%20a%20Liber%20Genesis_Dutch,%201612_New%20York,%20Met,%20Drawings%20and%20Prints.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2147" data-original-width="3336" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjF6P8pN0B1NaJwyR4oWFMgO5VUQHUoVl9-dKKQexBrh7-fMWoa6wsbM6ZUuflqg9NOF8rQTcx0kRdIjKLX6bgFJ6FnImrD3oP4XCJjJPbnYTlJ2sSNpfUX3kx5RXj4DJ81F3e5RL8rdnr1-v599CxZhT86CMYRs5iwcjzy2oc9tEi9vHgCvM6OJcRmvE/w640-h412/1612_Crispijn%20de%20Passe%20the%20Elder,%20God%20Enters%20into%20a%20Covenant%20with%20Noah_From%20a%20Liber%20Genesis_Dutch,%201612_New%20York,%20Met,%20Drawings%20and%20Prints.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Crispijn de Passe the Elder, God Enters into a Covenant with Noah<br />From a <i><u>Genesis</u></i><br />Dutch, 1612<br />New York, Met, Drawings and Prints</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p>
<h4 style="text-align: left;"><span style="font-family: "Book Antiqua",serif;">The Baroque Period</span></h4>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">This continues during the Baroque period, when one is as likely to find the image of God as the find the tetragrammaton or absolutely
nothing as the source of the rainbow.<span style="mso-spacerun: yes;"> </span>In
general, the tendency is toward a less miraculous rendering for the source of the rainbow, indeed, often resulting in the depiction of only
the rainbow itself. </span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikqzSbXzpAtHG98GlJNbms8ej2wVQ3yphsy_RYsScoaVCe6ksKh4VnrN_B9PZFAlWlw49mkRxiNkfw8MvHJolbQJdOPlAEsvFsaH9M57Bo5_FAQnP1kyP4kID9wV8AjYNuPm4TI0R3uyrJf5_prxjK9usvvTHHxGhobNsH_Q5RdIL_MTsGk8i68B7YzpA/s1200/1600_Follower%20of%20Nicolas%20Poussin,%20Sacrifice%20of%20Noah_French,%2017th%20Century_Knutsford,%20Cheshire%20(UK),%20National%20Trust,%20Tatton%20Park.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="926" data-original-width="1200" height="494" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikqzSbXzpAtHG98GlJNbms8ej2wVQ3yphsy_RYsScoaVCe6ksKh4VnrN_B9PZFAlWlw49mkRxiNkfw8MvHJolbQJdOPlAEsvFsaH9M57Bo5_FAQnP1kyP4kID9wV8AjYNuPm4TI0R3uyrJf5_prxjK9usvvTHHxGhobNsH_Q5RdIL_MTsGk8i68B7YzpA/w640-h494/1600_Follower%20of%20Nicolas%20Poussin,%20Sacrifice%20of%20Noah_French,%2017th%20Century_Knutsford,%20Cheshire%20(UK),%20National%20Trust,%20Tatton%20Park.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Nicolas Poussin, The Sacrifice of Noah<br />French, First Half of the17th Century<br />Knutsford, Cheshire (UK), National Trust, Tatton Park</td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVzGUGlajNBfXjcGMlUOyx2ObmkpXnuqV7Baa8tX9cdl9ZRTMGEhmeaLRSxY2hQrLLG6UbgTcDR9oWyMCv2GKRn3CgiwygHx1ylSBwAdb6M2TJ5LfA4WoK54dtIn3JRhn54DfD9QBfEnY5KkrfSd0-XPdUq7qg9eOlI_wcku7jnDD4MH5UbyZuWyQMy1I/s3006/1620_Johann%20%20K%C3%B6nig,%20Sacrifice%20of%20Noah_German,%20c.%201620-1630_Berlin,%20Gem%C3%A4ldegalerie%20der%20Staatliche%20Museen%20zu%20Berlin_Page_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2018" data-original-width="3006" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVzGUGlajNBfXjcGMlUOyx2ObmkpXnuqV7Baa8tX9cdl9ZRTMGEhmeaLRSxY2hQrLLG6UbgTcDR9oWyMCv2GKRn3CgiwygHx1ylSBwAdb6M2TJ5LfA4WoK54dtIn3JRhn54DfD9QBfEnY5KkrfSd0-XPdUq7qg9eOlI_wcku7jnDD4MH5UbyZuWyQMy1I/w640-h430/1620_Johann%20%20K%C3%B6nig,%20Sacrifice%20of%20Noah_German,%20c.%201620-1630_Berlin,%20Gem%C3%A4ldegalerie%20der%20Staatliche%20Museen%20zu%20Berlin_Page_1.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Johann König, The Sacrifice of Noah<br />German, c. 1620-1630<br />Berlin, Gemäldegalerie der Staatliche Museen zu Berlin<br /><div style="text-align: left;">Noah and his family can be seen in the left middle ground offering their sacrifice to God. who appears at the top of the picture. The foreground is littered with the bodies of those who drowned in the Flood.</div></td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqqpeZ8hqDndOJPIIdRv0kLG4E5C3CTZnQCqqgTA5jeL4mznVj2etwuh-gIbkc3nt17rsA9w0hSKe2xefWizOCq_AuRZKG-OqRzOL09j4LRNDgsFIS-RT-dk7PWdezNRcJGfNQasdp3FnjR5OxjppAIX51ePOIX8wNkGIrMWHKJSYVlQbflFMWrI4z4yI/s768/1620_Nicolas%20Poussin,%20The%20Sacrifice%20of%20Noah_French,%20c.%201620s_Paris,%20Musee%20du%20Louvre,%20D%C3%A9partement%20des%20Arts%20graphiques.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="552" data-original-width="768" height="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqqpeZ8hqDndOJPIIdRv0kLG4E5C3CTZnQCqqgTA5jeL4mznVj2etwuh-gIbkc3nt17rsA9w0hSKe2xefWizOCq_AuRZKG-OqRzOL09j4LRNDgsFIS-RT-dk7PWdezNRcJGfNQasdp3FnjR5OxjppAIX51ePOIX8wNkGIrMWHKJSYVlQbflFMWrI4z4yI/w640-h460/1620_Nicolas%20Poussin,%20The%20Sacrifice%20of%20Noah_French,%20c.%201620s_Paris,%20Musee%20du%20Louvre,%20D%C3%A9partement%20des%20Arts%20graphiques.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Nicolas Poussin, The Sacrifice of Noah<br />French, c. 1620s<br />Paris, Musee du Louvre, Département des Arts graphiques<br /><div style="text-align: left;">Although this drawing bears many resemblances to the painting above, there are also some significant differences. It represents Poussin's thought process in design. </div></td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4haklkBRhyxNtozhe6LGDjOylE51hw8sz1AK9mbLLDlMEXDU_5nQIArsd8yR4R2D24obDZl_xeleinkPSMqxldWm66WvGTIJ831M6c4Ovjsefs3OZZ35SKQ8gPAGspyv81tXsQc-IqsBThp-fHVrWQW2QRZzLpfoShPi5KVxbqXcguPLeouzwHr6JvDw/s1877/1625_Matthaues%20Merian%20I,%20Noah%20and%20His%20Family%20After%20the%20Flood_From%20Icones%20Biblicae_German%20(Frankfurt-am-Main),%20c.%201625-1630_London,%20Trustees%20of%20the%20British%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1614" data-original-width="1877" height="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4haklkBRhyxNtozhe6LGDjOylE51hw8sz1AK9mbLLDlMEXDU_5nQIArsd8yR4R2D24obDZl_xeleinkPSMqxldWm66WvGTIJ831M6c4Ovjsefs3OZZ35SKQ8gPAGspyv81tXsQc-IqsBThp-fHVrWQW2QRZzLpfoShPi5KVxbqXcguPLeouzwHr6JvDw/w640-h550/1625_Matthaues%20Merian%20I,%20Noah%20and%20His%20Family%20After%20the%20Flood_From%20Icones%20Biblicae_German%20(Frankfurt-am-Main),%20c.%201625-1630_London,%20Trustees%20of%20the%20British%20Museum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Matthaues Merian I, Noah and His Family After the Flood<br />From <i><u>Icones Biblicae</u></i><br />German (Frankfurt-am-Main), c. 1625-1630<br />London, Trustees of the British Museum<br /><div style="text-align: left;">This is an example of an image that uses the tetragrammaton to represent God instead of a figure.</div></td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCmKjTUkzvigxl4r6H5tPqMv4YgoLVGQhtniAKlsKR8sbuSg48jIOwty19jPF76BX4GZUVEiFYuKNuEQ0nwUcrJOUdLdsfe8Ku0UPEpdO5NXMcV_cJcRa99G5z4oS-_hR4hvKJ-U-2B_cqPqt80quiYSdbUmvYgV7hWSUHaIhKd9VT9jWUXhLAT0nr4QM/s906/1645_Pietro%20da%20Cortona,%20God's%20Covenant%20with%20Noah_Italian,%20c.%201645_Florence,%20Palazzo%20Pitti_Page_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="700" data-original-width="906" height="494" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCmKjTUkzvigxl4r6H5tPqMv4YgoLVGQhtniAKlsKR8sbuSg48jIOwty19jPF76BX4GZUVEiFYuKNuEQ0nwUcrJOUdLdsfe8Ku0UPEpdO5NXMcV_cJcRa99G5z4oS-_hR4hvKJ-U-2B_cqPqt80quiYSdbUmvYgV7hWSUHaIhKd9VT9jWUXhLAT0nr4QM/w640-h494/1645_Pietro%20da%20Cortona,%20God's%20Covenant%20with%20Noah_Italian,%20c.%201645_Florence,%20Palazzo%20Pitti_Page_1.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pietro da Cortona, God's Covenant with Noah<br />Italian, c. 1645<br />Florence, Palazzo Pitti</td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsBmQ5MB6Gi-RZzO58JIl8EyabyuU6CM8eJdbCXxdvnKcFFcf5wz6Eu6hqOEwW-ThaiCptqBPPHgnjRf3KDQg3gVNs5CzatMYrXqZSdlx2JkeYFMQ-6Q_96ZdMy66eJ0HDIz_dBl0ficGuDlfcMjyqMMfQGjSshPuweslrDFh59sHKjq_Oa66jZcLcd8U/s3636/1646_Cornelis%20Cort%20after%20Maarten%20van%20Heemskerck,%20Sacrifice%20of%20Noah_From%20an%20Illustrated%20Bible_Dutch,%201646%20(after%20drawing%20of%201558-1560_Amsterdam,%20Rijksmuseum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2990" data-original-width="3636" height="526" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsBmQ5MB6Gi-RZzO58JIl8EyabyuU6CM8eJdbCXxdvnKcFFcf5wz6Eu6hqOEwW-ThaiCptqBPPHgnjRf3KDQg3gVNs5CzatMYrXqZSdlx2JkeYFMQ-6Q_96ZdMy66eJ0HDIz_dBl0ficGuDlfcMjyqMMfQGjSshPuweslrDFh59sHKjq_Oa66jZcLcd8U/w640-h526/1646_Cornelis%20Cort%20after%20Maarten%20van%20Heemskerck,%20Sacrifice%20of%20Noah_From%20an%20Illustrated%20Bible_Dutch,%201646%20(after%20drawing%20of%201558-1560_Amsterdam,%20Rijksmuseum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Cornelis Cort after Maarten van Heemskerck, The Sacrifice of Noah<br />From an <i><u>Illustrated Bible</u></i><br />Dutch, 1646 (after drawing of 1558-1560<br />Amsterdam, Rijksmuseum<br /><div style="text-align: left;">Another image using the tetragrammaton as a substitute for the figure of God.</div></td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmg-u3vgxS30zmNgXXvVROsSWVEx-Xbi9J3Jl87GXqHVLw3mmiWNyp8861RqWN9RivvizStXX85WSiG0-aNJcSI49Zz_NV4OE75w9ySG4tDOpEgHOc_S4benRF9YQsep6w78WmCdEGoMbK09aiiIQp1CUrznPOvCkgF9zv_7o4ZQCMyZblO_VEMRN7qfo/s704/1650_Lodovico%20Gimignani,%20The%20Alliance%20Between%20God%20and%20Noah.%20%20Allegory%20on%20the%20House%20of%20Pamphili_Italian,%20c.%20Second%20Half%20of%2017th%20Century_London,%20The%20Courtauld%20Gallery.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="578" data-original-width="704" height="526" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmg-u3vgxS30zmNgXXvVROsSWVEx-Xbi9J3Jl87GXqHVLw3mmiWNyp8861RqWN9RivvizStXX85WSiG0-aNJcSI49Zz_NV4OE75w9ySG4tDOpEgHOc_S4benRF9YQsep6w78WmCdEGoMbK09aiiIQp1CUrznPOvCkgF9zv_7o4ZQCMyZblO_VEMRN7qfo/w640-h526/1650_Lodovico%20Gimignani,%20The%20Alliance%20Between%20God%20and%20Noah.%20%20Allegory%20on%20the%20House%20of%20Pamphili_Italian,%20c.%20Second%20Half%20of%2017th%20Century_London,%20The%20Courtauld%20Gallery.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Lodovico Gimignani, The Alliance Between God and Noah<br /> Allegory on the House of Pamphili<br />Italian, c. Second Half of 17th Century<br />London, The Courtauld Gallery</td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiATzbfDzOpcj5jgz6YS-39mKksVmeU2xEcXqAkz4D8jJLzYzlZH9uss8PbO3GKqMKkoJxle-Isurcq7rQhTRwAdEt1CnGaUztRu9hlOgbm_Z3YDHv3uzbcocCB5tFZGGZwkG7TN6maaW3amzJ1-sgUb3UunVyeDoD5pjgyIZXionBU55Rh5lk1BkMPY-4/s1187/1650_Pietro%20Santo%20Bartoli%20After%20Raphael,%20God%20Shows%20the%20Rainbow%20to%20Noah_Italian,%20c.%201650-1677_Vienna,%20The%20Albertina.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="454" data-original-width="1187" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiATzbfDzOpcj5jgz6YS-39mKksVmeU2xEcXqAkz4D8jJLzYzlZH9uss8PbO3GKqMKkoJxle-Isurcq7rQhTRwAdEt1CnGaUztRu9hlOgbm_Z3YDHv3uzbcocCB5tFZGGZwkG7TN6maaW3amzJ1-sgUb3UunVyeDoD5pjgyIZXionBU55Rh5lk1BkMPY-4/w640-h244/1650_Pietro%20Santo%20Bartoli%20After%20Raphael,%20God%20Shows%20the%20Rainbow%20to%20Noah_Italian,%20c.%201650-1677_Vienna,%20The%20Albertina.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pietro Santo Bartoli After Raphael, God Shows the Rainbow to Noah<br />Italian, c. 1650-1677<br />Vienna, The Albertina</td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2qCpS-U4caAOfw4S_YyTcvHBpKO2qRNhFVNyKHXMgOe6O3Is9tmKGpHcr0fBOsGWS8YBK0CHTrXaGPgmMhlJKzcJ8SjVWqMFwHk4Ryt0jD-XfriZsORB3w8OMBm8bbAVQcoxegT7CN4wEvLSBSaLYwlAQHlCMQErTZ6yPPQUZx082kyHSwguAXiABr1I/s5620/1659_Pieter%20Hendrickszoon%20Schut,%20The%20Covenant%20Between%20God%20&%20Noah_FromSeries%20Toneel%20ofte%20vertooch%20der%20Bybelsche%20historien_Dutch,%201659_Ghent,%20Museum%20voor%20Schone%20Kunsten.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3842" data-original-width="5620" height="438" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2qCpS-U4caAOfw4S_YyTcvHBpKO2qRNhFVNyKHXMgOe6O3Is9tmKGpHcr0fBOsGWS8YBK0CHTrXaGPgmMhlJKzcJ8SjVWqMFwHk4Ryt0jD-XfriZsORB3w8OMBm8bbAVQcoxegT7CN4wEvLSBSaLYwlAQHlCMQErTZ6yPPQUZx082kyHSwguAXiABr1I/w640-h438/1659_Pieter%20Hendrickszoon%20Schut,%20The%20Covenant%20Between%20God%20&%20Noah_FromSeries%20Toneel%20ofte%20vertooch%20der%20Bybelsche%20historien_Dutch,%201659_Ghent,%20Museum%20voor%20Schone%20Kunsten.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pieter Hendrickszoon Schut, The Covenant Between God & Noah<br />From the Series <i><u>Toneel ofte vertooch der Bybelsche historien</u></i><br />Dutch, 1659<br />Ghent, Museum voor Schone Kunsten<br /><div style="text-align: left;">Another image using the tetragrammaton as a substitute for the figure of God.</div><div style="text-align: left;"><br /></div></td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIaB2K5kUVl-vaDvp_YDGhkzU2p-dNbEL1vGjK5JUoFIZB82GxoWw9kK6XctAWHcubsJBVyfTYZng7Ust06ZZ_2sLX4S-R8j1xnJkhz6db1EJkBHbIcTmZQSicZWcx8J9Hnd-EknCXHTIlG19qg_la_YXzTKxWa1bIRGkU-UmR_TdBcKC5uEZ-DbV-C6Q/s2048/1660_Franz%20Karl%20Bueeler,%20Sacrifice%20of%20Noah%20and%20Sacrifice%20of%20the%20Mass_Swiss,%20c.%201660_Bischofszell%20(SZ),%20%20Historical%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1926" data-original-width="2048" height="602" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIaB2K5kUVl-vaDvp_YDGhkzU2p-dNbEL1vGjK5JUoFIZB82GxoWw9kK6XctAWHcubsJBVyfTYZng7Ust06ZZ_2sLX4S-R8j1xnJkhz6db1EJkBHbIcTmZQSicZWcx8J9Hnd-EknCXHTIlG19qg_la_YXzTKxWa1bIRGkU-UmR_TdBcKC5uEZ-DbV-C6Q/w640-h602/1660_Franz%20Karl%20Bueeler,%20Sacrifice%20of%20Noah%20and%20Sacrifice%20of%20the%20Mass_Swiss,%20c.%201660_Bischofszell%20(SZ),%20%20Historical%20Museum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Franz Karl Bueeler, The Sacrifice of Noah and the Sacrifice of the Mass<br />Swiss, c. 1660<br />Bischofszell (SZ), Historical Museum<br /><div style="text-align: left;">This really interesting stained glass roundel equates the daily sacrifice of the Mass with the sacrifice of Noah after the Flood. He has chosen the moment at which the priest begins the Eucharistic Prayer with the admonition to "Lift up your hearts" (Sursum corda). As Noah and his family lift up their eyes to see God and the rainbow of his covenant, so we lift up our hearts toward God who will become present at the consecration which is soon to follow.</div></td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNdSRvAkd8pRamlq770LTUaYI76yZl22PJvHIuO7qlb-hsZ_MztCPqef7BOULBmX0gfxDCLsphun6NESXQurEFZyhrw91NBKNf7tlSpRCI3nwgYK8zQxsjsmEYmSu1f9pPM8KTQc0JLF0gVvv9teL3CQILPz3__Nw83n4vS_CnNstsrfeueOptNY7qsoI/s750/1667_Franz%20Friedrich%20Franck,%20The%20Sign%20of%20Peace%20Between%20God%20and%20Men_German,%201667_Augsburg,%20Lutheran%20Church%20of%20Saint%20Ulrich.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="605" data-original-width="750" height="516" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNdSRvAkd8pRamlq770LTUaYI76yZl22PJvHIuO7qlb-hsZ_MztCPqef7BOULBmX0gfxDCLsphun6NESXQurEFZyhrw91NBKNf7tlSpRCI3nwgYK8zQxsjsmEYmSu1f9pPM8KTQc0JLF0gVvv9teL3CQILPz3__Nw83n4vS_CnNstsrfeueOptNY7qsoI/w640-h516/1667_Franz%20Friedrich%20Franck,%20The%20Sign%20of%20Peace%20Between%20God%20and%20Men_German,%201667_Augsburg,%20Lutheran%20Church%20of%20Saint%20Ulrich.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Franz Friedrich Franck, The Sign of Peace Between God and Men<br />German, 1667<br />Augsburg, Lutheran Church of Saint Ulrich<br /><div style="text-align: left;">A note from the picture source suggests that the texts at top and bottom were added later and are not contemporary with the picture. The top caption reads: "A covenant binds us to the Father", while the bottom caption reads: "You create peace between God and the world".</div></td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1gAdWpUnUp4TEjcq43ZGsc8j5OL34KFqJercASezzSKFagvOINwOnkS4nk23zIN44b0o5UCcrapTjOjjXU08H1f_byK69JvFJV1DmlE6q3QCGn3RP6eGpY0wxrtzXaEJd0lSUJSDrVBth87o28ENlFuPa-BRcQDqtji9jen1ijh8XJIoptnS4DSPUYMg/s1920/1668_Juan%20Antonio%20de%20Frias%20y%20Escalante,%20Noah%20and%20His%20Family%20After%20the%20Flood_Spanish,%201668_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1920" data-original-width="1396" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1gAdWpUnUp4TEjcq43ZGsc8j5OL34KFqJercASezzSKFagvOINwOnkS4nk23zIN44b0o5UCcrapTjOjjXU08H1f_byK69JvFJV1DmlE6q3QCGn3RP6eGpY0wxrtzXaEJd0lSUJSDrVBth87o28ENlFuPa-BRcQDqtji9jen1ijh8XJIoptnS4DSPUYMg/w466-h640/1668_Juan%20Antonio%20de%20Frias%20y%20Escalante,%20Noah%20and%20His%20Family%20After%20the%20Flood_Spanish,%201668_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="466" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Juan Antonio de Frias y Escalante, Noah and His Family After the Flood<br />Spanish, 1668<br />Madrid, Museo Nacional del Prado</td></tr></tbody></table><br /><span style="font-family: "Book Antiqua",serif;"><br /></span></p><p class="MsoNormal"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhsOzPjlQsmkEIqEgOAxkrsSJ5B989XwA8b1T79NY7EfzWxvuyyLLoTZbEgmBdA_714X0XLTKhuDq33ifPqcdRj3R-RFStOK1y5xyYc1mzf3Usa-jEFbj6P2jQwksN9Y6yKszDlP5wZVZc0eatGksLjbOuehAtgemflDSE-JXmv1UsAwIRraT9_lJTuO8/s1452/1688_Nicolas%20Fontaine,%20The%20History%20of%20the%20Old%20and%20the%20New%20Testament_French,%20c.%201688-1690_Washington,%20Folger%20Shakespeare%20Library,%20Folger%20Digital%20Image%20Collection.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1452" data-original-width="916" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhsOzPjlQsmkEIqEgOAxkrsSJ5B989XwA8b1T79NY7EfzWxvuyyLLoTZbEgmBdA_714X0XLTKhuDq33ifPqcdRj3R-RFStOK1y5xyYc1mzf3Usa-jEFbj6P2jQwksN9Y6yKszDlP5wZVZc0eatGksLjbOuehAtgemflDSE-JXmv1UsAwIRraT9_lJTuO8/w404-h640/1688_Nicolas%20Fontaine,%20The%20History%20of%20the%20Old%20and%20the%20New%20Testament_French,%20c.%201688-1690_Washington,%20Folger%20Shakespeare%20Library,%20Folger%20Digital%20Image%20Collection.jpg" width="404" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Nicolas Fontaine, The Going Out of the Ark and the Rainbow<br />From <u><i>The History of the Old and the New Testament</i></u><br />French, c. 1688-1690<br />Washington, Folger Shakespeare Library, Folger Digital Image Collection<br /><div style="text-align: left;">The image of God and even the tetragrammaton is here replaced by a banner, held by putti, praising the patronage of the Frances Teresa Stuart, the Countess of Richmond and Lenox, who was the patroness of the illustrator. If it weren't for the legend at the bottom of the page one might question exactly what is being depicted.</div></td></tr></tbody></table><br /><br /></p><h4 style="text-align: left;"><span style="font-family: "Book Antiqua",serif;">The Eighteeenth- and Nineteenth Centuries</span></h4><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">This non-miraculous interpretation of the rainbow event is especially true from the beginning of the eighteenth century to the present, with a few
notable exceptions.<o:p></o:p></span></p><p class="MsoNormal"><br /></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p> <span> </span><i>The Eighteenth Century</i></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRcddWNfRKRe9EZIE23qP9UgeXwarU39A5wcVYeRnVwa0PWnYvTrYnJe77ut4fl4dp3J53SMDyKD6oAUNGl3b53erFa3UeyL8jjhF7FFZK7MDUfQZg5nXLi249JnfxCfI8DitxUXxROebRqwRK1lqPxrVlrmEydO2oRFyO7xTCcekazySUnRkHL78BJ8c/s5871/1700_Elias%20van%20Nijmegen,%20Sacrifice%20of%20Noah_Dutch,%20c.%201700%20(First%20Half%20of%2018th%20Century)_Amsterdam,%20Rijksmuseum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="5871" data-original-width="2588" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRcddWNfRKRe9EZIE23qP9UgeXwarU39A5wcVYeRnVwa0PWnYvTrYnJe77ut4fl4dp3J53SMDyKD6oAUNGl3b53erFa3UeyL8jjhF7FFZK7MDUfQZg5nXLi249JnfxCfI8DitxUXxROebRqwRK1lqPxrVlrmEydO2oRFyO7xTCcekazySUnRkHL78BJ8c/w282-h640/1700_Elias%20van%20Nijmegen,%20Sacrifice%20of%20Noah_Dutch,%20c.%201700%20(First%20Half%20of%2018th%20Century)_Amsterdam,%20Rijksmuseum.jpg" width="282" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Elias van Nijmegen, The Sacrifice of Noah<br />Dutch, c. First Half of 18th Century<br />Amsterdam, Rijksmuseum</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoCZQ6XISZWGw8RQqNdE6UTRsELO7A6l3iWagCiHSoXn8wbrAGHunYfA4Hz4Nz2r6xEY7PCShRk0jBI7zvwKpAiYf-JT6uUr8gk-fJv_s6f4vtKTyr8x05TClpM3MWaSREy4m0DK3Bxoz3n0xkl9joIuf4NnyGTYnHPHE3bs83Yisc-9BdnI0xLdQzzOo/s1811/1701_Circle%20of%20Carlo%20Antonio%20Carlone,%20Sacrifice%20of%20Noah_Italian,%20c.%201701-1715_Lambach%20(AU),%20Benedictine%20Monastery%20of%20Saint%20Florian,%20Ambulatory.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1811" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoCZQ6XISZWGw8RQqNdE6UTRsELO7A6l3iWagCiHSoXn8wbrAGHunYfA4Hz4Nz2r6xEY7PCShRk0jBI7zvwKpAiYf-JT6uUr8gk-fJv_s6f4vtKTyr8x05TClpM3MWaSREy4m0DK3Bxoz3n0xkl9joIuf4NnyGTYnHPHE3bs83Yisc-9BdnI0xLdQzzOo/w640-h424/1701_Circle%20of%20Carlo%20Antonio%20Carlone,%20Sacrifice%20of%20Noah_Italian,%20c.%201701-1715_Lambach%20(AU),%20Benedictine%20Monastery%20of%20Saint%20Florian,%20Ambulatory.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Circle of Carlo Antonio Carlone, The Sacrifice of Noah<br />Italian, c. 1701-1715<br />Lambach (AU), Benedictine Monastery of Saint Florian, Ambulatory</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDiv4cPjRI-oItYAx65YmHeTzf-jUjse4EMDWQnccB2rfuHW_Gv9kzeaJOhsgPYcqbzOAjBGEwrLL6e3gNCPQewPyxQkhulMs0aJKhNroP2QB0cT6NfGtyItZe3KxVItqjjpuEt5wzte9hSfg_w7rD-mjxs7zUQgFxJp9g3ERoZhQ1A4D13SotUvIlw2E/s6443/1708_Jan%20Luyken,%20Sacrifice%20of%20Noah_From%20Historiae%20Celebriores%20Veteris%20Testamenti_Dutch,%201708_Amsterdam,%20Rijksmuseum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="6443" data-original-width="5026" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDiv4cPjRI-oItYAx65YmHeTzf-jUjse4EMDWQnccB2rfuHW_Gv9kzeaJOhsgPYcqbzOAjBGEwrLL6e3gNCPQewPyxQkhulMs0aJKhNroP2QB0cT6NfGtyItZe3KxVItqjjpuEt5wzte9hSfg_w7rD-mjxs7zUQgFxJp9g3ERoZhQ1A4D13SotUvIlw2E/w500-h640/1708_Jan%20Luyken,%20Sacrifice%20of%20Noah_From%20Historiae%20Celebriores%20Veteris%20Testamenti_Dutch,%201708_Amsterdam,%20Rijksmuseum.jpg" width="500" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jan Luyken, The Sacrifice of Noah_<br />From <i><u>Historiae Celebriores Veteris Testamenti</u></i><br />Dutch, 1708_Amsterdam, Rijksmuseum<br /><div style="text-align: left;">This book illustration by Jan Luyken appears to have been the inspiration for the anonymous painting below. Book illustrations and prints were often used by patrons and artists in planning other works of art.</div></td></tr></tbody></table></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVevKvJOyehfVp8DAkw9P68SSJRrKtowIj7tjswTLStAtV82dX2XGQbmVgdJSggi5BXjBn454ZiY_EcHloWNtp_XKKV3VCCsbQRyPwu4hUDbgI20pYR2od55ydFPEZ9sMGyQL4mqtG1ezIAgr21G7HQjGjLR2wS80Xz0nTkWOvsrSSezd1KEQ0w0Trnas/s862/1701_Sacrifice%20of%20Noah_German,%20c.%201700-1750_Schw%C3%A4bisch%20Hall,%20City%20Hall.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="862" data-original-width="557" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVevKvJOyehfVp8DAkw9P68SSJRrKtowIj7tjswTLStAtV82dX2XGQbmVgdJSggi5BXjBn454ZiY_EcHloWNtp_XKKV3VCCsbQRyPwu4hUDbgI20pYR2od55ydFPEZ9sMGyQL4mqtG1ezIAgr21G7HQjGjLR2wS80Xz0nTkWOvsrSSezd1KEQ0w0Trnas/w414-h640/1701_Sacrifice%20of%20Noah_German,%20c.%201700-1750_Schw%C3%A4bisch%20Hall,%20City%20Hall.jpg" width="414" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Sacrifice of Noah<br />German, c. 1700-1750<br />Schwäbisch Hall, City Hall</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZTF_U-6SfimLJAvDnWCwwUtkano8xuUnTkVVHlwtrQEj6BPDMy0wkx2h_p86MAuay0VMRXcxgUZUuu2NqJik4CJ6V-nLlNQA6YYGdoEI1WBfKWJOHYRXWZ_4IVqKnMQils3VrVWWbIDHJSRysSnt_oBIou33lydQHJJ1z-1ONY_fUCIqiUhJu0ZjjxpE/s6027/1712_Casar%20Luyken,%20Sacrifice%20of%20Noah_Dutch,%201712_Amsterdam,%20Rijksmuseum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4633" data-original-width="6027" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZTF_U-6SfimLJAvDnWCwwUtkano8xuUnTkVVHlwtrQEj6BPDMy0wkx2h_p86MAuay0VMRXcxgUZUuu2NqJik4CJ6V-nLlNQA6YYGdoEI1WBfKWJOHYRXWZ_4IVqKnMQils3VrVWWbIDHJSRysSnt_oBIou33lydQHJJ1z-1ONY_fUCIqiUhJu0ZjjxpE/w640-h492/1712_Casar%20Luyken,%20Sacrifice%20of%20Noah_Dutch,%201712_Amsterdam,%20Rijksmuseum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Caspar Luyken, The Sacrifice of Noah<br />Dutch, 1712<br />Amsterdam, Rijksmuseum</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7ED4vj67DCftynTtQlzCqqFfQlweTgvay8P3IlbgKFJ9x3OiSzd57mtV5ij2pTrpr1LjEJkWCvRBjS5Ujo5Y4I1HXOHP5BGHUydlulcwLL6p-buwLktGizyud0jhpCK6WvQgRPq_AEhWeY3z06ct6nDj_sStwL4_z4OSJ7g6UM0xw4dctkTY8D2cR0CM/s1200/1720_Francesco%20Fernandi,%20The%20Sacrifice%20of%20Noah_Italian,%20c.%201720_Stourhead,%20Wiltshire%20(UK),%20National%20Trust%20Collections.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="654" data-original-width="1200" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7ED4vj67DCftynTtQlzCqqFfQlweTgvay8P3IlbgKFJ9x3OiSzd57mtV5ij2pTrpr1LjEJkWCvRBjS5Ujo5Y4I1HXOHP5BGHUydlulcwLL6p-buwLktGizyud0jhpCK6WvQgRPq_AEhWeY3z06ct6nDj_sStwL4_z4OSJ7g6UM0xw4dctkTY8D2cR0CM/w640-h348/1720_Francesco%20Fernandi,%20The%20Sacrifice%20of%20Noah_Italian,%20c.%201720_Stourhead,%20Wiltshire%20(UK),%20National%20Trust%20Collections.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Francesco Fernandi, The Sacrifice of Noah_<br />Italian, c. 1720<br />Stourhead, Wiltshire (UK), National Trust Collections</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7RnfZMADEVWG24vWYONt1_V1cKxNMieS-FBEHMKY1a9AkMIN6EoE6ulLwS7m_MTxK5HvLeKHEJuHPwrY8qdFuzwYzKxOsho9ztwi2563xc9QEoBOAAjhkUihuad7kw1OLaKlCu6TCLDpoPtbl9S94HhtHKmVuFk4jrSWA6m8XrqdyXLGBs7060e_1XEc/s1771/1728_Jacopo%20Amigoni,%20Sacrifice%20of%20Noah_Italian,%201728_Ottobeuren,%20Ottobeuren%20Benedictine%20Monastery%20Chapel.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1771" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7RnfZMADEVWG24vWYONt1_V1cKxNMieS-FBEHMKY1a9AkMIN6EoE6ulLwS7m_MTxK5HvLeKHEJuHPwrY8qdFuzwYzKxOsho9ztwi2563xc9QEoBOAAjhkUihuad7kw1OLaKlCu6TCLDpoPtbl9S94HhtHKmVuFk4jrSWA6m8XrqdyXLGBs7060e_1XEc/w640-h434/1728_Jacopo%20Amigoni,%20Sacrifice%20of%20Noah_Italian,%201728_Ottobeuren,%20Ottobeuren%20Benedictine%20Monastery%20Chapel.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jacopo Amigoni, The Sacrifice of Noah<br />Italian, 1728<br />Ottobeuren, Ottobeuren Benedictine Monastery Chapel</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQOWYLwRJAEU2Z-6HVPIfDkk32qwKzI8otTKomLe_7zRT2ITFj3d_Foy_6BSyyYDIbgZKptUL4QOqK_kwyx4RP1Wky6_tdaeRKpBTZ5BhrF5biUD2u8SHBy3ag_CypkZl8H7PDgMp_JCJQ4m5iJxHekRW3YVMaGoI0r6Oj6OQAML8ND0k1RzmNhNpi1SU/s2345/1755_Saverio%20Grue,%20Sacrifice%20of%20Noah_Painted%20ceramic%20plaque_Italian%20(Caserta),%20c.%201755_London,%20Trustees%20of%20the%20British%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2345" data-original-width="1903" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQOWYLwRJAEU2Z-6HVPIfDkk32qwKzI8otTKomLe_7zRT2ITFj3d_Foy_6BSyyYDIbgZKptUL4QOqK_kwyx4RP1Wky6_tdaeRKpBTZ5BhrF5biUD2u8SHBy3ag_CypkZl8H7PDgMp_JCJQ4m5iJxHekRW3YVMaGoI0r6Oj6OQAML8ND0k1RzmNhNpi1SU/w520-h640/1755_Saverio%20Grue,%20Sacrifice%20of%20Noah_Painted%20ceramic%20plaque_Italian%20(Caserta),%20c.%201755_London,%20Trustees%20of%20the%20British%20Museum.jpg" width="520" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Saverio Grue, The Sacrifice of Noah<br />Painted ceramic plaque<br />Italian (Caserta), c. 1755<br />London, Trustees of the British Museum</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU1cOskxiZ4NDYt0LaszoPggJEnryEg9oArMC4TOIq7hd8rTFnBkRVLu3FLONAhkk6waASyJEaWP51lF2dMwcpXziUC13jmOvON-TInaq4yZE-AWw80HHovWsc8cWE1XcprHS1bg3zmyl6phoUW5R2oVS8jiGOr7YoZKfdLiYp291mFUZ1v9SersW_ZZU/s800/1794_Philippe-Jacques%20de%20Loutherbourg,%20Sacrifice%20of%20Noah_From%20the%20Macklin%20Bible,%20Vol.%201-4_French,%201794_Nashville,%20Vanderbilt%20University,%20Jean%20and%20Alexander%20Heard%20Library.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="619" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU1cOskxiZ4NDYt0LaszoPggJEnryEg9oArMC4TOIq7hd8rTFnBkRVLu3FLONAhkk6waASyJEaWP51lF2dMwcpXziUC13jmOvON-TInaq4yZE-AWw80HHovWsc8cWE1XcprHS1bg3zmyl6phoUW5R2oVS8jiGOr7YoZKfdLiYp291mFUZ1v9SersW_ZZU/w496-h640/1794_Philippe-Jacques%20de%20Loutherbourg,%20Sacrifice%20of%20Noah_From%20the%20Macklin%20Bible,%20Vol.%201-4_French,%201794_Nashville,%20Vanderbilt%20University,%20Jean%20and%20Alexander%20Heard%20Library.jpg" width="496" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Philippe-Jacques de Loutherbourg, The Sacrifice of Noah<br />From the <i><u>Macklin Bible</u></i>, Vol. 1-4<br />French, 1794<br />Nashville, Vanderbilt University, Jean and Alexander Heard Library</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><i><span> </span>The Nineteenth Century</i></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXO7jwYKMGSdrcBw6R4sBUwmDZibT2v0zteWwGsTK7a061-e7RdR7_Qb1A1kVZjRP755EnDa3SwSbUFG3db289EhFBuWlacWLlov_O51Q3jEcVjAj-xJdD1ps70DPU7ujXaHrg1mhoNqcMXyHheOWg8V7L0E7oj8mLbxvNlMGj-wVqK4xPWUFZwbEI5NM/s5113/1803_Joseph%20Anton%20Koch,%20Sacrifice%20of%20Noah_German,%201803_Frankfurt%20(Main),%20St%C3%A4del%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3814" data-original-width="5113" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXO7jwYKMGSdrcBw6R4sBUwmDZibT2v0zteWwGsTK7a061-e7RdR7_Qb1A1kVZjRP755EnDa3SwSbUFG3db289EhFBuWlacWLlov_O51Q3jEcVjAj-xJdD1ps70DPU7ujXaHrg1mhoNqcMXyHheOWg8V7L0E7oj8mLbxvNlMGj-wVqK4xPWUFZwbEI5NM/w640-h478/1803_Joseph%20Anton%20Koch,%20Sacrifice%20of%20Noah_German,%201803_Frankfurt%20(Main),%20St%C3%A4del%20Museum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Joseph Anton Koch, The Sacrifice of Noah<br />German, 1803<br />Frankfurt (Main), Städel Museum</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFsju2oksJeGunukRHhurRN-aJ1iYjpArHKUQESWYrA56xLsRIWXvZL7snXvmi4e8mTJ1AcSy2wGizyRbtf9BYkV4k4ZvUm3M_RZA7zXjiz1JOqC5xJvNuEi0p7gYgVOEND8p7iKzO5GY5FNtxabPdTyO9vXBxjUd96N4K2TzhnPS7gkJJgtdgys76Q5U/s1969/1814_Joseph%20Anton%20Koch,%20Sacrifice%20of%20Noah_german,%201814_Berlin,%20Nationalgalerie%20der%20Staatlichen%20Museen%20zu%20Berlin.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1463" data-original-width="1969" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFsju2oksJeGunukRHhurRN-aJ1iYjpArHKUQESWYrA56xLsRIWXvZL7snXvmi4e8mTJ1AcSy2wGizyRbtf9BYkV4k4ZvUm3M_RZA7zXjiz1JOqC5xJvNuEi0p7gYgVOEND8p7iKzO5GY5FNtxabPdTyO9vXBxjUd96N4K2TzhnPS7gkJJgtdgys76Q5U/w640-h476/1814_Joseph%20Anton%20Koch,%20Sacrifice%20of%20Noah_german,%201814_Berlin,%20Nationalgalerie%20der%20Staatlichen%20Museen%20zu%20Berlin.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Joseph Anton Koch, The Sacrifice of Noah<br />German, 1814<br />Berlin, Nationalgalerie der Staatlichen Museen zu Berlin</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p>Early nineteenth century images of the subject continue the basic narrative style that had been established in the Renaissance. However, during the course of the new century other ideas of how to depict things appeared. High drama entered the narrative, fueled by ideas of the sublime that were expounded by the early Romantic movement. Therefore, images of the rainbow's appearance take on an air of grand opera, which was also developing at this time (think about the change from Mozart's <i>Marriage of Figaro</i> with its domestic setting to Verdi's <i>Aida</i> with its spectacular processions and temple scenes for example).</o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNEv1HcVlGHD_61-68-tWG8NiJ6HBhY6PuM3Mfn1PFOZ1-U1RoEV-NtZ6Nq3iYOS4EdKTXkl2Jb-5m2DeCLy5DEoYr_zR7Wde2_sSc9R9FDJKkn0peHT3crmesTjd9DD5pHoc_OrZbIBlYKqxnFFd3ckbn9BhWyK7qlJD3KEctSqkBPW1O0dOks4UR3hs/s1536/1832_John%20Martin,%20The%20Covenant_From%20Illustrations%20to%20the%20Bible_English,%201832_London,%20Tate%20Gallery.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1020" data-original-width="1536" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNEv1HcVlGHD_61-68-tWG8NiJ6HBhY6PuM3Mfn1PFOZ1-U1RoEV-NtZ6Nq3iYOS4EdKTXkl2Jb-5m2DeCLy5DEoYr_zR7Wde2_sSc9R9FDJKkn0peHT3crmesTjd9DD5pHoc_OrZbIBlYKqxnFFd3ckbn9BhWyK7qlJD3KEctSqkBPW1O0dOks4UR3hs/w640-h426/1832_John%20Martin,%20The%20Covenant_From%20Illustrations%20to%20the%20Bible_English,%201832_London,%20Tate%20Gallery.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">John Martin, The Covenant<br />From <u><i>Illustrations to the Bible</i></u><br />English, 1832<br />London, Tate Gallery</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb9w0rMRlSM-zzvxGQAqEPAfhjBkExrqAoAo9dXnhjj9zd18sQzqJ5YwM9oDF-zEGU8Hhj5i0NaedNLfy4LYwgc_6m1s3g02u6hN_Kdopg02w2VLMKSY6juFy3KUjLEWdP-IufiMNqjiRO4HCKoKchBl88p2mAAlAc8cBoqF7hXsniuPPKoAXi_ZecngA/s944/1847_Daniel%20Maclise,%20Noah's%20Sacrifice_Irish,%20c.%201847-1853_Leeds,%20Leeds%20Art%20Gallery.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="762" data-original-width="944" height="516" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb9w0rMRlSM-zzvxGQAqEPAfhjBkExrqAoAo9dXnhjj9zd18sQzqJ5YwM9oDF-zEGU8Hhj5i0NaedNLfy4LYwgc_6m1s3g02u6hN_Kdopg02w2VLMKSY6juFy3KUjLEWdP-IufiMNqjiRO4HCKoKchBl88p2mAAlAc8cBoqF7hXsniuPPKoAXi_ZecngA/w640-h516/1847_Daniel%20Maclise,%20Noah's%20Sacrifice_Irish,%20c.%201847-1853_Leeds,%20Leeds%20Art%20Gallery.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Daniel Maclise, Noah's Sacrifice<br />Irish, c. 1847-1853<br />Leeds, Leeds Art Gallery</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5rtzfA9tp2V4WDVmURCewIVoJFF_QS-5RKkmN7fITpN6fhxu1t03ZOH7FX1E59cSahm5sLMliDCeqgeR7E_wmIxuFr1SsX7t4qO3iKOdjdmR35uDorXgbayx6eiwnrpEtpj5lil9rJZVGNdCax1hq6weW1Ugta88rwkGYzgycDOf35g207COXCySn7qA/s1161/1860_Wilhelm%20Obermann%20after%20Julius%20Schnorr%20von%20Carolsfeld,%20Noah's%20Sacrifice_From%20Die%20Bible%20in%20Bildern,%20Plate%2019_German,%201852-%201860_Hamburg,%20Hamburger%20Kunsthalle.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="936" data-original-width="1161" height="516" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5rtzfA9tp2V4WDVmURCewIVoJFF_QS-5RKkmN7fITpN6fhxu1t03ZOH7FX1E59cSahm5sLMliDCeqgeR7E_wmIxuFr1SsX7t4qO3iKOdjdmR35uDorXgbayx6eiwnrpEtpj5lil9rJZVGNdCax1hq6weW1Ugta88rwkGYzgycDOf35g207COXCySn7qA/w640-h516/1860_Wilhelm%20Obermann%20after%20Julius%20Schnorr%20von%20Carolsfeld,%20Noah's%20Sacrifice_From%20Die%20Bible%20in%20Bildern,%20Plate%2019_German,%201852-%201860_Hamburg,%20Hamburger%20Kunsthalle.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Wilhelm Obermann after Julius Schnorr von Carolsfeld, Noah's Sacrifice<br />From <u><i>Die Bible in Bildern</i></u>, Plate 19<br />German, 1852- 1860<br />Hamburg, Hamburger Kunsthalle</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi9X7gcbzi0IyjpHo5MsF5-7I9T2MI0CYcyNAbeZqhWVbSlA4jssmL3mWUD3xlzNUG91rZLa6K-fOfcLeJOyDKet6kteXxnVJaIbr6h3KhBnh6tbN7STTx2qMTgsbvKbSE-7GpibjNlVSi-5fnkQ2PoIRrpDNhJrql9Vb_6U8hT4oxHSYjb-jJhSJqfYQ/s1597/1888_Ludwig%20Gloetzle,%20Sacrifice%20of%20Noah_Salzburg,%20Cathedral%20of%20Saints%20Rupert%20and%20Virgil.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1025" data-original-width="1597" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi9X7gcbzi0IyjpHo5MsF5-7I9T2MI0CYcyNAbeZqhWVbSlA4jssmL3mWUD3xlzNUG91rZLa6K-fOfcLeJOyDKet6kteXxnVJaIbr6h3KhBnh6tbN7STTx2qMTgsbvKbSE-7GpibjNlVSi-5fnkQ2PoIRrpDNhJrql9Vb_6U8hT4oxHSYjb-jJhSJqfYQ/w640-h410/1888_Ludwig%20Gloetzle,%20Sacrifice%20of%20Noah_Salzburg,%20Cathedral%20of%20Saints%20Rupert%20and%20Virgil.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ludwig Gloetzle, Sacrifice of Noah<br />German, c. 1888-1891<br />Salzburg, Cathedral of Saints Rupert and Virgil</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua", serif;"><o:p>Other influences also exerted their own impact on the imagination of artists, such as the medievalism of Viollet-le-Duc's "restoration" of Notre Dame de Paris or the lure of the romantic primitive worked </o:p></span><span style="font-family: "Book Antiqua", serif;">on the imagination </span><span style="font-family: "Book Antiqua", serif;">by thoughts and beliefs about the natives of the Americas or the inhabitants of the Scottish highlands or of the classical world encouraged by the development of archaeology. All of these influences appear in images of Noah and God's covenant with him.</span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua", serif;"><br /></span></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaHtjJ0STCf8G9dMyVN9TvdEXBvr6qBa6Z-TZ2_tse2FjlysPiB0PhaTeCWxBfEniC2YCvVXIXrbo1AgJcn9nO436U9qjdaqF3Mefquj0-V4rr_9MoRph2xF9lpEW34do25jN4CLQFjwXMz77iB43vqmQX2wfKf0wC3qxHCSiZyaG180x1jzTN6sSKz0g/s3817/1841_Jean%20Bataille,%20Sacrifice%20of%20Noah_Flemish,%20c.%201841_Ghent,%20Museum%20voor%20Schone%20Kunsten.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3817" data-original-width="2889" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaHtjJ0STCf8G9dMyVN9TvdEXBvr6qBa6Z-TZ2_tse2FjlysPiB0PhaTeCWxBfEniC2YCvVXIXrbo1AgJcn9nO436U9qjdaqF3Mefquj0-V4rr_9MoRph2xF9lpEW34do25jN4CLQFjwXMz77iB43vqmQX2wfKf0wC3qxHCSiZyaG180x1jzTN6sSKz0g/w484-h640/1841_Jean%20Bataille,%20Sacrifice%20of%20Noah_Flemish,%20c.%201841_Ghent,%20Museum%20voor%20Schone%20Kunsten.jpg" width="484" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jean Bataille, The Sacrifice of Noah<br />Flemish, c. 1841<br />Ghent, Museum voor Schone Kunsten</td></tr></tbody></table><br /><span style="font-family: "Book Antiqua", serif;"><br /></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoSojbNUu48oOlccLt8SG5xu4nW_ybIRHZkfAnNPNW6Zmf9Rqa3m-dMYv0NK_fi_6_MCF6EHgA5sRNKRAzKIH74XNYGu7F6F20etJIgjWHJRYDdKGTT8nqc9SFLBKkpoGmdkVs9Bl3_4KMzSMpRLWKM1oUUINscHlsGDMy-sWGI1RKAk2BL-LsVTibck8/s311/1800_Steinheil,%20Sacrifice%20of%20Noah_French,%2019th%20Century_Paris,%20Sainte%20Chapelle.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="311" data-original-width="306" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoSojbNUu48oOlccLt8SG5xu4nW_ybIRHZkfAnNPNW6Zmf9Rqa3m-dMYv0NK_fi_6_MCF6EHgA5sRNKRAzKIH74XNYGu7F6F20etJIgjWHJRYDdKGTT8nqc9SFLBKkpoGmdkVs9Bl3_4KMzSMpRLWKM1oUUINscHlsGDMy-sWGI1RKAk2BL-LsVTibck8/w630-h640/1800_Steinheil,%20Sacrifice%20of%20Noah_French,%2019th%20Century_Paris,%20Sainte%20Chapelle.jpg" width="630" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Steinheil, The Sacrifice of Noah<br />French, Middle of the 19th Century<br />Paris, Sainte Chapelle</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihZ1OoFrxzMy-cRNJ8UMJDjGXjUu8I9WwXgo9cxl5CloKzFs-4nLGrmDvc70TuTSPpG0pa0YRxr61ziipvyZxD8MNA2okktTorJl2hyphenhyphenRMtucD2OBJzOR5q8eR6ebaA3PPW6QjjKGnCrzswC72c5oUX0uqkYpEOuCgn22qLkbC0wo8jiWKijB_IOaExEL4/s1200/1900_Frederick%20James%20Shields,%20Stained%20Glass%20Design_English,%20c.%201900-1910_Wolverhampton,%20Wolverhampton%20Art%20Gallery.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="347" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihZ1OoFrxzMy-cRNJ8UMJDjGXjUu8I9WwXgo9cxl5CloKzFs-4nLGrmDvc70TuTSPpG0pa0YRxr61ziipvyZxD8MNA2okktTorJl2hyphenhyphenRMtucD2OBJzOR5q8eR6ebaA3PPW6QjjKGnCrzswC72c5oUX0uqkYpEOuCgn22qLkbC0wo8jiWKijB_IOaExEL4/w186-h640/1900_Frederick%20James%20Shields,%20Stained%20Glass%20Design_English,%20c.%201900-1910_Wolverhampton,%20Wolverhampton%20Art%20Gallery.jpg" width="186" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Frederick James Shields, Stained Glass Design<br />English, c. 1900-1910<br />Wolverhampton, Wolverhampton Art Gallery</td></tr></tbody></table><br /><o:p><br /></o:p></span></p><p class="MsoNormal"><br /></p>
<h4 style="text-align: left;"><span style="font-family: "Book Antiqua",serif;">The Twentieth and the Twenty-First Centuries*</span></h4>
<p class="MsoNormal"><i>A Notable Exception</i></p><p class="MsoNormal"><span style="font-family: "Book Antiqua", serif;">I mentioned that there was a notable exception to the trend of removing the image of God from the depictions of the appearance of the rainbow. Here it is. It was created in 1923 by the German artist Lovis Corinth and is quite different in tone from its predecessors. Instead of God appearing in the sky, he stands side by side wth Noah, pointing to the bow he has set in the heavens as a reminder of his pact with humans and all other creatures.</span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua", serif;"><br /></span></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLOpKCgLs6jMXPfnqdNUWZ3qUerE59ki-WGeAjeC4wEn-MuQdCjhGI8yFl6flP6bHzEHMWyn29PTaRYPfKwbFCb9r2mQGi3TJEWKDmltJxlvIIO-n2MhBwQyNFPJPwaFY5x_LVFF16UR-trjvR9FkRZJ7K_whkjTkrXZKi-zqOltNjHcJM5ad_96Twe_M/s819/1923_Lovis%20Corinth,%20The%20Rainbow_German,%201923_Chicago,%20Art%20Institute.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="689" data-original-width="819" height="538" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLOpKCgLs6jMXPfnqdNUWZ3qUerE59ki-WGeAjeC4wEn-MuQdCjhGI8yFl6flP6bHzEHMWyn29PTaRYPfKwbFCb9r2mQGi3TJEWKDmltJxlvIIO-n2MhBwQyNFPJPwaFY5x_LVFF16UR-trjvR9FkRZJ7K_whkjTkrXZKi-zqOltNjHcJM5ad_96Twe_M/w640-h538/1923_Lovis%20Corinth,%20The%20Rainbow_German,%201923_Chicago,%20Art%20Institute.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Lovis Corinth, The Rainbow<br />German, 1923<br />Chicago, Art Institute</td></tr></tbody></table><br /><span style="font-family: "Book Antiqua", serif;"><br /></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua", serif;">However, this seems to be a solitary exception. The figure of God has basically been removed from the visual language of this important biblical story.</span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua", serif;"><br /></span></p><p class="MsoNormal"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisYxD7n4zmOA8eoTqFtBERSCiTTBq2L6hQpTconcDnlxBDObyM5d1eNcnRiivg9mIbBLlvRrmN8o_9zxwxW8vQtV5_t5ifyojnxV5l5vGWzAyiAb_SnxS_O2Ubr-ozO-Krs7bAzQcKZJq_JpNCpmNwpWyFkRuGpvUiSD5yrfxOYkz__OS4KZ25JVMwZfE/s2048/2014_Kundry%20Niederhausen,%20Arche%20Noah-Fenster_Swiss,%202014_Raperswilen,%20Evangelical%20Church.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="661" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisYxD7n4zmOA8eoTqFtBERSCiTTBq2L6hQpTconcDnlxBDObyM5d1eNcnRiivg9mIbBLlvRrmN8o_9zxwxW8vQtV5_t5ifyojnxV5l5vGWzAyiAb_SnxS_O2Ubr-ozO-Krs7bAzQcKZJq_JpNCpmNwpWyFkRuGpvUiSD5yrfxOYkz__OS4KZ25JVMwZfE/w206-h640/2014_Kundry%20Niederhausen,%20Arche%20Noah-Fenster_Swiss,%202014_Raperswilen,%20Evangelical%20Church.jpg" width="206" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Kundry Niederhausen, Noah's Ark Window<br />Swiss, 2014<br />Raperswilen, Evangelical Church</td></tr></tbody></table><br /><span style="font-family: "Book Antiqua", serif;"><br /></span></p><p class="MsoNormal"><span style="font-family: "Book Antiqua", serif;">And so it is
today.</span><span style="font-family: "Book Antiqua", serif;"> </span><span style="font-family: "Book Antiqua", serif;">The story of Noah is there, but
only the mark of the covenant appears, not the maker.</span><span style="font-family: "Book Antiqua", serif;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;">Maybe it’s
time for a new beginning.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family: inherit;">© M. Duffy,
2024</span><span style="font-family: Book Antiqua, serif;"><o:p></o:p></span></p>
<p class="MsoNormal"><a name="_Hlk147669273"><o:p><span style="font-family: inherit;"> * Please note that the images shown here are not entirely representative of the work of the last two centuries. There may be other recent images of this subject for which picture are not available due to copyright restrictions. Please also note that any work of art dated between 1922 and the present is still in copyright and the rights to reproduction belong to the copyright owner.</span></o:p></a></p><p class="MsoNormal"><a name="_Hlk147669273"><o:p><span style="font-family: inherit;"><br /></span></o:p></a></p>
<div style="border: solid windowtext 1.0pt; mso-border-alt: solid windowtext .5pt; mso-element: para-border-div; padding: 1.0pt 4.0pt 1.0pt 4.0pt;">
<p class="MsoNormal" style="border: none; mso-border-alt: solid windowtext .5pt; mso-padding-alt: 1.0pt 4.0pt 1.0pt 4.0pt; padding: 0in;"><span style="mso-bookmark: _Hlk147669273;"><span style="background: white; color: #363936; font-family: Roboto; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;">Excerpts
from the <i><span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Lectionary for Mass for Use in the Dioceses of the United States
of America, second typical edition</span></i> © 2001, 1998, 1997, 1986,
1970 Confraternity of Christian Doctrine, Inc., Washington, DC. Used with
permission. All rights reserved. No portion of this text may be reproduced by
any means without permission in writing from the copyright owner.</span></span><span style="mso-bookmark: _Hlk147669273;"><span style="font-family: Roboto; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;"><o:p></o:p></span></span></p>
</div>
<span style="mso-bookmark: _Hlk147669273;"></span>
<p class="MsoNormal"><span style="font-family: "Book Antiqua",serif;"><o:p> </o:p></span></p><div class="blogger-post-footer">Copyright Margaret Duffy, 2008-2017</div>Margaret Duffyhttp://www.blogger.com/profile/03821836487895782384noreply@blogger.com0tag:blogger.com,1999:blog-415269867796810849.post-78342356017763273402024-02-11T16:22:00.001-05:002024-02-11T16:22:45.925-05:00Illustrating Miracles: The Leper and the Chapel*<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div style="text-align: right;">
</div>
<em><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFJ7gfg2kKyHBpXadVHrbbsgaV4tMgPweJw77P1qZOfvdoWjRPkkuOhYFrxZVdIc0PpSxt8O2i4sI3I2YdibECwycKsbzbbFbVMcI3pVuw7H698vc9qs9L3XaNuMPM2M94eYo68WiFmQbNkAVnZemSz8tuTG0x2U27NeXrAENOEaNqI1ST8wm52vtG_p4/s1111/1320_From%20the%20Sermons%20by%20Maurice%20de%20Sully_Italian%20(Genoa),%20c.%201320_Paris,%20BNF_MS%20Francais%20187,%20fol.%206v.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="954" data-original-width="1111" height="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFJ7gfg2kKyHBpXadVHrbbsgaV4tMgPweJw77P1qZOfvdoWjRPkkuOhYFrxZVdIc0PpSxt8O2i4sI3I2YdibECwycKsbzbbFbVMcI3pVuw7H698vc9qs9L3XaNuMPM2M94eYo68WiFmQbNkAVnZemSz8tuTG0x2U27NeXrAENOEaNqI1ST8wm52vtG_p4/w640-h550/1320_From%20the%20Sermons%20by%20Maurice%20de%20Sully_Italian%20(Genoa),%20c.%201320_Paris,%20BNF_MS%20Francais%20187,%20fol.%206v.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div><span style="font-family: inherit; font-size: x-small;">Jesus Heals a Leper<br />From the <u><em>Sermons of Maurice de Sully</em></u></span></div><div><span style="font-family: inherit; font-size: x-small;">Italian (Milan or Genoa), c. 1320-1330</span></div><div><span style="font-family: inherit; font-size: x-small;">Paris, Bibliotheque nationale de France</span></div><div><span style="font-family: inherit; font-size: x-small;">MS Francais 187, fol. 6v</span></div></td></tr></tbody></table><br />“A leper came to Jesus and kneeling down begged him and said,</em><br />
<em>"If you wish, you can make me clean."</em><br />
<em>Moved with pity, he stretched out his hand, </em><br />
<em>touched him, and said to him, </em><br />
<em>"I do will it. Be made clean."</em><br />
<em>The leprosy left him immediately, and he was made clean,</em><br />
<em>Then, warning him sternly, he dismissed him at once. </em><br />
<em>He said to him, "See that you tell no one anything,</em><br />
<em>but go, show yourself to the priest </em><br />
<em>and offer for your cleansing what Moses prescribed;</em><br />
<em>that will be proof for them."</em><br />
<em>The man went away and began to publicize the whole matter.</em><br />
<em>He spread the report abroad</em><br />
<em>so that it was impossible for Jesus to enter a town openly.</em><br />
<em>He remained outside in deserted places,</em><br />
<em>and people kept coming to him from everywhere.”</em><br />
<span style="font-family: inherit;">(Mark 1:40-45)</span><br />
<span style="font-family: inherit;"> Gospel for the Sixth Sunday in Ordinary Time, Year B</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">The Gospel and First Reading of today’s liturgy, for the Sixth Sunday in Ordinary Time, focus on leprosy. The First Reading comes from <em><u>Leviticus</u></em>, Chapter 13, which lays down rules by which various forms of skin infections can be recognized and dealt with.<span style="color: blue; font-size: xx-small;"><u><strong>1</strong></u></span> Since there was no real cure for leprosy (it wasn’t discovered until the 1980s<span style="color: blue; font-size: xx-small;"><u><strong>2</strong></u></span>) those who suffered from it were harshly treated, by more or less total exclusion from the community. Since the definition of leprosy was not the clinical one it would be today, there were no doubt many other skin conditions that were included in the word. </span></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOu2tNCOZIc3LA9t1kfR0w4-d9_zzSIE1Knz-2XOe-Hb92mjqqJoiqPlQxB_8_Snvh_LRXh9kjfJlif9_0A-uKXObLEiwEL3yz8P7TdbW4ZsvfE71Jy1a-EXjrbJujASIUnuIde3ld-AES-Cda_J8kPaEGymFgM3ncAMey89gytbzYxqDBmqfYArD997U/s1777/1400_A%20Leper_From%20a%20Pontifical_Flemish,%20c.%201400_London,%20British%20Library_MS%20Landsdowne%20451,%20fol.%20127r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1777" data-original-width="1285" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOu2tNCOZIc3LA9t1kfR0w4-d9_zzSIE1Knz-2XOe-Hb92mjqqJoiqPlQxB_8_Snvh_LRXh9kjfJlif9_0A-uKXObLEiwEL3yz8P7TdbW4ZsvfE71Jy1a-EXjrbJujASIUnuIde3ld-AES-Cda_J8kPaEGymFgM3ncAMey89gytbzYxqDBmqfYArD997U/w462-h640/1400_A%20Leper_From%20a%20Pontifical_Flemish,%20c.%201400_London,%20British%20Library_MS%20Landsdowne%20451,%20fol.%20127r.jpg" width="462" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">A Leper with a Bell<br />From a <u style="font-style: italic;">Pontifical</u> (Liturgical book for bishops)<br />Flemish, c. 1400<br />London, British Library<br />MS Landsdowne 451, fol. 127r<br /><div style="text-align: left;">Leprosy was not well understood and, therefore, was greatly feared. Lepers were subject to many rules intended to isolate them from the general population in order to control the disease. Among those rules was the use of a bell by the leper to announce his or her presence in public places. In some of the illustrations that follow you will see that instead of a bell, wooden clappers were often used. </div></td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;">In the Gospel reading Jesus responds to the plea of a leper by healing him and then instructing him to follow the rules laid down for lepers who were healed, by going to a priest to show his clean skin and providing an offering in the temple. It is a sign both of His power over nature and of the revelation of a loving, healing God which He represents.</span></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkTpYkdmoTpDWvw0KFcX2NGF3TmC7JRShtGUSI0ojc6H2DabuIMMDvZhsNDBJg_xSYFCpXQm0CFg74hbgI1DsW8-8Z4e-FhAacHQCV_hKIoZezQeQeVDx3UFQ2MGCSpXnN-RzW4O9vj2-GK2RU5FTjT5LPog-ROGT1AL7ApU8xdJICQ98nvLBDkPUa-O0/s3850/1730_Johann%20Fuessli,%20The%20Law%20of%20the%20Leper%20in%20the%20Day%20of%20His%20Cleansing_Swiss,%20c.%201730_New%20York,%20Metropolitan%20Museum%20of%20Art,%20Dep%20of%20Prints%20and%20Drawings.jpg" imageanchor="1" style="font-size: 13.3333px; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="3850" data-original-width="2648" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkTpYkdmoTpDWvw0KFcX2NGF3TmC7JRShtGUSI0ojc6H2DabuIMMDvZhsNDBJg_xSYFCpXQm0CFg74hbgI1DsW8-8Z4e-FhAacHQCV_hKIoZezQeQeVDx3UFQ2MGCSpXnN-RzW4O9vj2-GK2RU5FTjT5LPog-ROGT1AL7ApU8xdJICQ98nvLBDkPUa-O0/w440-h640/1730_Johann%20Fuessli,%20The%20Law%20of%20the%20Leper%20in%20the%20Day%20of%20His%20Cleansing_Swiss,%20c.%201730_New%20York,%20Metropolitan%20Museum%20of%20Art,%20Dep%20of%20Prints%20and%20Drawings.jpg" width="440" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Johann Füssli, "The Law of the Leper in the Day of His Cleansing"<br />(An illustration of what the law required a cleansed leper to do to return to society)<br />Swiss, c. 1730<br />New York, Metropolitan Museum of Art, Dep of Prints and Drawings</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;">The same story of the healing of one leper is found in the </span><u style="font-family: inherit;"><em>Gospel of Luke</em></u><span style="font-family: inherit;"> (Luke 5:12-14) and there is an additional story of the healing of ten lepers (Luke 17:11-19). Yet, in spite of the fact that there are three references to this subject in the New Testament there seem to be relatively few images of this subject in the art of the West. </span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;">Among them are: </span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6R_RaxJ-ZIUDr0RQEBq8dRczaCrZn0BCm3ZT3efA6735l_mqkTWtN6_0FuVYNzDqeKpVsSktghOgSqJlgs0Za9A1mjnq-p5ZWYHjjorLcUODREjr5Y61Oku3pLKShcd_Xh8wWrBRSJwNno2OKJEQLbxVNJnSMHmsfP2x4ePYeuIwsid6FIumrLqRfFB4/s766/800_The%20Andrews%20Diptych_Probably%20German,%20c.%20800_London,%20Bictoria%20and%20Albert%20Museum_det.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="766" data-original-width="696" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6R_RaxJ-ZIUDr0RQEBq8dRczaCrZn0BCm3ZT3efA6735l_mqkTWtN6_0FuVYNzDqeKpVsSktghOgSqJlgs0Za9A1mjnq-p5ZWYHjjorLcUODREjr5Y61Oku3pLKShcd_Xh8wWrBRSJwNno2OKJEQLbxVNJnSMHmsfP2x4ePYeuIwsid6FIumrLqRfFB4/w582-h640/800_The%20Andrews%20Diptych_Probably%20German,%20c.%20800_London,%20Bictoria%20and%20Albert%20Museum_det.jpg" width="582" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Christ Healing the Leper<br />Detail from The Andrews Diptych<br />Probably German, c. 800<br />London, Victoria and Albert Museum_</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbCLnbzGpS7_DZpuPCEvMIKmwrq_0DIHfqu8u8MXOoyHefi_TO7H-KYTjwjYkiTV8aZmAsGKwuEctSy5VSp6WJzjiX5pIItWszO2ofuLSiaBgnEJ69FrHkzx7EgwXuEZI1eNL1s5QA3cHt36wTkZc_vD_rgpk0i3nMibldjJkOyQ_fEeQzmGqfYNH1iYE/s1202/870_The%20Healing%20og%20the%20Blind%20Man%20and%20the%20Healing%20of%20the%20Leper_French%20(Lorraine),%20c.%20870-880_London,%20Victoria%20and%20Albert%20Museum_det.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="857" data-original-width="1202" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbCLnbzGpS7_DZpuPCEvMIKmwrq_0DIHfqu8u8MXOoyHefi_TO7H-KYTjwjYkiTV8aZmAsGKwuEctSy5VSp6WJzjiX5pIItWszO2ofuLSiaBgnEJ69FrHkzx7EgwXuEZI1eNL1s5QA3cHt36wTkZc_vD_rgpk0i3nMibldjJkOyQ_fEeQzmGqfYNH1iYE/w640-h456/870_The%20Healing%20og%20the%20Blind%20Man%20and%20the%20Healing%20of%20the%20Leper_French%20(Lorraine),%20c.%20870-880_London,%20Victoria%20and%20Albert%20Museum_det.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Healing of the Leper<br />French (Lorraine), c. 870-880<br />London, Victoria and Albert Museum</td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;">In both of the ivory carvings above, the fact of the man's leprosy is conveyed by small pock marks spread over the exposed parts of his body. This creates slight shadows that have the same effect as the painted marks we will see in illuminated manuscripts.</span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdLJhOe0Ce8uOL9p8WtR3R5_KsY20yVVfYfOIrBgxC0EBKtN0vhelQ-OPHXyIBWgjc7purOEavBr68oXTS8YQrr2gsQJ-ZQdUDcER8hh5vuXtrpZJRs9kql60dXEpIz3F8r1QUkbvA-UpzRz4FrBwRPJHP0zQzJGZrO4ElPsPg7pTVo1dSO0tfjr8wJj8/s1774/986_Healing%20Leper_%20German,%20c.%20986-1000_Uberlingen,%20Chapel%20of%20St.%20Sylvester_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1774" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdLJhOe0Ce8uOL9p8WtR3R5_KsY20yVVfYfOIrBgxC0EBKtN0vhelQ-OPHXyIBWgjc7purOEavBr68oXTS8YQrr2gsQJ-ZQdUDcER8hh5vuXtrpZJRs9kql60dXEpIz3F8r1QUkbvA-UpzRz4FrBwRPJHP0zQzJGZrO4ElPsPg7pTVo1dSO0tfjr8wJj8/w640-h432/986_Healing%20Leper_%20German,%20c.%20986-1000_Uberlingen,%20Chapel%20of%20St.%20Sylvester_2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div><span style="font-family: inherit;">Healing of the Leper</span></div><div><span style="font-family: inherit;">Wall Painting, German, 986-1000</span></div><div><span style="font-family: inherit;">Ueberlingen, Chapel of St. Sylvester</span></div><div style="text-align: justify;"><span style="font-family: inherit;">The rough surface of this painting suggests that at some point in its history it was plastered <span>over, </span><span>after the surface had been roughened to provide better adhesion for the new plaster.</span></span></div></td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjdLbPsMpDTPC_xRfz0NKjdoOSjuRd9ksK84Vv6fY9igCTJkG0pjbbbQo8UVhG2yxGSy5dFr2QTgJ6JcdREd3XS3_EHNvQgKpzLjBon8xcqK3L1KCr6vkqpsyT-31jcoLSGie_4dgFRCbfJFRfZFS9pU9V_CxOdm5LAGDALyBEkuF4EmKvKirHj9l4rBs/s2316/1000_Jesus%20Heals%20the%20Leper%20&%20the%20Leper%20Shows%20Himself_From%20Gospels%20of%20Otto%20III_German%20(Reichenau),%20c.%201000_Munich,%20Bayerisches%20Staatsbibliothek_MS%20Clm%204453,%20fol.%2039v_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2316" data-original-width="1627" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjdLbPsMpDTPC_xRfz0NKjdoOSjuRd9ksK84Vv6fY9igCTJkG0pjbbbQo8UVhG2yxGSy5dFr2QTgJ6JcdREd3XS3_EHNvQgKpzLjBon8xcqK3L1KCr6vkqpsyT-31jcoLSGie_4dgFRCbfJFRfZFS9pU9V_CxOdm5LAGDALyBEkuF4EmKvKirHj9l4rBs/w450-h640/1000_Jesus%20Heals%20the%20Leper%20&%20the%20Leper%20Shows%20Himself_From%20Gospels%20of%20Otto%20III_German%20(Reichenau),%20c.%201000_Munich,%20Bayerisches%20Staatsbibliothek_MS%20Clm%204453,%20fol.%2039v_2.jpg" width="450" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jesus Heals the Leper and the Leper Shows Himself<br />From the <i><u>Gospel Book of Otto III</u></i><br />German (Reichenau), c. 1000<br />Munich, Bayerisches Staatsbibliothek<br />MS Clm 4453, fol. 39v</td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzqwaspUkZi9b0HSbAqjw0yHj_I3fQVWEgrDYKIZp9hY-cqDHY0BD80b0yoWUzZX5Z11H8pcaUniBgxEFcJDsYN9pa4Cos062e6qDt3G3oJkL_CwWh8YIg-G0G6bXOhiKkutG2z0aQQ_bJv8x42fa9jeDo2MdwyuT3lIBotOeEKXpgTAQHLZea2dK28Ww/s928/1020_From%20the%20Bernward%20Column_German,%20c.%201020_Hildesheim,%20Church%20of%20Saint%20Mary.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="928" data-original-width="803" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzqwaspUkZi9b0HSbAqjw0yHj_I3fQVWEgrDYKIZp9hY-cqDHY0BD80b0yoWUzZX5Z11H8pcaUniBgxEFcJDsYN9pa4Cos062e6qDt3G3oJkL_CwWh8YIg-G0G6bXOhiKkutG2z0aQQ_bJv8x42fa9jeDo2MdwyuT3lIBotOeEKXpgTAQHLZea2dK28Ww/w554-h640/1020_From%20the%20Bernward%20Column_German,%20c.%201020_Hildesheim,%20Church%20of%20Saint%20Mary.jpg" width="554" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Christ Healing the Leper<br />From the Bernward Column<br />German, c. 1020<br />Hildesheim, Church of Saint Mary</td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE5DuBkEDaVJJvNqIHo8OscP65xU2XB-DhsynvHvsBeu5RzjNCZMjpK13yh4p77eexhHJz8h3RpIebXkk7HKvX314HbezHW7JrjdQ-lRzCkUbOOZzr1FspzONzeIBQBfpaf59k1Ls8eKV2q8gXHsdUCqyha-BL6L-SzzfPUSujLfwBluokMvRgloyOTPU/s681/1030_From%20the%20Codex%20Aureus%20of%20Echternach_German,%20c.%201030_Nuremberg,%20Germanisches%20Nationalmuseum_MS%20Hs%20155142,%20fol.54r_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="644" data-original-width="681" height="606" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE5DuBkEDaVJJvNqIHo8OscP65xU2XB-DhsynvHvsBeu5RzjNCZMjpK13yh4p77eexhHJz8h3RpIebXkk7HKvX314HbezHW7JrjdQ-lRzCkUbOOZzr1FspzONzeIBQBfpaf59k1Ls8eKV2q8gXHsdUCqyha-BL6L-SzzfPUSujLfwBluokMvRgloyOTPU/w640-h606/1030_From%20the%20Codex%20Aureus%20of%20Echternach_German,%20c.%201030_Nuremberg,%20Germanisches%20Nationalmuseum_MS%20Hs%20155142,%20fol.54r_2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Christ Healing the Leper<br />From the <u><i>Codex Aureus of Echternach</i></u><br />German, c. 1030<br />Nuremberg, Germanisches Nationalmuseum<br />MS Hs 155142, fol.54r</td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfdszGf4s7IYFpGMdMkyqynjuHW8MfNZzbpdzyyKgrL2R0viZZRfjiNwu0KtpHjBUXpFoOCpztMX4wfoy0oRZDgBSLIfwDe9XxeNE25dEcLsvtN3GgFJPAWkzpL06wUvjk8RwWzDwM-IUWOgtgX-b856Azr6MtpcvjIj5VwiH0XdU7bnatG1jOl2sImDI/s1384/1035_Christ%20Healing%20Leper_From%20a%20Gospel%20Book_German%20(Echternach),%20%20c.%201035__Brussels_Bibliotheque%20royale%20de%20Belgique_MS%209428,%20fol.%2023r__2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1384" data-original-width="993" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfdszGf4s7IYFpGMdMkyqynjuHW8MfNZzbpdzyyKgrL2R0viZZRfjiNwu0KtpHjBUXpFoOCpztMX4wfoy0oRZDgBSLIfwDe9XxeNE25dEcLsvtN3GgFJPAWkzpL06wUvjk8RwWzDwM-IUWOgtgX-b856Azr6MtpcvjIj5VwiH0XdU7bnatG1jOl2sImDI/w460-h640/1035_Christ%20Healing%20Leper_From%20a%20Gospel%20Book_German%20(Echternach),%20%20c.%201035__Brussels_Bibliotheque%20royale%20de%20Belgique_MS%209428,%20fol.%2023r__2.jpg" width="460" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Healing of the Leper<br />From a <u><em>Gospel Book</em></u><br />German (Ecternach), ca. 1035<br />Brussels, Bibliotheque royale Albert Ier<br />MS 9428, fol. 23r</td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div dir="ltr" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB41V2IP1ikVkMkZSiO5FWAWHNkhvChw8gt1UUP8kNhrs0gi865oFFAjq8-9I8REW8CzYwOjR1I-k8aXF5AOo7KhzHy06skOBBs_vdG1EIQpiDFiCX9xObX7Ndpb2TBFpdI0e3m7SaaODzPEDkspOVZnkdjFMxx6AO9ghzYJ-DRY2CSwQwAsCcFy4JovY/s508/1197_From%20a%20Picture%20Bible_French,%20c.%201197_Amiens,%20Bibliotheque%20municipale.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="421" data-original-width="508" height="530" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB41V2IP1ikVkMkZSiO5FWAWHNkhvChw8gt1UUP8kNhrs0gi865oFFAjq8-9I8REW8CzYwOjR1I-k8aXF5AOo7KhzHy06skOBBs_vdG1EIQpiDFiCX9xObX7Ndpb2TBFpdI0e3m7SaaODzPEDkspOVZnkdjFMxx6AO9ghzYJ-DRY2CSwQwAsCcFy4JovY/w640-h530/1197_From%20a%20Picture%20Bible_French,%20c.%201197_Amiens,%20Bibliotheque%20municipale.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Christ Healing the Leper<br />From a <i><u>Picture Bible</u></i><br />French, c. 1197<br />Amiens, Bibliotheque municipale</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNrXW8NF9l7lmk9czfV8yzkHhiIUAmEZdTxM5lUqiV0UdGJzyWg9JNBtbJOR2zChqqShbVD4PDOZzRxv-X577D2-0hQL29fnm7oUmZoA2DiXdqmFXj0k6k4sq7nr-b9e8ClOSaFJkuyGP6c29CqYlhBlXR4y38g5WZOl3fNlV45vEw75u5u417PS7SoS0/s1691/1333_Master%20of%20the%20Roman%20de%20Fauvel_From%20a%20Speculum%20historiale%20by%20Vincent%20of%20Beauvais_French%20(Paris),%20c.%201333=1334_Paris,%20BNF_MS%20Francais%20316,%20fo.%20333v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1664" data-original-width="1691" height="630" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNrXW8NF9l7lmk9czfV8yzkHhiIUAmEZdTxM5lUqiV0UdGJzyWg9JNBtbJOR2zChqqShbVD4PDOZzRxv-X577D2-0hQL29fnm7oUmZoA2DiXdqmFXj0k6k4sq7nr-b9e8ClOSaFJkuyGP6c29CqYlhBlXR4y38g5WZOl3fNlV45vEw75u5u417PS7SoS0/w640-h630/1333_Master%20of%20the%20Roman%20de%20Fauvel_From%20a%20Speculum%20historiale%20by%20Vincent%20of%20Beauvais_French%20(Paris),%20c.%201333=1334_Paris,%20BNF_MS%20Francais%20316,%20fo.%20333v.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of the Roman de Fauvel, Christ Healing the Leper<br />From a <u><i>Speculum historiale</i></u> by Vincent of Beauvais<br />French (Paris), c. 1333-1334<br />Paris, Bbiliotheque nationale de France<br />MS Francais 316, fol. 333v</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVbXU0p7pXvW9kTrcnIycllnBqODQuShFJa5ShzjmmBQM2uZ7TYHhnsQeRhz9_5VB1H1jxsDz78MrWEJs0_6cttMcugyEorjjz6EzLQkJHy4jX2jg6Ap-r59lb-AuamYZZRRY4bvexIfXrdnJjnTO8kBok4d5ymj8aBAwXWYSZXLBT3hqWKmbpYk10HLU/s406/1370_Cristoforo%20Orimina_From%20a%20Missal_Italian,%20c.%201370_Avignon,%20Bibliotheque%20municipale,%20MS%20138.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="388" data-original-width="406" height="612" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVbXU0p7pXvW9kTrcnIycllnBqODQuShFJa5ShzjmmBQM2uZ7TYHhnsQeRhz9_5VB1H1jxsDz78MrWEJs0_6cttMcugyEorjjz6EzLQkJHy4jX2jg6Ap-r59lb-AuamYZZRRY4bvexIfXrdnJjnTO8kBok4d5ymj8aBAwXWYSZXLBT3hqWKmbpYk10HLU/w640-h612/1370_Cristoforo%20Orimina_From%20a%20Missal_Italian,%20c.%201370_Avignon,%20Bibliotheque%20municipale,%20MS%20138.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Cristoforo Orimina, Christ Healing the Leper<br />From a <i><u>Missal</u></i><br />Italian, c. 1370<br />Avignon, Bibliotheque municipale<br />MS 138</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX0KyX1oZ_ijga87iHDvsCxzMASVfasGMf9wYFrhHdJ_uZ-8Lhr8WuTskUOkAlC_NYkCWAEfNIgMcaYQy0jGVDkWfp-7_VBWofEvQdwPxyz3Mmo59_EXyf4gTiJmxgwwo0ENsxkwxAaPddTR1FcPc_wEaf54sj6QZFXNvQa7xC7z_M3vZ3gI_MexgxyBY/s1019/1370_Master%20of%20the%20Livre%20du%20Sacre%20and%20workshop_From%20a%20Speculum%20historiale%20by%20Vincent%20of%20Beauvais_French%20(Paris),%20c.%201370=1380_Paris,%20BNF_MS%20Nouvlle%20acquisition%20francaise%2015940,%20fol.%2044v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1019" data-original-width="607" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX0KyX1oZ_ijga87iHDvsCxzMASVfasGMf9wYFrhHdJ_uZ-8Lhr8WuTskUOkAlC_NYkCWAEfNIgMcaYQy0jGVDkWfp-7_VBWofEvQdwPxyz3Mmo59_EXyf4gTiJmxgwwo0ENsxkwxAaPddTR1FcPc_wEaf54sj6QZFXNvQa7xC7z_M3vZ3gI_MexgxyBY/w382-h640/1370_Master%20of%20the%20Livre%20du%20Sacre%20and%20workshop_From%20a%20Speculum%20historiale%20by%20Vincent%20of%20Beauvais_French%20(Paris),%20c.%201370=1380_Paris,%20BNF_MS%20Nouvlle%20acquisition%20francaise%2015940,%20fol.%2044v.jpg" width="382" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of the Livre du Sacre and workshop, Christ Healing the Leper<br />From a <i><u>Speculum historiale</u></i> by Vincent of Beauvais<br />French (Paris), c. 1370-1380<br />Paris, Bibliotheque nationale de France<br />MS Nouvlle acquisition francaise 15940, fol. 44v</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO2vgIbDT2RDCYbwfKhvkxDSnh8i-p9A2MC2Ewa1bX3makqmGrqT7svzuiNWVDPEvDD46U_Fzyvdl9CfO4GSyxNlgdA5Glk6CoSM3wA3bYGLgnVZd9ICFMaWhLPjTESze1B8WQPxioMyjrM1CJpgPeqW927WMF6ErMQt6ge4Hnv0zbROjE-ZkzVBe7V0o/s590/1400_From%20a%20Pelerinage%20de%20Jesus-Christ_French,%20c.%201400_Paris,%20Bibliotheque%20de%20l'Institut%20de%20France_MS%209.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="590" data-original-width="506" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO2vgIbDT2RDCYbwfKhvkxDSnh8i-p9A2MC2Ewa1bX3makqmGrqT7svzuiNWVDPEvDD46U_Fzyvdl9CfO4GSyxNlgdA5Glk6CoSM3wA3bYGLgnVZd9ICFMaWhLPjTESze1B8WQPxioMyjrM1CJpgPeqW927WMF6ErMQt6ge4Hnv0zbROjE-ZkzVBe7V0o/w548-h640/1400_From%20a%20Pelerinage%20de%20Jesus-Christ_French,%20c.%201400_Paris,%20Bibliotheque%20de%20l'Institut%20de%20France_MS%209.jpg" width="548" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Christ Healing the Leper<br />From a <i><u>Pelerinage de Jesus-Christ</u></i><br />French, c. 1400<br />Paris, Bibliotheque de l'Institut de France<br />MS 9</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxjnuQhcvePP3_BH7b0j3eiGz5uOIV9zVF4NTyN9iBzKUn9whRq8JSmg0HzS-zVVmxmGJHIortS83IPlYfAmyfsH7UucLk0rDv1Bp-HKg4zZfkDBjwNF0j6KKtsIeUC-QUNIMqzXKsTikxqUseybhFhBP7D7OZ9Zx0lxMSVvvSw9nJTKqUdhIxBatfwQA/s3047/1480_Jean%20Colombe_From%20a%20Vita%20Jesu%20Christ%20by%20Ludolf%20of%20Saxony_French%20(Bourges),%20c.%201480-1485_Paris,%20BNF_MS%20Francais%20177,%20fol.%20163r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2560" data-original-width="3047" height="538" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxjnuQhcvePP3_BH7b0j3eiGz5uOIV9zVF4NTyN9iBzKUn9whRq8JSmg0HzS-zVVmxmGJHIortS83IPlYfAmyfsH7UucLk0rDv1Bp-HKg4zZfkDBjwNF0j6KKtsIeUC-QUNIMqzXKsTikxqUseybhFhBP7D7OZ9Zx0lxMSVvvSw9nJTKqUdhIxBatfwQA/w640-h538/1480_Jean%20Colombe_From%20a%20Vita%20Jesu%20Christ%20by%20Ludolf%20of%20Saxony_French%20(Bourges),%20c.%201480-1485_Paris,%20BNF_MS%20Francais%20177,%20fol.%20163r.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jean Colombe and Workshop, Christ Healing the Leper<br />From a <u><i>Vita Jesu Christi</i></u> by Ludolf of Saxony<br />French (Bourges), c. 1480-1485<br />Paris, Bibliotheque nationale de France<br />MS Francais 177, fol. 163r</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /><div style="font-size: 12.8px; text-align: center;"><br /></div>
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<div style="text-align: justify;"><br /></div><div style="text-align: left;">This tradition of depicting the event was carried over seamlessly into the printed illustrations of Bibles and other books once printing had replaced illumination in the illustration of books.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0L_FJKD3OdTXmoOOucWMIc9NEQ2KvE02II82hKv9xnLyNLndCQNuAnDdUnstFxqHte4y9DU_aYesliKc5BfR5iGJuY3azDuRsDlmKTTdh5dM1XUgtZuz9Ph1uSehffPBHKwz41hDdO9P8ovN6nH88sc3YN8G90TGj80dOr1g0RGYqfj3JmgmmruOnsP0/s768/1500+Georg%20Pencz_German,%20First%20Half%20of%2016th%20Century_Paris,%20Musee%20du%20Louvre,%20D%C3%A9partement%20des%20Arts%20graphiques.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="512" data-original-width="768" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0L_FJKD3OdTXmoOOucWMIc9NEQ2KvE02II82hKv9xnLyNLndCQNuAnDdUnstFxqHte4y9DU_aYesliKc5BfR5iGJuY3azDuRsDlmKTTdh5dM1XUgtZuz9Ph1uSehffPBHKwz41hDdO9P8ovN6nH88sc3YN8G90TGj80dOr1g0RGYqfj3JmgmmruOnsP0/w640-h426/1500+Georg%20Pencz_German,%20First%20Half%20of%2016th%20Century_Paris,%20Musee%20du%20Louvre,%20D%C3%A9partement%20des%20Arts%20graphiques.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Georg Pencz, Christ Heals the Leper<br />German, First Half of 16th Century<br />Paris, Musee du Louvre, Département des Arts graphiques</td></tr></tbody></table><br /><div style="text-align: left;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0-vY3Fia5txWGMyXy9-MBt8kiX6gzx2lVMG4Dh0Q4fQvAo-ecA1JdQn7ABQsm2a9_CAl1SOY1XvRz7v2Ia61FZcZbYlzbmHCCgKTItrY83mAMtwCca5m8egsvHm9ONlpQWmnwKaOuCenahs7HVJBTmNCOTuUTfAEnGATkZbMLRvnINIlzhaqXRGNOvcw/s3788/1517_Hans%20Schaeufelein_From%20Das%20Plenarium_German,%201517_New%20York,%20Metropolitan%20Museum%20of%20Art,%20Dep%20of%20Prints%20and%20Drawings.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3788" data-original-width="2845" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0-vY3Fia5txWGMyXy9-MBt8kiX6gzx2lVMG4Dh0Q4fQvAo-ecA1JdQn7ABQsm2a9_CAl1SOY1XvRz7v2Ia61FZcZbYlzbmHCCgKTItrY83mAMtwCca5m8egsvHm9ONlpQWmnwKaOuCenahs7HVJBTmNCOTuUTfAEnGATkZbMLRvnINIlzhaqXRGNOvcw/w480-h640/1517_Hans%20Schaeufelein_From%20Das%20Plenarium_German,%201517_New%20York,%20Metropolitan%20Museum%20of%20Art,%20Dep%20of%20Prints%20and%20Drawings.jpg" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Hans Schaeufelein, Christ Healing the Leper<br />From <i><u>Das Plenarium</u></i><br />German, 1517<br />New York, Metropolitan Museum of Art, Dep of Prints and Drawings</td></tr></tbody></table><br /><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN8bKIJEwWsd46RTEwkOYQWN2_MvHt-kZ1k2XzrZQROw0Ks0EpSVfgTiRLE_QA4Wr2poYD93o9nWxOG_fjow7X0ERk272EMTjnFCitcEShyUoFJYqiDIBVDT_joSbI1WedMec5mW1myy24qYL2Dyj-l9bKWlmt4_q73PkFNCnIC_rUuasfRBKPmX5vhFI/s1393/1530_Sebald%20Beham_From%20Christliche%20Auslegung%20der%20Evangelien_German%20(Ingolstadt),%201530_London,%20Trustees%20of%20the%20British%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1393" data-original-width="821" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN8bKIJEwWsd46RTEwkOYQWN2_MvHt-kZ1k2XzrZQROw0Ks0EpSVfgTiRLE_QA4Wr2poYD93o9nWxOG_fjow7X0ERk272EMTjnFCitcEShyUoFJYqiDIBVDT_joSbI1WedMec5mW1myy24qYL2Dyj-l9bKWlmt4_q73PkFNCnIC_rUuasfRBKPmX5vhFI/w378-h640/1530_Sebald%20Beham_From%20Christliche%20Auslegung%20der%20Evangelien_German%20(Ingolstadt),%201530_London,%20Trustees%20of%20the%20British%20Museum.jpg" width="378" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sebald Beham, Christ Healilng the Leper<br />From <u><i>Christliche Auslegung der Evangelien</i></u><br />German (Ingolstadt), 1530<br />London, Trustees of the British Museum<br /><div style="text-align: left;">Note the comment below the image. This is the Gospel for the third Sunday after Epiphany. Now the Sixth Sunday in Ordinary Time, in Year B.</div></td></tr></tbody></table><br /><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSFyBcs_Wp0LMo4HLE_6B3bt_3fGSr-8PPg9UMwA5tMHnrO8Pi7nslrhGHN3Zy1r1O1YLaT20ngJF-pow8sz5Pjgv_HYd8uz6NieyrE3b35wgulDP8pSzl-Tazc1_eIflMfcjVby5r9ztvK2ZGXrBE2DH2xozV4A9iiaFwoM-PA3gZuKlFaiNVEPDQgDI/s863/1551_Anonymous_From%20a%20New%20Testament_German,%20c.%201551_London,%20Trustees%20of%20the%20British%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="683" data-original-width="863" height="506" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSFyBcs_Wp0LMo4HLE_6B3bt_3fGSr-8PPg9UMwA5tMHnrO8Pi7nslrhGHN3Zy1r1O1YLaT20ngJF-pow8sz5Pjgv_HYd8uz6NieyrE3b35wgulDP8pSzl-Tazc1_eIflMfcjVby5r9ztvK2ZGXrBE2DH2xozV4A9iiaFwoM-PA3gZuKlFaiNVEPDQgDI/w640-h506/1551_Anonymous_From%20a%20New%20Testament_German,%20c.%201551_London,%20Trustees%20of%20the%20British%20Museum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Anonymous, Christ Healing the Leper<br />From a <i><u>New Testament</u></i><br />German, c. 1551<br />London, Trustees of the British Museum</td></tr></tbody></table><br /><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">And this carried over into other media as well.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA_tTbg7FK4pSAngUt_qr3vbPg3iBDqItX42E6_xOFuKPzSEngwHOcVU3lvOlc_YnPASw1mkEyPAE2OesSpgPTrZu8dusOns2aZd0h3iXnOG2vvhmHO8FKHgn4VD6KTP3CPdwpj2ioY7FhPYcpmuCUZ2yCqlmSJ5Mz-O-2ibJ_QuKL0e9jEPJsVLExRGc/s2250/1593_Bernardino%20Passeri,%20Christ%20Healing%20the%20Leper_Italian,%20c.%201593_London,%20Royal%20Collection%20Trust.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2250" data-original-width="1856" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA_tTbg7FK4pSAngUt_qr3vbPg3iBDqItX42E6_xOFuKPzSEngwHOcVU3lvOlc_YnPASw1mkEyPAE2OesSpgPTrZu8dusOns2aZd0h3iXnOG2vvhmHO8FKHgn4VD6KTP3CPdwpj2ioY7FhPYcpmuCUZ2yCqlmSJ5Mz-O-2ibJ_QuKL0e9jEPJsVLExRGc/w528-h640/1593_Bernardino%20Passeri,%20Christ%20Healing%20the%20Leper_Italian,%20c.%201593_London,%20Royal%20Collection%20Trust.jpg" width="528" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bernardino Passeri, Christ Healing the Leper<br />Italian, c. 1593<br />London, Royal Collection Trust</td></tr></tbody></table><br /><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCpDlvH1KvwDXERY2OD6qNExhUNqtMdyDJ5XHqfAsK83MMPebfqLbhQHaYIrdKymI9Ch-1qsAVe4L5FTPJY_8HAH-5ThgRJwPZNi3ghN3NBHu0rysZLEotg8n1FUV0ee1vdMCBMhQcIz8XbMFbw3527BFafNBQAleYqF5N7jXGTln-NurilZZeNCmJqKg/s757/1600_Healing%20of%20the%20Leper_French,%2017th%20Century_Chateau-Landon,%20church%20of%20Notre%20Dame.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="581" data-original-width="757" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCpDlvH1KvwDXERY2OD6qNExhUNqtMdyDJ5XHqfAsK83MMPebfqLbhQHaYIrdKymI9Ch-1qsAVe4L5FTPJY_8HAH-5ThgRJwPZNi3ghN3NBHu0rysZLEotg8n1FUV0ee1vdMCBMhQcIz8XbMFbw3527BFafNBQAleYqF5N7jXGTln-NurilZZeNCmJqKg/w640-h492/1600_Healing%20of%20the%20Leper_French,%2017th%20Century_Chateau-Landon,%20church%20of%20Notre%20Dame.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Healing of the Leper<br />French, 17th Century<br />Chateau-Landon, Church of Notre Dame</td></tr></tbody></table><br /><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdeMlZ3QLVeE3-uJgKZY8w5ndpzuSo5CaavhWkhtssZDwuyiHL1gxST1INOhKjHOI4CBG8P9EBArnAIEZRYwWhA8EKJRoOnyEWg4ZTlj_nxSLLCEhVWGLq6cNZWF22IzcU-GOuDrQR0tUA5TrRQxJMS7TYB82B1cX7QYMG4nrkI9HrsNMUL0zZz3VyBwM/s3818/1600_Pieter%20de%20Jode%20I_Flemish,%20c.%201600-1634_Washington,%20National%20Gallery%20of%20Art.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3818" data-original-width="2942" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdeMlZ3QLVeE3-uJgKZY8w5ndpzuSo5CaavhWkhtssZDwuyiHL1gxST1INOhKjHOI4CBG8P9EBArnAIEZRYwWhA8EKJRoOnyEWg4ZTlj_nxSLLCEhVWGLq6cNZWF22IzcU-GOuDrQR0tUA5TrRQxJMS7TYB82B1cX7QYMG4nrkI9HrsNMUL0zZz3VyBwM/w494-h640/1600_Pieter%20de%20Jode%20I_Flemish,%20c.%201600-1634_Washington,%20National%20Gallery%20of%20Art.jpg" width="494" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pieter de Jode I, The Healing of the Leper<br />Flemish, c. 1600-1634<br />Washington, National Gallery of Art</td></tr></tbody></table><br /><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">This carries over into the modern era, with one twist. The modern paintings I have found always show the leper from the back. Perhaps because by the time these works were made leprosy was better understood and less ubiquitous the painters found it difficult to depict the leper from the front or side and opted instead for the back of a figure. It is an interesting hypothesis, but one which I am not able to support too strongly as I have only found two instances to date.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy_QfoJTPYzLro5m5hsi0f6o8_4_2SGnMj8-oKcIRlT6rGixsymQzgsEgBjd7TcHvZ-jpMgX5gNdmb5sFF3XUUo09kT9mITyYMWGtyyh62UkEqGtsIVO-QKl8mWc91UCSghfeZ1DweHkwAJbTH5NkUgsgUqTnkzP1pS8v2K2ELabiB2mKEh4gLqHyVHlU/s1536/1886_James%20Tissot_French,%20c.%201886-1894_New%20York,%20Brooklyn%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="854" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy_QfoJTPYzLro5m5hsi0f6o8_4_2SGnMj8-oKcIRlT6rGixsymQzgsEgBjd7TcHvZ-jpMgX5gNdmb5sFF3XUUo09kT9mITyYMWGtyyh62UkEqGtsIVO-QKl8mWc91UCSghfeZ1DweHkwAJbTH5NkUgsgUqTnkzP1pS8v2K2ELabiB2mKEh4gLqHyVHlU/w356-h640/1886_James%20Tissot_French,%20c.%201886-1894_New%20York,%20Brooklyn%20Museum.jpg" width="356" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">James Tissot, The Leper Beseechs Jesus to Cure Him<br />French, c. 1886-1894<br />New York, Brooklyn Museum</td></tr></tbody></table><br /><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLvtENigcHjUueMnUzLOHbwFYVaheTcKF1LQnJUprLyFm_llmBJIx2ewEWGvui5gqTk5ooN2fzXpeRKvYefpPVo5w2YZpBnf1vRYAQOVvkd5NeUBN_HUT-oWzlvxiIpBzURprTXQxQapVyxIk9birghQ2asSCDPY1YbF_gBMsCVH_6loixAOxcTJ0WJYo/s720/1913_Niels%20Larsen%20Stevns,%20Healing%20of%20a%20Leper-Danish,%201913_Viborg,%20Skovgaard%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="541" data-original-width="720" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLvtENigcHjUueMnUzLOHbwFYVaheTcKF1LQnJUprLyFm_llmBJIx2ewEWGvui5gqTk5ooN2fzXpeRKvYefpPVo5w2YZpBnf1vRYAQOVvkd5NeUBN_HUT-oWzlvxiIpBzURprTXQxQapVyxIk9birghQ2asSCDPY1YbF_gBMsCVH_6loixAOxcTJ0WJYo/w640-h480/1913_Niels%20Larsen%20Stevns,%20Healing%20of%20a%20Leper-Danish,%201913_Viborg,%20Skovgaard%20Museum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Niels Larsen Stevns, Healing of a Leper<br />Danish, 1913<br />Viborg, Skovgaard Museum</td></tr></tbody></table><br /><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div>
<span style="font-family: inherit;">Sometimes, this miracle is illustrated in a painting which includes other scenes. For example, there is a manuscript illumination in the Bibliotheque nationale de France, showing the scene in conjunction with the raising of the widow of Nain’s son (Luke 7:11-17).</span></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieNDF8zQVAZDC4sENQ8ibWbXn5CBACqYBtAlkMtK7ADuZlWcthV8sDBtiOXaUS_TorQLsH6ZMr9DqUOuYoSDBw68aIDwvZX7aermzpeFsJ1m0tSrsrnemwDBAHnIxdgLT5kUY20x_LJSfyBwGKxd_jGQP-HwM7m8bi01DiLbAvwDSILPVXys_5d0nnfy0/s1785/1463_Master%20Francoise%20and%20Workshop_From%20a%20Speculum%20historiale%20by%20Vincent%20of%20Beauvais_French%20(Paris),%201463_Paris,%20BNF_MS%20Francais%2050,%20fol.%20220v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1785" data-original-width="1487" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieNDF8zQVAZDC4sENQ8ibWbXn5CBACqYBtAlkMtK7ADuZlWcthV8sDBtiOXaUS_TorQLsH6ZMr9DqUOuYoSDBw68aIDwvZX7aermzpeFsJ1m0tSrsrnemwDBAHnIxdgLT5kUY20x_LJSfyBwGKxd_jGQP-HwM7m8bi01DiLbAvwDSILPVXys_5d0nnfy0/w534-h640/1463_Master%20Francoise%20and%20Workshop_From%20a%20Speculum%20historiale%20by%20Vincent%20of%20Beauvais_French%20(Paris),%201463_Paris,%20BNF_MS%20Francais%2050,%20fol.%20220v.jpg" width="534" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div><span style="font-family: inherit;">Healing of the Leper and Raising of the Widow's Son</span></div><div><span style="font-family: inherit;">From <em style="text-decoration-line: underline;">Sepeculum historiale </em>by Vincentius Bellovacinsis</span></div><div><span style="font-family: inherit;">French (Paris), 1463</span></div><div><span style="font-family: inherit;">Paris, Bibliotheque nationale de France</span></div><div><span style="font-family: inherit;">MS Francais 50, fol. 220v</span></div></td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;">The best known of these images is found in conjunction with the </span><em style="font-family: inherit;"><a href="http://www.vatican.va/archive/ENG0015/__P6W.HTM" target="_blank">Sermon on the Mount</a></em><span style="font-family: inherit;"> in no less a place than the Sistine Chapel.</span><span style="color: blue; font-family: inherit; font-size: xx-small;"><strong><u>3</u> </strong></span><span style="font-family: inherit;">The Sistine Chapel, as is well-known, holds an extremely important place in Catholicism. It is here that various papal ceremonies take place, most notably the meetings of the solemn conclave which follows the death of a Pope, during which his successor is elected. It is also famous for the great paintings by Michelangelo that cover the ceiling. But, this scene is not located on the famous ceiling. It is located on the far less famous side walls.</span><span style="color: blue; font-family: inherit; font-size: xx-small;"><u><strong>4</strong></u></span><span style="font-family: inherit;"> These walls are almost certainly overlooked by the vast majority of visitors to the Chapel whose whole attention seems often to be focused solely on the ceiling and the altar wall, which carries Michelangelo’s equally famous painting of the </span><em style="font-family: inherit;">Last Judgment</em><span style="font-family: inherit;">. </span></div><div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: inherit;">The dual scene painting of the <em>Sermon on the Mount and the Healing of the Leper</em> is by the artist, <a href="http://en.wikipedia.org/wiki/Cosimo_Rosselli" target="_blank">Cosimo Rosselli.</a> On the left side of the painting we see Jesus, surrounded by a crowd, delivering the Sermon on the Mount. In the right hand corner of the picture we see him curing the kneeling leper.</span><br />
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<span style="font-family: inherit;">Rosselli was one of a group of artists who were commissioned to decorate the walls of the Chapel, by <a href="http://en.wikipedia.org/wiki/Pope_Sixtus_IV" target="_blank">Pope Sixtus IV</a> della Rovere, who built and decorated it. Sixtus was the uncle of <a href="http://en.wikipedia.org/wiki/Pope_Julius_II" target="_blank">Pope Julius II</a> della Rovere, the Pope who commissioned the great ceiling from Michelangelo.</span></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVnHhw7osz8co98qdvaj1tSXk27HrR7D-slxgCLCrnIZetZSVuRAk7vg_08l1JPoANpqjkGH5HdT8kz4JgQnXQXVMzNDsYIx6UUS4rQ0CiSsZ_t8xbyhsBUKIAx1cJERR0M2o_IBSK4pAv/s1600/Rosselli_Sermon%2526Leper_Vatican_Sistine.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="374" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVnHhw7osz8co98qdvaj1tSXk27HrR7D-slxgCLCrnIZetZSVuRAk7vg_08l1JPoANpqjkGH5HdT8kz4JgQnXQXVMzNDsYIx6UUS4rQ0CiSsZ_t8xbyhsBUKIAx1cJERR0M2o_IBSK4pAv/s640/Rosselli_Sermon%2526Leper_Vatican_Sistine.jpg" width="640" /></a></td></tr>
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Cosimo Rosselli, Sermon on the Mount and Healing of the Leper</span></div>
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Italian, 1481-1483</span></div>
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Vatican City, Sistine Chapel</span></div><div style="font-size: 12.8px;"><br /></div>
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<span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;">Pope Sixtus commissioned the artists <a href="http://en.wikipedia.org/wiki/Sandro_Botticelli" target="_blank">Sandro Botticelli</a>, <a href="http://en.wikipedia.org/wiki/Pietro_Perugino" target="_blank">Pietro Perugino</a>, <a href="http://en.wikipedia.org/wiki/Domenico_Ghirlandaio" target="_blank">Domenico Ghirlandaio</a>, <a href="http://en.wikipedia.org/wiki/Luca_Signorelli" target="_blank">Luca Signorelli</a> and Cosimo Rosselli to decorate the Chapel in the period 1480-1483. All but Rosselli are well-known and highly respected masters of the later Quattrocento period. Rosselli is a far less known and less respected artist based in Florence. However, here in the Sistine he appears to have risen to the occasion, influenced perhaps by the work of the greater artists around him. </span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUEPRYtTPa6-CdinYAk9239Inqbr5lzIZLS9v7FfO-FtxKAYPA_EODrKclHS0efb5u1WQDD84e-oCcBazJUV0vnCmR87T091VtblNqdaRC0dqieY952V3NZK7BhOe6M4OfgnTirCiX9_GsTattArUWAEJ7uEtYc_tRhVotvjAePtDXhnPsr8o0tdCl4so/s981/Sistine%20Chapel%20Overview.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="734" data-original-width="981" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUEPRYtTPa6-CdinYAk9239Inqbr5lzIZLS9v7FfO-FtxKAYPA_EODrKclHS0efb5u1WQDD84e-oCcBazJUV0vnCmR87T091VtblNqdaRC0dqieY952V3NZK7BhOe6M4OfgnTirCiX9_GsTattArUWAEJ7uEtYc_tRhVotvjAePtDXhnPsr8o0tdCl4so/w640-h478/Sistine%20Chapel%20Overview.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Interior of Sistine Chapel, showing the division into three zones</td></tr></tbody></table><br /><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;">The original decoration of the Chapel was conceived as divided into three zones. In the lowest zone, the decoration consisted of </span><em style="font-family: inherit;">trompe l’oeil</em><span style="font-family: inherit;"> representations of draperies, hanging from and between equally fictive architectural elements. (The actual walls of the Chapel are simple, flat structures.) The great </span><a href="http://imaginemdei.blogspot.com/2011/05/iconography-of-resurrection-peters.html" style="font-family: inherit;" target="_blank">Raphael tapestries</a><span style="font-family: inherit;"> were later commissioned (by Julius II to cover these painted draperies on special occasions.) </span></div><div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: inherit;">In the upper zone of the Chapel the original decoration was of images of past Popes. Above this, in the space now occupied by Michelangelo’s masterwork, the ceiling was originally painted a deep blue with golden stars, a very traditional finish. </span><br />
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<span style="font-family: inherit;">Meanwhile, in the middle zone, the walls were painted with scenes from the lives of Moses and of Christ. The scenes of Moses fill the south wall, while the Life of Christ occupies the north wall. </span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfPwUcbJRjL6lWXjKhNKKx3E3HY1xfGafItqK-JMEhgMFklApO37du-NT27jforDxmxvU_IYPjHjCqcK3RqbCyZhhwHVQc9U9v35fek3vYj-c007oBVeoGvhxsVB5QnEIF4_hFaOFA7zU2E38E9gYAFKkGrsXzk1Hnskvh8W_8fM_OR5T_1ARsTLiRlMM/s730/Tapestires%20in%20original%20situ%202.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="349" data-original-width="730" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfPwUcbJRjL6lWXjKhNKKx3E3HY1xfGafItqK-JMEhgMFklApO37du-NT27jforDxmxvU_IYPjHjCqcK3RqbCyZhhwHVQc9U9v35fek3vYj-c007oBVeoGvhxsVB5QnEIF4_hFaOFA7zU2E38E9gYAFKkGrsXzk1Hnskvh8W_8fM_OR5T_1ARsTLiRlMM/w640-h306/Tapestires%20in%20original%20situ%202.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td class="tr-caption"><div style="text-align: left;"><span style="font-family: inherit;">Photograph of a recent, rare event -- the hanging of the Raphael Tapestries in their original location. </span><span style="font-family: inherit;">The Tapestries are usually on display in the galleries of the Vatican Pinacoteca.</span></div></td></tr></tbody></table><span style="font-family: inherit;"><br style="text-align: left;" /></span></td></tr></tbody></table><span style="font-family: inherit;">The Chapel was consecrated on the feast of the </span><a href="http://imaginemdei.blogspot.com/2011/08/assumpta-est-maria-in-coelum-mary-is.html" style="font-family: inherit;" target="_blank">Assumption,</a><span style="font-family: inherit;"> August 15, 1483 by Sixtus IV. These middle zone decorations dominated the Chapel for only 25 years, for in 1508 Julius II commissioned Michelangelo to replace the starry ceiling with a new design (originally to have been of the Twelve Apostles) which made it one of the most famous sites in the world and forever eclipsed the work of the earlier painters.</span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on">
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1. For the entire text of Leviticus, 13 see <a href="http://www.usccb.org/bible/scripture.cfm?bk=Leviticus&ch=13&v=03013001">http://www.usccb.org/bible/scripture.cfm?bk=Leviticus&ch=13&v=03013001</a><br />
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2. For information on leprosy history and treatment see <a href="http://www.who.int/mediacentre/factsheets/fs101/en/">http://www.who.int/mediacentre/factsheets/fs101/en/</a><br />
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3. For information on the Sistine Chapel see: <a href="http://en.wikipedia.org/wiki/Sistine_Chapel#Interior">http://en.wikipedia.org/wiki/Sistine_Chapel#Interior</a><br />
and <a href="http://www.museivaticani.va/3_EN/pages/CSN/CSN_Storia.html">http://www.museivaticani.va/3_EN/pages/CSN/CSN_Storia.html</a><br />
<br />
4. Detailed information on the Sistine Chapel paintings appears on the website of the Vatican Museums, especially information on the south and north walls, which can be accessed from <br />
<a href="http://www.museivaticani.va/3_EN/pages/CSN/CSN_Main.html">http://www.museivaticani.va/3_EN/pages/CSN/CSN_Main.html</a><br />
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I also suggest that you visit the virtual tour of the Chapel also located on the Vatican Musuems website at <a href="http://www.vatican.va/various/cappelle/sistina_vr/index.html">http://www.vatican.va/various/cappelle/sistina_vr/index.html</a>. Although it is mainly focused on presenting the Michelangelo ceiling it does give a real sense of how it feels to stand in the room. You are able to zoom in and out on the ceiling frescoes, although it is less reavealing for the frescoes on the side walls.</div><div dir="ltr" style="text-align: left;" trbidi="on"> <br />
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<span style="font-family: "times new roman"; font-size: 10pt;">©</span><span><span style="font-family: "book antiqua";"> M. Duffy, 2012. Revised 2024.</span></span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span><span style="font-family: "book antiqua";"><br /></span></span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span><span style="font-family: "book antiqua";"><br /></span></span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: book antiqua;">* Note: I first published this essay in 2012. Twelve years is a long time on the internet and many more sources are available now. In addition, the quality of the pictures that are posted by museums and libraries is much higher. For these reasons, I have revisited this subject and renewed every picture in the original essay, in addition to finding some new images, which I have added. </span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span><div class="separator" style="clear: both; font-size: 10pt; text-align: center;"><br /></div><p class="MsoNormal" style="font-size: 10pt;"><br /></p>
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<p class="MsoNormal" style="border: none; padding: 0in;"><span style="background: white; color: #363936; font-family: Roboto;">Excerpts
from the <em><span style="border: 1pt none windowtext; padding: 0in;">Lectionary for Mass for Use in the Dioceses of
the United States of America, second typical edition</span></em> © 2001,
1998, 1997, 1986, 1970 Confraternity of Christian Doctrine, Inc., Washington,
DC. Used with permission. All rights reserved. No portion of this text may be
reproduced by any means without permission in writing from the copyright owner.</span><span style="font-family: Roboto; font-size: 10pt;"><o:p></o:p></span></p>
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<div class="blogger-post-footer">Copyright Margaret Duffy, 2008-2017</div>Margaret Duffyhttp://www.blogger.com/profile/03821836487895782384noreply@blogger.com0tag:blogger.com,1999:blog-415269867796810849.post-70448745710164321122024-02-04T12:30:00.001-05:002024-02-05T02:39:56.105-05:00Nothing new under the sun and moon<div dir="ltr" style="text-align: left;" trbidi="on"><em><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHnu2DSaGZwh6tJvSevNEcNsTui9gM7ROzCj79NQ3brSVY8oHq7CgldEunQRyAIVgtbVSg63Tu9Afcc-ZSp2JgP7qfkkjzHiu6_SG_aUELJcZjLxFD7JVJBW5k3ZtpMsU6A5-_QTtS27SYNdCFQ8wehbhA0AmnEEyZVz7PVk2ClLwAeMNLHuMUgYR2I8s/s2002/1805_William%20Blake,%20JOb's%20Evil%20Dreams_From%20Illustrations%20to%20the%20Book%20of%20Job,%20%20Plate%2011_English,c.%201805-1810_New%20York,%20Pierpont%20Morgan%20Library%20and%20Museum.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1684" data-original-width="2002" height="538" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHnu2DSaGZwh6tJvSevNEcNsTui9gM7ROzCj79NQ3brSVY8oHq7CgldEunQRyAIVgtbVSg63Tu9Afcc-ZSp2JgP7qfkkjzHiu6_SG_aUELJcZjLxFD7JVJBW5k3ZtpMsU6A5-_QTtS27SYNdCFQ8wehbhA0AmnEEyZVz7PVk2ClLwAeMNLHuMUgYR2I8s/w640-h538/1805_William%20Blake,%20JOb's%20Evil%20Dreams_From%20Illustrations%20to%20the%20Book%20of%20Job,%20%20Plate%2011_English,c.%201805-1810_New%20York,%20Pierpont%20Morgan%20Library%20and%20Museum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">William Blake, <em>Job's Evil Dreams</em><br />Plate 11<i>, <u>Illustrations to the Book of Job</u></i><br />English, Watercolor, 1805-1810<br />New York, Pierpont Morgan Library</td></tr></tbody></table><br />Job spoke, saying:</em><br />
<em>Is not man's life on earth a drudgery?</em><br />
<em>Are not his days those of hirelings?</em><br />
<em>He is a slave who longs for the shade,</em><br />
<em>a hireling </em><em>who waits for his wages.</em><br />
<em>So I have been assigned months of misery,</em><br />
<em>and troubled nights have been allotted to me.</em><br />
<em>If in bed I say, "When shall I arise?"</em><br />
<em>then the night drags on;</em><br />
<em>I am filled with restlessness until the dawn.</em><br />
<em>My days are swifter than a weaver's shuttle;</em><br />
<em>they come to an end without hope.</em><br />
<em>Remember that my life is like the wind;</em><br />
<i>I shall not see happiness again.</i><br />
<span style="font-family: inherit;">Job 7:1-4, 6-7 </span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: inherit;">(First Reading, Fifth Sunday of Ordinary Time, Year B)</span><br />
<em><span style="font-family: "verdana"; font-size: x-small;"></span></em><em><br /></em>The first reading from the Mass for the Fifth Sunday in Ordinary Time, Year B should remind us that illness, job stress and nighttime worry is nothing new. And don’t our days frequently feel like this?<br /><br />
This passage also brings to mind an image, taken from some verses further on in the same chapter of Job <span style="font-family: inherit;"><span>(Job 7:13-15),</span> </span>from William Blake’s <u><em>Illustrations to the Book of Job</em></u>, issued first as a series of watercolors for his patron, Thomas Butts. They were later engraved and published in 1826. Called "<em>Job's Evil Dreams</em>" it well illustrates the sometimes terrifying world of the nightmare. Job lies on his bed, surrounded by flames and tormented by Satan (identified by his cloven foot) and other demons. They press upon him from above and reach up to bind him in chains from below. Truly, they are visions that terrify.<br />
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<div style="border-bottom: medium none; border-color: initial; border-left: medium none; border-right: medium none; border-style: none; border-top: medium none; border-width: medium;">
<em>When I say, "My bed shall comfort me, </em><em>my couch shall ease my complaint,"</em></div>
<em>Then you affright me with dreams and with visions terrify me, </em><a href="http://www.blogger.com/" name="v15"><em></em></a><br />
<i>So that I should prefer choking and death </i><i>rather than my pains.</i><br />
<span style="font-family: inherit;">Job 7:13-15</span><br /><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ8Fd-XaCT4Nu_eDUNHW4LMIhtIcQRQg5dR3JFMgS4AMwi98n6SJBISI-T8MCmrQJZFBjbaA-OksP-7xKhHVHmXzHKvBA1vcrRA2j5vhSeZyc0AZXNynHIOKUuO_aVeB5Pv6_sn5G7DiSg/s1600/Jobs+Evil+Dreams_Illustrations+of+the+Bk+of+JOb_1825-26_Met.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ8Fd-XaCT4Nu_eDUNHW4LMIhtIcQRQg5dR3JFMgS4AMwi98n6SJBISI-T8MCmrQJZFBjbaA-OksP-7xKhHVHmXzHKvBA1vcrRA2j5vhSeZyc0AZXNynHIOKUuO_aVeB5Pv6_sn5G7DiSg/s640/Jobs+Evil+Dreams_Illustrations+of+the+Bk+of+JOb_1825-26_Met.jpg" style="cursor: move;" width="499" /></a></div>
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<tr><td class="tr-caption" style="padding-top: 4px; text-align: center;"><div style="margin: 0px;"><span style="font-family: inherit;">
William Blake, Job's Evil Dreams</span></div>
<div style="margin: 0px;"><span style="font-family: inherit;">
from<u><i> Illustrations of the Book of Job</i></u></span></div>
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English, 1826</span></div>
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New York, Metropolitan Museum of Art</span></div>
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However, Blake’s image and our own reactions are not the only responses possible to Job’s situation. Indeed, they come very late in the history of Christian interpretations of the <u><em><a href="http://www.usccb.org/bible/scripture.cfm?bk=Job&ch=" target="_blank">Book of Job</a></em></u>.</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixL_ekHPcP4qhu0tCYVfGGi-8M4Y0c8QMbLMW5FGRhg_q1SeMUJLqFxtAZMKVi7dShyj2VVfVk_lCMlZv0cipbutyw0D8K8MNYFkjUVQXTmpOVReF2PheGxg-wG1SRmxNl4RSrv0ZH88k5zOtsjrx7ppi1QnxXosyKsd797kcSxIYhLKtXqLBBuVMW-Cc/s687/1350_Story%20of%20Job_From%20a%20Bible%20historial%20by%20Guiard%20de%20Moulins_French%20(St.%20Omer),%20Mid-14th%20Century_Paris,%20BNf_MS%20Francais%20152,%20fo.%20234r_2.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="490" data-original-width="687" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixL_ekHPcP4qhu0tCYVfGGi-8M4Y0c8QMbLMW5FGRhg_q1SeMUJLqFxtAZMKVi7dShyj2VVfVk_lCMlZv0cipbutyw0D8K8MNYFkjUVQXTmpOVReF2PheGxg-wG1SRmxNl4RSrv0ZH88k5zOtsjrx7ppi1QnxXosyKsd797kcSxIYhLKtXqLBBuVMW-Cc/w640-h456/1350_Story%20of%20Job_From%20a%20Bible%20historial%20by%20Guiard%20de%20Moulins_French%20(St.%20Omer),%20Mid-14th%20Century_Paris,%20BNf_MS%20Francais%20152,%20fo.%20234r_2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Story of Job<br />From a <em style="text-decoration-line: underline;">Bible historiale </em> by Gerard des Moulins <br />French (St. Omer), mid-14th century<br />Paris, Bibliotheque nationale de France<br />MS Francais 152, fol. 234</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br />
<br /><br />
The Old or Jewish Testament was embraced by Christians from the very beginning. St. Paul’s letters are filled with references from the Jewish Scriptures, and the slightly later canonical Gospels make constant references to them, in quotes used by Jesus, in subtle allusions to situations and events that reflect back to the Scriptures.</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">Some of the earliest Christian art includes an illustration of Job's sufferings. For example, it appears on the Sarcophagus of Junius Bassus, dating to 359, only a few decades after the legalization of Christianity by the Roman Emperor Constantine (in 315). </div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYRw3Hh-KleSzUttMTRL535vRuasqn9BDddaiHLNWhBjxkGz8Wk52Gw4knjeHEhusOOHxpsfUb8UKOXbozoEdcyOk_Cg-Ido4tPOhkE-dEVGu7KJEFCy6L6q6GM-diUzcBo5wSoCOjKomrpqhoQESidbYumJRfWcBXS8WcSQ_cdmxAcIHM2I-ju8Hf9gg/s900/359_Job%20on%20the%20Dunghill_From%20the%20Sarcophagus%20of%20Junius%20Bassus_Roman,%20c.%20359_Vatican%20City,%20Vatican%20Museums_detail_Museo%20Storico%20del%20Tesoro%20della%20Basilica%20di%20San%20Pietro.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="676" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYRw3Hh-KleSzUttMTRL535vRuasqn9BDddaiHLNWhBjxkGz8Wk52Gw4knjeHEhusOOHxpsfUb8UKOXbozoEdcyOk_Cg-Ido4tPOhkE-dEVGu7KJEFCy6L6q6GM-diUzcBo5wSoCOjKomrpqhoQESidbYumJRfWcBXS8WcSQ_cdmxAcIHM2I-ju8Hf9gg/w480-h640/359_Job%20on%20the%20Dunghill_From%20the%20Sarcophagus%20of%20Junius%20Bassus_Roman,%20c.%20359_Vatican%20City,%20Vatican%20Museums_detail_Museo%20Storico%20del%20Tesoro%20della%20Basilica%20di%20San%20Pietro.jpg" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Job on the Dunghill<br />Detail from the Sarcophagus of Junius Bassus<br />Roman, c. 359<br />Vatican City, Vatican Museums, Museo Storico del Tesoro della Basilica di San Pietro</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">Surviving early manuscripts from what is now Iraq and from Greece also include scenes from the <i><u>Book of Job</u></i>.</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivSJ7i3uj6S42oQf8LpxoANbN-3DGRdI_MEMw30ZAN200VPrgi9qIuwgR9BbI0bjVa3jCZO_pcqUWRJwBxZp4pKdE2bWZrvDsBkPu3_5iroXwm7UXuBWbdkG3RwHuGRtsRZD3UJzIhg3ncP-ulFXrYOBMWg6eSGDrcKYjLay9pWt-pF9h7zrrTVf-px5Q/s2161/500_Job,%20His%20Wife%20and%20Friends_From%20a%20Bible_Syriac%20(Iraq),%20c.%20500-700_Paris,%20BNF_MS%20Syriaque%20341,%20fol.%2016r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2161" data-original-width="1889" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivSJ7i3uj6S42oQf8LpxoANbN-3DGRdI_MEMw30ZAN200VPrgi9qIuwgR9BbI0bjVa3jCZO_pcqUWRJwBxZp4pKdE2bWZrvDsBkPu3_5iroXwm7UXuBWbdkG3RwHuGRtsRZD3UJzIhg3ncP-ulFXrYOBMWg6eSGDrcKYjLay9pWt-pF9h7zrrTVf-px5Q/w560-h640/500_Job,%20His%20Wife%20and%20Friends_From%20a%20Bible_Syriac%20(Iraq),%20c.%20500-700_Paris,%20BNF_MS%20Syriaque%20341,%20fol.%2016r.jpg" width="560" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Job, His Wife and Friends<br />From a <i><u>Bible</u></i><br />Syriac (Iraq), c. 500-700<br />Paris, Bibliotheque nationale de France<br />MS Syriaque 341, fol. 16r</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj39Vn8dgzO0k1pSZyl2m8K1xR_SLgZCV5JYhoKxeunwhUp80ZwIr10W9PNxthyc39ni7nXtHii0GcIb5gbVQOxf1u6NuUj93ltMTgmbhRkKC3sdKXnkB1eAiZX3Dmo3t3H9vO2be2yMxyJ9LBEy1Ej8jsCV0phBNebHeWO3ghf5c9XNtHem78d_safQC4/s1029/700_Affliction%20of%20Job_From%20a%20Bible_Greek,%20c.%208th-9th%20Century_Vatican%20City,%20Biblioteca%20apostolica%20vaticana_MS%20Gr.%20749,%20fol.%2025.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="858" data-original-width="1029" height="534" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj39Vn8dgzO0k1pSZyl2m8K1xR_SLgZCV5JYhoKxeunwhUp80ZwIr10W9PNxthyc39ni7nXtHii0GcIb5gbVQOxf1u6NuUj93ltMTgmbhRkKC3sdKXnkB1eAiZX3Dmo3t3H9vO2be2yMxyJ9LBEy1Ej8jsCV0phBNebHeWO3ghf5c9XNtHem78d_safQC4/w640-h534/700_Affliction%20of%20Job_From%20a%20Bible_Greek,%20c.%208th-9th%20Century_Vatican%20City,%20Biblioteca%20apostolica%20vaticana_MS%20Gr.%20749,%20fol.%2025.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Affliction of Job<br />From a <i><u>Bible</u></i><br />Greek, c. 8th-9th Century<br />Vatican City, Biblioteca apostolica vaticana<br />MS Vat. gr. 749, Part 1, fol. 25r</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyzjh9VRTafCgQXc7PmRJTVdxLUrKWadkXzjfy41QWwnPy_ivOncTi3WlzdKcG1zN1oX9OtAoiKM5ZDPybjALpTUh4fUvlnH6-pX4Mhh7vMv3RCNaIqxb67OvXUI8UB23hQm9J39GYfVuC0VLRCMVj3eetoBwXM5Z2H90MqNaYVfwHdLTRwes2bkbhuuk/s880/700_Job%20Arguing%20with%20His%20Friends_From%20a%20Bible_Greek,%20c.%208th-9th%20Century_Vatican%20City,%20Biblioteca%20Apostolica%20Vaticana_MS%20Vat.gr.749.pt.2,%20fol.%20126r.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="672" data-original-width="880" height="488" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyzjh9VRTafCgQXc7PmRJTVdxLUrKWadkXzjfy41QWwnPy_ivOncTi3WlzdKcG1zN1oX9OtAoiKM5ZDPybjALpTUh4fUvlnH6-pX4Mhh7vMv3RCNaIqxb67OvXUI8UB23hQm9J39GYfVuC0VLRCMVj3eetoBwXM5Z2H90MqNaYVfwHdLTRwes2bkbhuuk/w640-h488/700_Job%20Arguing%20with%20His%20Friends_From%20a%20Bible_Greek,%20c.%208th-9th%20Century_Vatican%20City,%20Biblioteca%20Apostolica%20Vaticana_MS%20Vat.gr.749.pt.2,%20fol.%20126r.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Job Arguing with His Friends<br />From a Bible<br />Greek, c. 8th-9th Century<br />Vatican City, Biblioteca Apostolica Vaticana<br />MS Vat.gr.749, Part 2, fol. 126r</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">In these early works and in the subsequent medieval and later periods artists had what might be called an external vision of Job’s trials. Images detailed the destruction of his possessions and his family, his torments (often personifying Satan as the agent of them), his conversations with his three “friends”, Eliphaz, Bildad and Zophar. The "friends" attempt to explain the misfortunes of Job as a punishment from God for having sinned in some way, while Job denies their assertions and maintains his own rightousness, blaming God for his sufferings. He points out that frequently it is those who fear and obey God who are the ones who suffer, while the evil seem to be rewarded with the good things of the world. This exploration of the inequality of suffering has always been a valuable one for believers to consider, since the same conditions apply today just as they applied when Job was written.</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSh0pk8TbYzfydehDb3EEVlD3phHEWKAolbHWMCbba1BgjV1ORX1fog6hdZM_OjxsjqcjLLJjGTxQE78r7fnpBgFrn6LjhSEbyLWw4TTiGK76RwAUrtoUnvAAxRPXyYGvAvUuazqcHNd6Xd62Rdu_hMO9rpN6v__cEGvpSr4PZfHmdmnsfbyh0QE6N7B0/s1890/800_Eliphaz%20Addressing%20Job_From%20a%20Bible_Greek,%209th%20Century_Patmos,%20Monastery%20of%20Saint%20John%20the%20Theologian_MS%20Codex%20171,%20fol.%2075.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1305" data-original-width="1890" height="442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSh0pk8TbYzfydehDb3EEVlD3phHEWKAolbHWMCbba1BgjV1ORX1fog6hdZM_OjxsjqcjLLJjGTxQE78r7fnpBgFrn6LjhSEbyLWw4TTiGK76RwAUrtoUnvAAxRPXyYGvAvUuazqcHNd6Xd62Rdu_hMO9rpN6v__cEGvpSr4PZfHmdmnsfbyh0QE6N7B0/w640-h442/800_Eliphaz%20Addressing%20Job_From%20a%20Bible_Greek,%209th%20Century_Patmos,%20Monastery%20of%20Saint%20John%20the%20Theologian_MS%20Codex%20171,%20fol.%2075.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Eliphaz Addressing Job<br />From a <i><u>Bible</u></i><br />Greek, 9th Century<br />Patmos, Monastery of Saint John the Theologian<br />MS Codex 171, fol. 75<br /><br /></td></tr></tbody></table></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEile162M5qCaA9hV8vjo8AIhnC8FZN0vcbnQX6NYKY2mzWrNwtRHSDjkcBqLke8pAyGNDSX4mc9refon20fCQZkafvw4_lbeAwMrT73vbvFX0v7pulseh1jr83DtRqU0AC3gMhh2UQbCj_gq1-Tah0A1GGjddLMMvTSp9V5z4mhRYGJz8qxcf1pP31KVm0/s2465/905_Job%20and%20His%20Friends_From%20a%20Bible_Greek,%20905_Venice,%20Biblioteca%20Marciana_MS%20Gr.%20538,%20fol.%2027.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="2465" data-original-width="1890" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEile162M5qCaA9hV8vjo8AIhnC8FZN0vcbnQX6NYKY2mzWrNwtRHSDjkcBqLke8pAyGNDSX4mc9refon20fCQZkafvw4_lbeAwMrT73vbvFX0v7pulseh1jr83DtRqU0AC3gMhh2UQbCj_gq1-Tah0A1GGjddLMMvTSp9V5z4mhRYGJz8qxcf1pP31KVm0/w490-h640/905_Job%20and%20His%20Friends_From%20a%20Bible_Greek,%20905_Venice,%20Biblioteca%20Marciana_MS%20Gr.%20538,%20fol.%2027.jpg" width="490" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Job and His Friends<br />From a <i><u>Bible</u></i><br />Greek, 905<br />Venice, Biblioteca Marciana<br />MS Gr. 538, fol. 27r</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsN_9JbuM8M8qdWp7b50cG99lUbAw3a4zwjPXesJfwOCD9Pgk75bOYXMjrW_wkpHK_E-BCGwS3D1ZL7E8VEtfUfKpxLCVNCbD3_2-KjoyNEvwsjBYI_RaS3Tf2Xaqv778Xl4rjfp7qXl91sLnbxMofRpi_5GAm9vMvs4epxvDxCoqVYgVWwXl5KiCbEDM/s471/1150_Job_Marble%20capital_From%20Notre-Dame%20des%20Doms_French,%20c.%201150_Avignon,%20Musee%20du%20Petit%20Palais.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="471" data-original-width="436" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsN_9JbuM8M8qdWp7b50cG99lUbAw3a4zwjPXesJfwOCD9Pgk75bOYXMjrW_wkpHK_E-BCGwS3D1ZL7E8VEtfUfKpxLCVNCbD3_2-KjoyNEvwsjBYI_RaS3Tf2Xaqv778Xl4rjfp7qXl91sLnbxMofRpi_5GAm9vMvs4epxvDxCoqVYgVWwXl5KiCbEDM/w592-h640/1150_Job_Marble%20capital_From%20Notre-Dame%20des%20Doms_French,%20c.%201150_Avignon,%20Musee%20du%20Petit%20Palais.jpg" width="592" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Job<br />Marble Capital<br />From Notre-Dame des Doms<br />French, c. 1150<br />Avignon, Musée du Petit Palais</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7bFnbtYP4Yg4E3lmvCaqCiwyAqTEGkfqFy0z6rAlL2Mr_yn7fwJW13RXDAMeWlCkPVXRmjEiZDdJZtUyEByQITJsUdG3_qDtVijAb41TXoahULKiFarMZ2XjQb1LBHO_LveFnQnR5LdCKrAxE3y3wcTpIPdnsZOUQMPCnC3Kvr2PTMEteyOZ5cg3UuOk/s697/1200_Job%20and%20His%20Friends_From%20Moralia%20in%20Job%20by%20Saint%20Gregory%20the%20Great_Italian%20(Perugia),%20c.%201200-1250_Paris,%20BNf_MS%20Latin%202232,%20fol.%2014r.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="654" data-original-width="697" height="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7bFnbtYP4Yg4E3lmvCaqCiwyAqTEGkfqFy0z6rAlL2Mr_yn7fwJW13RXDAMeWlCkPVXRmjEiZDdJZtUyEByQITJsUdG3_qDtVijAb41TXoahULKiFarMZ2XjQb1LBHO_LveFnQnR5LdCKrAxE3y3wcTpIPdnsZOUQMPCnC3Kvr2PTMEteyOZ5cg3UuOk/w640-h600/1200_Job%20and%20His%20Friends_From%20Moralia%20in%20Job%20by%20Saint%20Gregory%20the%20Great_Italian%20(Perugia),%20c.%201200-1250_Paris,%20BNf_MS%20Latin%202232,%20fol.%2014r.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Job and His Friends<br />From a <i><u>Moralia in Job</u></i> by Saint Gregory the Great<br />Italian (Perugia), c. 1200-1250<br />Paris, Bibliotheque nationale de France<br />MS Latin 2232, fol. 14r</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAtNgvgLgmt_yAo6n771d14ZI8I8DnCawu1h2REg3c1TS-fgcfAQcweGT4zCn1esKe_gSkit657CVPNCGgTwSB1hh8vA3HKsHz2bEr-aSI8jBhpVxMngob_TFajmHOfemd6jVSzUkPwRIIVTeYvDRqatAvQuzytz0MiCiLjB0dPXKRP0GFBeG4UPEf6vI/s1469/1250_Job,%20His%20Wife%20and%20Friends_From%20a%20Previary_French%20(Montieramey),%20c.%201250_Paris,%20BNF_MS%20Latin%20796,%20fol.%20200v.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1469" data-original-width="1087" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAtNgvgLgmt_yAo6n771d14ZI8I8DnCawu1h2REg3c1TS-fgcfAQcweGT4zCn1esKe_gSkit657CVPNCGgTwSB1hh8vA3HKsHz2bEr-aSI8jBhpVxMngob_TFajmHOfemd6jVSzUkPwRIIVTeYvDRqatAvQuzytz0MiCiLjB0dPXKRP0GFBeG4UPEf6vI/w474-h640/1250_Job,%20His%20Wife%20and%20Friends_From%20a%20Previary_French%20(Montieramey),%20c.%201250_Paris,%20BNF_MS%20Latin%20796,%20fol.%20200v.jpg" width="474" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Job, His Wife and Friends<br />From a <u><i>Breviary</i></u><br />French (Montieramey), c. 1250<br />Paris, Bibliotheque nationale de France<br />MS Latin 796, fol. 200v</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNT8w1CY5MNmgXTow_an-D8vySsp_YPU08QRZW2EwdqScj8sopqWzgXbN4t0yrKhojCma4tda_WNqc197MrFdWSNe-C-OQR6uqp2hmmnd4CLbwub_GGPTAqP9Dn_A-A_Zh_wj2QDWkxA1kresnBEj8Is7wSeY1Jchwe5EnWkiVjMWkWFdmHVOr33SVUA8/s1449/1350_%20Master%20of%20the%20Br%C3%A9viary%20of%20Senlis,%20Job%20and%20His%20Friends_From%20a%20Bible%20historiale%20by%20Giuard%20des%20Moulins_Franch%20(Paris),%20c.%201350_Paris,%20BNF_MS%20Francais%20161,%20fol.%20226v.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1449" data-original-width="1376" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNT8w1CY5MNmgXTow_an-D8vySsp_YPU08QRZW2EwdqScj8sopqWzgXbN4t0yrKhojCma4tda_WNqc197MrFdWSNe-C-OQR6uqp2hmmnd4CLbwub_GGPTAqP9Dn_A-A_Zh_wj2QDWkxA1kresnBEj8Is7wSeY1Jchwe5EnWkiVjMWkWFdmHVOr33SVUA8/w608-h640/1350_%20Master%20of%20the%20Br%C3%A9viary%20of%20Senlis,%20Job%20and%20His%20Friends_From%20a%20Bible%20historiale%20by%20Giuard%20des%20Moulins_Franch%20(Paris),%20c.%201350_Paris,%20BNF_MS%20Francais%20161,%20fol.%20226v.jpg" width="608" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of the Bréviary of Senlis, Job and His Friends<br />From a <i><u>Bible historiale </u></i>by Giuard des Moulins<br />French (Paris), c. 1350<br />Paris, Bibliotheque nationale de France<br />MS Francais 161, fol. 226v</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMza_mNIq63vuTSCgX10oc9EnQCOm-Pk5BpPaQ01lAXf4ANlwhQpqJZa3fX49hnowPSggotK0ueDzesLZ4yXMMqUZZTkKrIJrjCF6cGm7bG73jix4pWNHmmSEfQ-jVwA0ocyx3Ef1AdN7Llimmz7MTXngGUq-fGZQSf5oCZ_iN_CC-MEoSNsy5daxqb4k/s1166/1371_J~1.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1166" data-original-width="1014" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMza_mNIq63vuTSCgX10oc9EnQCOm-Pk5BpPaQ01lAXf4ANlwhQpqJZa3fX49hnowPSggotK0ueDzesLZ4yXMMqUZZTkKrIJrjCF6cGm7bG73jix4pWNHmmSEfQ-jVwA0ocyx3Ef1AdN7Llimmz7MTXngGUq-fGZQSf5oCZ_iN_CC-MEoSNsy5daxqb4k/w556-h640/1371_J~1.JPG" width="556" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jean Bandol and Others, Job on the Dunghill with His Wife and Friends<br />From a <i><u>Grande Bible Historiale Completee</u></i> by Guiard des Moulins<br />French (Paris), c. 1371-1372<br />The Hague, Meermano Museum<br />MS RMMW 10 B 23, fol. 245v</td></tr></tbody></table></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6jf4cjrgIzzQWcaouI1Z21Z5Lo5ZKYR5XISqFzAwKyI_iNJlafAHSibSuf3u7Z7i4aBxFmpZBSfWO5caDHRYSwiZ6imVFp6SlQL_WXjV5SxWUw0OIBy1386Wi0nVPjDUh1g81cy0pAVzNFMnTbWUiDFabc6AarQMmmCnD5pges3fS6_7o2t8xHhfmEkc/s1495/1400_Job%20wife%20and%20friends_From%20a%20Bible%20histroriale%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201400_Paris,%20BNF_MS%20Francais%203,%20fol.%20255r_2.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1364" data-original-width="1495" height="584" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6jf4cjrgIzzQWcaouI1Z21Z5Lo5ZKYR5XISqFzAwKyI_iNJlafAHSibSuf3u7Z7i4aBxFmpZBSfWO5caDHRYSwiZ6imVFp6SlQL_WXjV5SxWUw0OIBy1386Wi0nVPjDUh1g81cy0pAVzNFMnTbWUiDFabc6AarQMmmCnD5pges3fS6_7o2t8xHhfmEkc/w640-h584/1400_Job%20wife%20and%20friends_From%20a%20Bible%20histroriale%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201400_Paris,%20BNF_MS%20Francais%203,%20fol.%20255r_2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Job Admonished By His Friends and His Wife<br />From a <em style="text-decoration-line: underline;">Bible historiale</em> by Guiard des Moulins <br />France, Paris, Early 15th century<br />Paris, Bibliotheque nationale de France<br />MS Francais 3, fol. 255r<br /></td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0Ho9bStAKNYpyFXo1BlgIoAcF18T6MPqzhzKBkNlRc8xpB4nyRp7vdR3WslWQVN_jjZWg0826-TxSFy3hcGTF9JkkV7NI6hxIB5ywswfTNWxqVSNTyGYXdQW-tA8_OhFL60aqweOfhNtICBBMgI1a96zypKFQ8fA4YPWI2NY3laDl-FBb708d3U39bF8/s1018/1452_Jean%20Fouquet,%20Job%20and%20His%20Friends_From%20the%20Book%20of%20Hours%20of%20Etienne%20Chevalier_French,%20c.%201452-1460_Chentilly,%20Musee%20Conde.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1018" data-original-width="750" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0Ho9bStAKNYpyFXo1BlgIoAcF18T6MPqzhzKBkNlRc8xpB4nyRp7vdR3WslWQVN_jjZWg0826-TxSFy3hcGTF9JkkV7NI6hxIB5ywswfTNWxqVSNTyGYXdQW-tA8_OhFL60aqweOfhNtICBBMgI1a96zypKFQ8fA4YPWI2NY3laDl-FBb708d3U39bF8/w472-h640/1452_Jean%20Fouquet,%20Job%20and%20His%20Friends_From%20the%20Book%20of%20Hours%20of%20Etienne%20Chevalier_French,%20c.%201452-1460_Chentilly,%20Musee%20Conde.jpg" width="472" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">J<span style="font-family: inherit;">ean Fouquet, Job on the Dunghill and His Friends<br />From the Book of Hours of Etienne Chevalier<br />French, c. 1452-1460<br />Chantilly, Musée Condé</span><p class="MsoNormal"><o:p></o:p></p></td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH8P_XQ3FmW9VZgB1rhLO11hx0BIaiB5v3eDJo80-5ncqhxg8kdzLLwoyHNnLoxDK9tjZEE45z_g00aXmFU0DB2Jet1dowZE6tV-scmHkFtpCHJqpCewXpNM1F49LVrw7OGm8n76LTbmatWORAJAgnuvXzRRB_R5017N4ZlofmuVUHHqJTppFD6_ARi1c/s547/1490_Job%20on%20the%20Dunghill%20Comforted%20by%20Friends_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201490=1500_The%20Hague,%20KB_MS%20KB%2076%20F%2014,%20fol.%2078r_copy.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="547" data-original-width="495" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH8P_XQ3FmW9VZgB1rhLO11hx0BIaiB5v3eDJo80-5ncqhxg8kdzLLwoyHNnLoxDK9tjZEE45z_g00aXmFU0DB2Jet1dowZE6tV-scmHkFtpCHJqpCewXpNM1F49LVrw7OGm8n76LTbmatWORAJAgnuvXzRRB_R5017N4ZlofmuVUHHqJTppFD6_ARi1c/w580-h640/1490_Job%20on%20the%20Dunghill%20Comforted%20by%20Friends_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201490=1500_The%20Hague,%20KB_MS%20KB%2076%20F%2014,%20fol.%2078r_copy.jpg" width="580" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Job on the Dunghill with His Friends<br />From a <i><u>Book of Hours</u></i><br />French (Paris), c. 1490-1500<br />The Hague, Koninklijk Bibliotheek<br />MS KB 76 F 14, fol. 78r</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQEtCCnAojDZMw8vhH5Ydq1Yz6NMWgNARAEWd3bqvBcM5tZrgfMFdSv8psCDL2KXNczw0cYjTO5Dfy4F0AuiMM3FeETwwt3SUPjHoq9h5PRCU6Pryr3-gpshOA7mqhHPrw6I8wN8uQys1U5KWD0BGnGXm55aCDkMtXB5scSL1sAtzKhHuIynxfu8VxDKA/s2160/1500+Job%20and%20His%20Friends_Russian,%20c.%20150_Moscow,%20Cathedral%20of%20the%20Annunciation_copy.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="2160" data-original-width="1628" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQEtCCnAojDZMw8vhH5Ydq1Yz6NMWgNARAEWd3bqvBcM5tZrgfMFdSv8psCDL2KXNczw0cYjTO5Dfy4F0AuiMM3FeETwwt3SUPjHoq9h5PRCU6Pryr3-gpshOA7mqhHPrw6I8wN8uQys1U5KWD0BGnGXm55aCDkMtXB5scSL1sAtzKhHuIynxfu8VxDKA/w482-h640/1500+Job%20and%20His%20Friends_Russian,%20c.%20150_Moscow,%20Cathedral%20of%20the%20Annunciation_copy.jpg" width="482" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Job and His Friends<br />Russian, c. 1500<br />Moscow, Cathedral of the Annunciation</td></tr></tbody></table><br />
</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEkaj1seufIy8jxtg22ElYzx4kZYK96V3fVlTel49fmBL1R13dlvpxPLkY3A5JIt_HOZ3RFqKue3OuXYnyTkOymz4BgOrzLRg_08WGl_unufJ_0XWrRgOok31G8fjmVXbtF02yZDg-M4wcFJNkxCyQZGh8QsvWLcbqXpls_B-TXb5j5rusHQm2lc9oh6o/s1345/1503_Jean%20Bourdichon_Job%20and%20His%20Friends_From%20a%20Book%20of%20Hours_French%20(Tours),%20c.%201503-1508_Paris,%20BNF_MS%20Latin%209474,%20fol.%20119v.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1345" data-original-width="813" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEkaj1seufIy8jxtg22ElYzx4kZYK96V3fVlTel49fmBL1R13dlvpxPLkY3A5JIt_HOZ3RFqKue3OuXYnyTkOymz4BgOrzLRg_08WGl_unufJ_0XWrRgOok31G8fjmVXbtF02yZDg-M4wcFJNkxCyQZGh8QsvWLcbqXpls_B-TXb5j5rusHQm2lc9oh6o/w386-h640/1503_Jean%20Bourdichon_Job%20and%20His%20Friends_From%20a%20Book%20of%20Hours_French%20(Tours),%20c.%201503-1508_Paris,%20BNF_MS%20Latin%209474,%20fol.%20119v.jpeg" width="386" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jean Bourdichon, Job and His Friends<br />From a <i><u>Book of Hours</u></i><br />French (Tours), c. 1503-1508<br />Paris, Bibliotheque nationale de France<br />MS Latin 9474, fol. 119v</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMh5o2m95usFTK4vAuY4FIjxRBnFXEXGimDn-Ky5blZSxDzIcaoBiLFpaXJMYL0nMfi6zcxUv5hvEUTetX-4g16sn-baOMrOtJM5nO3mvbgK31OdDcylul-NjTRRy-dcSFthuJtBWTeYr2KowK9qgqekKlu0Jp2b3tuTAA4A9Up8BOBtqPDP4aapXKHuI/s1762/1805_William%20Blake,%20Job%20Rebuked%20by%20His%20Friends_English,%20c.%201805-1810_New%20York,%20Pierpont%20Morgan%20Library%20and%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1519" data-original-width="1762" height="552" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMh5o2m95usFTK4vAuY4FIjxRBnFXEXGimDn-Ky5blZSxDzIcaoBiLFpaXJMYL0nMfi6zcxUv5hvEUTetX-4g16sn-baOMrOtJM5nO3mvbgK31OdDcylul-NjTRRy-dcSFthuJtBWTeYr2KowK9qgqekKlu0Jp2b3tuTAA4A9Up8BOBtqPDP4aapXKHuI/w640-h552/1805_William%20Blake,%20Job%20Rebuked%20by%20His%20Friends_English,%20c.%201805-1810_New%20York,%20Pierpont%20Morgan%20Library%20and%20Museum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">William Blake, Job Rebuked by His Friends<br />English, c. 1805-1810<br />New York, Pierpont Morgan Library and Museum</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">
An interesting feature of the images I located in my search is that, in the main, they come not from Latin language texts (i.e., from illustrations of the <u><a href="http://en.wikipedia.org/wiki/Vulgate" target="_blank">Vulgate</a>,</u> works of the Fathers [for instance the <u><em><a href="http://www.lectionarycentral.com/GregoryMoraliaIndex.html" target="_blank">Moralia in Job</a></em></u> of St. Gregory the Great] or from <a href="http://en.wikipedia.org/wiki/Book_of_hours" target="_blank">Books of Hours</a>), but from books written in the vernacular languages of Europe or popular picture books such as illustrated Bibles or the <em><a href="http://en.wikipedia.org/wiki/Speculum_Humanae_Salvationis" target="_blank">Speculum humanae salvationis</a></em>, that is from books available to and read by literate lay persons.</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy6y1G2rAufb9kcyQ5T2AVMCIerrPn1mG-TPKYfZfhd5rR4bft78cJFRYR3SiDoRZTUfPuJkxDmojZNz_MMppUisj-eQTZDFse_dxQOIeb6UKG5x2bZqMPCQIAkXSWPPbF5ZsvJJcYdbmiFKX4lV8EqnRZziQm7t8EIouLwY5G67FxLbvGteySDNy9tHM/s1548/1395_Mast%20of%20the%20Hours%20of%20Johannette%20Ravenelle,%20Job%20tormented%20in%20sleep_Fr%20a%20Bible%20historiale%20by%20Giuard%20des%20Moulins_French%20(Paris),%20c.%201395-1400_Paris,%20BNF_MS%20Francais%20159,%20fol.225r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1548" data-original-width="1458" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy6y1G2rAufb9kcyQ5T2AVMCIerrPn1mG-TPKYfZfhd5rR4bft78cJFRYR3SiDoRZTUfPuJkxDmojZNz_MMppUisj-eQTZDFse_dxQOIeb6UKG5x2bZqMPCQIAkXSWPPbF5ZsvJJcYdbmiFKX4lV8EqnRZziQm7t8EIouLwY5G67FxLbvGteySDNy9tHM/w602-h640/1395_Mast%20of%20the%20Hours%20of%20Johannette%20Ravenelle,%20Job%20tormented%20in%20sleep_Fr%20a%20Bible%20historiale%20by%20Giuard%20des%20Moulins_French%20(Paris),%20c.%201395-1400_Paris,%20BNF_MS%20Francais%20159,%20fol.225r.jpg" width="602" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of the Hours of Johannette Ravenelle, Job tormented in His Sleep<br />From a <u><i>Bible historiale</i></u> by Giuard des Moulins<br />French (Paris), c. 1395-1400<br />Paris, Bibliotheque nationale de France<br />MS Francais 159, fol.225r</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGOhn9lNTlk4OZImCTeVwjFOhtnvTiWuTMjEOJSYo1umPWzAUtos-TiOfUM0AsrNrVhvHSzF4TfmydS0JQEYiN-NHOquob_DQkqUkGyEqAda8GxR-ReQU8uTK6FjkFxf2FDqJ5it-VyoV5riFsg7yHaEuTvNJhMHENFwOJ7AvFXYWe8rBFVNYs-c1Jgds/s1764/1805_William%20Blake,%20Satan%20Smiting%20Job%20with%20Sore%20Boils_English%20c.%201805-1810_New%20York,%20Pierpont%20Morgan%20Library%20and%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1483" data-original-width="1764" height="538" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGOhn9lNTlk4OZImCTeVwjFOhtnvTiWuTMjEOJSYo1umPWzAUtos-TiOfUM0AsrNrVhvHSzF4TfmydS0JQEYiN-NHOquob_DQkqUkGyEqAda8GxR-ReQU8uTK6FjkFxf2FDqJ5it-VyoV5riFsg7yHaEuTvNJhMHENFwOJ7AvFXYWe8rBFVNYs-c1Jgds/w640-h538/1805_William%20Blake,%20Satan%20Smiting%20Job%20with%20Sore%20Boils_English%20c.%201805-1810_New%20York,%20Pierpont%20Morgan%20Library%20and%20Museum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">William Blake, Satan Smiting Job with Sore Boils<br />English c. 1805-1810<br />New York, Pierpont Morgan Library and Museum</td></tr></tbody></table><div dir="ltr" trbidi="on"><br /></div></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">A favorite image was of Job being nagged by his wife. This last is from the same strain of “comic relief” that saw other Biblical nagging wives feature in medieval <a href="http://en.wikipedia.org/wiki/Mystery_play" target="_blank">mystery</a> and <a href="http://en.wikipedia.org/wiki/Morality_play" target="_blank">morality</a> plays. Mrs. Noah, Mrs. Lot and Mrs. Job were popular characters, their assaults on their husbands moments of fun for the audience.</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMJ7aQVWbKYXzMJqrEH_0-jaDp96iontRxqsX7yMxq90WQ15PcihY0qg8jY1QoK5aUh8QVZyHSCuPotnc1U1d1C6kuzDzNdujb9wJc53k509dptWWGCE2DVls4ZHHdj8Ua_lMWM5fHarbUr7Cs0aFNC_B-7RdyGp3HwFwwgN2q_KwQwCr64-s4LLyKOwA/s347/1245_The%20Christina%20Workshop,%20Job%20and%20His%20Wife_From%20a%20Bible_French%20(Paris),%20c.%201245-1255_New%20York,%20Pierpont%20Morgan%20Library_MS%20G%2031,%20fol.%20156r.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="347" data-original-width="345" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMJ7aQVWbKYXzMJqrEH_0-jaDp96iontRxqsX7yMxq90WQ15PcihY0qg8jY1QoK5aUh8QVZyHSCuPotnc1U1d1C6kuzDzNdujb9wJc53k509dptWWGCE2DVls4ZHHdj8Ua_lMWM5fHarbUr7Cs0aFNC_B-7RdyGp3HwFwwgN2q_KwQwCr64-s4LLyKOwA/w636-h640/1245_The%20Christina%20Workshop,%20Job%20and%20His%20Wife_From%20a%20Bible_French%20(Paris),%20c.%201245-1255_New%20York,%20Pierpont%20Morgan%20Library_MS%20G%2031,%20fol.%20156r.jpg" width="636" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Christina Workshop, Job and His Wife<br />From a <i><u>Bible</u></i><br />French (Paris), c. 1245-1255<br />New York, Pierpont Morgan Library<br />MS G 31, fol. 156r</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqw_Wxiv42JKC9_2nCHf-y25EmcwO0f8bOQCFA8z3NLaFamNPto9TIemFIJDx0d_7-_X5L0lpVAbLGkxq-2HeHJTf2zkot4Vp1mxXh073xGasiqYGaITI6DK8niNuFil_-CgeuNRCd2Vj18F7_0RyxYcwbUinn7QaSi60pX_gpEDaoISMis-AETs-hRN4/s1475/1320_Master%20of%20Fauvel,%20Job%20with%20His%20Wife%20and%20Friends_From%20a%20Bible%20historiale%20completee%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201320-1340_The%20Hague,%20KB_MS%20KB%2071%20A%2023,%20fol.204v.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1475" data-original-width="1320" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqw_Wxiv42JKC9_2nCHf-y25EmcwO0f8bOQCFA8z3NLaFamNPto9TIemFIJDx0d_7-_X5L0lpVAbLGkxq-2HeHJTf2zkot4Vp1mxXh073xGasiqYGaITI6DK8niNuFil_-CgeuNRCd2Vj18F7_0RyxYcwbUinn7QaSi60pX_gpEDaoISMis-AETs-hRN4/w572-h640/1320_Master%20of%20Fauvel,%20Job%20with%20His%20Wife%20and%20Friends_From%20a%20Bible%20historiale%20completee%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201320-1340_The%20Hague,%20KB_MS%20KB%2071%20A%2023,%20fol.204v.jpg" width="572" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Fauvel, Job with His Wife and Friends<br />From a <i><span style="font-family: inherit;"><u>Bible historiale complet<span style="line-height: 107%;">é</span><span style="line-height: 107%;">e</span></u></span><u> </u></i>by Guiard des Moulins<br />French (Paris), c. 1320-1340<br />The Hague, Koninklijk Bibliotheek<br />MS KB 71 A 23, fol.204v</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGm9C7VDiCpvFrwgjXA3-yyHNKBojAPjL9iOXl236SyJ_zwpeh7MuznOh73FmKndRYRXuDaW66yFhbQM8O2cD54pRVqh38ixme7RFDAkIeKL9r64Q1pX1jcpPWS5gkMzjYYF4wfCdZuOcqAsHFqt2by7D6rExlMcgA_wzWXn1k7e4wbjZo3Deo7kw7rEc/s576/1465_Job%20Visited%20by%20His%20Wife%20&%20Musicians_From%20a%20Book%20of%20Hours_Flemish%20(Bruges),%20c.%201465-1475_New%20York,%20Pierpont_MS%20M%20285,%20fol.%20261v.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="576" data-original-width="390" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGm9C7VDiCpvFrwgjXA3-yyHNKBojAPjL9iOXl236SyJ_zwpeh7MuznOh73FmKndRYRXuDaW66yFhbQM8O2cD54pRVqh38ixme7RFDAkIeKL9r64Q1pX1jcpPWS5gkMzjYYF4wfCdZuOcqAsHFqt2by7D6rExlMcgA_wzWXn1k7e4wbjZo3Deo7kw7rEc/w434-h640/1465_Job%20Visited%20by%20His%20Wife%20&%20Musicians_From%20a%20Book%20of%20Hours_Flemish%20(Bruges),%20c.%201465-1475_New%20York,%20Pierpont_MS%20M%20285,%20fol.%20261v.jpg" width="434" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Job Visited by His Wife and Musicians<br />From a <i><u>Book of Hours</u></i><br />Flemish (Bruges), c. 1465-1475<br />New York, Pierpont Morgan Library<br />MS M 285, fol. 261v</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP3NLURvZKKTI1Hdkg-FL9COF71EMqBeNre-svn8zK49o8Fc-7qfJYpjDORGnDu0sqUTorqTQaV6O7aBanCRskb17uKq34pPJikMyTX301Y8qnw7ceSfv6Xt_lyvlT7nnkmmSGA3_tGgYCIAI8jZcZMrxOe7oTB8kyIP5ZJiDfsbiySRPwlSq4_8I8Is8/s1271/1504_Albrecht%20Durer,%20Job%20and%20His%20Wife_German,%20c.%201504_Frankfurt,%20Stadelsches%20Kunstinstitut.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1271" data-original-width="665" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP3NLURvZKKTI1Hdkg-FL9COF71EMqBeNre-svn8zK49o8Fc-7qfJYpjDORGnDu0sqUTorqTQaV6O7aBanCRskb17uKq34pPJikMyTX301Y8qnw7ceSfv6Xt_lyvlT7nnkmmSGA3_tGgYCIAI8jZcZMrxOe7oTB8kyIP5ZJiDfsbiySRPwlSq4_8I8Is8/w334-h640/1504_Albrecht%20Durer,%20Job%20and%20His%20Wife_German,%20c.%201504_Frankfurt,%20Stadelsches%20Kunstinstitut.jpg" width="334" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Albrecht Durer, Job and His Wife<br />German, c. 1504<br />Frankfurt, Stadelsches Kunstinstitut</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDSHQ8f-PEhtO-anDg6-HjFELewvuFregg_v-WbgAmUG8nlhQq6dvnMrTbB06riCSWUWIa5fYzdVAwDiB3biA7jS-vOObXSSV04Q9dyyYPAuHgTRdJwVVU1vyoEmKnfVapgCOYPJqATSpEtl7fYwBvXu_a1WwFIgV_yqfKj_wfy3UJULxYQl5jMVnjsSQ/s1331/1547_Master%20of%20the%20Getty%20Epirtres,%20From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201547-1559_Paris,%20BNF_MS%20Latin%201429,%20fol.%2073v.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1331" data-original-width="844" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDSHQ8f-PEhtO-anDg6-HjFELewvuFregg_v-WbgAmUG8nlhQq6dvnMrTbB06riCSWUWIa5fYzdVAwDiB3biA7jS-vOObXSSV04Q9dyyYPAuHgTRdJwVVU1vyoEmKnfVapgCOYPJqATSpEtl7fYwBvXu_a1WwFIgV_yqfKj_wfy3UJULxYQl5jMVnjsSQ/w406-h640/1547_Master%20of%20the%20Getty%20Epirtres,%20From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201547-1559_Paris,%20BNF_MS%20Latin%201429,%20fol.%2073v.jpeg" width="406" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of the Getty Epistles, Job with His Wife and Friends<br />From a <i><u>Book of Hours</u></i><br />French (Paris), c. 1547-1559<br />Paris, Bibliotheque nationale de France<br />MS Latin 1429, fol. 73v</td></tr></tbody></table><div dir="ltr" trbidi="on"><br /></div></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs4GgS_yI_qE4e6N59s4qmmW6phHpvXJtyAHqNQZC6HGgLVHmicaEHF95ruu0RooBoVwgjavkgmxl-qloqzGbYTxs1fL6uB71GmunZbvBbNlNVEKz-ogumSGU8GbsBKupDjtH7dCIcfMN3/s1600/Job+Mocked+by+his+Wife_Epinal,+Musee+Departmental+des+Vosges_1630s.jpg" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="640" sda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs4GgS_yI_qE4e6N59s4qmmW6phHpvXJtyAHqNQZC6HGgLVHmicaEHF95ruu0RooBoVwgjavkgmxl-qloqzGbYTxs1fL6uB71GmunZbvBbNlNVEKz-ogumSGU8GbsBKupDjtH7dCIcfMN3/s640/Job+Mocked+by+his+Wife_Epinal,+Musee+Departmental+des+Vosges_1630s.jpg" width="408" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Georges de la Tour, Job Mocked By His Wife<br />French, 1630s<br /><span style="line-height: 107%;">É</span>pinal, <span style="line-height: 107%;">Musée </span> departmentale des Vosges</span><br /><br /></td></tr></tbody></table>
</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFE_n7Waud_xB_TC8lcXhuv_4vrDLxQ7MsH8hoPQ5Kc8G0q4xXEiMudCX9PdfBe1OW7yATa33E3ZrC7ghXG1ub6dimilne_LjiTVeHkKW7588-UgPpzaGftssjnisZqKAhf8lXyEURN-lShVc3Gs5UzBSRkPVgJfnOq8iHXIgJA6x-QfJb9XZHRXwPVQM/s1500/1630_Attributed%20to%20David%20Ryckaert%20III,%20Job%20Tormented%20by%20His%20Wife_Flemish,%20c.%201630-1331_Paris,%20Musee%20du%20Louvre.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="1061" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFE_n7Waud_xB_TC8lcXhuv_4vrDLxQ7MsH8hoPQ5Kc8G0q4xXEiMudCX9PdfBe1OW7yATa33E3ZrC7ghXG1ub6dimilne_LjiTVeHkKW7588-UgPpzaGftssjnisZqKAhf8lXyEURN-lShVc3Gs5UzBSRkPVgJfnOq8iHXIgJA6x-QfJb9XZHRXwPVQM/w452-h640/1630_Attributed%20to%20David%20Ryckaert%20III,%20Job%20Tormented%20by%20His%20Wife_Flemish,%20c.%201630-1331_Paris,%20Musee%20du%20Louvre.JPG" width="452" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Attributed to David Ryckaert III, Job Tormented by His Wife<br />Flemish, c. 1630-1331<br />Paris, Musée du Louvre</td></tr></tbody></table><div dir="ltr" trbidi="on"><br /></div></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiahT5_cUfR5OE24xH0McC-E7GPXEckgsXWHw1oWKP5G_Ydys_o2ZvfkMnXyTw131ya97xVEbEhdBYxcgFC2q912264loc5QgRH8Qo-8pWEOPaPQsfote57y2r8edAqmfWLzPaiNkB7OBG4R_AvZfestvj9L-eW0G4EIFD0785zx1ydDsWp33X1Sy-Tt6o/s893/1630_Jusepe%20Ribera,%20Job%20on%20the%20Ash%20Heap_Spanish,%20c.%201630_Private%20Collection.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="655" data-original-width="893" height="470" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiahT5_cUfR5OE24xH0McC-E7GPXEckgsXWHw1oWKP5G_Ydys_o2ZvfkMnXyTw131ya97xVEbEhdBYxcgFC2q912264loc5QgRH8Qo-8pWEOPaPQsfote57y2r8edAqmfWLzPaiNkB7OBG4R_AvZfestvj9L-eW0G4EIFD0785zx1ydDsWp33X1Sy-Tt6o/w640-h470/1630_Jusepe%20Ribera,%20Job%20on%20the%20Ash%20Heap_Spanish,%20c.%201630_Private%20Collection.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jusepe Ribera, Job on the Ash Heap<br />Spanish, c. 1630<br />Private Collection</td></tr></tbody></table><div dir="ltr" trbidi="on"><br /></div></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV8l_N0Q1H8VQFKAlMxO5DLMbXW7THfV69v9xwpLXiHmG2JMVSUNH73qYhPu5yYT5s_O1g450slToRGUaVWN8SVtTskDxlaInuKpApGKtyZwDrW3ETT2CFU2BNIQtrwdh1ucIitDWgdfQHIjiwMsBt91lnTjrljrgEX4NJwQy8lnMoCfe5W7Vy1Zvl7VQ/s2880/1750_Gaspare%20Traversi,%20Job%20Mocked%20by%20His%20Wife_Italian,%20c.%201750-1770+Warsaw,%20National%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2115" data-original-width="2880" height="470" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV8l_N0Q1H8VQFKAlMxO5DLMbXW7THfV69v9xwpLXiHmG2JMVSUNH73qYhPu5yYT5s_O1g450slToRGUaVWN8SVtTskDxlaInuKpApGKtyZwDrW3ETT2CFU2BNIQtrwdh1ucIitDWgdfQHIjiwMsBt91lnTjrljrgEX4NJwQy8lnMoCfe5W7Vy1Zvl7VQ/w640-h470/1750_Gaspare%20Traversi,%20Job%20Mocked%20by%20His%20Wife_Italian,%20c.%201750-1770+Warsaw,%20National%20Museum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Gaspare Traversi, Job Mocked by His Wife<br />Italian, c. 1750-1770<br />Warsaw, National Museum</td></tr></tbody></table><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div></div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on">Sometimes, however, Mrs. Job is not so much a stock figure of the nagging wife, she is actually a willing participant in the torments being heaped upon Job. She is often shown as an onlooker, or even a participant, in the work of Satan.</div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_nmY5tEnPPQ-L6aAOcjsBZGbxhybZp-L6at_fpMPokf27ooEzK-1qek3YT0gSiEcVTReG2QLeEWs3idmsWHru8ziJ_Ct977VO6pfsiLvQrOLue1eKA8OStZEkKbA1omAZYzcYrx2TnnAWQjU4nWQvyNhs5jsU6aeyrtHCJBWLWrNckQKlGWb8YM2xIkc/s1695/1370_Job%20Tormented_From%20Speculum%20humanae%20salvationis_French%20(Alsace),%20c.%201370-1380_Paris,%20BNf_MS%20Latin%20511,%20fol.%2021r.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1695" data-original-width="1520" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_nmY5tEnPPQ-L6aAOcjsBZGbxhybZp-L6at_fpMPokf27ooEzK-1qek3YT0gSiEcVTReG2QLeEWs3idmsWHru8ziJ_Ct977VO6pfsiLvQrOLue1eKA8OStZEkKbA1omAZYzcYrx2TnnAWQjU4nWQvyNhs5jsU6aeyrtHCJBWLWrNckQKlGWb8YM2xIkc/w574-h640/1370_Job%20Tormented_From%20Speculum%20humanae%20salvationis_French%20(Alsace),%20c.%201370-1380_Paris,%20BNf_MS%20Latin%20511,%20fol.%2021r.jpg" width="574" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Job Tormented by Satan and His Wife<br />From a <i><u>Speculum humanae salvationis</u></i><br />French (Alsace), c. 1370-1380<br />Paris, Bibliotheque nationale de France<br />MS Latin 511, fol. 21r</td></tr></tbody></table><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhP3f3WQI4DFrxXtSgqRA-oH6zYoS_7oNCDTzEcYB4WKpoOLWbo9yiTGuK6TE9ZwOnSNX4n6Or92KqC1EXRIQOqErSiRu4z4OM5VvjIeVdspsXzGf90Bp24Kt35G2VGiAOQQmqlc4fAPBR/s1600/Francais+188,+fol.+25.jpg" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="568" sda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhP3f3WQI4DFrxXtSgqRA-oH6zYoS_7oNCDTzEcYB4WKpoOLWbo9yiTGuK6TE9ZwOnSNX4n6Or92KqC1EXRIQOqErSiRu4z4OM5VvjIeVdspsXzGf90Bp24Kt35G2VGiAOQQmqlc4fAPBR/s640/Francais+188,+fol.+25.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><span style="font-family: inherit;">Job Tormented By Satan, By His Wife and By Boils<br />From <u><em>Speculum humanae salvationis</em></u><br />France, Mid-15th century<br />Paris, Bibliotheque nationale de France<br />MS Francais 188, fol. 25</span><br /><div style="font-size: 12.8px;"><br /></div></td></tr></tbody></table></div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMDysXa2N0G1Vg71xFXiL55eH-Jad6jDtqtZhu9yCe7X6TrzRX_SoS-gcjVoxk7TcA34S8xQpm1GM3OULNW35d8JODTDWF8_lXmcJ0J86sE49EGQ1fkuyAGFpzmQXJ4VJ_4JjLnqVxucAhKug9EsGAb12OxTW9UuYCf6ZpmydE6ZXScAorEChEYIpzFRI/s1301/1467_Master%20of%20the%20Feathery%20Clouds,%20Job%20on%20the%20Dunghill%20%20Tormented%20by%20His%20Wife%20and%20Friends_From%20a%20History%20Bible_Dutch%20(Utrecht),%20c.%201467_The%20Hague,%20KB_MS%20KB%2078%20D%2039,%20fol.%20308r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1301" data-original-width="1123" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMDysXa2N0G1Vg71xFXiL55eH-Jad6jDtqtZhu9yCe7X6TrzRX_SoS-gcjVoxk7TcA34S8xQpm1GM3OULNW35d8JODTDWF8_lXmcJ0J86sE49EGQ1fkuyAGFpzmQXJ4VJ_4JjLnqVxucAhKug9EsGAb12OxTW9UuYCf6ZpmydE6ZXScAorEChEYIpzFRI/w552-h640/1467_Master%20of%20the%20Feathery%20Clouds,%20Job%20on%20the%20Dunghill%20%20Tormented%20by%20His%20Wife%20and%20Friends_From%20a%20History%20Bible_Dutch%20(Utrecht),%20c.%201467_The%20Hague,%20KB_MS%20KB%2078%20D%2039,%20fol.%20308r.jpg" width="552" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of the Feathery Clouds, Job on the Dunghill Tormented by Satan, His Wife and His Friends<br />From a <i><u>History Bible</u></i><br />Dutch (Utrecht), c. 1467<br />The Hague, Koninklijk Bibliotheek<br />MS KB 78 D 39, fol. 308r</td></tr></tbody></table></div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_-dWOqfm3-xpFnWXKoB0TFWCVEzLlJ05nfnMVuooEc4Q7dqjIkxbR9-CU3l48qFZp4Em9CKdive6jEaZ4dAk3Bjy7c2NTij66O8vMsX8-Ylg8ol5s2Bg7VM4VCm52N7PqNZfez1xaQ08XEPZwBIs5mbwQ5spisPOUDxcadBkUZbwGlvFhOGjiKFt6TzQ/s1874/1485_Master%20of%20Edward%20IV,%20Job%20Tormented_From%20a%20Speculum%20humanae%20salvationis_Flemish%20(Bruges),%20c.%201485_Paris,%20BNF_MS%20Francais%206275,%20fol.%2022r.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1420" data-original-width="1874" height="484" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_-dWOqfm3-xpFnWXKoB0TFWCVEzLlJ05nfnMVuooEc4Q7dqjIkxbR9-CU3l48qFZp4Em9CKdive6jEaZ4dAk3Bjy7c2NTij66O8vMsX8-Ylg8ol5s2Bg7VM4VCm52N7PqNZfez1xaQ08XEPZwBIs5mbwQ5spisPOUDxcadBkUZbwGlvFhOGjiKFt6TzQ/w640-h484/1485_Master%20of%20Edward%20IV,%20Job%20Tormented_From%20a%20Speculum%20humanae%20salvationis_Flemish%20(Bruges),%20c.%201485_Paris,%20BNF_MS%20Francais%206275,%20fol.%2022r.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Edward IV, Job Tormented<br />From a <i><u>Speculum humanae salvationis</u></i><br />Flemish (Bruges), c. 1485<br />Paris, Bibliotheque nationale de France<br />MS Francais 6275, fol. 22r</td></tr></tbody></table><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyFAnAmoCTfGzCaXlFEQxyilSdAMlw9uU3vErYMPcet_aZojoHjcBHfD-Ulv5YIfJSNJvTeq-9-amsrsvvpLm__zL4eYPOTdR_Nt9EXdvPiWSb7WTPY-7HwWh0NAY6-qY_gJqUhFjI-2Wy328HxOhwYvfUpLGNc7eZPmCJPApBQQg95OeqS_U6M5qM4ug/s1500/1600_After%20Peter%20Paul%20Rubens,%20Job%20Tormented%20by%20Demons%20and%20Mocked%20by%20His%20Wife_Flemish,%2017th%20Century_Paris,%20Musee%20du%20Louvre.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1500" data-original-width="1239" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyFAnAmoCTfGzCaXlFEQxyilSdAMlw9uU3vErYMPcet_aZojoHjcBHfD-Ulv5YIfJSNJvTeq-9-amsrsvvpLm__zL4eYPOTdR_Nt9EXdvPiWSb7WTPY-7HwWh0NAY6-qY_gJqUhFjI-2Wy328HxOhwYvfUpLGNc7eZPmCJPApBQQg95OeqS_U6M5qM4ug/w528-h640/1600_After%20Peter%20Paul%20Rubens,%20Job%20Tormented%20by%20Demons%20and%20Mocked%20by%20His%20Wife_Flemish,%2017th%20Century_Paris,%20Musee%20du%20Louvre.JPG" width="528" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">After a lost painting by Peter Paul Rubens, Job Tormented by Demons and Mocked by His Wife<br />Flemish, 17th Century<br />Paris, Musée du Louvre</span><p class="MsoNormal"><o:p></o:p></p></td></tr></tbody></table><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on">For these time periods Job was the symbol of patience, of trials patiently endured. He became the model for <u><em><a href="http://en.wikipedia.org/wiki/Everyman_(play)" target="_blank">Everyman</a></em></u>.</div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCgZuazX68JRaLXeeKX2PQtzpZJw65HrwejPeh1Cum15HeT4P5uf2epsJPx0Ndwn7kiT2w2B9cDSOA8zZnCTIU0PjBDA5z2ZuURa8q8v0R0N5vgDsYA_PA_MMF2D1bv6_Hu-IupAAnFaj5IQCgLK2xTzx07EPp4KZAs0TXYc-HB0IpPgPEia1hfBLsFfM/s1625/1400_Job%20as%20a%20leper_From%20a%20Bible%20historiale%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201400_Paris,%20BNF_MS%20Francais%209,%20fol.%20244t.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1625" data-original-width="1475" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCgZuazX68JRaLXeeKX2PQtzpZJw65HrwejPeh1Cum15HeT4P5uf2epsJPx0Ndwn7kiT2w2B9cDSOA8zZnCTIU0PjBDA5z2ZuURa8q8v0R0N5vgDsYA_PA_MMF2D1bv6_Hu-IupAAnFaj5IQCgLK2xTzx07EPp4KZAs0TXYc-HB0IpPgPEia1hfBLsFfM/w580-h640/1400_Job%20as%20a%20leper_From%20a%20Bible%20historiale%20by%20Guiard%20des%20Moulins_French%20(Paris),%20c.%201400_Paris,%20BNF_MS%20Francais%209,%20fol.%20244t.jpg" width="580" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Job as a Leper Seated on the Dunghill<br />From a <u><i>Bible historiale </i></u>by Guiard des Moulins<br />French (Paris), c. 1400<br />Paris, Bibliotheque nationale de France<br />MS Francais 9, fol. 244r</td></tr></tbody></table><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuZx-1doBBCYpMQFPowT0-zCMGSEytI05PUuDQZWzI5tpnFNhcR2mhniImDDysYhhEzdBLH4b69-LXQdgcRtdwlaQjig7bAWx469nLcTrc5CkBfZe74SRZQh0VJOc5Fn2TYYPYuNeEcjkoXNuRpxRXnq1x5c3fOW6bHrWY_tBCWvL71WjrUEWutYbc_fg/s1688/1410_Maitre%20du%20lucon%20&%20collabs_Jacques%20Legrand-Livre%20des%20bons%20meurs_Allegory%20of%20patience_Paris,%201410_BNF_Francais%201023,%20fol.%2016v_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1688" data-original-width="1661" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuZx-1doBBCYpMQFPowT0-zCMGSEytI05PUuDQZWzI5tpnFNhcR2mhniImDDysYhhEzdBLH4b69-LXQdgcRtdwlaQjig7bAWx469nLcTrc5CkBfZe74SRZQh0VJOc5Fn2TYYPYuNeEcjkoXNuRpxRXnq1x5c3fOW6bHrWY_tBCWvL71WjrUEWutYbc_fg/w630-h640/1410_Maitre%20du%20lucon%20&%20collabs_Jacques%20Legrand-Livre%20des%20bons%20meurs_Allegory%20of%20patience_Paris,%201410_BNF_Francais%201023,%20fol.%2016v_2.jpg" width="630" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span>Maitre de Lucon and Collaborators, Allegory of Patience<br />From <u>Livre des bons meurs</u> by Jacques Legrand <br />France, Paris, c. 1410<br />Paris, Bibliotheque nationale de France<br />MS Francais 1023, fol. 15v<br /></span><div style="text-align: left;"><div style="text-align: center;"><div style="text-align: left;"><span style="font-family: inherit;">In this image a harried mother or nursemaid receives <span>inspiration from the patience of Job as he lies on his dunghill. </span><span style="text-align: center;">(The obviously wriggling children are another reminder that not much actually changes in everyday human life.)</span></span></div></div></div></td></tr></tbody></table><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHcg-TmjCYR5bvG-fYL5FHWRAcHZAQFvnwBCpysciaf45-Y9M3uxJaNnDR-7H7d-f9m31y68T9gHaSwzAdR3Zv3xhHOR49M-_MEIS1zyWwaDPKELRmtuyLpOpoBI8ZQYRtW2rGKYSezKtvViyvq_KCk86cBQ3nUgpwqrybeKi2q11iXKxU32go4_3yqc0/s2048/1620_Jabob%20Jordaens,%20Job_Flemish,%20c.%201620_Detroit,%20Institute%20of%20Arts.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="2048" data-original-width="1608" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHcg-TmjCYR5bvG-fYL5FHWRAcHZAQFvnwBCpysciaf45-Y9M3uxJaNnDR-7H7d-f9m31y68T9gHaSwzAdR3Zv3xhHOR49M-_MEIS1zyWwaDPKELRmtuyLpOpoBI8ZQYRtW2rGKYSezKtvViyvq_KCk86cBQ3nUgpwqrybeKi2q11iXKxU32go4_3yqc0/w502-h640/1620_Jabob%20Jordaens,%20Job_Flemish,%20c.%201620_Detroit,%20Institute%20of%20Arts.jpg" width="502" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jabob Jordaens, Job<br />Flemish, c. 1620<br />Detroit, Institute of Arts</td></tr></tbody></table><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on">
<br /><br /></div><div dir="ltr" trbidi="on">It was only later, beginning in the last decades of the eighteenth century, when the artists of the Romantic period with their emphasis on the interior emotions and the self, that such works as Blake’s could have appeared. Although the words of the Biblical text were always there and always available for illustration, they were only looked at when such emotions became attractive to artists and to the public.</div><div dir="ltr" trbidi="on"><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJKyO-bHlccPdmq0PrAA7OFAudqe5RoWEmPEx_otXPrVnJzuseEDKhU7KV079F9mp_4cWREZvXlqbER8AWRCTMa6Sx7mgfPVV4AWjlTqwW197zX-jeeTUNezCr_7nBQ_ySEJ3azQsAMWMm_KPdbvKNAYeC4Sl3XlLQEYnjQn82P87cuWlX8HkiANM-z1Y/s1536/1785_William%20Blake,%20Job,%20His%20Wife%20and%20His%20Friends_English,%20c.%201785_London,%20Tate%20Gallery.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1056" data-original-width="1536" height="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJKyO-bHlccPdmq0PrAA7OFAudqe5RoWEmPEx_otXPrVnJzuseEDKhU7KV079F9mp_4cWREZvXlqbER8AWRCTMa6Sx7mgfPVV4AWjlTqwW197zX-jeeTUNezCr_7nBQ_ySEJ3azQsAMWMm_KPdbvKNAYeC4Sl3XlLQEYnjQn82P87cuWlX8HkiANM-z1Y/w640-h440/1785_William%20Blake,%20Job,%20His%20Wife%20and%20His%20Friends_English,%20c.%201785_London,%20Tate%20Gallery.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">William Blake, Job, His Wife and His Friends<br />English, c. 1785<br />London, Tate Gallery</td></tr></tbody></table><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh35olBh50Sse9KSlAIZ65Db7gPSbIRSJitIg9fxbmsuY64gJbBNLR7dgCy0KMz-OGrp7Pu2c3bP0fbRegHm8s8IYhijey0OE0E8HSt8GD9fXQoJ2uRI1NN7ustcvXievp4M0uLhwdmWhkjb3b8HRidykW9f5sVA9UU6JKRV44zzVhieuGD_rUtV9LLpAw/s1707/1805_William%20Blake,%20Job's%20Despair_English,%20c.%201805-1810_New%20York,%20Pierpont%20Morgan%20Library%20and%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1439" data-original-width="1707" height="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh35olBh50Sse9KSlAIZ65Db7gPSbIRSJitIg9fxbmsuY64gJbBNLR7dgCy0KMz-OGrp7Pu2c3bP0fbRegHm8s8IYhijey0OE0E8HSt8GD9fXQoJ2uRI1NN7ustcvXievp4M0uLhwdmWhkjb3b8HRidykW9f5sVA9UU6JKRV44zzVhieuGD_rUtV9LLpAw/w640-h540/1805_William%20Blake,%20Job's%20Despair_English,%20c.%201805-1810_New%20York,%20Pierpont%20Morgan%20Library%20and%20Museum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">William Blake, Job's Despair<br />English, c. 1805-1810<br />New York, Pierpont Morgan Library and Museum</td></tr></tbody></table><br /><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2PA5VlL0tAndwrSMYtODdXqn63566LzkMoxCC3M8xxyoRNxB95X15tmgLY3o34eBALp-6AYaPfgl0fLpv5Qhkn7DQOYGtOMRpo0yzYC041TRo7X23A2UcBZAZFcCcEaK6CfON-oSBVdWvab9AJ1XLLPHyi93TkynRfpNfpq9yCW9rzmZwW8vxJKuzu10/s571/1880_Leon%20Joseph%20Bonnat,%20Job_French,%201880_Bayonne%20(FR),%20Musee%20Bonnat.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="571" data-original-width="450" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2PA5VlL0tAndwrSMYtODdXqn63566LzkMoxCC3M8xxyoRNxB95X15tmgLY3o34eBALp-6AYaPfgl0fLpv5Qhkn7DQOYGtOMRpo0yzYC041TRo7X23A2UcBZAZFcCcEaK6CfON-oSBVdWvab9AJ1XLLPHyi93TkynRfpNfpq9yCW9rzmZwW8vxJKuzu10/w504-h640/1880_Leon%20Joseph%20Bonnat,%20Job_French,%201880_Bayonne%20(FR),%20Musee%20Bonnat.jpg" width="504" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Leon Joseph Bonnat, Job<br />French, 1880<br />Bayonne (FR), Musee Bonnat</td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2gdw39pbnfWgxDYsZFKa_2RvHcNWvuAmJCnUvsriTzmhiIcN-JGDCEFZ8N0bs5dHZcjsAnuQSwSGyLGIqeWM394LAt0eirSA3P2pqHgXEsTIvecRbAqQTJ-W0y7WeccHaBCw2c9iiNP4jE8WSprkIgxOETmKzfNp8bVB3k_Z89AKZ1OSEj0-fv_tcHs8/s2601/1882_Job%20with%20His%20Wife%20and%20Friends_American,%201882_Boston,%20Trinity%20Church.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2601" data-original-width="1402" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2gdw39pbnfWgxDYsZFKa_2RvHcNWvuAmJCnUvsriTzmhiIcN-JGDCEFZ8N0bs5dHZcjsAnuQSwSGyLGIqeWM394LAt0eirSA3P2pqHgXEsTIvecRbAqQTJ-W0y7WeccHaBCw2c9iiNP4jE8WSprkIgxOETmKzfNp8bVB3k_Z89AKZ1OSEj0-fv_tcHs8/w344-h640/1882_Job%20with%20His%20Wife%20and%20Friends_American,%201882_Boston,%20Trinity%20Church.jpg" width="344" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Job with His Wife and Friends<br />American, 1882<br />Boston, Trinity Church</td></tr></tbody></table><br /><div dir="ltr" trbidi="on"><br /></div><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjckx-LWXT1DFTbfYgW1h6v-iefDb2eA61sqeoDmqV9fqLE0CnjEnletPvFaK30hEH1igIhi9WChkZ0uAtNFtWX6wI29_GNaFZnK9ijnh7KMv5_ZhysC_guZl8MImSaqXrtsml2DJd-kYiER2pNl0i2KFOoTP0bVa_N7kaYFR8s3PJDtAgz1lkMbpcKiSE/s692/1896_Felix%20Desruelles,%20Job_French,%201896_Valenciennes,%20Musee%20des%20Beaux-Arts.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="692" data-original-width="540" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjckx-LWXT1DFTbfYgW1h6v-iefDb2eA61sqeoDmqV9fqLE0CnjEnletPvFaK30hEH1igIhi9WChkZ0uAtNFtWX6wI29_GNaFZnK9ijnh7KMv5_ZhysC_guZl8MImSaqXrtsml2DJd-kYiER2pNl0i2KFOoTP0bVa_N7kaYFR8s3PJDtAgz1lkMbpcKiSE/w500-h640/1896_Felix%20Desruelles,%20Job_French,%201896_Valenciennes,%20Musee%20des%20Beaux-Arts.jpg" width="500" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Felix Desruelles, Job<br />French, 1896<br />Valenciennes, Musée des Beaux-Arts</span></td></tr></tbody></table><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirOBqe1KcG8cKMj3C6GsG3aSVWfc9JuG59asL65Rpeq2GSBxZajYRFBgYBjsqBOSTtR2rrgTswshGeuYDTMEE1tEhSt0RGgAPEWiY_rtlWDinO289r690oR83ZHvykqujKjMZ3NLT7seSzoG7A7ntgjoR1CjUhmpxXLW0NloXdsJds0_RjRyrnnrypwOU/s1178/1896_James%20Tissot,%20Job%20and%20His%20Friends_From%20the%20Old%20Testament%20Series_French,%20c.%201896=1902_New%20York,%20The%20Jewish%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="830" data-original-width="1178" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirOBqe1KcG8cKMj3C6GsG3aSVWfc9JuG59asL65Rpeq2GSBxZajYRFBgYBjsqBOSTtR2rrgTswshGeuYDTMEE1tEhSt0RGgAPEWiY_rtlWDinO289r690oR83ZHvykqujKjMZ3NLT7seSzoG7A7ntgjoR1CjUhmpxXLW0NloXdsJds0_RjRyrnnrypwOU/w640-h450/1896_James%20Tissot,%20Job%20and%20His%20Friends_From%20the%20Old%20Testament%20Series_French,%20c.%201896=1902_New%20York,%20The%20Jewish%20Museum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">James Tissot, Job and His Friends<br />From the <i>Old Testament Series</i><br />French, c. 1896-1902<br />New York, The Jewish Museum</td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidLkXV_JYFkr4gmKnnBAS_8tcHBH5hnRez0TBkosEPFitnaf-b5AgHMBpEinM0v-o2SR7neZ7GeyGy6FqZrQY4yBPiRwBJSyryP51EUDTYLVFkfKBXd38U8qn0fNbh2hW_h5R7o4AgomaVWQkm4xEeHUfYz7kJCT16XxIguNG1Pa4zoBxFQlqWcmxrxRQ/s480/1896_James%20Tissot,%20Job%20Lying%20on%20the%20Heap%20of%20Refuse_French,%20c.%201896-1902_New%20Y%20ork,%20The%20Jewish%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="313" data-original-width="480" height="418" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidLkXV_JYFkr4gmKnnBAS_8tcHBH5hnRez0TBkosEPFitnaf-b5AgHMBpEinM0v-o2SR7neZ7GeyGy6FqZrQY4yBPiRwBJSyryP51EUDTYLVFkfKBXd38U8qn0fNbh2hW_h5R7o4AgomaVWQkm4xEeHUfYz7kJCT16XxIguNG1Pa4zoBxFQlqWcmxrxRQ/w640-h418/1896_James%20Tissot,%20Job%20Lying%20on%20the%20Heap%20of%20Refuse_French,%20c.%201896-1902_New%20Y%20ork,%20The%20Jewish%20Museum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">James Tissot, Job Lying on the Heap of Refuse<br />French, c. 1896-1902<br />New York, The Jewish Museum</td></tr></tbody></table><br /><br /><br /><div class="MsoNormal" style="margin: 0in 0in 0pt;"><span style="font-family: "times new roman";">© M. Duffy, Originally published 2012, revised with additional material 2024.</span></div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br /></div></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="blogger-post-footer">Copyright Margaret Duffy, 2008-2017</div>Margaret Duffyhttp://www.blogger.com/profile/03821836487895782384noreply@blogger.comtag:blogger.com,1999:blog-415269867796810849.post-54118821968141096212024-01-17T02:00:00.002-05:002024-02-02T17:46:38.160-05:00Snow Time -- S'No Time To Be Outside<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxloxGPyKJa3vhWdbP4yfiSMQrYEjPUg5zL3ZrLE-yM54RfE3PwX4_IzqxWdzDGYuboCaV0t7kF8euPk_eu3lrhMviJIVmp-mdekpbiOuN8Av66jV6dMp9vblYW4cOdtmSxQfCWnE1xlRw/s1600/February.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxloxGPyKJa3vhWdbP4yfiSMQrYEjPUg5zL3ZrLE-yM54RfE3PwX4_IzqxWdzDGYuboCaV0t7kF8euPk_eu3lrhMviJIVmp-mdekpbiOuN8Av66jV6dMp9vblYW4cOdtmSxQfCWnE1xlRw/s16000/February.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">The Limbourg Brothers, February<br />
from <u style="font-style: italic;">Tres Riches Heures du Duc de Berry</u><br />
Dutch, 1412-1416<br />
Chantilly, Musée Condé <br /></span>MS 65, fol. 2v</td></tr>
</tbody></table>
<span style="color: red;">New York had its first day of measurable snow in over two years today, January 16, 2024. Although it was light here there are parts of the US that have suffered truly enormous snowfalls and this is barely the start of the snow season! So, for all of us, I thought I would republish this 2015 look at the iconography of snow in western European art from the middle ages to the twentieth century. So, make yourself a cup of hot chocolate, coffee or tea and enjoy!</span><br />
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Last night, with the entire East Coast hunkered down for a
strong nor’easter and heavy snow, I couldn’t resist stepping a bit outside my normal
iconographic concerns to prepare some observations on the art of the snow
scene.<br />
<br /><br />
From my windows today I can see the
roofs of Manhattan covered in the white stuff, the pine trees planted on some penthouses as picturesque as in any Alpine scene. I am grateful that, for us at
least, it wasn’t heavier and sorry for those to our northeast who took the full brunt of the storm.<br />
<br /><br />
With nowhere
to go, since transportation is still limited, and with the power off in some
locations, we find our twenty-first century selves thrown back – almost – to an
earlier world, sharing with our ancestors the beauty and the disruption of snow.<br />
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The first snow scene we are aware of is the amazingly
detailed and very charming one produced by the Limbourg Brothers (Jean, Herman and Paul) for the
February calendar page of the <i><u>Tres
Riches Heures of the Duke of Berry</u></i>, produced around 1415. </div>
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<div class="MsoNormal">Traditionally, the February calendar page in Books of Hours showed the activity of the month to consist either of keeping warm in front of a fire, eating beside it (same as January) or of chopping twigs in a snowless landscape, often combined with the fishes that are the astrological sign of Pisces. </div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwKcaizoORa6dqcpRVPnUcWxXSoXXBNEFDmtrtxV1tIfVIzqK9OTxnpkmwnYMeNIW5ixLlDZ_k7Tp6AhyhE6neCiv3rJiO2OQS9saTvDdLhTL-Od6SejKCsSBcV_uAVhVxFGBy65ypS44I/s1600/Breviary_Feb_Paris_c.1345-55_Morgan_m75_1va.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="421" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwKcaizoORa6dqcpRVPnUcWxXSoXXBNEFDmtrtxV1tIfVIzqK9OTxnpkmwnYMeNIW5ixLlDZ_k7Tp6AhyhE6neCiv3rJiO2OQS9saTvDdLhTL-Od6SejKCsSBcV_uAVhVxFGBy65ypS44I/w640-h421/Breviary_Feb_Paris_c.1345-55_Morgan_m75_1va.jpg" width="640" /></a></td></tr><tr><td class="tr-caption">February from a Breviary<br />French (Paris), ca. 1345-`355<br />New York, Pierpont Morgan Library<br />MS M75, fol. 1v<br /></td></tr></tbody></table></div>
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The Limbourgs do present the warming scene and the astrological reference, but then devote the largest portion of the page to what is happening beyond the house.</div><div class="MsoNormal"><br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdhTnJjbw0AdZy0HDgwSFz2cv064s3mxz52qLj-RgLUQkzDvFBjcMrm9e4il8xY58ywNmj_vd7ZnF-oTXfacF7ugxmbbxHTcC1rDR21yZoXzlwTyiPTF7hf7zdI7z5_YQ2FM6DpOP4mOYr/s1600/February+detail.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdhTnJjbw0AdZy0HDgwSFz2cv064s3mxz52qLj-RgLUQkzDvFBjcMrm9e4il8xY58ywNmj_vd7ZnF-oTXfacF7ugxmbbxHTcC1rDR21yZoXzlwTyiPTF7hf7zdI7z5_YQ2FM6DpOP4mOYr/s640/February+detail.jpg" width="568" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Limbourg Brothers, February (detail)<br />
from <i><u>Tres Riches Heures du Duc de Berry</u></i><br />
<span>Dutch, 1412-1416</span><br />
<span>Chantilly, </span>Musée Condé<br /></span>MS 65, fol. 2v (detail)</td></tr>
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They show the
sheep penned up in their fold to keep them warm and safe, the snow covered bee
hives, the pigeons and other birds, possibly starlings, feeding on some scattered grain. On the far right a woman worker, her
skirts hiked up above her knees, showing the very practical boots she is
wearing, hurries to get indoors as she breathes on her cold hands which are
covered by the shawl she is wearing over her head and upper body. She is the very picture of shivering cold. </div>
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Beyond the woven wall that surrounds the farmyard a man with an ax is chopping at a tree, presumably
for more firewood. Another man drives a donkey, with panniers laden with
what looks like logs, past snow covered hay stacks toward a distantly seen
town. For a first image it is a strikingly successful rendering of the visual and emotional effects of winter
snows and cold. </div>
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Snow scenes remained a special field for northern painters,
from the Low Countries, Germany and France, through the centuries, spreading later to America. Mostly the scenes are simple landscapes,
showing the effect of snow on the natural world, or scenes of daily human activities
in the snow. </div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgtGMkyIuQiqmwH_1TJEThrbXWIjDARN7jHUVtRz2TIGW5b848scu8IWh8JLnFGcPbPQrVRV6RBtF6A15Nye1H5Zmqbc0CoVY7N7gb_9uHkOHq3dvbxfyAsplnH-egRtQdnIgVTRbzFqNd_7Lg9ZxqDbicgyiyxd803dFGkdlYGQ6v1EwtKgLCWwj3X=s1293" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1293" data-original-width="864" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEgtGMkyIuQiqmwH_1TJEThrbXWIjDARN7jHUVtRz2TIGW5b848scu8IWh8JLnFGcPbPQrVRV6RBtF6A15Nye1H5Zmqbc0CoVY7N7gb_9uHkOHq3dvbxfyAsplnH-egRtQdnIgVTRbzFqNd_7Lg9ZxqDbicgyiyxd803dFGkdlYGQ6v1EwtKgLCWwj3X=w428-h640" width="428" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jean Bourdichon, January<br />from <i><u>Grandes Heures d'Anne de Bretagne</u></i><br />French, 1503-1508<br />Paris, Bibliotheque nationale de France<br />MS Latin 9474, fol. 4</td></tr></tbody></table><br /><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgukL0oxnaVmoYeC39sAK_qAzVFSwnU4K5774IjaAlOZs-2RPQvcuv9OCwgANd7rldQiG3bJLcSoKs_EqY6-hG0iz6DOhR4_4EBwpSRH0eq5xJD3ch4xKP6P_J0Gp6BuqmYX1LEwn6xeiSh/s1600/Hunters+in+the+snow+(January)_1565_Vienna_Kh.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="443" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgukL0oxnaVmoYeC39sAK_qAzVFSwnU4K5774IjaAlOZs-2RPQvcuv9OCwgANd7rldQiG3bJLcSoKs_EqY6-hG0iz6DOhR4_4EBwpSRH0eq5xJD3ch4xKP6P_J0Gp6BuqmYX1LEwn6xeiSh/s640/Hunters+in+the+snow+(January)_1565_Vienna_Kh.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pieter Brueghel the Elder, Hunters in the Snow<br />
Flemish, 1565<br />
Vienna, Kunsthistorisches Museum</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQVWTrCI4AlV75v9TH_ef1IWIOOBF6B2oTS3Eo_n2mcMQpxyhSgkagt4ePon826wxgVHgMdiZI9rX9qvys2gMmD5upYj64glcxeNzR7XEWMahnHBgRRFQ3AI2YbX0XNL3PAgmmny9Y7NXY/s1600/winter_l,+1610,+PL.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQVWTrCI4AlV75v9TH_ef1IWIOOBF6B2oTS3Eo_n2mcMQpxyhSgkagt4ePon826wxgVHgMdiZI9rX9qvys2gMmD5upYj64glcxeNzR7XEWMahnHBgRRFQ3AI2YbX0XNL3PAgmmny9Y7NXY/s640/winter_l,+1610,+PL.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Denis van Alsloot, Winter Landscape<br />
Flemish, 1610<br />
Paris, <span style="line-height: 107%;">Musée</span> du Louvre</span><br /><br /><br /><br /><br /></td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSbsStR_UT9_IWZrkZ2lDmD-yD3yQfvaCSt9JdCdmVCX5WrK9Plv0plvYZu451bJ3cms4afGl2XZBtEWesvbgOqwpEf5XfP2n8i-OvCLnxqarlavXOEJuXsjQI7GKu4X3RjaixE0tBccOR/s1600/winter+w+wagon_ca.+1620_PC.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="361" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSbsStR_UT9_IWZrkZ2lDmD-yD3yQfvaCSt9JdCdmVCX5WrK9Plv0plvYZu451bJ3cms4afGl2XZBtEWesvbgOqwpEf5XfP2n8i-OvCLnxqarlavXOEJuXsjQI7GKu4X3RjaixE0tBccOR/s640/winter+w+wagon_ca.+1620_PC.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Joos de Momper, Winter Landscape with Wagon<br />
Flemish, ca. 1620<br />
Private Collection</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt6S9XOh-9GTX-1OBHh38kHhfa3SA3NYfxsVgNwkXrye3geCYWUAoJSpWEOQD3U7uQ-NeeqgBU6WhO_YQgUpwtRRCOKz8Vk-wdqxGupemtJTXrMuN0ptSGaBqCJpxe-FcalYCcx9JKHX0H/s1600/winter_Rijks_Amsterdam_1670.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="528" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt6S9XOh-9GTX-1OBHh38kHhfa3SA3NYfxsVgNwkXrye3geCYWUAoJSpWEOQD3U7uQ-NeeqgBU6WhO_YQgUpwtRRCOKz8Vk-wdqxGupemtJTXrMuN0ptSGaBqCJpxe-FcalYCcx9JKHX0H/s640/winter_Rijks_Amsterdam_1670.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jacob van Ruysdael, Winter<br />
Dutch, 1670<br />
Amsterdam, Rijksmuseum<br /><br /><br /><br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh-2lsp73Ks_NLHs8d0Xb_cEFnJO4V1Gm7zufOCM-4doW6cyJk0VuyVZdeYaZjEJDG1eh0Jeph3s72Mgz-mNUXu24n655CIhKN4nO1gCdDDTUjSb1t72eV07_MUz1AI8Jy8_657og-GVk/s1600/Winter_1811_NGL.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh-2lsp73Ks_NLHs8d0Xb_cEFnJO4V1Gm7zufOCM-4doW6cyJk0VuyVZdeYaZjEJDG1eh0Jeph3s72Mgz-mNUXu24n655CIhKN4nO1gCdDDTUjSb1t72eV07_MUz1AI8Jy8_657og-GVk/s640/Winter_1811_NGL.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption">Caspar David Friedrich, Winter <br /> German, 1811 <br /> London, National Gallery <br /> </td></tr></tbody></table><br /><br /><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguuUBWhL1L1I73iS0I1YxDBt22MpK6deEXRRXehpTHTcVXJWEpVtYcuhH1dhvdFkdJzx-fSr8iv4UAlCRwM34HNYDmA_TtBPtp7VFx155EaElnV5PsSULGn-Q0llPZEQrjky6ZYFVfmY14/s1600/Winter_1838_Rijks_Amsterdam.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="524" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguuUBWhL1L1I73iS0I1YxDBt22MpK6deEXRRXehpTHTcVXJWEpVtYcuhH1dhvdFkdJzx-fSr8iv4UAlCRwM34HNYDmA_TtBPtp7VFx155EaElnV5PsSULGn-Q0llPZEQrjky6ZYFVfmY14/s640/Winter_1838_Rijks_Amsterdam.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Barend Cornelis Koekkoek, Winter<br />
Dutch, 1838<br />
Amsterdam, Rijksmuseum<br /><br /><br /><br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxzV91mCCb8XCzOU3NAJHPaKJdHB_Ki6HDYsfGltdtoYQfPhUixHRVVU7pzcdD_iCOvLFHVIC-yPHxgFJvRDnY5-GX5_evf1PqKDLUIyBnsOoItEjviTxORBgqpoeowKRhPZMS7zb8SnQx/s1600/Winter_1854_watercolor_Met.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxzV91mCCb8XCzOU3NAJHPaKJdHB_Ki6HDYsfGltdtoYQfPhUixHRVVU7pzcdD_iCOvLFHVIC-yPHxgFJvRDnY5-GX5_evf1PqKDLUIyBnsOoItEjviTxORBgqpoeowKRhPZMS7zb8SnQx/s640/Winter_1854_watercolor_Met.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Johannes Cornelis Hoppenbrouwers, Winter Landscape<br />
Dutch, 1854<br />
New York, Metropolitan Museum of Art</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUIAwpDw2cXoEe1sZXJZWItvUJSfEfBC0haJXYB77NMHuybHCab81c7rbQKo0yO4dpYh30uzJ0eUCxxtN12U2WrIAiHdMvO2gf9P-pmRNKFvu3FUEriK_6WNHhRTYNjFZfj9p_audSKSsZ/s1600/Winter+in+Moonlight_1869_Met.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUIAwpDw2cXoEe1sZXJZWItvUJSfEfBC0haJXYB77NMHuybHCab81c7rbQKo0yO4dpYh30uzJ0eUCxxtN12U2WrIAiHdMvO2gf9P-pmRNKFvu3FUEriK_6WNHhRTYNjFZfj9p_audSKSsZ/s640/Winter+in+Moonlight_1869_Met.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Henry Farrer, Moonlight in Winter<br />
American, 1869<br />
New York, Metropolitan Museum of Art</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXbdftGB_pGH7BBIpJBG2gT2RGymxhCB-1e2iyHNHAfyPV7g5EhBt9p3ng2e6euutPCSedpzqHVJEHL99LUWm8yrAu3dcaF2b7TOxtEz-PtPgeZQ4alUXoT_cQ4n-BDDaEf9_JhiY-WLn8/s1600/Cart+on+the+Snowy+Road+at+Honfleur_1865_Paris_M+d'Orsay.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXbdftGB_pGH7BBIpJBG2gT2RGymxhCB-1e2iyHNHAfyPV7g5EhBt9p3ng2e6euutPCSedpzqHVJEHL99LUWm8yrAu3dcaF2b7TOxtEz-PtPgeZQ4alUXoT_cQ4n-BDDaEf9_JhiY-WLn8/s640/Cart+on+the+Snowy+Road+at+Honfleur_1865_Paris_M+d'Orsay.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Claude Monet, Cart on the Snowy Road at Honfleur<br />
French, 1865<br />
Paris, <span style="line-height: 107%;">Musée</span> d'Orsay</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1WRMwXRxc8XSPdsFNVsMa5Or-zFXwjzh8vMj7HTsMoBdX2Qt6kemn29TVdD_oAoBuCIuEwwM0w8EJMchjucW-kiJ4lRVPrzC70_PUEqcB04lHgNF8kFuOn9Or5ezfST-8i9RqctQc3sxj/s1600/Snow+at+Argenteuil_c.1874_MFA_Boston.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1WRMwXRxc8XSPdsFNVsMa5Or-zFXwjzh8vMj7HTsMoBdX2Qt6kemn29TVdD_oAoBuCIuEwwM0w8EJMchjucW-kiJ4lRVPrzC70_PUEqcB04lHgNF8kFuOn9Or5ezfST-8i9RqctQc3sxj/s640/Snow+at+Argenteuil_c.1874_MFA_Boston.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Claude Monet, Snow at Argenteuil<br />
French, 1874<br />
Boston, Museum of Fine Arts</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0vumKNcf9wHqONpY5EUiqhRDell_mOvxcH7pElxE1lgMHCE0mH0I0q9VIGnhrlui1f57VLd1xJzesESVVMxt4-CgCQy46kGgII52imSdxru4wW0e8Kx0hJ0aMCOqaq438D7qdX0qpy5me/s1600/Haystacks+(Effect%2Bof%2BSnow%2Band%2BSun)_1891_Met.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0vumKNcf9wHqONpY5EUiqhRDell_mOvxcH7pElxE1lgMHCE0mH0I0q9VIGnhrlui1f57VLd1xJzesESVVMxt4-CgCQy46kGgII52imSdxru4wW0e8Kx0hJ0aMCOqaq438D7qdX0qpy5me/s640/Haystacks+(Effect%2Bof%2BSnow%2Band%2BSun)_1891_Met.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Claude Monet, Haystacks (Effect of Snow and Sun)<br />
French, 1891<br />
New York, Metropolitan Museum of Art<br /><br /><br /><br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjePOVatMiIZqxuAqJyuvLqBTqe0eTVYYVGDe_P_fX5Dm0JecbsKthWwfx_q_jN_kMJB9UtR-YGZ1lxqK5-SmVx2rPIJ8EPEJP_oU9bVYLEbcrpSqmA6-7W10Qffwuqr2DwbckoU4JpK8fn/s1600/Rue+Moussoir+at+Moret,+Winter_1891_Met.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="529" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjePOVatMiIZqxuAqJyuvLqBTqe0eTVYYVGDe_P_fX5Dm0JecbsKthWwfx_q_jN_kMJB9UtR-YGZ1lxqK5-SmVx2rPIJ8EPEJP_oU9bVYLEbcrpSqmA6-7W10Qffwuqr2DwbckoU4JpK8fn/s640/Rue+Moussoir+at+Moret,+Winter_1891_Met.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alfred Sisley, Rue Moussoir at Moret: Winter<br />
English, 1891<br />
New York, Metropolitan Museum of Art</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj96qo2w3VKxyvdt2QCbD0cuqgnZ7bw0LWRFcuCgErD6GIoxDS5ySIoDQSx_gi-IgmMAXCcJoae1A_AnzZj27qcwAIMdRElsuZ0UpmqVqZ9mgnF3xKEXzi8Ugy3-Zof8sFvERy5xFzz5TrK/s1600/Garden+in+Winter,+Rue+Carcel_1883_PC.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj96qo2w3VKxyvdt2QCbD0cuqgnZ7bw0LWRFcuCgErD6GIoxDS5ySIoDQSx_gi-IgmMAXCcJoae1A_AnzZj27qcwAIMdRElsuZ0UpmqVqZ9mgnF3xKEXzi8Ugy3-Zof8sFvERy5xFzz5TrK/s640/Garden+in+Winter,+Rue+Carcel_1883_PC.jpg" width="491" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Paul Gauguin, Garden in Winter, Rue Carcel<br />
French, 1883<br />
Private Collection<br /><br /><br /><br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWlN6gUcKOX1NMBK3hyphenhyphenUquMiLgg0DRLvNef5v2JdOubVhw8_ziSIH7fKUDNUoLdLPZGzqCL5bGoMXv96VBjdyTLkF-eTi5TwD6sZWl0CnjLeEp9mksdZBQ5cBaRy3CQfEako4NhS3nd0W-/s1600/Winter+Union+Square_1889-90_Met.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWlN6gUcKOX1NMBK3hyphenhyphenUquMiLgg0DRLvNef5v2JdOubVhw8_ziSIH7fKUDNUoLdLPZGzqCL5bGoMXv96VBjdyTLkF-eTi5TwD6sZWl0CnjLeEp9mksdZBQ5cBaRy3CQfEako4NhS3nd0W-/s640/Winter+Union+Square_1889-90_Met.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Childe Hassam, Winter, Union Square<br />
American, 1889-1890<br />
New York, Metropolitan Museum of Art</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5vQDEPdJVnQzbt05XdeSadjTrQq3NewHN2vvV8FFy7lWkybuvOFLilIJaxD1Oc46iNjGnbFor9htNajwLtqGR8eC5B4OY0gTKKYVKdoKd50x1xeU8Nu8pM46Gw6xxNJHFgV8Qe-pYtmRK/s1600/Blue+Snow,+the+Battery_1910_Columbus+Museum+of+Art,+Ohio.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="491" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5vQDEPdJVnQzbt05XdeSadjTrQq3NewHN2vvV8FFy7lWkybuvOFLilIJaxD1Oc46iNjGnbFor9htNajwLtqGR8eC5B4OY0gTKKYVKdoKd50x1xeU8Nu8pM46Gw6xxNJHFgV8Qe-pYtmRK/s640/Blue+Snow,+the+Battery_1910_Columbus+Museum+of+Art,+Ohio.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">George Bellows, Blue Snow, the Battery<br />
American, 1910<br />
Columbus, Museum of Art<br /><br /><br /></td></tr>
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Many feature the effect of
snow and ice on the human sense of fun, showing people enjoying the frozen
rivers and ponds in the same way we do today: by strapping on a pair of ice
skates, sledding, playing games or flirting. </div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Pieter Brueghel the Elder, Winter Landscape with Skaters and a Bird Trap<br />
Belgian, 1565<br />
Brussels, <span style="line-height: 107%;">Musée</span>s Royaux des Beaux-Arts</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc6x9juNHCaO1Clx7xi4OnRpLMNWH6_6u4O-tUlPu_4IvnC2hCchCxsNaPYCwN6jWN4e4phpfvY3CZeZWiRAz16y2sGIiB5nqqOrpLcIk0wc9SypzxtBDjLNaroHb3xenug625U9BVhrQL/s1600/Scene+on+Ice,+NGW,+c.1625.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc6x9juNHCaO1Clx7xi4OnRpLMNWH6_6u4O-tUlPu_4IvnC2hCchCxsNaPYCwN6jWN4e4phpfvY3CZeZWiRAz16y2sGIiB5nqqOrpLcIk0wc9SypzxtBDjLNaroHb3xenug625U9BVhrQL/s1600/Scene+on+Ice,+NGW,+c.1625.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hendrick Avercamp, A Scene on the Ice<br />
Dutch, 1625<br />
Washington, National Gallery of Art<br /><br /><br /><br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju0XCbVuQ96VwEOrEj7u4hxx8Atq2AFhR7kdLtYgu73NFv3BXxbvf1W2xZQ9sjE1QV7EfD88TP6b99cCmdfXfYpnL5inCD9ixxuuHPazxDP6yMCpDL5TzC3H2K2znGlbUkkv5GrxDmZTB-/s1600/Sports+on+Frozen+River_1660ca_Met.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="401" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju0XCbVuQ96VwEOrEj7u4hxx8Atq2AFhR7kdLtYgu73NFv3BXxbvf1W2xZQ9sjE1QV7EfD88TP6b99cCmdfXfYpnL5inCD9ixxuuHPazxDP6yMCpDL5TzC3H2K2znGlbUkkv5GrxDmZTB-/s1600/Sports+on+Frozen+River_1660ca_Met.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Aert van der Neer, Sports on a Frozen River<br />
Dutch, ca. 1660<br />
New York, Metropolitan Museum of Art</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTjSzTPph7UY4lvwdWPecAS4QnFT6-vgAwORPnLXG5mapszEhqp26b896q1dbpWcM0buvIs2eb32ApEBpzcxQPZufhDlpANE0SKFWulVj5UuJa1zLmHzU-qn126Q2qq2Wz-P6tVq543Equ/s1600/Winter+w+Skaters_watercolor_Met.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="475" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTjSzTPph7UY4lvwdWPecAS4QnFT6-vgAwORPnLXG5mapszEhqp26b896q1dbpWcM0buvIs2eb32ApEBpzcxQPZufhDlpANE0SKFWulVj5UuJa1zLmHzU-qn126Q2qq2Wz-P6tVq543Equ/s640/Winter+w+Skaters_watercolor_Met.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Vincent van der Vinne, Winter Landscape with Skaters on a Frozen Canal<br />
Dutch, Undated (lived 1736-1811)<br />
New York, Metropolitan Museum of Art</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCWYGw-8bWB2-hJ70EB-IBjrTDgx6fm_m5K-rvveAzRiw-DERY7Nwy2utwAcHwWaCPWKIzR0VRsgAYxua5WxsWQxQ62By67e8tliVM1KDjsR1RiMms-Ak2l3e1nXdOikTzOGpraKoTSW-X/s1600/Central+Park_Met.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="457" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCWYGw-8bWB2-hJ70EB-IBjrTDgx6fm_m5K-rvveAzRiw-DERY7Nwy2utwAcHwWaCPWKIzR0VRsgAYxua5WxsWQxQ62By67e8tliVM1KDjsR1RiMms-Ak2l3e1nXdOikTzOGpraKoTSW-X/s640/Central+Park_Met.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Currier and Ives, Central Park in Winter<br />
American, 1877-1894<br />
New York, Metropolitan Museum of Art</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOURDCq4LlvF2BQwrUVjQtKMiZY4ds73YfetEkKRvnwDbyVBEDIHBozbH1pqYFd2aQ9zljwEU8oBjDecUebik_tkvH3s_hr_ULC0ilI-nztniv70YV7ghIt90bJkIt779lcOYyhVyXpxF0/s1600/Love+of+Winter_1914_Art+Inst_Chicago.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="513" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOURDCq4LlvF2BQwrUVjQtKMiZY4ds73YfetEkKRvnwDbyVBEDIHBozbH1pqYFd2aQ9zljwEU8oBjDecUebik_tkvH3s_hr_ULC0ilI-nztniv70YV7ghIt90bJkIt779lcOYyhVyXpxF0/s640/Love+of+Winter_1914_Art+Inst_Chicago.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">George Bellows, Love of Winter<br />
American, 1914<br />
Chicago, Art Institute</td></tr>
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<div class="MsoNormal"><br /></div><h4 style="text-align: left;">Religious Scenes</h4><div class="MsoNormal">
A handful of paintings make the
snow a backdrop for religious storytelling, </div><div class="MsoNormal"> </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4UYCzSwQhydSJaU9DOQgtHoqiu6H_Nb1vf4GSC3at4aJ7NRhp3_xXv_R_qWS9AkZNqMm9LufdI_TKrfk49dyghGmxFZmXxhaIQnKQX1KHZBooEXitERZR5Wvfp1zq1pHgc-4PYEwKM__7/s1600/Elder_Census+at+Bethlehem_1566_Brussels_M+Royaux+d+B-A.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4UYCzSwQhydSJaU9DOQgtHoqiu6H_Nb1vf4GSC3at4aJ7NRhp3_xXv_R_qWS9AkZNqMm9LufdI_TKrfk49dyghGmxFZmXxhaIQnKQX1KHZBooEXitERZR5Wvfp1zq1pHgc-4PYEwKM__7/s1600/Elder_Census+at+Bethlehem_1566_Brussels_M+Royaux+d+B-A.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Pieter Brueghel the Elder, Census at Bethlehem<br />
Belgian, 1566<br />
Brussels, <span style="line-height: 107%;">Musée</span>s Royaux des Beaux-Arts<br />
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Almost unnoticed amid the busy scene is the donkey carrying Mary led by Joseph.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZyC6xb2MFR0TiQh7joSeG4Xgkgm2Vb8bXLyVyuc_xrb9ZHrt0z4rsESsMWzUGsN4hpDCSW9KszW1x5h8caRfsghKM7bHgqM9eu2GgQ0Kmsn-HfkYeF-O4kKR3Vbv_0YObFzKUtm6YNnNh/s1600/winterl+w+Flight_PC.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZyC6xb2MFR0TiQh7joSeG4Xgkgm2Vb8bXLyVyuc_xrb9ZHrt0z4rsESsMWzUGsN4hpDCSW9KszW1x5h8caRfsghKM7bHgqM9eu2GgQ0Kmsn-HfkYeF-O4kKR3Vbv_0YObFzKUtm6YNnNh/s1600/winterl+w+Flight_PC.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Joos de Momper, Winter Landscape with Flight into Egypt<br />
Flemish, Undated (lived 1564-1634)<br />
Private Collection<br />
<div style="text-align: left;">
As with the Brueghel painting, the flight of the Holy Family goes virtually unnoticed at the bottom left.</div>
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<h4 style="text-align: left;"><span style="font-family: inherit;">History Painting</span></h4><div><span style="font-family: inherit;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEim11X41kEcExw1i-n4Tja3YyYe67l76Cu8BGXQO9UC9663Opfm5kBRP2vi9Dpah7_3z0eePIT5NV5fyznQDyaR57AqQfKX7ll7Je8yI50epuia1Umic5t9uDDtTqdGld8V4ZZ9imCBNAmjrz7yj4mJhQpgDjvL7pcXE55pC9_qiVRDa6kTPUDqv-3A=s1082" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="723" data-original-width="1082" height="428" src="https://blogger.googleusercontent.com/img/a/AVvXsEim11X41kEcExw1i-n4Tja3YyYe67l76Cu8BGXQO9UC9663Opfm5kBRP2vi9Dpah7_3z0eePIT5NV5fyznQDyaR57AqQfKX7ll7Je8yI50epuia1Umic5t9uDDtTqdGld8V4ZZ9imCBNAmjrz7yj4mJhQpgDjvL7pcXE55pC9_qiVRDa6kTPUDqv-3A=w640-h428" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td class="tr-caption">George Henry Boughton, Pilgrims Going to Church<br />American, 1867<br />New York, New York Historical Society<br /><br /></td></tr></tbody></table></td></tr></tbody></table></div><div><br /></div><div><br /></div><div><br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjViK463zkysMT9rGdKZFl2uLEvN3IEZuGlBQujiJZJZEXVr8kK9uAGy96Vef7TyG6gL8-NqA3VM3AmwhsRzAWjcvLyy4J1oCUCax_XDngLop1gYc4M0oWFF0DZmZec7tM6pGjyWAJhLaDY/s1600/1851_Emanuel+Leutze_Washington+Crossing+the+Delaware_Met.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="372" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjViK463zkysMT9rGdKZFl2uLEvN3IEZuGlBQujiJZJZEXVr8kK9uAGy96Vef7TyG6gL8-NqA3VM3AmwhsRzAWjcvLyy4J1oCUCax_XDngLop1gYc4M0oWFF0DZmZec7tM6pGjyWAJhLaDY/s640/1851_Emanuel+Leutze_Washington+Crossing+the+Delaware_Met.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption"><div style="font-size: 12.8px;">
Emanuel Leutze, Washington Crossing the Delaware</div>
<div style="font-size: 12.8px;">
American, 1851</div>
<div style="font-size: 12.8px;">
New York, Metropolitan Museum of Art</div>
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</tbody></table><h4>Allegory</h4>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyz_09m_aY4nFt66h8Ve5pXZcQnODqeRGf_VhTs7Ctuh9bpNGaQgUBcaM8_65CmzvUvKf6LSBu1xjLnIB813PzwSohBK_ZdKL2GsYznQSDZtC2-9naTffLpydQ2D5QZ2BidlUQhRH9Y3_i/s1600/Triumph+of+Winter_c1568_PC.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyz_09m_aY4nFt66h8Ve5pXZcQnODqeRGf_VhTs7Ctuh9bpNGaQgUBcaM8_65CmzvUvKf6LSBu1xjLnIB813PzwSohBK_ZdKL2GsYznQSDZtC2-9naTffLpydQ2D5QZ2BidlUQhRH9Y3_i/s1600/Triumph+of+Winter_c1568_PC.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Antoine Caron, The Triumph of Winter<br />
French, ca. 1568<br />
Private Collection<br />
<div style="text-align: justify;"><span style="font-family: inherit;">
In this interesting painting the French Mannerist Antoine Caron presents an allegorical fantasy, a pageant of <span>the Triumph of Winter taking place along the banks of the Seine in Paris, opposite the Tuileries. Winter sits on the triumphal car drawn by cranes at the right. Preceding him is a procession of the pagan gods led by Janus and including Apollo, Mercury, Diana, Mars and Vulcan. They are heading for a small, round temple which appears to be floating in the Seine and are watched by citizens on both sides of the river as well as from boats on it. The finely observed footprints in the snow suggest careful study of the reality of snow's physical effects. </span><span>One hopes, however, that this is a work of Caron's imagination or, if not, that the participants didn't die of frostbite!</span></span></div><div style="text-align: justify;"><span style="font-family: inherit;"><span><br /></span></span></div><div style="text-align: justify;"><span style="font-family: inherit;"><span><br /></span></span></div><div style="text-align: justify;"><span style="font-size: 12.8px;"><br /></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcare2aC9daqjFh8Lqu8NzttEkySyzMebgcxvsIAxYFIxZMdzg8c9ay1s-nvt0DwRoG3uJqYEaD_OqHLD1ZiJOIe-8JHrS9KVPor_Q_jJCXxI4Jc4Wf7SuzWZlTRbId96mDCKkAvoA8PKa/s1600/Allegory+of++Winter_Met.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcare2aC9daqjFh8Lqu8NzttEkySyzMebgcxvsIAxYFIxZMdzg8c9ay1s-nvt0DwRoG3uJqYEaD_OqHLD1ZiJOIe-8JHrS9KVPor_Q_jJCXxI4Jc4Wf7SuzWZlTRbId96mDCKkAvoA8PKa/s640/Allegory+of++Winter_Met.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jacques de la Joue the Younger, Allegory of Winter<br />
French, ca. 1740<br />
New York, Metropolitan Museum of Art</td></tr>
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Much as we do with our own snow photographs the pictures tend to focus on
the after effects of the storm, not on its fury. Snow time's s’no time to be out in it, but
after the snow has passed it is the time to observe, admire and have some fun.</div>
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©M. Duffy, 2015</div>
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<div class="blogger-post-footer">Copyright Margaret Duffy, 2008-2017</div>Margaret Duffyhttp://www.blogger.com/profile/03821836487895782384noreply@blogger.com0tag:blogger.com,1999:blog-415269867796810849.post-52192486494317813042024-01-04T02:30:00.004-05:002024-01-11T02:06:46.006-05:00Iconography of the Flight into Egypt <p><span style="background-color: white; color: #114499; font-family: Cantarell;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgoYpVlf-OomdEurhIRzGGRiwA4KcmZJCuAUGpH5qo9vcy63dHao-UzsKsvHehlCQyUDBumz-bUTqYUcbsra5XCDDUgkFEvVyBzqJrEpR22-gk3sp-rwPd_1FQLOhL7EqZz-JqmF8yJSQvoMWsbJhhwsskW3G4LzY0Cdxmtki1Y7f4O4lQvBJbX-3-vGg/s1600/1879-Luc-Oivier%20Merson,%20Rest%20on%20the%20Flight%20into%20Egypt_French,%201879_Boston,%20Museum%20of%20Fine%20Arts.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="889" data-original-width="1600" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgoYpVlf-OomdEurhIRzGGRiwA4KcmZJCuAUGpH5qo9vcy63dHao-UzsKsvHehlCQyUDBumz-bUTqYUcbsra5XCDDUgkFEvVyBzqJrEpR22-gk3sp-rwPd_1FQLOhL7EqZz-JqmF8yJSQvoMWsbJhhwsskW3G4LzY0Cdxmtki1Y7f4O4lQvBJbX-3-vGg/w640-h356/1879-Luc-Oivier%20Merson,%20Rest%20on%20the%20Flight%20into%20Egypt_French,%201879_Boston,%20Museum%20of%20Fine%20Arts.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Luc-Olivier Merson, Rest on the Flight into Egypt<br />French, 1879<br />Boston, Museum of Fine Arts</td></tr></tbody></table><span style="background-color: white; color: #114499; font-family: Cantarell;"><br />Our cultural celebration of the Christmas season has become very truncated in recent decades. Currently, the popular perception of the Nativity stops at the manger scene, with both the shepherds and the Magi in attendance, even though they arrived at different times and probably to different places. This truncation seems to me to have begun in the mid- to late-1980s. Even the liturgy of the Catholic church reflects this. For 2024, for instance, the celebration of the Epiphany (the visit of the Magi to the infant Jesus) on Sunday, January 7, will be followed immediately, on January 8, with the commemoration of the Baptism of the Lord, something which happened to the adult Jesus. And that ends the liturgical Christmas season, which once upon a time stretched to February 2nd.</span><p></p><p><span style="background-color: white; color: #114499; font-family: Cantarell;">When I was younger there was a more general knowledge of the entirety of the story that is found in the Gospels, not to mention in pious traditions. So, over the more recent decades we have cut off such important elements as the massacre of the Holy Innocents by Herod and the entire Flight into Egypt and residency there, which once formed such a major portion of the iconography associated with the Nativity of Jesus. </span></p><p style="background-color: white; color: #114499; font-family: Cantarell;">Indeed I have personally overheard puzzled museum goers try to identify what was happening in a painting that was obviously a Massacre of the Holy Innocents (and clearly labeled as such on the wall card next to the painting). The three ladies finally decided that the subject must be a massacre of children in Jerusalem by Crusaders during the Middle Ages! I respectfully intervened to tell them of their mistake and was met by puzzled looks and the objection "Where is that in the Bible?" It's Matthew 2:16-18.</p><p style="background-color: white; color: #114499; font-family: Cantarell;"><b><i><span style="font-size: medium;">Massacre of the Innocents</span></i></b></p><p style="background-color: white; color: #114499; font-family: Cantarell;">The Magi, who after arriving in Jerusalem were invited by Herod to share with him the timing of the appearance of the star that had sent them on their quest, were warned in a dream not to return to Jerusalem but <i>"</i><span class="txt"><i>departed for their country by another way"</i>. (Matthew 2:12)</span></p><p style="background-color: white; color: #114499; font-family: Cantarell;"><span class="txt"><i>"When Herod realized that he had been deceived by the
magi, he became furious. He ordered the massacre of all the boys in
Bethlehem and its vicinity two years old and under, in accordance with
the time he had ascertained from the magi." </i>(Matthew 2:16) This event is known as the Massacre of the Innocents (<a href="https://imaginemdei.blogspot.com/2018/12/the-holy-innocents-nearly-forgotten.html" target="_blank">click here</a>).</span><br /></p><p style="background-color: white; color: #114499; font-family: Cantarell;"><b><i><span style="font-size: medium;">The Flight into Egypt</span></i></b></p><p style="background-color: white; color: #114499; font-family: Cantarell;">But the slaughter failed completely in its objective because God had other plans. An angel warns Joseph about Herod's plans and orders him to take the child and his mother to Egypt to wait for Herod's death. (Matthew 2:13-15) Following the angelic warning the Holy Family flees.</p><p style="background-color: white; color: #114499; font-family: Cantarell;">Their flight has been the subject of innumerable paintings, sculptures and decorative works over the centuries. Indeed, as a subject, it is as important as the Nativity itself, or the Crucifixion and Resurrection.</p><ul style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px; line-height: 1.4; list-style-image: initial; list-style-position: initial; margin: 0.5em 0px; padding: 0px 2.5em;"><li style="border: none; margin: 0px 0px 0.25em; padding: 0px;"><span style="font-family: inherit; font-size: small;">The Flight into Egypt -- The Holy Refugees, The "Simple" Images (Part I of a Series) <a href="https://imaginemdei.blogspot.com/2017/01/the-flight-into-egypt-holy-refugees.html" target="_blank">click here</a></span></li><li style="border: none; margin: 0px 0px 0.25em; padding: 0px;"><span style="font-family: inherit; font-size: small;">The Flight Into Egypt -- The Variations (Part 2 of a Series) <a href="https://imaginemdei.blogspot.com/2017/01/the-flight-into-egypt-variations-part-2.html" style="color: #114499; text-decoration-line: none;" target="_blank">click here</a></span></li><li style="border: none; margin: 0px 0px 0.25em; padding: 0px;"><span style="font-family: inherit; font-size: small;">The Rest on the Flight into Egypt, Part I of 3 <a href="https://imaginemdei.blogspot.com/2017/01/the-rest-on-flight-into-egypt-part-i.html" target="_blank">click here </a> </span></li><li style="border: none; margin: 0px 0px 0.25em; padding: 0px;"><span style="font-family: inherit; font-size: small;">The Rest on the Flight into Egypt, Part II of 3 <a href="https://imaginemdei.blogspot.com/2017/01/the-rest-on-flight-into-egypt-part-ii.html" style="color: #114499; text-decoration-line: none;" target="_blank">click here</a> </span></li><li style="border: none; margin: 0px 0px 0.25em; padding: 0px;"><span style="font-family: inherit; font-size: small;">The Rest on the Flight into Egypt, Part III of 3 <a href="https://imaginemdei.blogspot.com/2017/01/the-rest-on-flight-into-egypt-part-iii.html" style="color: #114499; text-decoration-line: none;" target="_blank">click here</a></span></li></ul><div><span style="color: #114499; font-family: Cantarell;"><span style="font-size: 15.84px;"><br /></span></span></div><div><span style="color: #114499; font-family: inherit;">So, come and join those who, over many centuries, have contemplated the effects of Herod's horrible attack on the children of Bethlehem and the means by which his intended target was saved to live for the purpose for which he was sent.</span></div><div><span style="color: #114499; font-family: inherit;"><br /></span></div><div><span style="color: #114499; font-family: inherit;"><span style="background-color: white; color: black;">© M. Duffy, 2024</span></span></div><p style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"></p><p style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"></p><p style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"></p><h3 class="post-title entry-title" itemprop="name" style="background-color: white; color: #333333; font-family: "IM Fell Great Primer"; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-size: 24px; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; position: relative;"></h3><div class="blogger-post-footer">Copyright Margaret Duffy, 2008-2017</div>Margaret Duffyhttp://www.blogger.com/profile/03821836487895782384noreply@blogger.com0tag:blogger.com,1999:blog-415269867796810849.post-73213830658384765212023-12-27T02:08:00.002-05:002023-12-31T04:36:31.005-05:00Feasts and Remembrances in the Octave of Christmas<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB8MT4y5aEe0orpEn2F0rmyhIyGlwQJhqhxVCJV47JIYjFCPq5wXtQivlblepxfx1nUGYTPOvKyaSHOEheSrAHuClM9zVDw6HWZEqM3JSX8IToMyTqh27ZUEK3P2ieruKsDqoNWGUTDShDxZqGkIk3OFCh_IZvIjJB97GQXnU_4PwRAIaIUUBTlyjC/s4972/1500+Follower%20of%20Simon%20Bening_From%20a%20Book%20of%20Hours_Flemish,%20%20c.%201500-1525_The%20Hague,%20Meermano%20Museum_MS%20RMMW%2010%20E%203,%20fol.%2085v.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4972" data-original-width="3000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB8MT4y5aEe0orpEn2F0rmyhIyGlwQJhqhxVCJV47JIYjFCPq5wXtQivlblepxfx1nUGYTPOvKyaSHOEheSrAHuClM9zVDw6HWZEqM3JSX8IToMyTqh27ZUEK3P2ieruKsDqoNWGUTDShDxZqGkIk3OFCh_IZvIjJB97GQXnU_4PwRAIaIUUBTlyjC/w386-h640/1500+Follower%20of%20Simon%20Bening_From%20a%20Book%20of%20Hours_Flemish,%20%20c.%201500-1525_The%20Hague,%20Meermano%20Museum_MS%20RMMW%2010%20E%203,%20fol.%2085v.jpg" width="386" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Follower of Simon Bening, The Angels Announce <br />the Birth of Jesus to the Shepherds<br />From a <u><i>Book of Hours</i></u><br />Flemish, c. 1500-1525<br />The Hague, Meermano Museum<br />MS RMMW 10 E 3, fol. 85v</td></tr></tbody></table><br />Some of the major Church feasts bring with them a week of other celebrations. This is known as an octave, from the Latin word for the number eight. In times past many more feasts had octaves attached to them. Most no longer do, while for most that remain the days of the octave are simply labeled "x day in the Octave of y" (for example, third day in the Octave of Easter). <br /><p></p><p>Christmas is, however, different. It retains a daily differentiation for its octave, with each day of the octave having its own, very distinctive character. Thus, we see:</p><p>December 26 - Feast of Saint Stephen, the first martyr.</p><p>December 27 - Feast of Saint John the Evangelist:</p> - <i>When Knowledge of Iconography Is Lost</i> (<a href="https://imaginemdei.blogspot.com/2014/03/man-or-womanjohn-evangelist-or-mary.html" target="_blank">click here</a>)<br /> - <i>Images of John as Evangelist</i> (<a href="https://imaginemdei.blogspot.com/2014/03/man-or-woman-2-john-evangelist-or-mary.html" target="_blank">click here</a>)<br /> - <i>The Figure With The Chalice</i> (<a href="https://imaginemdei.blogspot.com/2014/04/man-or-woman-3-john-evangelist-or-mary.html" target="_blank">click here</a>)<br /> - <i>Martyrdom, Miracles and Death of John the Evangelist</i> (<a href="https://imaginemdei.blogspot.com/2014/04/man-or-woman-3-st-john-evangelist-or.html" target="_blank">click here</a>)<br /> - <i>Witnesses to the Crucifixion</i> (<a href="https://imaginemdei.blogspot.com/2014/04/man-or-woman-3-st-john-evangelist-or_18.html" target="_blank">click here</a>)<br /> - <i>The Last Supper</i> (<a href="https://imaginemdei.blogspot.com/2014/07/man-or-woman-6-st-john-evangelist-or.html" target="_blank">click here</a>)<br /><p></p><p>December 28 - Feast of the Holy Innocents (<a href="https://imaginemdei.blogspot.com/2018/12/the-holy-innocents-nearly-forgotten.html" target="_blank">click here</a>)</p><p>December 29 - Feast of Saint Thomas Becket (Currently an optional memorial) (<a href="https://imaginemdei.blogspot.com/2020/12/december-29-murder-in-cathedral.html" target="_blank">click here</a>)</p><p>December 30 - Feast of the Holy Family (In years where there is no Sunday between December 25 and January 1 (i.e., because both the feast days fall on Sundays) the feast is celebrated on December 30. If there is a Sunday between those dates, the feast is celebrated on the Sunday instead) <a href="https://imaginemdei.blogspot.com/2012/12/jesus-mary-and-joseph-holy-family.html" target="_blank">(click here</a>)</p><p>December 31 - Feast of Saint Sylvester, Pope (Currently an optional memorial)</p><p>January 1 -- Feast of Mary, Mother of God (<a href="https://imaginemdei.blogspot.com/2018/12/mary-mother-of-god.html" target="_blank">click here</a>)</p><p>While I have not yet produced an essay on the iconography of Saints Stephen or Sylvester, I have produced essays on the other days. You can access these essays by clicking the links above as indicated.</p><p>Have a Merry and Blessed Christmas Octave!</p><p><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;">©</span><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"> M. Duffy, 2023</span></p><div class="blogger-post-footer">Copyright Margaret Duffy, 2008-2017</div>Margaret Duffyhttp://www.blogger.com/profile/03821836487895782384noreply@blogger.com0tag:blogger.com,1999:blog-415269867796810849.post-90197082001197809062023-12-22T05:57:00.000-05:002023-12-22T05:57:01.089-05:00On the Iconography of Christmas<p> </p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXflh2PFvbWvojDqgPYT77uhM2S_iXxiT3-yBJt9mPqvEqOXwPN8B0Z7MAFqC7nCw_31z2ZYgvBLe_Nb9jDyNcbpBMcHx0oKKEF_6uydM86nDg5pOywGVUO3lzIjMYol4qdC5btoAR-Kc/s2048/IMG_7097.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2048" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXflh2PFvbWvojDqgPYT77uhM2S_iXxiT3-yBJt9mPqvEqOXwPN8B0Z7MAFqC7nCw_31z2ZYgvBLe_Nb9jDyNcbpBMcHx0oKKEF_6uydM86nDg5pOywGVUO3lzIjMYol4qdC5btoAR-Kc/w640-h480/IMG_7097.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Luisa Roldan (called La Roldana), Rest on the Flight into Egypt<br />Spanish, c. 1690<br />New York, Metropolitan Museum of Art</td></tr></tbody></table><p><span style="font-family: inherit;">The Advent/Christmas Season has figured heavily in the history of Western Christian art from the early fourth century onward. There is a tremendous amount of material available and over the years of this blog I have written a great deal about the iconography attached to the various days and weeks. To make the material more accessible to readers I have gathered below most of these essays into a series of useful links for connecting to what I have already written on the various subjects (much as I have done for Holy Week and the Easter season). </span></p><p><span style="font-family: inherit;">Although the specific readings these images reflect do not form part of the liturgy in every year, each year does touch on most of them. </span></p><p><span style="font-family: inherit;"><br /></span></p><p><span style="font-family: inherit;"><br /></span></p><p><span style="font-family: inherit;"><br /></span></p><p><span style="font-family: inherit;">Please note that occasionally one or more of the essays mentioned may be unavailable at times. This is because I am attempting to keep the essays updated with new images or images that have become available in more detailed versions, thanks to improving technology and expanded access to images.</span></p><p><span style="font-family: inherit;">So, here goes...</span></p><h3 style="text-align: left;"><span style="font-size: large;">Last Week of Advent/Preparation for Christmas</span></h3><p><b>The O Antiphons.</b> These are a series of antiphons (short verses that precede and follow the prayer of the Magnificat at Evening Prayer (Vespers) during the last week of Advent. They offer meditations on the significance of the Child born on Christmas Day.</p><p><b>The O Antiphons</b> (introduction) <a href="https://imaginemdei.blogspot.com/2018/12/the-o-antiphons.html" target="_blank">click here</a></p><p></p><p style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; position: relative; text-align: left;"></p><ul style="text-align: left;"><li><span style="background-color: white; color: #333333; font-family: inherit;">O Wisdom, O Holy Word of God! <a href="http://imaginemdei.blogspot.com/2011/12/o-wisdom-from-on-high.html" target="_blank">click here</a></span></li><li><span style="background-color: white; color: #333333; font-family: inherit;">O Flower of Jesse's Stem! <a href="http://imaginemdei.blogspot.com/2011/12/o-flower-of-jesses-stem.html" target="_blank">click here</a> </span></li><li><span style="font-size: small;"><span>O Key of David! Come, break down the walls of death! <a href="http://imaginemdei.blogspot.com/2011/12/o-key-of-david.html" target="_blank">click here</a></span></span> </li><li><span style="font-family: inherit;">O Radiant Dawn! O Sun of Justice! </span><a href="http://imaginemdei.blogspot.com/2011/12/o-radiant-dawn-o-sun-of-justice.html" style="font-family: inherit;" target="_blank">click here</a><span style="font-family: inherit;"> </span></li><li><span style="font-family: inherit;">O King of All the Nations! </span><a href="http://imaginemdei.blogspot.com/2011/12/o-king-of-all-nations.html" style="font-family: inherit;" target="_blank">click here</a><span style="font-family: inherit;"> </span></li><li>O Emmanuel! Savior of all people, come and set us free! <a href="http://imaginemdei.blogspot.com/2011/12/o-emmanuel-savior-of-all-people-come.html" target="_blank">click here</a></li></ul><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvWP2CYDvAgGebURRJodVJlNKlF9agI_goxfqcLY_qNPxGvZmQUl5XC7i6z0WlU7JdPJAAzPgrIf1p5FHi75aW_YzoqkI8wmLfUsJSXIh0bDPTuSgA6e8EguXH50YxUiq9i0H-VmpwHQM/s2048/IMG_7078.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="2048" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvWP2CYDvAgGebURRJodVJlNKlF9agI_goxfqcLY_qNPxGvZmQUl5XC7i6z0WlU7JdPJAAzPgrIf1p5FHi75aW_YzoqkI8wmLfUsJSXIh0bDPTuSgA6e8EguXH50YxUiq9i0H-VmpwHQM/w640-h640/IMG_7078.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Nativity (central group of figures) from the Metropolitan Museum Christmas Tree<br />Italian (Naples), Late 18th Century<br />New York, Metropolitan Museum of Art<br /><br /></td></tr></tbody></table><p><b><br /></b></p><p><b>The Annunciation</b></p><p>The apparition of the Archangel Gabriel to the young woman of Nazareth named Mary is the event that begins the events of the life of Jesus Christ. Therefore, the Gospel readings for Mass on the last Sunday and last week of Advent, focus on it. It has also been a principal topic for artists for many centuries, and is quite frequent on Christmas cards as well. I have written extensively on the iconography of the Annunciation and my work can easily be accessed through the guide that I put together last year.</p><div style="background-color: white; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; position: relative; text-align: left;"><ul style="text-align: left;"><li><span style="font-weight: normal;"><span style="color: #114499; font-family: inherit;">Links to the Iconography of the Annunciation <a href="https://imaginemdei.blogspot.com/2022/03/links-to-iconography-of-annunciation.html" target="_blank">click here</a></span></span></li></ul></div><p><b><br /></b></p><p><b>The Consolation of Saint Joseph</b> </p><p>An angel reveals to Joseph that Mary's pregnancy comes from God, not from a man. Joseph acts on his dream and marries Mary, becoming the guardian of the Son of God.</p><p></p><p></p><ul style="text-align: left;"><li><span style="background-color: white; color: #333333; font-family: inherit;">Joseph, Do Not Be Afraid! <a href="https://imaginemdei.blogspot.com/2016/12/joseph-do-not-be-afraid.html" target="_blank">click here</a> </span></li></ul><h4 style="text-align: left;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpiSpflFTR0Wqhj9VIxMRpTOiVNR4VEGyuBAY1GASeAdrbNaFANe6fUS9eMy1eOQUvOOUTjMzdDeIiJa2O-2sTSqyB7qED5mGokVxJJhHXRwBG1U__cSn50mmAZF1X7zr0wgcgIWfi6bs/s2048/IMG_7103.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2048" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpiSpflFTR0Wqhj9VIxMRpTOiVNR4VEGyuBAY1GASeAdrbNaFANe6fUS9eMy1eOQUvOOUTjMzdDeIiJa2O-2sTSqyB7qED5mGokVxJJhHXRwBG1U__cSn50mmAZF1X7zr0wgcgIWfi6bs/w640-h480/IMG_7103.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Circle of Antoine Le Moiturier, Nativity<br />French, c. 1450<br />New York, Metropolitan Museum of Art<br /><br /></td></tr></tbody></table></h4><h4 style="text-align: left;"><span style="font-family: inherit; font-size: large;">The Birth of Jesus</span></h4><div><br /></div><div><b style="color: #333333; font-family: inherit;">The Nativity</b></div><p style="text-align: left;"><span style="color: #333333;"><span style="font-family: inherit;">Mary and Joseph are unable to find lodging in a crowded Bethlehem and find shelter in a stable (or cave) where Mary gives birth and places her child in the manger where the animals usually feed. Angels announce the good news of his birth to the shepherds in the fields, who come and adore him. </span></span></p><ul style="text-align: left;"><li><span style="background-color: white; color: #333333; font-family: inherit;">Love's Pure Light -- Light From Darkness <a href="https://imaginemdei.blogspot.com/2016/12/loves-pure-light-light-from-darkness.html" target="_blank">click here</a> </span></li><li><span style="font-family: inherit;">The Animals at the Manger <a href="https://imaginemdei.blogspot.com/2017/12/the-animals-at-manger.html" target="_blank">click here</a></span></li></ul><p style="text-align: left;"><span style="font-family: inherit; font-size: small;"><span><b><span style="font-family: inherit;"><br /></span></b></span></span></p><p style="text-align: left;"><span style="font-family: inherit; font-size: small;"><span><b><span style="font-family: inherit;">The Holy Family</span></b></span></span></p><p style="text-align: left;"><span style="font-family: inherit; font-size: small;"><span><span style="font-family: inherit;">Images of the three members of the Holy Family.</span></span><span style="font-family: inherit;"> </span></span></p><p style="text-align: left;"></p><ul style="text-align: left;"><li><span style="color: #333333; font-family: inherit;">Jesus, Mary and Joseph! – The Holy Family </span><a href="https://imaginemdei.blogspot.com/2012/12/jesus-mary-and-joseph-holy-family.html" style="font-family: inherit;" target="_blank">click here</a><span style="color: #333333; font-family: inherit;"> </span></li></ul><p></p><p></p><p></p><p></p><div style="background-color: white; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; position: relative; text-align: left;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOShLagY7ZGbekex7ectsAZcZMJ4ZaFN_24Po0wurd1TceIv7dF_4iRTX85xL2Tgr5wuSGkeSyRosVNTdaDkhSpd9a__0jsPDlxNA6sGVDBNzHdiZMGLiwC4TuB3vMdIxBLfvsjt0QhUM/s2048/IMG_7104+%25282%2529.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1744" data-original-width="2048" height="544" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOShLagY7ZGbekex7ectsAZcZMJ4ZaFN_24Po0wurd1TceIv7dF_4iRTX85xL2Tgr5wuSGkeSyRosVNTdaDkhSpd9a__0jsPDlxNA6sGVDBNzHdiZMGLiwC4TuB3vMdIxBLfvsjt0QhUM/w640-h544/IMG_7104+%25282%2529.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #333333; text-align: start;"><span style="font-family: inherit;">Altarpiece with Scenes of the Infancy of Christ<br />Northern French, Late 15th Century<br />New York, Metropolitan Museum of Art<br /><br /></span></span></td></tr></tbody></table><h4 style="background-color: white; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; position: relative; text-align: left;"><span style="color: #333333;"><span style="font-family: inherit; font-size: large;"><br /></span></span></h4><h4 style="background-color: white; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; position: relative; text-align: left;"><span style="color: #333333;"><span style="font-family: inherit; font-size: large;">The Aftermath</span></span></h4></div><div><br /></div><p style="text-align: left;"><b>The Visit of the Wise Men</b></p><p style="text-align: left;">Wise men, led by a star, come from the East to visit the newborn child and offer him rich gifts.</p><div><ul style="text-align: left;"><li><span style="background-color: white; color: #333333; font-family: inherit;">How the Image of the Wise Men Was Formed <a href="https://imaginemdei.blogspot.com/2019/01/how-image-of-wise-men-was-formed.html" target="_blank">click here</a></span></li></ul><p style="text-align: left;"><span style="font-family: inherit;"><b><span style="font-size: small;"><br /></span></b></span></p><p style="text-align: left;"><span style="font-family: inherit;"><b><span style="font-size: small;">The Holy Innocents</span></b></span></p><p style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: small; font-weight: normal;">King Herod the Great knows about the prophecy of a new king in Israel. After hearing the story of the wise men he decides to ensure his throne by eliminating this new born king. So, he orders the massacre of all infant boys under 2 years old. </span></span></p><p></p><ul style="text-align: left;"><li><span style="font-weight: normal;"><span style="font-family: inherit; font-size: small;">The Holy Innocents – Nearly Forgotten Baby Martyrs <a href="https://imaginemdei.blogspot.com/2018/12/the-holy-innocents-nearly-forgotten.html" target="_blank">click here</a></span></span></li></ul><p style="text-align: left;"><b><span style="font-family: inherit;"><br /></span></b></p><p style="text-align: left;"><b><span style="font-family: inherit;">The Flight into Egypt</span></b> </p><p style="text-align: left;">An angel warns Joseph about Herod's plans and orders him to take the child and his mother to Egypt to wait for Herod's death. The Holy Family flees.</p><ul style="text-align: left;"><li><span style="font-family: inherit; font-size: small; font-weight: normal;">The Flight into Egypt -- The Holy Refugees, The "Simple" Images (Part I of a Series) <a href="https://imaginemdei.blogspot.com/2017/01/the-flight-into-egypt-holy-refugees.html" target="_blank">click her</a>e</span></li><li><span style="font-family: inherit; font-size: small;"><span style="font-weight: normal;">The Flight Into Egypt -- The Variations (Part 2 of a Series) </span><a href="https://imaginemdei.blogspot.com/2017/01/the-flight-into-egypt-variations-part-2.html" style="font-weight: normal;" target="_blank">click here</a></span></li><li><span style="font-family: inherit; font-size: small;"><span style="font-weight: normal;">The Rest on the Flight into Egypt, Part I of 3 </span><a href="https://imaginemdei.blogspot.com/2017/01/the-rest-on-flight-into-egypt-part-i.html" style="font-weight: normal;" target="_blank">click here</a><span style="font-weight: normal;"> </span></span></li><li><span style="font-family: inherit; font-size: small;"><span style="font-weight: normal;">The Rest on the Flight into Egypt, Part II of 3 </span><a href="https://imaginemdei.blogspot.com/2017/01/the-rest-on-flight-into-egypt-part-ii.html" style="font-weight: normal;" target="_blank">click here</a><span style="font-weight: normal;"> </span></span></li><li><span style="font-family: inherit; font-size: small;"><span style="font-weight: normal;">The Rest on the Flight into Egypt, Part III of 3 </span><a href="https://imaginemdei.blogspot.com/2017/01/the-rest-on-flight-into-egypt-part-iii.html" style="font-weight: normal;" target="_blank">click here</a></span></li></ul><p></p><p></p><p></p><h3 class="post-title entry-title" itemprop="name" style="background-color: white; color: #333333; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; position: relative; text-align: left;"><p style="text-align: left;"><span style="font-weight: normal;"><span style="font-family: inherit; font-size: small;"><br /></span></span></p></h3><h4 style="text-align: left;"><span><span style="font-family: inherit; font-size: medium;">Related Feasts </span><span style="font-family: inherit; font-size: small;"> </span></span></h4><h4 style="text-align: left;"><span style="font-weight: normal;"><span style="font-family: inherit; font-size: small;">The beginning of the new year brings with it two feasts that are reflections on the Christmas story rather than narrative depictions of the Gospels. These are the Solemnity of Mary, Mother of God, on January 1 and the feast of the Holy Name of Jesus on January 3.</span></span></h4><p style="text-align: left;"></p><ul style="text-align: left;"><li><span style="font-weight: normal;"><span style="font-family: inherit; font-size: small;">Mary, Mother of God <a href="https://imaginemdei.blogspot.com/2018/12/mary-mother-of-god.html" target="_blank">click here</a></span></span></li><li><span style="font-size: small; font-weight: normal;">The Holy Name of Jesus <a href="https://imaginemdei.blogspot.com/2017/01/the-holy-name-of-jesus.html" target="_blank">click here</a></span></li></ul><p></p><p></p><p style="text-align: left;"><span style="font-weight: normal;"><span style="font-family: inherit; font-size: small;"><br /></span></span></p><p style="text-align: left;"><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: helvetica;">I wish you all a Blessed Christmas and a Healthy New Year!</span></span></span></p><div style="background-color: white; color: #333333; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; position: relative; text-align: left;"><div style="font-family: "IM Fell Great Primer";"><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjYlmAGpabFMPZKwbX5p3ybLQoXVE3Kh03mwLag3HjB73NTWOGIt-hqinKa_sI4X5u3BRRbZ43bGIogDl2ySF3g7E1NYVpJUrUPjY5QMY7gR6FHbnMKASICxMGZGDMBC-itVnNKXPevd3rosew_IrsFfny4dM_YytpLIiDxKXAeDG5bDnOMQOl52ZNF=s4032" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEjYlmAGpabFMPZKwbX5p3ybLQoXVE3Kh03mwLag3HjB73NTWOGIt-hqinKa_sI4X5u3BRRbZ43bGIogDl2ySF3g7E1NYVpJUrUPjY5QMY7gR6FHbnMKASICxMGZGDMBC-itVnNKXPevd3rosew_IrsFfny4dM_YytpLIiDxKXAeDG5bDnOMQOl52ZNF=w480-h640" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Christmas Tree with 18th Century Presepio<br />Italian, 18th Century (tree modern)<br />New York, Metropolitan Museum of Art</td></tr></tbody></table><br /><h4 style="color: black;"><span style="font-weight: normal;">For those of you who live in the New York area or who may be visiting, the glorious Christmas Tree with its 18th Century Italian Presepio figures (sometimes known as the Angel Tree) is again on view. This year it can be visited until January 7, 2024. As always, it is well worth the visit. </span></h4></div><div style="font-family: "IM Fell Great Primer";"><br /></div></div><h3 class="post-title entry-title" itemprop="name" style="background-color: white; color: #333333; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; position: relative;"><div><span style="color: black; font-weight: normal; line-height: 107%;"><span style="font-family: inherit; font-size: small;">© M. Duffy, 2021, 2022 2023.</span></span></div><div><span style="color: black; font-weight: normal; line-height: 107%;"><span style="font-family: inherit; font-size: small;"><br /></span></span></div></h3><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div class="blogger-post-footer">Copyright Margaret Duffy, 2008-2017</div>Margaret Duffyhttp://www.blogger.com/profile/03821836487895782384noreply@blogger.com0tag:blogger.com,1999:blog-415269867796810849.post-1911251198057924322023-12-20T02:38:00.003-05:002023-12-20T02:38:00.125-05:00The Iconography of the Annunciation<p style="text-indent: -24px;"> <br /></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP_8kO2eL0wWqwb774KrFNgORH01tMz9kCHzOd9v775QFHVr9i9MIoo9Pf_HqRcVmNnz9NiORkDz0p_vbll92YTxFuuf2HCiwjP31qX2okYhjmfJogs7BLHBo2gHszPtlNuiG6wsU48cas3TS_pPbsEPanznMNvS8Sfiegvmmiebmfn6ddRe25JirL/s1500/Egerton%20Master_(attrib)_Hours%20of%20Rene%20of%20Anjou_France_Paris)_1410_BL_Egerton%201070,%20fol.15v%20det.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="1024" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP_8kO2eL0wWqwb774KrFNgORH01tMz9kCHzOd9v775QFHVr9i9MIoo9Pf_HqRcVmNnz9NiORkDz0p_vbll92YTxFuuf2HCiwjP31qX2okYhjmfJogs7BLHBo2gHszPtlNuiG6wsU48cas3TS_pPbsEPanznMNvS8Sfiegvmmiebmfn6ddRe25JirL/w436-h640/Egerton%20Master_(attrib)_Hours%20of%20Rene%20of%20Anjou_France_Paris)_1410_BL_Egerton%201070,%20fol.15v%20det.jpg" width="436" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Attributed to the Egerton Master, Hours of Rene of Anjou<br />French (Paris), 1410<br />London, British Library<br />MS Egerton 1070, fol.15v </td></tr></tbody></table><p style="text-indent: -24px;"> <i>"" "Be pleased, almighty God,<br /> to accept your Church’s offering,<br /> so that she, who is aware that her beginnings<br /> lie in the Incarnation of your Only Begotten Son,<br /> may rejoice to celebrate his mysteries on this<br /> Solemnity.<br /> Who lives and reigns for ever and ever."</i><span style="text-align: left;"> </span></p><p style="text-indent: -24px;"><span style="text-align: left;"> This is the Offertory Prayer of the Mass for the Feast of the Solemnity of the Annunciation, March 25. <br /></span></p><p style="text-indent: -24px;"><span style="text-align: left;"> At its very beginning Christianity makes an astounding claim. This is that one of God's greatest messengers, the Archangel Gabriel, visited a teenage Jewish girl in the Galilean town of Nazareth and announced to her that she had </span><span style="font-family: inherit; text-align: left;"><i><span>"<span style="background-color: white;">found favor with God"</span></span></i> t</span><span style="text-align: left;">o become the mother of a special child. He told her that her child would be a son and would be named Jesus and that </span><span style="text-align: left;"><i>"</i><i><span style="background-color: white; font-family: inherit; font-size: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">He will be great and will be called Son of the Most High,</span><span style="background-color: white; font-family: inherit; font-size: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"> </span><span style="background-color: white; font-family: inherit; font-size: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">and the Lord God will give him the throne of David his father, </span><span style="background-color: white; font-family: inherit; font-size: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">and he will rule over the house of Jacob forever, and of his kingdom there will be no end.”</span></i> </span><span style="text-align: left;">Her quite reasonable answer was that she didn't see how this could be as she was a virgin, </span><span style="font-family: inherit; text-align: left;"><span style="background-color: white;"><i><span>“How can this be, since I have no relations with a man?”</span><span> </span> </i><span>(Luke 1:26-35)</span></span></span></p><p></p><p style="text-indent: -24px;"><span style="background-color: white; text-indent: 0px;"><span style="font-family: inherit;"><span> <span> The angel responded with the mysterious words:</span></span><span> </span><i><span>“The holy Spirit will come upon you, and the power of the Most High will overshadow you. Therefore the child to be born will be called holy, the Son of God." </span><span> </span></i><span>And at these words the girl, whose name was Mary, gave her consent. </span><span style="font-family: inherit;"><i> </i></span></span></span><span style="font-family: inherit;"><span style="background-color: white; font-style: italic;"><span>“Behold, I am the handmaid of the Lord. May it be done to me according to your word.”</span></span><span style="background-color: white;"><i> </i>And, nine months later, a baby boy was born in a stable in the Judean town of Bethlehem. (Luke 1:35-38)</span></span></p><p style="text-indent: -24px;"><span> </span></p><p style="text-indent: -24px;"><span> This is the Annunciation. It is a feast day of the church that is celebrated on March 25th each year. The date of the event that it commemorates is unknown of course. But there was a belief in the early Church that March 25th was the day on which Jesus was both conceived and crucified. It is difficult to say whether this thinking influenced the date chosen for the celebration of Christmas, the feast of the birth of Christ, as nine months from March 25 is December 25. Or it may have been the other way round, with the date chosen to commemorate the birth of Christ dictating the date on which the Church celebrates his conception.</span></p><p style="text-indent: -24px;"><span><span> The Annunciation is a major event in the New Testament, and therefore has a long and complex visual history. Artists have tried to convey some of the mystery surrounding the event and to convey the ways in which thinking about this event developed over time. A list of the many ways in which this iconography has been developed through the centuries is listed below. Please feel free to explore.</span><br /></span></p><div><ul style="text-align: left;"><li><a href="http://imaginemdei.blogspot.com/2012/03/annunciation-world-created-anew.html" target="_blank">Annunciation – The World Created Anew</a></li><li><a href="http://imaginemdei.blogspot.com/2014/12/the-first-joyful-mystery-annunciation.html" target="_blank">The Annunciation, Part I, Simplicity</a></li><li><a href="http://imaginemdei.blogspot.com/2014/12/the-joyful-mysteries-annunciation-part.html" target="_blank">The Annunciation, Part II – Enter A Dove</a></li><li><a href="http://imaginemdei.blogspot.com/2014/12/the-joyful-mysteries-annunciation-part_14.html" target="_blank">The Annunciation, Part III – In the Garden</a></li><li><a href="http://imaginemdei.blogspot.com/2015/01/the-joyful-mysteries-annunciation-part.html" target="_blank">The Annunciation, Part IV: "As If She Were A Dove That Dwelt There"</a></li><li><a href="http://imaginemdei.blogspot.com/2015/02/the-joyful-mysteries-annunciation-part.html" target="_blank">The Annunciation, Part V: Telling The Whole Story</a></li><li><a href="http://imaginemdei.blogspot.com/2015/03/the-joyful-mysteries-annunciation-part.html" target="_blank">The Annunciation, Part VI: The Annunciation Witnessed</a></li><li><a href="http://imaginemdei.blogspot.com/2017/03/the-joyful-mysteries-annunciation-part.html" target="_blank">The Annunciation, Part VII, In the Hous</a>e</li><li><a href="http://imaginemdei.blogspot.com/2017/03/the-joyful-mysteries-annunciation-part_25.html" target="_blank">The Annunciation, Part VIII, In the Bedroom</a></li></ul><div><span style="line-height: 107%;"><span style="font-family: inherit;">© M. Duffy, 2022</span></span></div><div><span style="line-height: 107%;"><span style="font-family: inherit;"><br /></span></span></div><div><span style="line-height: 107%;"><span style="font-family: inherit;"><span style="background-color: white; color: #363936;">Scripture texts in this work are taken from the </span><i style="background-color: white; border: 0px none; box-sizing: inherit; color: #363936; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; outline: currentcolor none medium; padding: 0px; vertical-align: baseline;">New American Bible, revised edition</i><span style="background-color: white; color: #363936;"> © 2010, 1991, 1986, 1970 Confraternity of Christian Doctrine, Washington, D.C. and are used by permission of the copyright owner. All Rights Reserved. No part of the New American Bible may be reproduced in any form without permission in writing from the copyright owner.</span></span></span></div><div><span style="line-height: 107%;"><span style="font-family: inherit;"><span style="background-color: white; color: #363936;"> </span></span></span></div><div><span style="line-height: 107%;"><span style="font-family: inherit;"><span style="background-color: white; color: #363936;">The English translation of the Order of Mass, Antiphons, Collects, Prayers over the Offerings, Prayers after Communion, and Prefaces from The Roman Missal © 2010, ICEL. All rights reserved.</span></span></span></div><div><span style="line-height: 107%;"><span style="font-family: inherit;"><span style="background-color: white; color: #363936;"> </span></span></span></div><div><span style="line-height: 107%;"><span style="font-family: inherit;"><span style="background-color: white; color: #363936;"> </span></span></span></div><div><span style="line-height: 107%;"><span style="font-family: inherit;"><span style="background-color: white; color: #363936;"> </span></span></span><br /></div></div><div class="blogger-post-footer">Copyright Margaret Duffy, 2008-2017</div>Margaret Duffyhttp://www.blogger.com/profile/03821836487895782384noreply@blogger.com0tag:blogger.com,1999:blog-415269867796810849.post-11862129759478604502023-12-20T00:04:00.000-05:002023-12-20T00:04:10.239-05:00O Key of David! Come, Break Down the Walls of Death!<p> </p><div dir="ltr" style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;" trbidi="on"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-bottom: 0.5em; padding: 4px; position: relative;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiY9nUcwxgB-ZYrHY6q6VK3WmStJdraLIr37HG5hPhUpztYaeXE516RLf6s7q8cTX4JZEtXqczrWAOfTYLSSbv8spNMYgPGaf2OgjAAFBFkO3dBkNcKT8tb8SVj_f3q9vgKvbTTI77x_2OXBKSCR-CC7cwU5l1sAsxy_bK_PaRZFmuaYwAD_YV34CIA=s903" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img border="0" data-original-height="903" data-original-width="773" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEiY9nUcwxgB-ZYrHY6q6VK3WmStJdraLIr37HG5hPhUpztYaeXE516RLf6s7q8cTX4JZEtXqczrWAOfTYLSSbv8spNMYgPGaf2OgjAAFBFkO3dBkNcKT8tb8SVj_f3q9vgKvbTTI77x_2OXBKSCR-CC7cwU5l1sAsxy_bK_PaRZFmuaYwAD_YV34CIA=w548-h640" style="border: none; position: relative;" width="548" /></a></td></tr><tr><td class="tr-caption" style="font-size: 12.672px; text-align: center;"><div><span style="font-family: inherit;"><span style="color: #0d0a24;">Pseudo-Jacquemart, The Harrowing of Hell</span></span></div><div><span style="font-family: inherit;"><span style="color: #0d0a24;">From the <i style="text-decoration-line: underline;">Petites Heures</i> of Jean de Berry</span></span></div><div><span style="font-family: inherit;"><span style="color: #0d0a24;">French (Bourges), c. 1385-1390</span></span></div><div><span style="font-family: inherit;"><span style="color: #0d0a24;">Paris, Bibliotheque nationale de France</span></span></div><div><span style="font-family: inherit;"><span style="color: #0d0a24;">MS Latin 18014, fol. 166r</span></span></div></td></tr></tbody></table><span style="color: #0d0a24;"><br /></span></div><div dir="ltr" style="background-color: white;" trbidi="on"><br /></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;">The antiphon for December 20 reads: <i>"O Key of David, opening the gates of God's eternal Kingdom: come and free the prisoners of darkness!"</i></span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;">This plea echoes the words found in the Apostles Creed regarding what is known as the Harrowing of Hell.</span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><br /></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;">The</span><span style="font-family: inherit;"> </span><a href="http://en.wikipedia.org/wiki/Apostles'_Creed" style="color: #114499; font-family: inherit; text-decoration-line: none;">Apostles Creed</a><span style="font-family: inherit;">, prayed by virtually every Christian denomination that uses a creed, says of Jesus the "He descended into hell" following His death and before the Resurrection. </span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;">The fact that this subject is found in the Apostles Creed testifies to its early appearance in Christian belief, as does the <a href="http://www.vatican.va/spirit/documents/spirit_20010414_omelia-sabato-santo_en.html" style="color: #114499; text-decoration-line: none;">Ancient Homily for Holy Saturday</a>, which is a reading from the Divine Office for Holy Saturday. </span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><br /></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><span style="font-family: inherit;"><span style="background-color: white; color: #114499;">This beautiful reading, part of the Office of Readings of the Liturgy of the Hours for Holy Saturday states:</span><br style="background-color: white; color: #114499;" /><i style="background-color: white; color: #114499;">"Something strange is happening—there is a great silence on earth today, a great silence and stillness. The whole earth keeps silence because the King is asleep. The earth trembled and is still because God has fallen asleep in the flesh and he has raised up all who have slept ever since the world began. God has died in the flesh and hell trembles with fear.<br /><br />He has gone to search for our first parent, as for a lost sheep. Greatly desiring to visit those who live in darkness and in the shadow of death, he has gone to free from sorrow the captives Adam and Eve, he who is both God and the son of Eve. The Lord approached them bearing the cross, the weapon that had won him the victory. At the sight of him Adam, the first man he had created, struck his breast in terror and cried out to everyone: “My Lord be with you all.” Christ answered him: “And with your spirit.” He took him by the hand and raised him up, saying: “Awake, O sleeper, and rise from the dead, and Christ will give you light.”<br /><br />I am your God, who for your sake have become your son. Out of love for you and for your descendants I now by my own authority command all who are held in bondage to come forth, all who are in darkness to be enlightened, all who are sleeping to arise. I order you, O sleeper, to awake. I did not create you to be held a prisoner in hell. Rise from the dead, for I am the life of the dead. Rise up, work of my hands, you who were created in my image. Rise, let us leave this place, for you are in me and I am in you; together we form only one person and we cannot be separated.<br /><br />For your sake I, your God, became your son; I, the Lord, took the form of a slave; I, whose home is above the heavens, descended to the earth and beneath the earth. For your sake, for the sake of man, I became like a man without help, free among the dead. For the sake of you, who left a garden, I was betrayed to the Jews in a garden, and I was crucified in a garden.<br /><br />See on my face the spittle I received in order to restore to you the life I once breathed into you. See there the marks of the blows I received in order to refashion your warped nature in my image. On my back see the marks of the scourging I endured to remove the burden of sin that weighs upon your back. See my hands, nailed firmly to a tree, for you who once wickedly stretched out your hand to a tree.<br /><br />I slept on the cross and a sword pierced my side for you who slept in paradise and brought forth Eve from your side. My side has healed the pain in yours. My sleep will rouse you from your sleep in hell.<br /><br />The sword that pierced me has sheathed the sword that was turned against you.<br /><br />Rise, let us leave this place. The enemy led you out of the earthly paradise. I will not restore you to that paradise, but I will enthrone you in heaven. I forbade you the tree that was only a symbol of life, but see, I who am life itself am now one with you. I appointed cherubim to guard you as slaves are guarded, but now I make them<br />worship you as God. The throne formed by cherubim awaits you, its bearers swift and eager. The bridal chamber is adorned, the banquet is ready, the eternal dwelling places are prepared, the treasure houses of all good things lie open. The kingdom of heaven has been prepared for you from all eternity."</i><br style="background-color: white; color: #114499;" /><br style="background-color: white; color: #114499;" /><br style="background-color: white; color: #114499;" /></span><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;">This belief is that during the time between His death on the Cross and the Resurrection, Jesus descended to limbo to free the souls of the previously deceased just who were confined in waiting there. Limbo is a place of darkness and peace, but not of the Presence of God, which had been lost through Original Sin. Their souls were confined to limbo because had been barred from entering heaven by Adam's sin, but they were set free by Christ's saving death. For them He truly became the Key of David, breaking down the walls of death and leading the captives to freedom and joy. </span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;">There is a long tradition of images in art illustrating this subject. </span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br />In the East the tradition culminates in the dramatic and dynamic Anastasis of the church of Saint Saviour in Chora in Istanbul, in which Christ seems to drag Adam and Eve from their graves. </span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span><div></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjxlP6ch4ogUXHrrs-mLONVdz4GJUQ1rEKB6-zMYsV-0oD3Vsksm3ktIQJ6t4aLACB2brHAp-5GSeS9vTgfKvn2TRDFGBz7wcHtarZXIzbYTUk8-ss7Uia95MDjiKcN6DR1rptgipt45k8/s1600/Anastasis_S.Savour+in+Chora_1316-21_Istanbul.jpg" style="clear: right; color: #114499; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-family: inherit;"><img border="0" height="376" oda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjxlP6ch4ogUXHrrs-mLONVdz4GJUQ1rEKB6-zMYsV-0oD3Vsksm3ktIQJ6t4aLACB2brHAp-5GSeS9vTgfKvn2TRDFGBz7wcHtarZXIzbYTUk8-ss7Uia95MDjiKcN6DR1rptgipt45k8/s640/Anastasis_S.Savour+in+Chora_1316-21_Istanbul.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-family: inherit;">Anastasis (Harrowing of Hell)<br />Byzantine, 1316-1321<br />Istanbul, Church of Saint Saviour in Chora<br /></span><div><span style="font-family: inherit;"><br /></span></div></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"></div><span style="font-family: inherit;">In the West the image appears in the Klosterneuberg Altarpiece by Nicholas of Verdun, as well as in many paintings.</span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRW4j23vS_16RmTltorAmwBySts9V7V8OdAYChGUM4Pjq5Qdpfa132l13Mh0q8nAHLcHEt6xhN70fdw0RHje4K_K6AWW-bzX2l8WrGXdlgjt-9vlP-qWVopm9PKEowwlKSFoLuQOciBOQ/s1600/Descent+into+Hell.jpg" style="color: #114499; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-family: inherit;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRW4j23vS_16RmTltorAmwBySts9V7V8OdAYChGUM4Pjq5Qdpfa132l13Mh0q8nAHLcHEt6xhN70fdw0RHje4K_K6AWW-bzX2l8WrGXdlgjt-9vlP-qWVopm9PKEowwlKSFoLuQOciBOQ/s640/Descent+into+Hell.jpg" style="border: none; position: relative;" width="520" /></span></a></td></tr><tr><td class="tr-caption"><div><span style="font-family: inherit;">Nicholas of Verdun, Harrowing of Hell</span></div><div><span style="font-family: inherit;">Mosan (Meuse region), 1181</span></div><div><span style="font-family: inherit;">Klosterneuberg Austria, Klosterneuberg Priory</span></div></td></tr></tbody></table><span style="font-family: inherit;"><br />There are two distinct types of iconography that apply to most of these images. In one, Christ breaks down actual gates, which are often shown thrown to the ground or hanging off their hinges. </span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-color: white; color: #114499; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0JWV4oLoAaKNSOyg1KDZAXQC_In1Pg3vI2-0ZNxoGHn74wjPaOvBgZx0tmfoLcVQx40WVQNGg3k_UmSRMQsS1UhVIAJ8cVmLmyDkJXW6gh1bi9Fafh7JJc7LWw-W_O9P1Hcw8Ih93H_4/s577/1124%252B+Psalter+of+Christina+of+Markyate_English%252C+St.+Alban%2527s%252C+1124-1145_Hildesheim%252C+Dombibliothek%252C+Page+49_Page_1.jpg" style="color: #114499; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-family: inherit;"><img border="0" data-original-height="577" data-original-width="446" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0JWV4oLoAaKNSOyg1KDZAXQC_In1Pg3vI2-0ZNxoGHn74wjPaOvBgZx0tmfoLcVQx40WVQNGg3k_UmSRMQsS1UhVIAJ8cVmLmyDkJXW6gh1bi9Fafh7JJc7LWw-W_O9P1Hcw8Ih93H_4/w494-h640/1124%252B+Psalter+of+Christina+of+Markyate_English%252C+St.+Alban%2527s%252C+1124-1145_Hildesheim%252C+Dombibliothek%252C+Page+49_Page_1.jpg" style="border: none; position: relative;" width="494" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Harrowing of Hell<br />From the <u><i>Psalter of Christina of Markyate</i></u>_<br />English (St. Alban's), 1124-1145<br />Hildesheim, Dombibliothek<br />Page 49</span></td></tr></tbody></table><span style="font-family: inherit;"><br style="background-color: white; color: #114499;" /><br style="background-color: white; color: #114499;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-color: white; color: #114499; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ2hT5mKQtHy8wo2HCtaGQ6v70W7EzOs2bOgq4IbwgTL6loQVea90-Qyo3KVZjWZM8HluIuXR5q2NmSRzxjE1EsxPrsbGEnr1QRhov829BIPHTvqlJAaaPggobrNO6icSqbYYHFurO3gc/s840/1308_Duccio%252C+Christ+in+Limbo_Italian%252C1308-1311_Siena_Mueso+dell%2527Opera+del+Duomo.jpg" style="color: #114499; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-family: inherit;"><img border="0" data-original-height="769" data-original-width="840" height="586" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ2hT5mKQtHy8wo2HCtaGQ6v70W7EzOs2bOgq4IbwgTL6loQVea90-Qyo3KVZjWZM8HluIuXR5q2NmSRzxjE1EsxPrsbGEnr1QRhov829BIPHTvqlJAaaPggobrNO6icSqbYYHFurO3gc/w640-h586/1308_Duccio%252C+Christ+in+Limbo_Italian%252C1308-1311_Siena_Mueso+dell%2527Opera+del+Duomo.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Workshop of Duccio, Harrowing of Hell<br />Italian, 1308-1311<br />Siena, Museo dell'Opera del Duomo<br /><br /></span><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijW6hf8cRBbL6jLFPIc-n_p4YOEcansvUwS0QrhcPQYbnwR1DP2voUYES9uMZROqjfuuiftDUg-KIxchptzU-E5XWbkJO05lA-LiJENyl2af5Ecx1NcLEKuhJ6BNYWAS8rI1zsI1muQ44i5RiSDBWBoU87X1SIR2G4S-YZr9MSRaevN0X_ruHCA-ZR/s1199/Attr.%20Giotto_Munich%20AP_1320-25.jpg" imageanchor="1" style="color: #114499; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-family: inherit;"><img border="0" data-original-height="1199" data-original-width="1121" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijW6hf8cRBbL6jLFPIc-n_p4YOEcansvUwS0QrhcPQYbnwR1DP2voUYES9uMZROqjfuuiftDUg-KIxchptzU-E5XWbkJO05lA-LiJENyl2af5Ecx1NcLEKuhJ6BNYWAS8rI1zsI1muQ44i5RiSDBWBoU87X1SIR2G4S-YZr9MSRaevN0X_ruHCA-ZR/w598-h640/Attr.%20Giotto_Munich%20AP_1320-25.jpg" style="border: none; position: relative;" width="598" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Giotto Workshop, The Harrowing of Hell<br />Italian, c. 1320-1325<br />Munich, Bayerische Staatsgemäldesammlungen, Alte Pinakothek<br /></span></td></tr></tbody></table><div style="text-align: left;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative;"><tbody><tr></tr><tr></tr></tbody></table></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /></span></div><span style="font-family: inherit;"><br /></span></td></tr></tbody></table><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcgj1AwVyQgtcM25uvdHkM-aFLxs4X6qCnSbOsqc83qmjOi2Tw96sE1QNIShr4sjBebaC5hSmOGNlAXQl4c7mlN5iauZCoucwkpPgUbG7EVXhtom4DykUthn8zrt5i_Q2RtWlP-b4DNeM/s1129/1437_Fra_Angelico_Italian%252C+c.+1437-1445_Florence%252C+San+Marco.jpg" style="color: #114499; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-family: inherit;"><img border="0" data-original-height="1129" data-original-width="997" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcgj1AwVyQgtcM25uvdHkM-aFLxs4X6qCnSbOsqc83qmjOi2Tw96sE1QNIShr4sjBebaC5hSmOGNlAXQl4c7mlN5iauZCoucwkpPgUbG7EVXhtom4DykUthn8zrt5i_Q2RtWlP-b4DNeM/w566-h640/1437_Fra_Angelico_Italian%252C+c.+1437-1445_Florence%252C+San+Marco.jpg" style="border: none; position: relative;" width="566" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Fra Angelico, Harrowing of Hell<br />Italian, 1437-1445<br />Florence, Museo di San Marco<br /><br /><br /><br /><br /></span></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX7flQLKi9x-3wNy5kV9FuNx0ohUtfFIR0HuBxsQQf-6vQlAKod2TYylfRi4FQUN9OTf9TpkyN1JP48JuZSs431u5yebg0uk48-vIgA69nfB5XFOyKRLPkAS8OIovrWqsMN2J1BWwAaTo/s2048/1445_Master+of+the+Osservanza_Italian%252C+c.+1445_Cambridge+%2528MA%2529%252C+Fogg+Art+Museum.jpg" style="color: #114499; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-family: inherit;"><img border="0" data-original-height="1708" data-original-width="2048" height="534" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX7flQLKi9x-3wNy5kV9FuNx0ohUtfFIR0HuBxsQQf-6vQlAKod2TYylfRi4FQUN9OTf9TpkyN1JP48JuZSs431u5yebg0uk48-vIgA69nfB5XFOyKRLPkAS8OIovrWqsMN2J1BWwAaTo/w640-h534/1445_Master+of+the+Osservanza_Italian%252C+c.+1445_Cambridge+%2528MA%2529%252C+Fogg+Art+Museum.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Master of the Osservanza, Harrowing of Hell<br />Italian, c. 1445<br />Cambridge (MA), Fogg Museum<br /><br /></span></td></tr></tbody></table><span style="font-family: inherit;"><br /><br />In the other Christ leads or sometimes drags the souls of the dead from the 'mouth of hell', shown as the jaws of a whale-like monster or from a cave that resembles an open mouth.<br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdSnzJ8SbMV4rvmwp0-ICpD9IgN1dbJy56VXr4_Mx6p9dMQobpxz8UQBDN5TV3XBldWHw2yIj7H_VPPRkOP_f30sSKtGwv9dJOeg5rmimkvicsCB_vwk8GNS-P2hK9oVDqYD1B0C5zFaaS/s1600/Harrowing+of+hell_Miniatures+of+life+of+Christ_French+%2528north%2529_1170-80_Morgan_M44%252C+fol.11v.jpg" style="clear: left; color: #114499; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-family: inherit;"><img border="0" height="640" oda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdSnzJ8SbMV4rvmwp0-ICpD9IgN1dbJy56VXr4_Mx6p9dMQobpxz8UQBDN5TV3XBldWHw2yIj7H_VPPRkOP_f30sSKtGwv9dJOeg5rmimkvicsCB_vwk8GNS-P2hK9oVDqYD1B0C5zFaaS/s640/Harrowing+of+hell_Miniatures+of+life+of+Christ_French+%2528north%2529_1170-80_Morgan_M44%252C+fol.11v.jpg" style="border: none; position: relative;" width="416" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-family: inherit;">Harrowing of Hell<br />From Miniatures of the<u><b> </b><i>Life of Christ</i></u><br />French (Northern), 1170-1180<br />New York, Pierpont Morgan Library<br />MS M 44, fol. 11v<br /></span><div><span style="font-family: inherit;"><br /></span></div></td></tr></tbody></table><span style="font-family: inherit;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-7sEoXTE7PlHBee17XsYlAUfzetaPrhSMWP7rWaxqH1w7QvEX2Me25H31Norxc6oQEGmrcTNm3UhGBhnz6TTePOxsMxfjT9c5rQ4gS2EC2vMjfjg2OHmxQ8lnORxX0TqawqGLphyPPew/s1600/Andrea+da+Firenze_1365-68_Cappella+Spangnuolo%252C+Santa+Maria+Novella.jpg" style="color: #114499; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-family: inherit;"><img border="0" height="436" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-7sEoXTE7PlHBee17XsYlAUfzetaPrhSMWP7rWaxqH1w7QvEX2Me25H31Norxc6oQEGmrcTNm3UhGBhnz6TTePOxsMxfjT9c5rQ4gS2EC2vMjfjg2OHmxQ8lnORxX0TqawqGLphyPPew/s640/Andrea+da+Firenze_1365-68_Cappella+Spangnuolo%252C+Santa+Maria+Novella.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td class="tr-caption"><div><span style="font-family: inherit;">Andrea da Firenze, Harrowing of Hell</span></div><div><span style="font-family: inherit;">Italian, 1365-1368</span></div><div><span style="font-family: inherit;">Florence, Santa Maria Novella, Capella Spagnuolo</span></div></td></tr></tbody></table><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"></div><span style="font-family: inherit;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxjqnlFug0Qt1sDaZoSpGS2INl_uAWNaE9TqTncC9bQ1himREtEsPWkTlHTNmafQp89XHCzm3cd7YmIOeJojmllaCTWil1KcBnzpMX7PMmajpF8wt8ygDAwcjqFCS6b1kNAFwhqid6cHc/s2048/1440_Alabaster+Carving_English%252C+c.+1440-1470_London%252C+Victoria+and+Albert+Museum.JPG" style="color: #114499; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-family: inherit;"><img border="0" data-original-height="2048" data-original-width="1156" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxjqnlFug0Qt1sDaZoSpGS2INl_uAWNaE9TqTncC9bQ1himREtEsPWkTlHTNmafQp89XHCzm3cd7YmIOeJojmllaCTWil1KcBnzpMX7PMmajpF8wt8ygDAwcjqFCS6b1kNAFwhqid6cHc/w362-h640/1440_Alabaster+Carving_English%252C+c.+1440-1470_London%252C+Victoria+and+Albert+Museum.JPG" style="border: none; position: relative;" width="362" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Alabaster Relief, Harrowing of Hell<br />English, c. 1440-1470<br />London, Victoria and Albert Museum<br /><br /></span></td></tr></tbody></table><span style="font-family: inherit;"><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirfYJHQCHl9L31uX9yfXB_E0OQPA66FreM8WmzpHy7pJUjvoCT7mJKmNQzFzeeJjYCP0MvpJCD_vnq1KfENV1tt-2KsXcCgRhAMN0eU2h8Mq-Buw48ixTLTvttE3P5VA1AUJNo4OZVjno/s1600/Luca+Penni_Ch+in+Limbo_ca+1547-48_Met_2014.264.jpg" style="clear: right; color: #114499; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-family: inherit;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirfYJHQCHl9L31uX9yfXB_E0OQPA66FreM8WmzpHy7pJUjvoCT7mJKmNQzFzeeJjYCP0MvpJCD_vnq1KfENV1tt-2KsXcCgRhAMN0eU2h8Mq-Buw48ixTLTvttE3P5VA1AUJNo4OZVjno/s640/Luca+Penni_Ch+in+Limbo_ca+1547-48_Met_2014.264.jpg" style="border: none; position: relative;" width="491" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-family: inherit;">Luca Penni, Harrowing of Hell<br />Italian, c. 1547-1548<br />New York, Metropolitan Museum of Art</span></td></tr></tbody></table><span style="font-family: inherit;"><br /><br /></span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;">In both types He carries the staff, topped with a cross or with a pennant bearing a cross, that is His banner of victory over death.<br /><br />Later images show Christ dragging the souls of the just from a more generalized image of a limbo jammed with just souls in waiting. In these images the iconography of the gates or the mouth of hell is not as emphasized as in the earlier images.</span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-color: white; color: #114499; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgitUqPNA-8F-HFhQD7MfIhDR_JGtTKKeegTaatGFf2PoCwMrUpz3kxiU5zNzDvAWpaEa3bMdReNdgMWPfQafv3SzHuF4IJhxc0icc1OzcRA2uRDDaeFWsK5xu6gk78qRkVQ1byUT2CBss/s1272/1320_From+a+Book+of+Homilies_German+%2528Lower+Rhine%2529%252C+c.+1320-1350_Baltimore%252C+The+Walters+Art+Museum_MS+W.+148%252C+fol.+21r.jpg" style="color: #114499; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-family: inherit;"><img border="0" data-original-height="1272" data-original-width="967" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgitUqPNA-8F-HFhQD7MfIhDR_JGtTKKeegTaatGFf2PoCwMrUpz3kxiU5zNzDvAWpaEa3bMdReNdgMWPfQafv3SzHuF4IJhxc0icc1OzcRA2uRDDaeFWsK5xu6gk78qRkVQ1byUT2CBss/w486-h640/1320_From+a+Book+of+Homilies_German+%2528Lower+Rhine%2529%252C+c.+1320-1350_Baltimore%252C+The+Walters+Art+Museum_MS+W.+148%252C+fol.+21r.jpg" style="border: none; position: relative;" width="486" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">The Harrowing of Hell<br />From a <i><u>Book of Homilies</u></i><br />German (Lower Rhine), c. 1320-1350<br />Baltimore, The Walters Art Museum<br />MS W. 148, fol. 21r</span></td></tr></tbody></table><span style="font-family: inherit;"><br style="background-color: white; color: #114499;" /></span><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-color: white; color: #114499; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjObGTNt6OKAjapq5pqtSd0t0tt2wQz3YuvGp7YRu8muAro4uxNRe2_CJJfg_cbSWosQ3gXpSLWJ4ClyOqjoF3mKlT-nt1FuevpJGu0a6vRL7H-SnylUkBV8j6vJsghy_1q4VPklp7UrYA/s972/1460_Friedrich+Pacher_German%252C+c.+1460s_Budapest+MFA.jpg" style="color: #114499; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-family: inherit;"><img border="0" data-original-height="972" data-original-width="812" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjObGTNt6OKAjapq5pqtSd0t0tt2wQz3YuvGp7YRu8muAro4uxNRe2_CJJfg_cbSWosQ3gXpSLWJ4ClyOqjoF3mKlT-nt1FuevpJGu0a6vRL7H-SnylUkBV8j6vJsghy_1q4VPklp7UrYA/w534-h640/1460_Friedrich+Pacher_German%252C+c.+1460s_Budapest+MFA.jpg" style="border: none; position: relative;" width="534" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Friedrich Pacher, The Harrowing of Hell<br />German, c. 1460s<br />Budapest, Museum of Fine Arts</span></td></tr></tbody></table><span style="font-family: inherit;"><br style="background-color: white; color: #114499;" /></span><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-color: white; color: #114499; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid61SV7PjDzkA13okVAeg3L5-5xDWrd0Qe4diDP5QV1vDhmJ5qQEhXiU1t3G4I_GgOOdp1_TB9cFBXKBx9Sb5d5KkAsyaNm6pVzfRSsq-5wQhge8rk-haSIB3tBtBcVn4uW_RmPtcrPhU/s1134/1492_Andrea+Mantegna_Italian%252C+c.+1492_Private+Collection.jpg" style="color: #114499; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-family: inherit;"><img border="0" data-original-height="1000" data-original-width="1134" height="564" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid61SV7PjDzkA13okVAeg3L5-5xDWrd0Qe4diDP5QV1vDhmJ5qQEhXiU1t3G4I_GgOOdp1_TB9cFBXKBx9Sb5d5KkAsyaNm6pVzfRSsq-5wQhge8rk-haSIB3tBtBcVn4uW_RmPtcrPhU/w640-h564/1492_Andrea+Mantegna_Italian%252C+c.+1492_Private+Collection.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Andrea Mantegna, Harrowing of Hell<br />Italian, 1468<br />Private Collection </span></td></tr></tbody></table><span style="font-family: inherit;"><br style="background-color: white; color: #114499;" /><br style="background-color: white; color: #114499;" /><br style="background-color: white; color: #114499;" /></span><div dir="ltr" style="background-color: white; color: #114499;" trbidi="on"><span style="font-family: inherit;"><br /></span></div><div dir="ltr" style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;" trbidi="on"><div align="left"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJTtQg8uiPBNWgUC9QWDSV8S23z3ekR-27_UEvZlLT5oO-FhvJ6X4D-LLOduSdxYdP6lgWuVulOKTB3Eu6tDNqxXjctARvUuKx2Cfqa_RjIvu7nMIBJu9twIVDDLLhIlsEUJ7hH1ih5K4/s1600/Bronzino_S.Croce_1552.jpg" style="color: #114499; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-family: inherit;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJTtQg8uiPBNWgUC9QWDSV8S23z3ekR-27_UEvZlLT5oO-FhvJ6X4D-LLOduSdxYdP6lgWuVulOKTB3Eu6tDNqxXjctARvUuKx2Cfqa_RjIvu7nMIBJu9twIVDDLLhIlsEUJ7hH1ih5K4/s640/Bronzino_S.Croce_1552.jpg" style="border: none; position: relative;" width="450" /></span></a></td></tr><tr><td class="tr-caption"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td class="tr-caption"><span style="font-family: inherit;">Agnolo Bronzino, Harrowing of Hell<br />Italian, 1552<br />Florence, Church of Santa Croce</span></td></tr></tbody></table><span style="font-family: inherit;"><br /><br /><br /><br /></span></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyej-7lyccMSo8qy9Hepx01FsRg7wTb_uOnc2R74gSQLEv8Wayld_DbUJrJ_UkHWKz6Xjxwdvcp29wmxetM-PD90sfaCHwZ1KdU5Gxh8hTsWqiN9d9_CiCmn-UO2KcX16INEJn6rQc3B4/s1600/Tintoretto_S.Cassiano%252C+Venice_1568.jpg" style="color: #113bcc; margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" height="570" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyej-7lyccMSo8qy9Hepx01FsRg7wTb_uOnc2R74gSQLEv8Wayld_DbUJrJ_UkHWKz6Xjxwdvcp29wmxetM-PD90sfaCHwZ1KdU5Gxh8hTsWqiN9d9_CiCmn-UO2KcX16INEJn6rQc3B4/s640/Tintoretto_S.Cassiano%252C+Venice_1568.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-family: inherit;">Tintoretto, Harrowing of Hell<br />Italian, 1568<br />Venice, Church of San Cassiano<br /><br /><br /><br /></span><div class="MsoNormal" style="text-align: left;"><span face=""Arial",sans-serif" style="line-height: 17.12px;"><span style="font-family: inherit;">© M. Duffy, 2023<o:p></o:p></span></span></div><div class="MsoNormal" style="text-align: left;"><br /></div><div class="MsoNormal" style="font-size: 12.672px; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><br /></div><br /></div></td></tr></tbody></table></div></div><div class="blogger-post-footer">Copyright Margaret Duffy, 2008-2017</div>Margaret Duffyhttp://www.blogger.com/profile/03821836487895782384noreply@blogger.com0tag:blogger.com,1999:blog-415269867796810849.post-36672399128223720442023-12-17T08:01:00.001-05:002023-12-20T00:47:41.802-05:00The O Antiphons<div dir="ltr" style="text-align: left;" trbidi="on">
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1WJhz_eBopsJAvS6LdV5cET5WFWvmxnZUUqVIepn3q5s59F2-Z_o6f-0rDopamhGUIYLwJS_dKo1_4zIxlX36KaPFeg2dnFn4dFrSclhw2V-pR6kr7qvYnWfOvYE1w_UGbwa8FSBhtpBa/s1600/1470_Follower+of+teh+Coetivy+Master%252C+Initial+O_From+a+Book+of+Hours_French+%2528Loire+Region%2529%252C+c.+1470-1480_New+York%252C+Pierpont+Morgan+Library_MS+G1.II%252C+fol.+.232v.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="547" data-original-width="600" height="581" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1WJhz_eBopsJAvS6LdV5cET5WFWvmxnZUUqVIepn3q5s59F2-Z_o6f-0rDopamhGUIYLwJS_dKo1_4zIxlX36KaPFeg2dnFn4dFrSclhw2V-pR6kr7qvYnWfOvYE1w_UGbwa8FSBhtpBa/w640-h581/1470_Follower+of+teh+Coetivy+Master%252C+Initial+O_From+a+Book+of+Hours_French+%2528Loire+Region%2529%252C+c.+1470-1480_New+York%252C+Pierpont+Morgan+Library_MS+G1.II%252C+fol.+.232v.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Follower of the Coetivy Master, Initial O<br />From a <i><u>Book of Hours</u></i><br />French (Loire Region), c. 1470-1480<br />New York, Pierpont Morgan Library<br />MS G1.II, fol. 232v</td></tr></tbody></table><div style="text-align: left;"><br />
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<b><i>For the convenience of readers I am reposting this listing of the O Antiphons. </i></b><span style="font-family: inherit;"><br /></span>
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<span style="font-family: inherit;">In the week before Christmas, the Liturgy of the Hours (the official daily prayer of the Church) includes a series of special antiphons preceding the recitation of the Magnificat (Luke 1: 46-55) during Evening Prayer that are collectively called the O Antiphons. In the English-speaking world most Christians are familiar with them as they are paraphrased in the complete verses of the well-known Advent hymn "O Come, O Come Emmanuel", which is a free translation of the medieval Latin text.</span></div>
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<span style="font-family: inherit;">The O Antiphons refer to Christ under eight different titles. These titles connect the events of the Old Testament that forecast different aspects of Jesus and the salvation He came to give.</span></div>
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<span style="font-family: inherit;">To see the images these titles reflect, click on the title of the antiphon below:</span></div>
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<span style="color: black; font-family: inherit; font-style: normal; font-weight: 400; letter-spacing: normal; text-transform: none; white-space: normal; word-spacing: 0px;">December 17 -- </span><a href="http://imaginemdei.blogspot.com/2011/12/o-wisdom-from-on-high.html" target="_blank">O Wisdom, O Holy Word of God!</a></div>
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December 18 -- <span style="background-color: white; color: #333333; font-family: inherit;"><a href="http://imaginemdei.blogspot.com/2011/12/o-sacred-lord-of-ancient-israel.html" target="_blank">O Sacred Lord of Ancient Israel</a>!</span></div>
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<span style="background-color: white; color: #333333; font-family: inherit;">December 19 -- </span><span style="background-color: white; color: #333333; font-family: inherit;"><a href="http://imaginemdei.blogspot.com/2011/12/o-flower-of-jesses-stem.html" target="_blank">O Flower of Jesse's Stem!</a></span></div>
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December 20 -- <span style="background-color: white; color: #333333; font-family: inherit;"><a href="https://imaginemdei.blogspot.com/2023/12/o-key-of-david-come-break-down-walls-of.html" target="_blank">O, Key of David! Come, break down the walls of death!</a></span></div>
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December 21 -- <span style="background-color: white; color: #333333; font-family: inherit;"><a href="http://imaginemdei.blogspot.com/2011/12/o-radiant-dawn-o-sun-of-justice.html" target="_blank">O Radiant Dawn! O Sun of Justice!</a></span></div>
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December 22 -- <span style="background-color: white; color: #333333; font-family: inherit;"><a href="http://imaginemdei.blogspot.com/2011/12/o-king-of-all-nations.html" target="_blank">O King of All the Nations!</a></span></div>
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<span style="font-family: inherit;">December 23 -- <span style="background-color: white; color: #333333;"><a href="http://imaginemdei.blogspot.com/2011/12/o-emmanuel-savior-of-all-people-come.html" target="_blank">O Emmanuel! Savior of all people, come and set us free!</a></span></span></div>
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<div style="margin: 0px; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; widows: 2;">In recent years a revival of lay interest in the Liturgy of the Hours has brought more awareness of these special texts.</div><div style="margin: 0px; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; widows: 2;"><br /></div><div style="margin: 0px; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; widows: 2;">
Here is a video of Ely Cathedral Women's Choir singing the traditional English version of "Veni, Veni, Emmanuel".</div>
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<span face=""calibri" , sans-serif" style="font-size: 11pt; line-height: 107%;">©</span><span face=""calibri" , sans-serif" style="font-size: 11pt; line-height: 107%;"> M.
Duffy, 2017</span></div>
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<div class="blogger-post-footer">Copyright Margaret Duffy, 2008-2017</div>Margaret Duffyhttp://www.blogger.com/profile/03821836487895782384noreply@blogger.com0tag:blogger.com,1999:blog-415269867796810849.post-85994522714901373252023-10-15T03:26:00.001-04:002023-10-15T03:26:19.321-04:00Teresa of Avila – Mystic, Practical Woman, Doctor of the Church<div dir="ltr" style="text-align: left;" trbidi="on">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtVU9SixGcf7B75pI-R9i1ibbv3IkwnmOKrEtMq6qXijd6XIiH2m9Llv6iurDeJXn6vOcU3KCJpg-rS7LQmFZSaCxHqxUbelFMF9UIqFElYNdp-MssAQCvW6MloK4V6Pjv32jHezwlEGzvVorh7TSb9pWJNdUqkjYpfE_CfyQ5n8uIISp5jDgecshxIjE/s3824/1630_Rubens%20Workshop_S.%20Teresa%20of%20Avila%20interceding%20for%20souls%20in%20Purgatory_Met_1630-33_2.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3824" data-original-width="2913" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtVU9SixGcf7B75pI-R9i1ibbv3IkwnmOKrEtMq6qXijd6XIiH2m9Llv6iurDeJXn6vOcU3KCJpg-rS7LQmFZSaCxHqxUbelFMF9UIqFElYNdp-MssAQCvW6MloK4V6Pjv32jHezwlEGzvVorh7TSb9pWJNdUqkjYpfE_CfyQ5n8uIISp5jDgecshxIjE/w488-h640/1630_Rubens%20Workshop_S.%20Teresa%20of%20Avila%20interceding%20for%20souls%20in%20Purgatory_Met_1630-33_2.jpg" width="488" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Workshop of Peter Paul Rubens, St. Teresa of Avila Interceding for Souls in Purgatory</div><div style="text-align: center;">Flemish, 1630-1633</div><div style="text-align: center;">New York, Metropolitan Museum of Art</div></td></tr></tbody></table><span style="background-color: white; color: #333333; font-family: inherit;"><br /></span>
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<span style="background-color: white; color: #333333; font-family: inherit;">“<i>Nada te turbe. </i></span><br />
<span style="background-color: white; color: #333333; font-family: inherit;"><i>Nada te espante. </i></span><br />
<span style="background-color: white; color: #333333; font-family: inherit;"><i>Dios no se muda. </i></span><br />
<span style="background-color: white; color: #333333; font-family: inherit;"><i>Todo se pasa. </i></span><br />
<span style="background-color: white; color: #333333; font-family: inherit;"><i>La paciencia todo lo alcanza. </i></span><br />
<span style="background-color: white; color: #333333; font-family: inherit;"><i>Quien a Dios tiene, nada le falta. </i></span><br />
<span style="background-color: white; color: #333333; font-family: inherit;"><i>Sólo Dios basta.</i>”</span><br />
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<span style="font-family: inherit;"><span style="background-color: white; color: #252525;">"Let <a class="mw-redirect" href="https://en.wikiquote.org/wiki/Nothing" style="background: none; color: #0b0080; text-decoration: none;" title="Nothing">nothing</a> disturb thee;<br />Let nothing dismay thee:<br /><a class="mw-redirect" href="https://en.wikiquote.org/wiki/All" style="background: none; color: #0b0080; text-decoration: none;" title="All">All</a> things pass;<br /><a href="https://en.wikiquote.org/wiki/God" style="background: none; color: #0b0080; text-decoration: none;" title="God">God</a> never changes.</span><br style="background-color: white; color: #252525;" /><a href="https://en.wikiquote.org/wiki/Patience" style="background: none rgb(255, 255, 255); color: #0b0080; text-decoration: none;" title="Patience">Patience</a><span style="background-color: white; color: #252525;"> attains</span><br style="background-color: white; color: #252525;" /><span style="background-color: white; color: #252525;">All that it strives for.</span><br style="background-color: white; color: #252525;" /><span style="background-color: white; color: #252525;">He who has God</span><br style="background-color: white; color: #252525;" /><span style="background-color: white; color: #252525;">Finds he lacks nothing:</span><br style="background-color: white; color: #252525;" /><span style="background-color: white; color: #252525;">God alone suffices."</span></span><br />
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Saint Teresa of Avila, <span style="background-color: white; font-family: inherit;"><span style="color: #252525;">"Poem IX".</span><b><u><span style="color: blue;">1</span></u></b><span style="color: #252525;"> </span></span><br />
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October 15 is the feastday of Saint <a href="http://en.wikipedia.org/wiki/Teresa_of_%C3%81vila">Teresa de Jesus</a>, also known as Teresa of Avila.<br />
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Teresa Sanchez de Cepeda y Alhumada was born in the Spanish town of Avila in 1515. In 1582 she died in one of the convents she had founded. Between these two dates she lived a life of intense prayer, intense work, frequent illness and some controversy.<br />
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She was canonized within a short period of her death (in 1622) and, in 1970, she was named a Doctor of the Church (one of four women Doctors of the 33 saints that have been honored with this title since 1298, when it was first used). A Doctor of the Church is a saint whose personal holiness and writings have contributed greatly to Catholic theological understanding.</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXpzCqAHrfZaIFwnceKtgZVk3tU-ZpNUhl8joLmmm2OpLHn-k03TXeER0XDMAdwGKpeZHLNiAf26HmvRmsyNKxxcmtXPiYnlCviWizAdpXoAofFbOxE7Xzb9mmQOYTZDKDFTIe0sw4lQbfQ772OmM7Tyn7hHZQUnI1lt9kC0VHU0bqRAPzsC9BTkqFnxc/s1920/1575%201877_19rth%20c%20copy%20of%20St.%20Teresa%20Done%20from%20life%20by%20Fray%20Juan%20de%20la%20Miseria_1575-82+Prado.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1920" data-original-width="1433" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXpzCqAHrfZaIFwnceKtgZVk3tU-ZpNUhl8joLmmm2OpLHn-k03TXeER0XDMAdwGKpeZHLNiAf26HmvRmsyNKxxcmtXPiYnlCviWizAdpXoAofFbOxE7Xzb9mmQOYTZDKDFTIe0sw4lQbfQ772OmM7Tyn7hHZQUnI1lt9kC0VHU0bqRAPzsC9BTkqFnxc/w478-h640/1575%201877_19rth%20c%20copy%20of%20St.%20Teresa%20Done%20from%20life%20by%20Fray%20Juan%20de%20la%20Miseria_1575-82+Prado.JPG" width="478" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Anonymous Nineteenth Century Copy of the Only Known Portrait of St. Teresa Done from Life by the Carmelite friar Juan de la Miseria</div><div style="text-align: center;">Spanish, 1877</div><div style="text-align: center;">Madrid, Museo del Prado</div></td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">Like her three female colleagues among the Doctors, Teresa’s contribution is mainly to the understanding of prayer and of the mystical life.<span style="color: blue;"><u><b>2</b></u></span> She is one of the classic guides and sources for those seeking a deeper personal union with Christ. Her description of the stages through which the soul passes as it moves to greater and greater union with God is based on her own deep personal experiences, which began when she was still quite a young woman.</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><h3 style="text-align: left;">Iconography of Saint Teresa of Avila</h3><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">Much of her iconography focuses on her visionary relationship to Jesus Christ and his redemptive suffering. It also includes references to her reforming zeal, to her human life story and to her other visionary experiences. Finally, it includes specific images of her most famous visionary experience, what is known as the transverberation, and of her reception in heaven. One of the most well-known images of this major saint is located in the chapel in her honor in the church of Santa Maria della Vittoria in Rome and is one of the great masterpieces of the master of the Baroque, Gianlorenzo Bernini.</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><h4 style="text-align: left;">Adoring Christ</h4><div dir="ltr" style="text-align: left;" trbidi="on">She is frequently shown in adoration of either the crucified or the risen Christ. </div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTofWyCR7m_wybgylIIOR-_ejdf2OvUGBpHf_WhijzB5tie9o0ubEA9qljOZseUojKpdjhkoBAchh0VI3zcbOWSKfzU_JAVz5HFmnremESpKfE49tBgM8Rw9xkF5u9qrv-3wlSgkjL2eyZYBTJ2St75Dnb-vhoeh9GI6MJ2V6bKZ9IUkyoUQ_cZJFxpZs/s2951/1614_Att%20Gerard%20van%20Honthorst_Christ%20Crowning%20St.%20Theresa_c.1614-1616_Genoa_Church%20of%20St.%20Anne.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2951" data-original-width="1873" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTofWyCR7m_wybgylIIOR-_ejdf2OvUGBpHf_WhijzB5tie9o0ubEA9qljOZseUojKpdjhkoBAchh0VI3zcbOWSKfzU_JAVz5HFmnremESpKfE49tBgM8Rw9xkF5u9qrv-3wlSgkjL2eyZYBTJ2St75Dnb-vhoeh9GI6MJ2V6bKZ9IUkyoUQ_cZJFxpZs/w406-h640/1614_Att%20Gerard%20van%20Honthorst_Christ%20Crowning%20St.%20Theresa_c.1614-1616_Genoa_Church%20of%20St.%20Anne.jpg" width="406" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Attributed to Gerard van Honthorst, Christ Crowning St. Theresa<br />Dutch, c.1614-1616<br />Genoa, Church of Saint Anne</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp3BBPRtZMomdc0MmdS8ykODYGYbyipUHuFcYeFcQJZ2mu6nktaoHH24GNjCESqQf1ixgtZS0PG8kuNaPdf_IJsOrMyGL1eFTZPkIJeraFqDUZ9ry8Uy3w05KP3erFlD18ao-PQZPXXh4hh7A-7KIqvp-7yawrMzD3oCBvwFGm1brZsULzRjz1Ewr6t6o/s1920/1629_Alonso%20Cano_Apparition%20of%20Christ%20Crucified%20to%20Saint%20Teresa%20de%20Jesus_1629_Prado.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1920" data-original-width="842" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp3BBPRtZMomdc0MmdS8ykODYGYbyipUHuFcYeFcQJZ2mu6nktaoHH24GNjCESqQf1ixgtZS0PG8kuNaPdf_IJsOrMyGL1eFTZPkIJeraFqDUZ9ry8Uy3w05KP3erFlD18ao-PQZPXXh4hh7A-7KIqvp-7yawrMzD3oCBvwFGm1brZsULzRjz1Ewr6t6o/w280-h640/1629_Alonso%20Cano_Apparition%20of%20Christ%20Crucified%20to%20Saint%20Teresa%20de%20Jesus_1629_Prado.jpg" width="280" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;"><span style="font-family: inherit;">Alonso Cano, The Apparition of Christ Crucified to Saint Teresa de Jesus</span></div><div style="text-align: center;"><span style="font-family: inherit;">Spanish, 1629</span></div><div style="text-align: center;"><span style="font-family: inherit;">Madrid, Museo Nacional del Prado</span></div></td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFv9hduojI7U8MgXFXIRsRs6pQ8HKBq7V2qPPGEF-sLbG6db0zVMJSF5qx_p6hF6475tAY2vP_Zg0Tpo8b7Y25i_38bssdz059MSYKOga6v3xyzcWYcSihG0MYF62gkxQy6qOlJKI8QQz8LE6poiIPiC-htZMVFb_5eIKfL1gzA_zxrsPcTEubt7ZKjsY/s1920/1629_Alonso%20Cano_Apparition%20of%20Christ%20Crucified%20to%20Saint%20Teresa%20de%20Jesus_1629_Prado%20(1).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1920" data-original-width="870" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFv9hduojI7U8MgXFXIRsRs6pQ8HKBq7V2qPPGEF-sLbG6db0zVMJSF5qx_p6hF6475tAY2vP_Zg0Tpo8b7Y25i_38bssdz059MSYKOga6v3xyzcWYcSihG0MYF62gkxQy6qOlJKI8QQz8LE6poiIPiC-htZMVFb_5eIKfL1gzA_zxrsPcTEubt7ZKjsY/w290-h640/1629_Alonso%20Cano_Apparition%20of%20Christ%20Crucified%20to%20Saint%20Teresa%20de%20Jesus_1629_Prado%20(1).jpg" width="290" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td class="tr-caption"><span style="font-family: inherit;">Alonso Cano, The Apparition of Christ Crucified to Saint Teresa de Jesus<br />Spanish, 1629<br />Madrid, Museo Nacional del Prado<br /><br /></span><br /></td></tr></tbody></table></td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFp5wZTmlXLmmJh8gIvWnpDbABmqPASY-TAS6QkaXt8nMYHp9HPqvC8Pw-c7VkvqM36BOKuPhFKKl-81kWWPBEwnWX6c2oOyZiJNFmRvViLHGc2n3rhMrS63sSwyqosgahYjmbG9hIyw0XtwSi_OZipyhM2aCdo1MuEw_7L2RbwBNRZZAXhhqyonDJlrA/s780/1630_Guerchino_Apparition%20of%20Christ%20to%20St.%20Theresa_c.1630-40_Aix-en-Provence_Musee%20Granet.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="780" data-original-width="540" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFp5wZTmlXLmmJh8gIvWnpDbABmqPASY-TAS6QkaXt8nMYHp9HPqvC8Pw-c7VkvqM36BOKuPhFKKl-81kWWPBEwnWX6c2oOyZiJNFmRvViLHGc2n3rhMrS63sSwyqosgahYjmbG9hIyw0XtwSi_OZipyhM2aCdo1MuEw_7L2RbwBNRZZAXhhqyonDJlrA/w444-h640/1630_Guerchino_Apparition%20of%20Christ%20to%20St.%20Theresa_c.1630-40_Aix-en-Provence_Musee%20Granet.jpg" width="444" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Guercino, The Apparition of Christ to Saint Teresa</div><div style="text-align: center;">Italian, c.1630-40</div><div style="text-align: center;">Aix-en-Provence, Musée Granet</div></td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicTYMpRZsCivy1XoKpua9SBxbH0blD1zsjHH3KomoKXs0f3EhMbBp-shHyUt16gKcIyauPSaszm84Hk0XJ5imT90AULzDNcepzqMBrVkcyLhseu2m0RevrCIZk2nFOA-vHEEmfJopRMeK8k-GDNMgmz7SdS7QR5bCTu8G0V9ijyAiGY3Q_c65sRcuDB0c/s1920/1630_Daniel%20Seghers,%20Garland%20with%20Jesus%20and%20Saint%20Teresa_Flemish,%20c.%201630_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1920" data-original-width="1531" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicTYMpRZsCivy1XoKpua9SBxbH0blD1zsjHH3KomoKXs0f3EhMbBp-shHyUt16gKcIyauPSaszm84Hk0XJ5imT90AULzDNcepzqMBrVkcyLhseu2m0RevrCIZk2nFOA-vHEEmfJopRMeK8k-GDNMgmz7SdS7QR5bCTu8G0V9ijyAiGY3Q_c65sRcuDB0c/w510-h640/1630_Daniel%20Seghers,%20Garland%20with%20Jesus%20and%20Saint%20Teresa_Flemish,%20c.%201630_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="510" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Daniel Seghers, Garland with Jesus Appearing to Saint Teresa</div><div style="text-align: center;">Flemish, c. 1630</div><div style="text-align: center;">Madrid, Museo Nacional del Prado</div></td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCTTet3_RdcvOlzd-unhl-vqwXL0imJf43LtJikhxE4yv5qS097Xk9Mdj5InNU7PbNqIHL5InSUKn6bGFVYEVQ6_Bd1ASIlcn_0ml5PFl2qB4D2D_2e88ZlwUOg3bn9mkt52QEsGa8j7m3V-V4q9u2cqPDawu64DlX21cAIbDE91lf9xRhMCQ6ArGp0GM/s600/1667_Antonio%20Guerra%20Eldr_St.%20Teresa%20of%20Avila%20Offering%20Her%20Heart_1667_Perpignan_Musee%20Hyacinthe%20Rigaud.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="443" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCTTet3_RdcvOlzd-unhl-vqwXL0imJf43LtJikhxE4yv5qS097Xk9Mdj5InNU7PbNqIHL5InSUKn6bGFVYEVQ6_Bd1ASIlcn_0ml5PFl2qB4D2D_2e88ZlwUOg3bn9mkt52QEsGa8j7m3V-V4q9u2cqPDawu64DlX21cAIbDE91lf9xRhMCQ6ArGp0GM/w472-h640/1667_Antonio%20Guerra%20Eldr_St.%20Teresa%20of%20Avila%20Offering%20Her%20Heart_1667_Perpignan_Musee%20Hyacinthe%20Rigaud.jpg" width="472" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Antonio Guerra the Elder, Saint Teresa of Avila Offering Her Heart</div><div style="text-align: center;">Spanish, 1667</div><div style="text-align: center;">Perpignan, Musée Hyacinthe Rigaud</div></td></tr></tbody></table><div dir="ltr" trbidi="on"><br /></div></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXrx0CRZEsFYghPqm4YeF5i6jouJqaZapSa9hQKj36Q0oC5maSARjw5DjclI1poqpfVj9zYykdAqX6QsXHCO2g1B33mh5LvOx_wO9d1v7bi4JAaMszZdU0bVeR20DfXdvvF1MVHG720idJrdXwNcmNO9GdaXfzWaqiGXLDDPxUzAjpxbZlmMACK3exKoE/s1920/1676_Bartolome%20Perez,%20Garland%20of%20Flowers%20with%20Saint%20Teresa%20de%20Jesus_Spanish,%20ca.%201676_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1920" data-original-width="1451" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXrx0CRZEsFYghPqm4YeF5i6jouJqaZapSa9hQKj36Q0oC5maSARjw5DjclI1poqpfVj9zYykdAqX6QsXHCO2g1B33mh5LvOx_wO9d1v7bi4JAaMszZdU0bVeR20DfXdvvF1MVHG720idJrdXwNcmNO9GdaXfzWaqiGXLDDPxUzAjpxbZlmMACK3exKoE/w484-h640/1676_Bartolome%20Perez,%20Garland%20of%20Flowers%20with%20Saint%20Teresa%20de%20Jesus_Spanish,%20ca.%201676_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="484" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Bartolome Perez, Garland of Flowers with Saint Teresa de Jesus</div><div style="text-align: center;">Spanish, ca. 1676</div><div style="text-align: center;">Madrid, Museo Nacional del Prado</div></td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkfM_yQGqy1UxbhOhqVQNPtchlsn1g0kDQDWnoPiR0ahX4jSaIWXVwuH8VUz0wv6bnTa6GJc6JGZhrhaYRmH8M3EnINMmXFJhvf7U1GM38VomR-L9w97wH2jiDtGLXdAotV7zpn-eEe_r-k6MidM9fEgreup2hZ6VrFOUTCjznWkoHAXgGDk1HTA6XY2Q/s850/1827_Francois%20Pascal%20Simon%20Gerard_St.%20Teresa_1827_Paris_Maison%20Marie-Therese.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="850" data-original-width="470" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkfM_yQGqy1UxbhOhqVQNPtchlsn1g0kDQDWnoPiR0ahX4jSaIWXVwuH8VUz0wv6bnTa6GJc6JGZhrhaYRmH8M3EnINMmXFJhvf7U1GM38VomR-L9w97wH2jiDtGLXdAotV7zpn-eEe_r-k6MidM9fEgreup2hZ6VrFOUTCjznWkoHAXgGDk1HTA6XY2Q/w354-h640/1827_Francois%20Pascal%20Simon%20Gerard_St.%20Teresa_1827_Paris_Maison%20Marie-Therese.jpg" width="354" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Francois Pascal Simon Gerard, Saint Teresa</div><div style="text-align: center;">French, 1827</div><div style="text-align: center;">Paris, Maison Marie-Therese</div></td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKXS8MLtIK4iwF2JgqlgAk9nX_VYW3AlVckZhJi-bxcOWQ8qDF2OKtumTTkhpcfgfXyPhbQTWz_aSEwJOBpVolF4H2zFeKf5vzSjiVpSRiFmInyqnrZ2fQN3p50OEpDZryh0HY1XycYPIHpgSFcgcKHOs-0qvl2yaw4-EitmSsg5718lmBjco5bIgoaFs/s299/1860_Charles%20Henri%20Michel,%20Vision%20of%20Saint%20Teresa%20of%20Avila_French,%20Second%20half%20of%2019th%20Century_Peronne,%20Musee%20Alfred%20Danicourt.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="299" data-original-width="216" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKXS8MLtIK4iwF2JgqlgAk9nX_VYW3AlVckZhJi-bxcOWQ8qDF2OKtumTTkhpcfgfXyPhbQTWz_aSEwJOBpVolF4H2zFeKf5vzSjiVpSRiFmInyqnrZ2fQN3p50OEpDZryh0HY1XycYPIHpgSFcgcKHOs-0qvl2yaw4-EitmSsg5718lmBjco5bIgoaFs/w462-h640/1860_Charles%20Henri%20Michel,%20Vision%20of%20Saint%20Teresa%20of%20Avila_French,%20Second%20half%20of%2019th%20Century_Peronne,%20Musee%20Alfred%20Danicourt.JPG" width="462" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Charles Henri Michel, Vision of Saint Teresa of Avila</div><div style="text-align: center;">French, Second half of 19th Century</div><div style="text-align: center;">Peronne, Musée Alfred Danicourt</div></td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPJWbGh-wo3xbFKPlA9NvYG-DJAudKiZ7VsWHoS0UFzJXfNzRbyRjVvhQxNxzqTQT_uKFpZ7xeKPPSAoYTbUm_awIuYkXaXJ5jXbdXHL05AOfEadcxXgxAVvVBA0wkeSvg4-FKvpFMC2NVSvDLOeCYsoUkXFoOn1r7aaOY8rDbRsjAlNYIkDUqzauSlaE/s613/1900_Charles-Henri%20Michel,%20Vision%20of%20Saint%20Teresa%20of%20Avila_French,%20First%20Half%20of%2020th%20Century_Charenton-le-Pont,%20Parish%20Church.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="613" data-original-width="471" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPJWbGh-wo3xbFKPlA9NvYG-DJAudKiZ7VsWHoS0UFzJXfNzRbyRjVvhQxNxzqTQT_uKFpZ7xeKPPSAoYTbUm_awIuYkXaXJ5jXbdXHL05AOfEadcxXgxAVvVBA0wkeSvg4-FKvpFMC2NVSvDLOeCYsoUkXFoOn1r7aaOY8rDbRsjAlNYIkDUqzauSlaE/w492-h640/1900_Charles-Henri%20Michel,%20Vision%20of%20Saint%20Teresa%20of%20Avila_French,%20First%20Half%20of%2020th%20Century_Charenton-le-Pont,%20Parish%20Church.jpg" width="492" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Charles-Henri Michel, Vision of Saint Teresa of Avila<br />French, First Half of 20th Century<br />Charenton-le-Pont, Parish Church</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTYaSdNVBvWyN1ns4MX8bpHdR7AhyDr-wFNkH5UNlVrqGVETNrqJ5NGPETH51aSemydnRKAwlXydGber-wauEl1m7GMlLypp2yx6IVMTHBrwmtQOO8x5n6JN3m78e5Uy770ZCWs62hVnbK4zhkheAOMUNNDRoitw5yj8pyZV2lxVpfWaKlX1oDtn0O7xI/s500/1950_Luis%20Berdejo%20Elipe,%20Saint%20Teresa%20Crowned%20by%20an%20Angel_Spanish,%20Mid-20th%20Century_Madrid,%20Real%20Academia%20de%20Bellas%20Artes%20de%20San%20Fernando.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="412" data-original-width="500" height="528" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTYaSdNVBvWyN1ns4MX8bpHdR7AhyDr-wFNkH5UNlVrqGVETNrqJ5NGPETH51aSemydnRKAwlXydGber-wauEl1m7GMlLypp2yx6IVMTHBrwmtQOO8x5n6JN3m78e5Uy770ZCWs62hVnbK4zhkheAOMUNNDRoitw5yj8pyZV2lxVpfWaKlX1oDtn0O7xI/w640-h528/1950_Luis%20Berdejo%20Elipe,%20Saint%20Teresa%20Crowned%20by%20an%20Angel_Spanish,%20Mid-20th%20Century_Madrid,%20Real%20Academia%20de%20Bellas%20Artes%20de%20San%20Fernando.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Luis Berdejo Elipe, Saint Teresa Crowned by an Angel<br />Spanish, Mid-20th Century<br />Madrid, Real Academia de Bellas Artes de San Fernando</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><h4 style="text-align: left;">The Inspired Reformer</h4><div dir="ltr" style="text-align: left;" trbidi="on">Teresa was not just a contemplative visionary, she was also a woman of action. Based on the insights she had gained from her prayer and mystical experiences, she undertook a reform of the Carmelite order, eventually establishing the branch order of the <a href="http://en.wikipedia.org/wiki/Discalced_Carmelites">Discalced (Unshod) Carmelites</a>. Consequently, she is often shown at her desk, working under the inspiration of the Holy Spirit.</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPcZT_VzM_qMQdtVbkm7JJ_HC5HFQqruKnr82D4TPUVq1TZ_iHkPKMVp0yezdmAWvQxYNBz7gQlguPa8O4hiUTey-5euxt2wMzyUS6qxwq-ux4u1w1XP3Lhntn0ujGKzWC7QjgXe9gxbeIS10ondQ8FqLCZLVYkxVuJ8YS5XYMmxgMuqr-6EYvfgAhvEU/s760/1614_Rubens_St.%20Teresa's%20Vision%20of%20the%20Dove_Flemish,%20c.%201614_Cambridge%20(UK),%20Fitzwilliam%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="760" data-original-width="490" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPcZT_VzM_qMQdtVbkm7JJ_HC5HFQqruKnr82D4TPUVq1TZ_iHkPKMVp0yezdmAWvQxYNBz7gQlguPa8O4hiUTey-5euxt2wMzyUS6qxwq-ux4u1w1XP3Lhntn0ujGKzWC7QjgXe9gxbeIS10ondQ8FqLCZLVYkxVuJ8YS5XYMmxgMuqr-6EYvfgAhvEU/w412-h640/1614_Rubens_St.%20Teresa's%20Vision%20of%20the%20Dove_Flemish,%20c.%201614_Cambridge%20(UK),%20Fitzwilliam%20Museum.jpg" width="412" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Peter Paul Rubens, Saint Teresa's Vision of the Dove</div><div style="text-align: center;">Flemish, c. 1614</div><div style="text-align: center;">Cambridge (UK), Fitzwilliam Museum</div></td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR6h2teyPSA2sAoH2eQmfRNvhECR5el4PNVRLDb4Gg9_2gPtd-hXpbatU2qtBOjhjSvLftWtVmfLSo7tkVa9S6FhfXLvZcRzXK87fZ328AbuWPQ0tYEQHizwWnvKodZmpUYMVR2PsD0HB1EEWBYbUAm40U9uhpnlCiqDZR1JRFh10juQ6aQlUpyz9V294/s900/1644_Jusepe%20de%20Ribera_St.%20Teresa%20of%20Avila_1644_PC.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="697" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR6h2teyPSA2sAoH2eQmfRNvhECR5el4PNVRLDb4Gg9_2gPtd-hXpbatU2qtBOjhjSvLftWtVmfLSo7tkVa9S6FhfXLvZcRzXK87fZ328AbuWPQ0tYEQHizwWnvKodZmpUYMVR2PsD0HB1EEWBYbUAm40U9uhpnlCiqDZR1JRFh10juQ6aQlUpyz9V294/w496-h640/1644_Jusepe%20de%20Ribera_St.%20Teresa%20of%20Avila_1644_PC.jpg" width="496" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Workshop of Jose de Ribera, Saint Teresa of Avila</div><div style="text-align: center;">Spanish, 1644</div><div style="text-align: center;">Private Collection</div></td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZVGIgevn9oZ3x797YAGPUC9YeWhV-koLrzJZVs7SKhdW4-i2yjx4QFIQHyK8K8ZksIvcKNUD1hxsNS59MKD_fsuJcU5zxGXv9wE0iSg771VV65e0N-uIqt3EKsN-0JNusrW2w06GtTeFpDfFQD_QWcL_MfQfYvAS6wHA8BJ4V8_xOC91ntbl5F_CgVqs/s640/1650_Anonymous,%20Saint%20Teresa%20de%20Jesus_Spanish,%20c.%201650-1700_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="419" data-original-width="640" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZVGIgevn9oZ3x797YAGPUC9YeWhV-koLrzJZVs7SKhdW4-i2yjx4QFIQHyK8K8ZksIvcKNUD1hxsNS59MKD_fsuJcU5zxGXv9wE0iSg771VV65e0N-uIqt3EKsN-0JNusrW2w06GtTeFpDfFQD_QWcL_MfQfYvAS6wHA8BJ4V8_xOC91ntbl5F_CgVqs/w640-h420/1650_Anonymous,%20Saint%20Teresa%20de%20Jesus_Spanish,%20c.%201650-1700_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Anonymous, Saint Teresa de Jesus</div><div style="text-align: center;">Spanish, c. 1650-1700</div><div style="text-align: center;">Madrid, Museo Nacional del Prado</div></td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5u4-dZzgGBSuSGzR08xe5aE9Kp30nG8Gq8SK5-43PWNqrvrOBtB1aTf7eN3HfxaDICJNcAaoabMiC0gSAUi7-AKJkNn8gKdhgN_HdjSVlGSPTpPByy_cU_USohd5A62ghtkEqVFq-9J8LWmH2I7kfQ9AAcG2ZFw2F1bD0evseCV5gLo7DYhjhVCr5NNo/s1920/1600_Anonymous%20Coyp%20of%20Jose%20de%20Ribera,%20Santa%20Teresa%20de%20Jes%C3%BAs_Spanish,%2017th%20Century_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1920" data-original-width="1537" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5u4-dZzgGBSuSGzR08xe5aE9Kp30nG8Gq8SK5-43PWNqrvrOBtB1aTf7eN3HfxaDICJNcAaoabMiC0gSAUi7-AKJkNn8gKdhgN_HdjSVlGSPTpPByy_cU_USohd5A62ghtkEqVFq-9J8LWmH2I7kfQ9AAcG2ZFw2F1bD0evseCV5gLo7DYhjhVCr5NNo/w512-h640/1600_Anonymous%20Coyp%20of%20Jose%20de%20Ribera,%20Santa%20Teresa%20de%20Jes%C3%BAs_Spanish,%2017th%20Century_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="512" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Anonymous Copy of Jose de Ribera, Santa Teresa de Jesús</div><div style="text-align: center;">Spanish, 17th Century</div><div style="text-align: center;">Madrid, Museo Nacional del Prado</div></td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl-eNeaSKnBfWrU3zR1pBLWFlfGm11pscZnaDtZEhFh2noJ5-Wp1a5UU9HRSMdfB03u9nHvYGBgpQocunibfVSv27XczMziDuYVuBOLSbaD3Kt7K5HcvyhQ6uI-XbIuLDuYocyhqiQ0GqHblsc_P6aEujRqKRjI8k_FXyCoX2qk5pOggFUKtYY6Rsh5dY/s500/1650_Anonymous,%20Saint%20Teresa_Spanish,%20Second%20Half%20of%2017th%20Century_Madrid,%20Real%20Academia%20de%20Bellas%20Artes%20de%20San%20Fernando.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="412" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl-eNeaSKnBfWrU3zR1pBLWFlfGm11pscZnaDtZEhFh2noJ5-Wp1a5UU9HRSMdfB03u9nHvYGBgpQocunibfVSv27XczMziDuYVuBOLSbaD3Kt7K5HcvyhQ6uI-XbIuLDuYocyhqiQ0GqHblsc_P6aEujRqKRjI8k_FXyCoX2qk5pOggFUKtYY6Rsh5dY/w528-h640/1650_Anonymous,%20Saint%20Teresa_Spanish,%20Second%20Half%20of%2017th%20Century_Madrid,%20Real%20Academia%20de%20Bellas%20Artes%20de%20San%20Fernando.jpg" width="528" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Anonymous, Saint Teresa<br />Spanish, Second Half of 17th Century<br />Madrid, Real Academia de Bellas Artes de San Fernando</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO-kGvl2yPBhhJB8baaKsX5-J3n0sd3ijTV6g_Yq0_O5Y1hrlMAu438cDRCTFkcV85b9bKm5vC22kPe40__IcC9ObYmi6-VGNkOhTWGjEs5JwOnjovodsvfq7habdD-vJrsfboUouq1-tDXRW72IiHpM2ahOENxMdJHDA7-mfo7HhA_SenWZSCcN5HetA/s1920/1667_Francisco%20de%20Herrera%20el%20Mozo,%20Santa%20Teresa%20de%20Jes%C3%BAs_Spanish,%20c.%201667-1670_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1920" data-original-width="1209" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO-kGvl2yPBhhJB8baaKsX5-J3n0sd3ijTV6g_Yq0_O5Y1hrlMAu438cDRCTFkcV85b9bKm5vC22kPe40__IcC9ObYmi6-VGNkOhTWGjEs5JwOnjovodsvfq7habdD-vJrsfboUouq1-tDXRW72IiHpM2ahOENxMdJHDA7-mfo7HhA_SenWZSCcN5HetA/w404-h640/1667_Francisco%20de%20Herrera%20el%20Mozo,%20Santa%20Teresa%20de%20Jes%C3%BAs_Spanish,%20c.%201667-1670_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="404" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Francisco de Herrera el Mozo, Santa Teresa de Jesús<br />Spanish, c. 1667-1670<br />Madrid, Museo Nacional del Prado</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS3H43mw9JAOCYh1_dFg7WBs9Nc1Khnxrgu3Ixg5ZNEzzjZjYXifC6pY_IyqdlcZnQ_NKhMHRWM-iYWsRxX9OpeH406H0stTA1qFIMEbH7tL5lPB-ocPN5O_8Qbie3EE3Ig8eK3qd_pP7BnHzcGeJilXviyWA-f-q7WF6X5mzUTi1yK-MJhGHmotcAzc0/s1920/1882_Miguel%20Jadraque%20y%20Sanchez%20Ocanya,%20Saint%20Teresa%20de%20Jesus_Spanish,%201882_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1920" data-original-width="1607" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS3H43mw9JAOCYh1_dFg7WBs9Nc1Khnxrgu3Ixg5ZNEzzjZjYXifC6pY_IyqdlcZnQ_NKhMHRWM-iYWsRxX9OpeH406H0stTA1qFIMEbH7tL5lPB-ocPN5O_8Qbie3EE3Ig8eK3qd_pP7BnHzcGeJilXviyWA-f-q7WF6X5mzUTi1yK-MJhGHmotcAzc0/w536-h640/1882_Miguel%20Jadraque%20y%20Sanchez%20Ocanya,%20Saint%20Teresa%20de%20Jesus_Spanish,%201882_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="536" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Miguel Jadraque y Sanchez Ocanya, Saint Teresa de Jesus</div><div style="text-align: center;">Spanish, 1882</div><div style="text-align: center;">Madrid, Museo Nacional del Prado</div></td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">Her reform affected not only the women’s branch of the Carmelites, but, with the help of the Carmelite monk, her friend, fellow mystic and fellow doctor of the church, <a href="http://www.newadvent.org/cathen/08480a.htm">St. John of the Cross</a>, and others, it extended to the men’s branch as well. The goal of the reform was to return to a more primitive, even stern, interpretation of the Carmelite monastic rule.<br /><br />The work of reform and the consequent work of establishing daughter houses for her nuns involved Teresa in much travel and practical work, not easy for a woman who was often in poor health and who would have preferred to spend most of her time in prayer.<br /><div style="text-align: right;"></div><div></div></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><h4 style="text-align: left;">Devotion to Saint Joseph</h4><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">Among the works of art inspired by Saint Teresa are a group that illustrate the idea that the Virgin Mary entrusted Saint Teresa to the care and protection of Saint Joseph, Mary's husband. Saint Teresa was very devoted to Saint Joseph and attributed her cure from a serious illness to his intercession. She encouraged her spiritual sons and daughters to honor him and seek his intercession as well.</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjINcEAjegqY59VEaLnnaeP5nUcf_O71__ZBoE3ZOXijYrNKlO1aJMAc8EzwWJgVInt7F7r8nSwDmJAbDfb31gMF6335IiJDoQgKO1hmDUTHdwrn_TeZ1l1BxRv6jrsbg-DNZwbyoggg193pL71lJXz3eKWdu0575B5X9o_F24e1xHX8i_1YfZ5v-YVORg/s500/1642_Andrea%20Vaccaro,%20Saint%20Teresa%20with%20the%20Virgin%20and%20Saint%20Joseph_Italian,%201642_Madrid,%20Real%20Academia%20de%20Bellas%20Artes%20de%20San%20FErnanco.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="388" data-original-width="500" height="496" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjINcEAjegqY59VEaLnnaeP5nUcf_O71__ZBoE3ZOXijYrNKlO1aJMAc8EzwWJgVInt7F7r8nSwDmJAbDfb31gMF6335IiJDoQgKO1hmDUTHdwrn_TeZ1l1BxRv6jrsbg-DNZwbyoggg193pL71lJXz3eKWdu0575B5X9o_F24e1xHX8i_1YfZ5v-YVORg/w640-h496/1642_Andrea%20Vaccaro,%20Saint%20Teresa%20with%20the%20Virgin%20and%20Saint%20Joseph_Italian,%201642_Madrid,%20Real%20Academia%20de%20Bellas%20Artes%20de%20San%20FErnanco.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Andrea Vaccaro, Saint Teresa with the Virgin and Saint Joseph</div><div style="text-align: center;">Italian, 1642</div><div style="text-align: center;">Madrid, Real Academia de Bellas Artes de San Fernando</div></td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXfSVIPrOZW_flrN-wOBbWTQhI3t9PBYlShqNCzLl8YAURiIKlKhpn_hYa81Nykyid-0Ed00yjzI0yk8oL_OVqUeMy_LOqOWAv6258fntCgaPH4KKv03_S-kzrBNMggbFc9FsVsor7ykUz6qQpygD2pNxSxhWOGf-nb_itvQSI-SmMnUjNnXRdP-g4Wdo/s1990/1751_Vincenzo%20Fato_St.%20Joseph%20and%20Christ%20Child%20Appearing%20to%20St%20Theresa_1751-1800_Nardo_Santa%20Teresa.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1990" data-original-width="1409" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXfSVIPrOZW_flrN-wOBbWTQhI3t9PBYlShqNCzLl8YAURiIKlKhpn_hYa81Nykyid-0Ed00yjzI0yk8oL_OVqUeMy_LOqOWAv6258fntCgaPH4KKv03_S-kzrBNMggbFc9FsVsor7ykUz6qQpygD2pNxSxhWOGf-nb_itvQSI-SmMnUjNnXRdP-g4Wdo/w454-h640/1751_Vincenzo%20Fato_St.%20Joseph%20and%20Christ%20Child%20Appearing%20to%20St%20Theresa_1751-1800_Nardo_Santa%20Teresa.jpg" width="454" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Vincenzo Fato, Saint Joseph and the Christ Child Appearing to Saint Teresa</div><div style="text-align: center;">Italian, c. 1751-1800</div><div style="text-align: center;">Nardo, Church of Santa Teresa</div></td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWEpIEc9IZDCZeg2fN25HC340xHp9T_Uq6h12_NRAX1qBw-XHd82OMgLWhYmBwJ-TKNJH94Z6R5zb0P-AAO4HhVUCs7X-mEzyPZ5xdJgCKUzswvSb_8zePvJEPIozgG0_cFCutxTMqHLACxI0EDfLjtZ0lyfMZIKwKWalPnHgttboWJqF_aOD3M3HPh3Y/s2053/1780_Giuseppe%20Bottani,%20Mary%20and%20Joseph%20Appearing%20to%20Saint%20Teresa_Italian,%201780_Rome,%20Galleria%20Nazionale%20d'Arte%20Antica,%20Palazzo%20Barberini.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2053" data-original-width="1560" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWEpIEc9IZDCZeg2fN25HC340xHp9T_Uq6h12_NRAX1qBw-XHd82OMgLWhYmBwJ-TKNJH94Z6R5zb0P-AAO4HhVUCs7X-mEzyPZ5xdJgCKUzswvSb_8zePvJEPIozgG0_cFCutxTMqHLACxI0EDfLjtZ0lyfMZIKwKWalPnHgttboWJqF_aOD3M3HPh3Y/w486-h640/1780_Giuseppe%20Bottani,%20Mary%20and%20Joseph%20Appearing%20to%20Saint%20Teresa_Italian,%201780_Rome,%20Galleria%20Nazionale%20d'Arte%20Antica,%20Palazzo%20Barberini.jpg" width="486" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Giuseppe Bottani, Mary and Joseph Appearing to Saint Teresa</div><div style="text-align: center;">Italian, 1780</div><div style="text-align: center;">Rome, Galleria Nazionale d'Arte Antica, Palazzo Barberini</div></td></tr></tbody></table><div dir="ltr" style="text-align: center;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbGSc80Etkf1Y6vAEwa3-MARpinFMo99quBGbHRydVNLrPtiPgf0dNOUg_2F2NNORAfq6xd2NrwyZF_fThBb7z6LQ4iSA-Etu88bUltQyT-Ap0VqxDsMMCHCLWKPEo7ceV2pZId8q-xF74klbXFJKHD9SEshx3Z89Kil0OizZGKXnEwSVDrvdLo3E1W_4/s3911/1787_Francois%20Guillaume%20Menageot,%20The%20Virgin%20Placing%20Saint%20Teresa%20of%20Avila%20Under%20the%20Protection%20of%20Saint%20Joseph_French,%20c.%201787_New%20York,%20Metropolitan%20Museum%20of%20Art.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3911" data-original-width="2336" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbGSc80Etkf1Y6vAEwa3-MARpinFMo99quBGbHRydVNLrPtiPgf0dNOUg_2F2NNORAfq6xd2NrwyZF_fThBb7z6LQ4iSA-Etu88bUltQyT-Ap0VqxDsMMCHCLWKPEo7ceV2pZId8q-xF74klbXFJKHD9SEshx3Z89Kil0OizZGKXnEwSVDrvdLo3E1W_4/w382-h640/1787_Francois%20Guillaume%20Menageot,%20The%20Virgin%20Placing%20Saint%20Teresa%20of%20Avila%20Under%20the%20Protection%20of%20Saint%20Joseph_French,%20c.%201787_New%20York,%20Metropolitan%20Museum%20of%20Art.jpg" width="382" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Francois Guillaume Menageot, The Virgin Placing Saint Teresa of Avila Under the Protection of Saint Joseph</div><div style="text-align: center;">French, c. 1787</div><div style="text-align: center;">New York, Metropolitan Museum of Art</div></td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><h4 style="text-align: left;">Biographical Paintings From the Life of Saint Teresa</h4><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">In addition to the many works of art that highlight her sanctity and the visionary experiences that helped shape her life, some works focus on her active life, as founder and defender of the reform, or as a humble daughter of the Church or as a miraculous healer. </div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdDu-bkD5zCy-_W5lRscLaTNtgWCpI5TJWOr92gozne2Muz9761iwNlwxtErV_hzgUXTTuQo7gzVlxuAnCb6hQ4Zi18sUWvXG60IA6W53onsRnjIsY9GfvmxVAUsWFY-LPVLeSEx-UGgKSRuhP0iVXCGTgWNHX_slItcuG8Jgt0dK4A9uze9WT1yPfpTY/s1920/1600_Anonymous_Communion%20of%20St.%20Teresa_17th%20c_Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1920" data-original-width="1405" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdDu-bkD5zCy-_W5lRscLaTNtgWCpI5TJWOr92gozne2Muz9761iwNlwxtErV_hzgUXTTuQo7gzVlxuAnCb6hQ4Zi18sUWvXG60IA6W53onsRnjIsY9GfvmxVAUsWFY-LPVLeSEx-UGgKSRuhP0iVXCGTgWNHX_slItcuG8Jgt0dK4A9uze9WT1yPfpTY/w468-h640/1600_Anonymous_Communion%20of%20St.%20Teresa_17th%20c_Prado.jpg" width="468" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Anonymous, Communion of Saint Teresa</div><div style="text-align: center;">Spanish, 17th Century</div><div style="text-align: center;">Madrid, Museo Nacional del Prado</div></td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzBzx0nD9wjCZklydqwhQnAIjE0MR6J7tBvKp3lhq4DbA1UvHBSydTchLg1qZQRZSTNFQpqn387k1QdNVGHk_LlD4L7TWSRs6tgLgwXoHnKOVrTyx1_oDim2PWy6z9IZN3qhA1G5RBqEHMejYEsXPkVnL-2gdVfjzwvOjtaE5zrCIz9WUE6xN1UzFOWaI/s1920/1650_Jose%20Garcia%20Hidalgo_St.%20Peter%20of%20Alcantara%20hearing%20confession%20of%20St.%20Teresa_1650-1700_Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1920" data-original-width="1721" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzBzx0nD9wjCZklydqwhQnAIjE0MR6J7tBvKp3lhq4DbA1UvHBSydTchLg1qZQRZSTNFQpqn387k1QdNVGHk_LlD4L7TWSRs6tgLgwXoHnKOVrTyx1_oDim2PWy6z9IZN3qhA1G5RBqEHMejYEsXPkVnL-2gdVfjzwvOjtaE5zrCIz9WUE6xN1UzFOWaI/w574-h640/1650_Jose%20Garcia%20Hidalgo_St.%20Peter%20of%20Alcantara%20hearing%20confession%20of%20St.%20Teresa_1650-1700_Prado.jpg" width="574" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Jose Garcia Hidalgo, Saint Peter of Alcantara Hearing the Confession of Saint Teresa</div><div style="text-align: center;">Spanish, c. 1650-1700</div><div style="text-align: center;">Madrid, Museo Nacional del Prado</div></td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhot46QBZsiHLaQq2Mz1npMTKjppgVW0Z40k6c4LKP6k4AaTcoLBX9trzWJhjja2JPliwXg1-TLbGvnHgNQNL3wFdhMpMweb1WAMKC7nWtpcLhC_8WPNpqo5F6iWdWSwIukc2-kwt-gV9smSdLwXmWQ_0-XmryQcWdG_StK91h2YLG1yeeAqcFqP8stK3Q/s1920/1735_Juan%20Garcia%20de%20Miranda,%20Saint%20Teresa%20and%20Her%20Brother,%20Rodrigo,%20Planning%20to%20Build%20a%20Hermitage_Spanish,%201735+Madrid,%20Museo%20Nacional%20del%20Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1389" data-original-width="1920" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhot46QBZsiHLaQq2Mz1npMTKjppgVW0Z40k6c4LKP6k4AaTcoLBX9trzWJhjja2JPliwXg1-TLbGvnHgNQNL3wFdhMpMweb1WAMKC7nWtpcLhC_8WPNpqo5F6iWdWSwIukc2-kwt-gV9smSdLwXmWQ_0-XmryQcWdG_StK91h2YLG1yeeAqcFqP8stK3Q/w640-h464/1735_Juan%20Garcia%20de%20Miranda,%20Saint%20Teresa%20and%20Her%20Brother,%20Rodrigo,%20Planning%20to%20Build%20a%20Hermitage_Spanish,%201735+Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Juan Garcia de Miranda, Saint Teresa and Her Brother, Rodrigo, Building a Hermitage</div><div style="text-align: center;">Spanish, 1735</div><div style="text-align: center;">Madrid, Museo Nacional del Prado</div></td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoTe4RCtcZjpMg6c6JwxrvA0TqxT51KFwsZsnYNCLzdLbcghVKRFBklbFVFTBRXKbloZFzZSXo1RVssY1ZJLDJ9QcZK5vZzNrMcWrxaJB4NS1lziPtZuZ2IW1C8YK04-Q-IgFbwPxKRVQtD7K5OjRT3qEHazKm8O72IucFOsqzWjd3lxvLHmOUQHJ_Pno/s1920/1735_Juan%20Garcia%20de%20Miranda_Education%20of%20St.%20Teresa_1735_Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1391" data-original-width="1920" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoTe4RCtcZjpMg6c6JwxrvA0TqxT51KFwsZsnYNCLzdLbcghVKRFBklbFVFTBRXKbloZFzZSXo1RVssY1ZJLDJ9QcZK5vZzNrMcWrxaJB4NS1lziPtZuZ2IW1C8YK04-Q-IgFbwPxKRVQtD7K5OjRT3qEHazKm8O72IucFOsqzWjd3lxvLHmOUQHJ_Pno/w640-h464/1735_Juan%20Garcia%20de%20Miranda_Education%20of%20St.%20Teresa_1735_Prado.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Juan Garcia de Miranda, The Education of St. Teresa</div><div style="text-align: center;">Spanish, 1735</div><div style="text-align: center;">Madrid, Museo Nacional del Prado</div></td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxMFrbuj5DoWIXOpqYm1GJNz_vW0pjEiCGq8jKw0VjekQDZHyr7zwHqrDziKVzWNwyqtgMPBiH_eMNKE5VzeOAM3qgxbRCI6O9-1w-GRvYOHNPKND-skXWY52CmaffjmyQyKhkQpYfvKxJefxp5-hAnv0SRm-FV8DsROqawv04BqC1ezESWzhgep-M3es/s1920/1855_Luis%20de%20Madrazo%20y%20Kuntz_First%20Miracle%20of%20St.%20Teresa%20de%20Avila.%20Resurrection%20of%20her%20nephew%20Don%20Gonzalo%20Ovalle,%20son%20of%20her%20sister%20Dona%20Juana%20de%20Ahumada_1855_Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1553" data-original-width="1920" height="518" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxMFrbuj5DoWIXOpqYm1GJNz_vW0pjEiCGq8jKw0VjekQDZHyr7zwHqrDziKVzWNwyqtgMPBiH_eMNKE5VzeOAM3qgxbRCI6O9-1w-GRvYOHNPKND-skXWY52CmaffjmyQyKhkQpYfvKxJefxp5-hAnv0SRm-FV8DsROqawv04BqC1ezESWzhgep-M3es/w640-h518/1855_Luis%20de%20Madrazo%20y%20Kuntz_First%20Miracle%20of%20St.%20Teresa%20de%20Avila.%20Resurrection%20of%20her%20nephew%20Don%20Gonzalo%20Ovalle,%20son%20of%20her%20sister%20Dona%20Juana%20de%20Ahumada_1855_Prado.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Luis de Madrazo y Kuntz, The First Miracle of Saint Teresa de Avila, The Resurrection of Her Nephew, Don Gonzalo Ovalle, Son of her Sister Dona Juana de Ahumada</div><div style="text-align: center;">Spanish, 1855</div><div style="text-align: center;">Madrid, Museo Nacional del Prado</div></td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0pLrmYNHqKGX4x_sB8G8Bx8mzhrxVmXffYTTHyKzHI4eiMHh6iPlyonJSHSNpzphJe9wJNr0OxfvptoRwUOiq5A4cRW-R0l72qyP6YqGSRWb9vhR62XIIfCjgIueqsT5Hg7JgkjgKp_Thny2RRDDdPGBs-V3RTvqmAHHzVvBPJ3qsphTcEwz9f2wmxMY/s1920/1868_Benito%20Mercade%20y%20Fabregas_St.%20Teresa%20before%20Gratian_1868_Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1423" data-original-width="1920" height="474" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0pLrmYNHqKGX4x_sB8G8Bx8mzhrxVmXffYTTHyKzHI4eiMHh6iPlyonJSHSNpzphJe9wJNr0OxfvptoRwUOiq5A4cRW-R0l72qyP6YqGSRWb9vhR62XIIfCjgIueqsT5Hg7JgkjgKp_Thny2RRDDdPGBs-V3RTvqmAHHzVvBPJ3qsphTcEwz9f2wmxMY/w640-h474/1868_Benito%20Mercade%20y%20Fabregas_St.%20Teresa%20before%20Gratian_1868_Prado.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Benito Mercade y Fabregas, Saint Teresa Defending Her Reform Before Gratian<br />Spanish, 1868<br />Madrid, Museo Nacional del Prado</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic8BKszQPDPbiL6sHIS0IA_o-XNbxgMIn0eZmV0eBUWV8d4PagQjw3FTPfBFs-XmDBcJLMbj86wARACqhz8TrOJXH4H1W_wRYTG8RC48R8ny5b2hzXEW0ecGHk4iu5eGPcQ7lXsEdEhk5V_6_LE47QXR60j3zRWoMo24cZUxJp4d0YgjFWgKP64pXUSJ0/s1920/1870_Pablo%20Pardo%20Gonzalez_Viaticum%20of%20St.%20Teresa_1870_Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1357" data-original-width="1920" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic8BKszQPDPbiL6sHIS0IA_o-XNbxgMIn0eZmV0eBUWV8d4PagQjw3FTPfBFs-XmDBcJLMbj86wARACqhz8TrOJXH4H1W_wRYTG8RC48R8ny5b2hzXEW0ecGHk4iu5eGPcQ7lXsEdEhk5V_6_LE47QXR60j3zRWoMo24cZUxJp4d0YgjFWgKP64pXUSJ0/w640-h452/1870_Pablo%20Pardo%20Gonzalez_Viaticum%20of%20St.%20Teresa_1870_Prado.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pablo Pardo Gonzalez, The Viaticum of Saint Teresa<br />Spanish, 1870<br />Madrid, Museo Nacional del Prado</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKZry3Rb0oMfkRTr_TrnYWgbj2T_Htqj2YojaXNLBo1wMJWirOsjXPo8RX3Y0IyYCCMUv496ms58UjthFMAZE37xwJlJRUxQMMjrqxCbp8gtdgHJMH5fK9T8z3yvU2yDDzLDD0UibDBJKvZXbzzBAtO_v6gtHlSoWoqvYxSGX-Z1WMdxgWla6FB9BuZuk/s1920/1884_Jose%20Alcazar%20Tejedor_Santa%20Teresa_1884_Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1920" data-original-width="1223" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKZry3Rb0oMfkRTr_TrnYWgbj2T_Htqj2YojaXNLBo1wMJWirOsjXPo8RX3Y0IyYCCMUv496ms58UjthFMAZE37xwJlJRUxQMMjrqxCbp8gtdgHJMH5fK9T8z3yvU2yDDzLDD0UibDBJKvZXbzzBAtO_v6gtHlSoWoqvYxSGX-Z1WMdxgWla6FB9BuZuk/w408-h640/1884_Jose%20Alcazar%20Tejedor_Santa%20Teresa_1884_Prado.jpg" width="408" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Jose Alcazar Tejedor, Santa Teresa</div><div style="text-align: center;">Spanish, 1884</div><div style="text-align: center;">Madrid, Museo Nacional del Prado</div></td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><h4 style="text-align: left;">The Transverberation of Saint Teresa of Avila</h4><div dir="ltr" style="text-align: left;" trbidi="on">Saint Teresa is a highly respected saint, owing to her writings, her holy and hard-working life, her many convent foundations, the inspiration she has been to the daughters and sons (nuns, brothers and priests) who continue to follow in her footsteps and her own visionary experiences. One of her mystical experiences has, above all others, been attractive to artists. This is the so-called Transverberation. </div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">This experience was described by Saint Teresa herself in her autobiography <u style="font-style: italic;">Libro de mi</u><i> </i><u style="font-style: italic;">vida</u>, thus:<br />“<em>Our Lord was pleased that I should have at times a vision of this kind: I saw an angel close to me, on my left side, in bodily form…. He was not large, but small of stature, and most beautiful–-his face burning, as if he were one of the highest angels, who seem to be all of fire….I saw in his hand a long spear of gold, and at the iron’s point there seemed to be a little fire. He appeared to me to be thrusting it at times into my heart, and to pierce my very entrails; when he drew it out, he seemed to draw them out also, and to leave me all on fire with a great love of God. The pain was so great, that it made me moan; and yet so surpassing was the sweetness of this excessive pain, that I could not wish to be rid of it. The soul is satisfied now with nothing less than God. The pain is not bodily, but spiritual; though the body has its share in it, even a large one. It is a caressing of love so sweet which now takes place between the soul and God, that I pray God of His goodness to make him experience it who may think that I am lying."</em><span style="color: blue;"><b><u> </u></b></span><u><b><span style="color: blue;">3</span></b></u><br /><br />A number of artists attempted to capture this scene in their imaginations and translate it to canvas and paint. </div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgouL2G8qM5hZyWTakpeuTzi7202yWjtSvM2QqqHhUmf2Pdeugc1hYrhbx4x6rD8ikSFMIpDKuy5giYXPAKPMFNgqIdwC9D0XEgfJ-VndtUdHkSuKVL-iKhfKbPV1GAajB0tSVpbG5jdcrilwnyaiWCtyBEFHye10QXAP_SYf8qrGoRqIrjcjdKfGV5eAI/s860/1615_Palma%20the%20Younger,%20Christ%20Appearing%20to%20Saint%20Teresa%20of%20Avila_Italian,%201615_Rome,%20Church%20of%20San%20Pancrazio.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="860" data-original-width="600" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgouL2G8qM5hZyWTakpeuTzi7202yWjtSvM2QqqHhUmf2Pdeugc1hYrhbx4x6rD8ikSFMIpDKuy5giYXPAKPMFNgqIdwC9D0XEgfJ-VndtUdHkSuKVL-iKhfKbPV1GAajB0tSVpbG5jdcrilwnyaiWCtyBEFHye10QXAP_SYf8qrGoRqIrjcjdKfGV5eAI/w446-h640/1615_Palma%20the%20Younger,%20Christ%20Appearing%20to%20Saint%20Teresa%20of%20Avila_Italian,%201615_Rome,%20Church%20of%20San%20Pancrazio.jpg" width="446" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Jacopo Palma the Younger, The Transverberation of Saint Teresa of Avila</div><div style="text-align: center;">Italian, 1615</div><div style="text-align: center;">Rome, Church of San Pancrazio</div></td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKeFE7j4N0YMicnlcZ0l3eQPo6H6_qyOIQAT_SlP5rNNMX04WqbBKzOZ7V60vl4iize2bEoTPWtFjEs7nOv52T2DG1r_DWLeTo-HiKuYXt38JvxGjhkJYfWkru4oPbFgPrsoi8DfVWtyeNt04axZWHvkdtIDIZFXbEbNx3k4pBHjT6S2egafyqRNXLKws/s300/1650_Attrib%20Jean-Baptiste%20de%20Champaigne,%20Saint%20Teresa%20in%20Ecxtasy_Flemish,%20c.%201650_Tourcoing,%20MUba%20Eugene%20Leroy.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="300" data-original-width="300" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKeFE7j4N0YMicnlcZ0l3eQPo6H6_qyOIQAT_SlP5rNNMX04WqbBKzOZ7V60vl4iize2bEoTPWtFjEs7nOv52T2DG1r_DWLeTo-HiKuYXt38JvxGjhkJYfWkru4oPbFgPrsoi8DfVWtyeNt04axZWHvkdtIDIZFXbEbNx3k4pBHjT6S2egafyqRNXLKws/w640-h640/1650_Attrib%20Jean-Baptiste%20de%20Champaigne,%20Saint%20Teresa%20in%20Ecxtasy_Flemish,%20c.%201650_Tourcoing,%20MUba%20Eugene%20Leroy.JPG" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Attributed to Jean-Baptiste de Champaigne, Saint Teresa in Ecxtasy</div><div style="text-align: center;">Flemish, c. 1650</div><div style="text-align: center;">Tourcoing, MUba Eugene Leroy</div></td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6U0F4jSkaEUYjgD4JA4b_2nxXwHpjsBaQNxOfh6-N6pwRI097KqEhgAvqId_pCdUGtkrgszuyPQ_4am5TKDfQ6_CGc4jwkWDW2mHwzctCYzhG2p9oPNM_My5pMCuvA7I-2cAiBNoyQ7NZ2RDh9ZWLc8zhNkUpqfUqs7VjklJMa3mEFwEhWTrYgzWF4aM/s624/1650_Circle%20of%20Pietro%20da%20Cortona,%20Ecstasy%20of%20Saint%20Teresa_Italian,%20c.%201650-1700_Cortona,%20Museo%20dell'Accademia%20Etrusca.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="444" data-original-width="624" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6U0F4jSkaEUYjgD4JA4b_2nxXwHpjsBaQNxOfh6-N6pwRI097KqEhgAvqId_pCdUGtkrgszuyPQ_4am5TKDfQ6_CGc4jwkWDW2mHwzctCYzhG2p9oPNM_My5pMCuvA7I-2cAiBNoyQ7NZ2RDh9ZWLc8zhNkUpqfUqs7VjklJMa3mEFwEhWTrYgzWF4aM/w640-h456/1650_Circle%20of%20Pietro%20da%20Cortona,%20Ecstasy%20of%20Saint%20Teresa_Italian,%20c.%201650-1700_Cortona,%20Museo%20dell'Accademia%20Etrusca.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Circle of Pietro da Cortona, The Transverberation of Saint Teresa</div><div style="text-align: center;">Italian, c. 1650-1700</div><div style="text-align: center;">Cortona, Museo dell'Accademia Etrusca</div></td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhczq-mBii7U4DIyzNIqzRaiyQgn0C_sWwGoPXvn0ykhQNWBZEDPRsCJFEPLR7129uvVxA0S0NGCC2zfrG704yxSwhvxUI6RfAmX6P_Ppa5eRxfCQARt0x6MfiXY_ubQlWmvELlUL1P1p_qFhlM1bFXgAMiEnvbpajv9NRpiC0p6f6rqNUCGXpYKNhu-_k/s732/1650_Jacob%20Van%20Oost%20I_Transverberation%20of%20St.%20Theresa_c.1650_Lille_Eglise%20Saint-Maurice_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="348" data-original-width="732" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhczq-mBii7U4DIyzNIqzRaiyQgn0C_sWwGoPXvn0ykhQNWBZEDPRsCJFEPLR7129uvVxA0S0NGCC2zfrG704yxSwhvxUI6RfAmX6P_Ppa5eRxfCQARt0x6MfiXY_ubQlWmvELlUL1P1p_qFhlM1bFXgAMiEnvbpajv9NRpiC0p6f6rqNUCGXpYKNhu-_k/w640-h304/1650_Jacob%20Van%20Oost%20I_Transverberation%20of%20St.%20Theresa_c.1650_Lille_Eglise%20Saint-Maurice_2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Jacob Van Oost the Elder, The Transverberation of St. Theresa</div><div style="text-align: center;">Flemish, c.1650</div><div style="text-align: center;">Lille, Church of Saint Maurice</div></td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYnoJcj1eW1LatC7paulx7gy7-15AwCTVNBEXuxKF5N8swnorBrV8zuI19mIIqgrKH-U7klejp-cpMB1dEuNgY-FnCdcWHuRMHOPv7g4N8HdPf7jGFMFepJCuaXUZJobgv93IvK9hPNq-4-VrqCczm3h-8qtUzyR4tyBtmZIaospqdoMGJHATgzs4CKdU/s294/1675_Giovanni%20Segala_Transverberation_1675-1725_Douai_Musee%20de%20la%20Chartreuse_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="294" data-original-width="259" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYnoJcj1eW1LatC7paulx7gy7-15AwCTVNBEXuxKF5N8swnorBrV8zuI19mIIqgrKH-U7klejp-cpMB1dEuNgY-FnCdcWHuRMHOPv7g4N8HdPf7jGFMFepJCuaXUZJobgv93IvK9hPNq-4-VrqCczm3h-8qtUzyR4tyBtmZIaospqdoMGJHATgzs4CKdU/w564-h640/1675_Giovanni%20Segala_Transverberation_1675-1725_Douai_Musee%20de%20la%20Chartreuse_1.jpg" width="564" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Giovanni Segala, The Transverberation of Saint Teresa</div><div style="text-align: center;">Italian, c. 1675-1725</div><div style="text-align: center;">Douai, Musée de la Chartreuse</div></td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJbHJ-pDBAinhQ6Edi_cIllUAmT6z62xa-RFCKxssBSnQPOA0KUVPbRHWF4pAzOaI4jV1a2jEkC5tWorGNNC9UVz6KcbxX0lJPgRCvzccUJ_AJWu6KBBS8yP7n5TLF30rwB6i9cqD2ewU/s1600/1710_Jean-Baptiste+Santerre_St.+Teresa+of+Avila+in+Extascy_1710_Royal+Chapel_Versailles_Chateaux+de+Versailles+et+de+Trianon.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="587" data-original-width="405" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJbHJ-pDBAinhQ6Edi_cIllUAmT6z62xa-RFCKxssBSnQPOA0KUVPbRHWF4pAzOaI4jV1a2jEkC5tWorGNNC9UVz6KcbxX0lJPgRCvzccUJ_AJWu6KBBS8yP7n5TLF30rwB6i9cqD2ewU/s640/1710_Jean-Baptiste+Santerre_St.+Teresa+of+Avila+in+Extascy_1710_Royal+Chapel_Versailles_Chateaux+de+Versailles+et+de+Trianon.jpg" width="440" /></a></td></tr><tr><td class="tr-caption"><span style="text-align: start;">Jean-Baptiste Santerre, The Transverberation of Saint Teresa of Avila</span><br style="text-align: start;" /><span style="text-align: start;">French, 1710</span><br style="text-align: start;" /><span style="text-align: start;">Versailles, Chateaux de Versailles et de Trianon, Chapel</span><br style="text-align: start;" /></td></tr></tbody></table><div dir="ltr" trbidi="on"><br /><br /><br /><br />However, none of these pictures hold anything like the imaginative power brought to the subject by one of the greatest artists of his own or any other age, the great Gianlorenzo Bernini.<br /><br /><br /><h4 style="text-align: left;">Bernini, Saint Teresa and the Cornaro Chapel</h4><br /><a href="http://www.metmuseum.org/toah/hd/bern/hd_bern.htm">Gianlorenzo Bernini</a> was the pre-eminent artist of the Italian Baroque. Indeed, he has often been credited with the creation of the Baroque style. Born in 1598, the son of the successful late-sixteenth-century sculptor, <a href="http://www.wga.hu/frames-e.html?/html/b/bernini/pietro/index.html">Pietro Bernini</a>, he exhibited an unusually precocious talent in that difficult field (marble sculpture), while still a young boy. Very few people have ever handled marble with greater sensitivity or virtuosity.<br /><br />But Gianlorenzo’s talent was not limited to marble alone, or even to sculpture alone. He was also a superlative architect, painter and creator of stunningly memorable, highly intellectual, decorative schemes. While the structure of St. Peter’s Basilica is largely the product of the great Michelangelo Buonnaroti, the interior is primarily the work of Gianlorenzo Bernini. As Maffeo Barberini (Pope Urban VIII) is reputed to have told Bernini shortly after his election as Pope “<em>It is your great good luck, Cavaliere, to see Maffeo Barberini Pope; but We are even luckier in that the Cavaliere Bernini lives in the time of Our Pontificate</em>”. <span style="color: blue;"><b><u>4</u></b></span><span style="color: blue; font-size: x-small;"><strong> </strong></span>Urban’s statement would be echoed by several of his successors as Pope.<br /><br />One of Bernini’s greatest works, recognized as such in his own lifetime, was inspired by the experience of her transverberation described by Saint Teresa.<br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN4LMlRnf0HnJq1cVwR_EBz-nHQFvbZZHgES_WwFuxKaQs6f85Svdn1ke26BbPS6-GY5Vho6cZYFKBuwWPeWnJfT_LyOtQ-jl55Jjhsei9tECair9b9ra7v_T4u9h5MYDqoPNKowUujI2VbRPUsUciUhS8P6O7oMXLxeJ5n04ecxRllUyLzS7W-rIBqRU/s1063/therese0.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1063" data-original-width="813" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN4LMlRnf0HnJq1cVwR_EBz-nHQFvbZZHgES_WwFuxKaQs6f85Svdn1ke26BbPS6-GY5Vho6cZYFKBuwWPeWnJfT_LyOtQ-jl55Jjhsei9tECair9b9ra7v_T4u9h5MYDqoPNKowUujI2VbRPUsUciUhS8P6O7oMXLxeJ5n04ecxRllUyLzS7W-rIBqRU/w490-h640/therese0.jpg" width="490" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Gianlorenzo Bernini, The Cornaro Chapel</div><div style="text-align: center;">Italian, c. 1647-1652</div><div style="text-align: center;">Rome, Santa Maria della Vittoria</div></td></tr></tbody></table><br /><br /><br /></div><div dir="ltr" trbidi="on">Bernini’s interpretation of the scene reveals him at the height of his creative powers; using architecture, painting, stucco work, marble, stained glass and bronze to create a great illusion that, like all the best Baroque work, draws the spectator into the “reality” of the scene before him or her. This work is the famous <em>Cornaro Chapel</em>, in the Roman church of <em><a href="http://en.wikipedia.org/wiki/Santa_Maria_della_Vittoria">Santa Marie della Vittoria</a></em> (named in honor of <a href="http://imaginemdei.blogspot.com/2008/04/forgotten-battle-and-almost-forgotten.html">Our Lady of Victory</a>, a relatively new title for the Blessed Virgin in Bernini’s time). The chapel was executed between 1647 and 1652 at the behest of the Cornaro family (whose burial vault lies beneath the floor).<br /><br /><br />The chapel is relatively shallow and is situated to the right of the main altar of the church, which stands on the slopes of the Quirinal Hill in Rome. Rather than describing it myself I’m going to quote the elegant description penned by <a href="http://www.dictionaryofarthistorians.org/wittkowerr.htm">Rudolf Wittkower</a>, the classic art historian of the Roman Baroque, in his book <u>Gianlorenzo Bernini, The Sculptor of the Roman Baroque</u>.<br /><br /><br /><div dir="ltr" trbidi="on">“<em>The Cappella Cornaro, which cannot be photographed in its entirety, is an indivisible unit from floor to ceiling. On its vaulting the painted sky opens, angels have peeled aside the clouds, so that the heavenly light falling from the Holy Dove can reach the zone in which the mortals live. </em></div><div dir="ltr" trbidi="on"><em><br /></em></div><div dir="ltr" trbidi="on"><em><br /></em></div><div dir="ltr" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7P4FhTaHujwm_184V1XVS1hOZ2uMDiMvxL-Pd5kbiw1JhULE6kr7pOyV5wJnyI2elEwcqbtvt0VubqccQk2frH4i480Y2edE1PgoNa5w1iUl44uNoZUdG3G3J-MrdI-OkoZ6Wgd9iaScn8TAHOzeE5tgRb4iByE0VBhcDJd6X3JXsizs0EnX8KnjdDS4/s730/ceiling.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="440" data-original-width="730" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7P4FhTaHujwm_184V1XVS1hOZ2uMDiMvxL-Pd5kbiw1JhULE6kr7pOyV5wJnyI2elEwcqbtvt0VubqccQk2frH4i480Y2edE1PgoNa5w1iUl44uNoZUdG3G3J-MrdI-OkoZ6Wgd9iaScn8TAHOzeE5tgRb4iByE0VBhcDJd6X3JXsizs0EnX8KnjdDS4/w640-h386/ceiling.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div>Gianlorenzo Bernini, The Cornaro Chapel Ceiling</div><div>Italian, c. 1647-1652</div><div>Rome, Santa Maria della Vittoria</div></td></tr></tbody></table><br /><em><br /></em></div><div dir="ltr" trbidi="on"><em><br /></em></div><div dir="ltr" trbidi="on"><div dir="ltr" trbidi="on"><em>Rays of this heavenly light fall on to the group of Saint Teresa, and with the light has descended the seraph whose companions appear in the clouds. In the sculptured group Bernini represented the most important–the canonical–vision of the Carmelite Saint corresponding exactly with her own account of it. She described how the angel pierced her heart repeatedly with a floating golden arrow, whereupon, she continued, ‘the pain was so great that I screamed aloud; but simultaneously I felt such infinite sweetness that I wished the pain to last eternally. It was not bodily, but physical pain, although it affected to a certain extent also the body. It was sweetest caressing of the soul by God.’ With consummate skill Bernini made this scene real and visionary at the same time. The seraph, a figure of heavenly beauty, is about to pierce the heart of the Saint with the fiery arrow of love and thus effect her mystical union with Christ, the heavenly bridegroom. </em></div><div dir="ltr" trbidi="on"><em><br /></em></div><div dir="ltr" trbidi="on"><em><br /></em></div><div dir="ltr" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8HLN3uIsptjn3Ec13g78fXgyO68FtGdG3f1Ub5a7KFuZoJNpFXf1kG7ysQHw2oO4xYRBYVTygrKbzog9FpsCKTrxiYCNjVSRRRQHNoUs31s_Y2yxlPaFowtZ5YxubHgANqblnOu-_8LUdcGIyAZ87-bWeP85JZ9uaKG75sl4c9OKPiLGFCv08QaBVwBU/s3072/Ecstasy_of_St_Theresa_-_arrow.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2304" data-original-width="3072" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8HLN3uIsptjn3Ec13g78fXgyO68FtGdG3f1Ub5a7KFuZoJNpFXf1kG7ysQHw2oO4xYRBYVTygrKbzog9FpsCKTrxiYCNjVSRRRQHNoUs31s_Y2yxlPaFowtZ5YxubHgANqblnOu-_8LUdcGIyAZ87-bWeP85JZ9uaKG75sl4c9OKPiLGFCv08QaBVwBU/w640-h480/Ecstasy_of_St_Theresa_-_arrow.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div>Gianlorenzo Bernini, The Cornaro Chapel, The Arrow of Divine Love</div><div>Italian, c. 1647-1652</div><div>Rome, Santa Maria della Vittoria</div></td></tr></tbody></table><br /><em><br /></em></div><div dir="ltr" trbidi="on"><em><br /></em></div><div dir="ltr" trbidi="on"><em>The Saint is swooning in an ecstatic trance, her limbs hang inert and numb, her head has sunk back, her eyes are half closed and</em> <em>the mouth opens in an almost audible moan. The vision takes place in an imaginary realm on a large cloud magically suspended in mid-air.</em></div><div dir="ltr" trbidi="on"><em><br /></em></div><div dir="ltr" trbidi="on"><em><br /></em></div><div dir="ltr" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8q5oNJeiiIxzPi9JonHRhPK3oqNyawZYLi2vUBRoZQ-YwOvIXf_G168rsXBstcnsZZHtV5m6ySvybCdMMo6_HUchfSGRfILwtv34hWvWfGd2MB5qkw74W2V01i0BUssY_gYhLzqhGog8qfbsbR7077utawhGFKKEupJBNI4IkVRWRyFRqUzf_9jKTHek/s815/therese1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="815" data-original-width="565" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8q5oNJeiiIxzPi9JonHRhPK3oqNyawZYLi2vUBRoZQ-YwOvIXf_G168rsXBstcnsZZHtV5m6ySvybCdMMo6_HUchfSGRfILwtv34hWvWfGd2MB5qkw74W2V01i0BUssY_gYhLzqhGog8qfbsbR7077utawhGFKKEupJBNI4IkVRWRyFRqUzf_9jKTHek/w444-h640/therese1.jpg" width="444" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Gianlorenzo Bernini, The Transverberation of Saint Teresa of Avila</div><div style="text-align: center;">Italian, c. 1647-1652</div><div style="text-align: center;">Rome, Santa Maria della Vittoria, Cornaro Chapel, Central Group</div><div><br /></div></td></tr></tbody></table><br /><em><br /></em></div><div dir="ltr" trbidi="on"><em>Sheltered by the large canopy of greenish, grey-blue and reddish marble and placed against an iridescent alabaster background, the group is bathed in a warm and mysterious light, falling from above through a window of yellow glass hidden behind the pediment and playing on the highly polished marble surface of the two figures. </em></div><div dir="ltr" trbidi="on"><em><br /></em></div><div dir="ltr" trbidi="on"><em><br /></em></div><div dir="ltr" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_lr1SC0A5sgpxK2kAPWUW7wX-Xa9_gKUT_BKOK7jPU8UVL-cXIR8Wt370IQ3gAAdT8va98Z2RkXz14ULyyKdB5JMciWXULzW6fqaqLjtCT_KKqd76yOUgefkKVA3HlRy5iy21dN3abcOQbvz0x226Ua_NtunzW9P6w3jsOyRFv_xWrmwfGw0riI1lb3Y/s1200/full%20view.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1015" data-original-width="1200" height="542" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_lr1SC0A5sgpxK2kAPWUW7wX-Xa9_gKUT_BKOK7jPU8UVL-cXIR8Wt370IQ3gAAdT8va98Z2RkXz14ULyyKdB5JMciWXULzW6fqaqLjtCT_KKqd76yOUgefkKVA3HlRy5iy21dN3abcOQbvz0x226Ua_NtunzW9P6w3jsOyRFv_xWrmwfGw0riI1lb3Y/w640-h542/full%20view.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Gianlorenzo Bernini, The Transverberation of Saint Teresa of Avila</div><div style="text-align: center;">Italian, c. 1647-1652</div><div style="text-align: center;">Rome, Santa Maria della Vittoria, Cornaro Chapel</div></td></tr></tbody></table><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><em>Along the side walls of the chapel, above the doors, eight members of the Cornaro family appear behind prie-deus which have been compared with theatre boxes. The portraits stand out almost three-dimensionally before a colored and gilded stucco perspective in flat relief representing the interior of a church. Since the two sides are made to look like parts of the same interior, the fictitious architecture and the architecture of the real chapel seem to interpenetrate. This creates the illusion that the Cornaro family is sitting in an extension of the space in which we move.</em></div><div dir="ltr" trbidi="on"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div dir="ltr" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin404tGlkiFZ8ZuMiBYq8V2oXYdW07XEYBsLiQSPhDZ_8nJcwj9gAKdxZx0Mys_rj76gVla9rDjk1luFUafNG3oxLJlO-a-kJxYTA5Lvvs-HqupSjqfR4PU0RgetK5woVm73n5_llyFlq19o9DN393I-U6du8sMALnoXVZNQ7yDXwXAKYLfQXvPPGx0YE/s8362/Gian_Lorenzo_Bernini_(1598-1680)._%C3%88xtasi_de_Santa_Teresa_(1647-1652).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4061" data-original-width="8362" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin404tGlkiFZ8ZuMiBYq8V2oXYdW07XEYBsLiQSPhDZ_8nJcwj9gAKdxZx0Mys_rj76gVla9rDjk1luFUafNG3oxLJlO-a-kJxYTA5Lvvs-HqupSjqfR4PU0RgetK5woVm73n5_llyFlq19o9DN393I-U6du8sMALnoXVZNQ7yDXwXAKYLfQXvPPGx0YE/w640-h310/Gian_Lorenzo_Bernini_(1598-1680)._%C3%88xtasi_de_Santa_Teresa_(1647-1652).jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;">Gianlorenzo Bernini, Combined view of the central group of Saint Teresa and the Angel with the members of the Cornaro family. This view cannot be seen in real life because the Cornaro family members are depicted on the side walls of the chapel and so perpendicular to the central group. </td></tr></tbody></table><br /><em><br /></em></div><div dir="ltr" trbidi="on"><em>When standing on the central axis opposite the group of Saint Teresa, it becomes apparent that the chapel is too shallow for the members of the Cornaro family to see the miracle on the altar.</em> <em>For that reason Bernini has shown them arguing, reading and pondering, certainly about what they know is happening on the altar, but which is hidden from their eyes.</em></div><div dir="ltr" trbidi="on"><em><br /></em></div><div dir="ltr" trbidi="on"><em><br /></em></div><div dir="ltr" trbidi="on"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKFkCJqiTJ-eWTmAImVqah2H9SwC1NOAbBGwYGdhqDPwVCECS_wRIiRUVC6fU-pmLKF8ezhn_dSpyEQYla49LBETtZRQG3wQBE16ygN7pA3J-os6cLtU4Fci0SQMgTWrUEs-jfHPWQsjIS/s1600/Cronaro+chapel_spectators_left+side.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKFkCJqiTJ-eWTmAImVqah2H9SwC1NOAbBGwYGdhqDPwVCECS_wRIiRUVC6fU-pmLKF8ezhn_dSpyEQYla49LBETtZRQG3wQBE16ygN7pA3J-os6cLtU4Fci0SQMgTWrUEs-jfHPWQsjIS/s640/Cronaro+chapel_spectators_left+side.jpg" width="456" /></a></td></tr><tr><td class="tr-caption">Gianlorenzo Bernini, Members of the Cornaro Family<br />Italian, 1647-1652<br />Rome, Santa Maria della Vittoria, Cornaro Chapel<div style="font-size: 12.8px;"><span><br /></span></div></td></tr></tbody></table></div><div dir="ltr" trbidi="on"><em><br /></em></div><div dir="ltr" trbidi="on"><em><br /></em></div><div dir="ltr" trbidi="on"><em><br /></em></div><div dir="ltr" trbidi="on"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGd6sMG09zCdCE1z0RshFEsv7Hzsxyvx4O7lpGxBs8fHUcZwcq4oE52qGp9-fTPivr-_6CgushFKvv9JHsl-ITBCj3EqKzFoAh8lAUC210zwC-JIkOBiYLZ4xfeST2nK5FVKeGTlH4RoeP/s1600/Cornaro+chapel_spectators_%2528right%2529.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGd6sMG09zCdCE1z0RshFEsv7Hzsxyvx4O7lpGxBs8fHUcZwcq4oE52qGp9-fTPivr-_6CgushFKvv9JHsl-ITBCj3EqKzFoAh8lAUC210zwC-JIkOBiYLZ4xfeST2nK5FVKeGTlH4RoeP/s640/Cornaro+chapel_spectators_%2528right%2529.jpg" width="480" /></a></td></tr><tr><td class="tr-caption">Gianlorenzo Bernini, Members of the Cornaro Family<br />Italian, c. 1647-1652<br />Rome, Santa Maria della Vittoria, Cornaro Chapel<div><span><br /></span></div></td></tr></tbody></table></div><div dir="ltr" trbidi="on"><em><br /></em></div><div dir="ltr" trbidi="on"><em><br /></em></div><div dir="ltr" trbidi="on"><em>Under the pavement of the chapel is the family tomb chamber, and on the cover of the vault two inlaid skeletons seem to express their surprise at the miracle with lively gesticulation. Thus not only the ceiling and the walls but even the pavement forms part of the grand dynamic unit</em>.</div><div dir="ltr" trbidi="on"><em><br /></em></div><div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhZXiUct__bwLccNwERY9H8AL5_ddQeQOyLMNnk_LUxuhQ0tJlchhIJ-BPrTnHFLNm3aJtdI7A17Iz3Xq_LkU6B-my9Ygkbt4ajrYLGD8qRXBK_TlrUUZcaboJ3WOqasIUCIRJ-vjAUxJ34Fp61KMRNN-JWDelN454gNC374vr4sADdeJ742DXJ7gzb_U/s1024/Hope-1024x682.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="682" data-original-width="1024" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhZXiUct__bwLccNwERY9H8AL5_ddQeQOyLMNnk_LUxuhQ0tJlchhIJ-BPrTnHFLNm3aJtdI7A17Iz3Xq_LkU6B-my9Ygkbt4ajrYLGD8qRXBK_TlrUUZcaboJ3WOqasIUCIRJ-vjAUxJ34Fp61KMRNN-JWDelN454gNC374vr4sADdeJ742DXJ7gzb_U/w640-h426/Hope-1024x682.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td class="tr-caption">Gianlorenzo Bernini, The Praying Skeleton<br />Italian, c. 1647-1652<br />Rome, Santa Maria della Vittoria, Cornaro Chapel<br /><br /><br /></td></tr></tbody></table></td></tr></tbody></table><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj94rAmuxTTuMwCXBckSDP_gAJCUi48zXnV1zvor0alvZuCEOUe67vBGGHhndHzV0JpW1_3fuQQie-lhppiiQay9YDHKaNuQQq9Ebag_PEotsmjiNXKI2LSNrDmeIu-Nrwntl6vW41tGDkO2t7M1jgqAAqjY0bHBERBoc7iD5_Q-cFcQhdjBlihyUu1JE/s2733/Gianlorenzo_bernini,_cappella_cornaro,_1644-52,_scheletri_nel_pavime.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1733" data-original-width="2733" height="406" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj94rAmuxTTuMwCXBckSDP_gAJCUi48zXnV1zvor0alvZuCEOUe67vBGGHhndHzV0JpW1_3fuQQie-lhppiiQay9YDHKaNuQQq9Ebag_PEotsmjiNXKI2LSNrDmeIu-Nrwntl6vW41tGDkO2t7M1jgqAAqjY0bHBERBoc7iD5_Q-cFcQhdjBlihyUu1JE/w640-h406/Gianlorenzo_bernini,_cappella_cornaro,_1644-52,_scheletri_nel_pavime.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td class="tr-caption">Gianlorenzo Bernini, The Astonished Skeleton<br />Italian, c. 1647-1652<br />Rome, Santa Maria della Vittoria, Cornaro Chapel<br /></td></tr></tbody></table><em><br style="text-align: left;" /></em></td></tr></tbody></table><br /><em>It is the suggestive characterization, within one integrated whole, of the different realms of Man, Saint and Godhead that substantiates the belief in the existence of this mystic hierarchy of things. Like the Cornaro family, the worshipper participates in the supra-human mystery shown on the altar, and if he yields entirely to the ingenious and elaborate directives given by the artist, he will step beyond the narrow limits of his own existence and be entranced with the causality of an enchanted world.</em> “<span style="color: blue;"><b><u>5</u></b></span><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB95T7MjHX1PWehkHpr_s6miCqwpRLGujHAJc3Uyjav-d0-jHWtm0R0qvgHkXYzBfJUX3Z6JxT9svEQQqYAdl7HgAYDSMKwXTl8mmDvTM62KtGHUQuHF0Q5C6mcrbpO5yhr59HrCQfMQM/s1600/Cornaro+Chapel.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1032" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB95T7MjHX1PWehkHpr_s6miCqwpRLGujHAJc3Uyjav-d0-jHWtm0R0qvgHkXYzBfJUX3Z6JxT9svEQQqYAdl7HgAYDSMKwXTl8mmDvTM62KtGHUQuHF0Q5C6mcrbpO5yhr59HrCQfMQM/s640/Cornaro+Chapel.jpg" width="412" /></a></td></tr><tr><td class="tr-caption">Gianlorenzo Bernini, The Cornaro Chapel<br />Italian, c. 1647-1652<br />Rome, Santa Maria della Vittoria<br /><br /></td></tr></tbody></table><br /><br /><h4 style="text-align: left;">Saint Teresa Entering Heaven</h4><div>A number of artists produced their imagined depictions of the entry of Saint Teresa into heaven, welcomed by the hosts of heaven and the Person to whom she had devoted her life.</div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPduXDcP6uFZXJvB6RrG9_kPBVc2vj_5nDdn792YGAKAAzxfKmj-Z4aFzJ5Ig0BSZTy1517r9n_xcYYxlpgst6eFfecTVXemJMf7voMBc7PedfvlUDOd9-rPZXxZU8qoVNWSwTIZukGtsPjTi1vhfFoO_7Jp5I3OU7qNbSvkCQLhsq8x39rxP6rusDKBc/s499/1635_Pietro%20Novelli,%20Saint%20Teresa%20in%20Glory_Italian,%20c.%201635-1637_Madrid,%20Real%20Academia%20de%20Bellas%20Artes%20de%20San%20Fernanco.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="499" data-original-width="396" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPduXDcP6uFZXJvB6RrG9_kPBVc2vj_5nDdn792YGAKAAzxfKmj-Z4aFzJ5Ig0BSZTy1517r9n_xcYYxlpgst6eFfecTVXemJMf7voMBc7PedfvlUDOd9-rPZXxZU8qoVNWSwTIZukGtsPjTi1vhfFoO_7Jp5I3OU7qNbSvkCQLhsq8x39rxP6rusDKBc/w508-h640/1635_Pietro%20Novelli,%20Saint%20Teresa%20in%20Glory_Italian,%20c.%201635-1637_Madrid,%20Real%20Academia%20de%20Bellas%20Artes%20de%20San%20Fernanco.jpg" width="508" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Pietro Novelli, Saint Teresa in Glory</div><div style="text-align: center;">Italian, c. 1635-1637</div><div style="text-align: center;">Madrid, Real Academia de Bellas Artes de San Fernando</div></td></tr></tbody></table><div><br /></div></div><div dir="ltr" trbidi="on"><br /><br /> <br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrzXcz3zIUVHs8qQotnRlBZGVvJEDGrOOPiCeTSvPg1CD6rtt5txgCWt_MGul-r2jCkKl7JNhyt6VfdHx-Jv9zPs_2asLVc3caZRAACAQFie-vk3qDIVHUE_2eHSQ36_pDU5dEqpkP7jfXSYmW9cygyp-kWJNwFBzK7v5xSG3dYk7O0rlFqt7QDwyhxbc/s1645/1748_Anon_St%20Theresa%20writing%20in%20her%20book%20of%20herbs_1748_Vienna_St.%20Elizabeth%20Hospital.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1645" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrzXcz3zIUVHs8qQotnRlBZGVvJEDGrOOPiCeTSvPg1CD6rtt5txgCWt_MGul-r2jCkKl7JNhyt6VfdHx-Jv9zPs_2asLVc3caZRAACAQFie-vk3qDIVHUE_2eHSQ36_pDU5dEqpkP7jfXSYmW9cygyp-kWJNwFBzK7v5xSG3dYk7O0rlFqt7QDwyhxbc/w640-h466/1748_Anon_St%20Theresa%20writing%20in%20her%20book%20of%20herbs_1748_Vienna_St.%20Elizabeth%20Hospital.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Anonymous, Saint Teresa in Glory<br />Austrian, 1748<br />Vienna, Saint Elizabeth Hospital<br /><br /></td></tr></tbody></table> <br /> <br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjieJfmeSB7xZsuFJ-PzfmnlCKkG2ngKH1Yxo7EUgKuM4o6aSFmp-LtdBcsFt3DsPctJV_inOMb2bjXuCrmV_jmvQzn7y-oIRFXw12BGpyOQYHGHoNyi8kT4iXtuory7A2oaF-UyurZJbIo041NEdTlIhFovwBaoSM87RoRzbU2iNYe7Mh7Az6fPzCVS3o/s1920/1760_Francisco%20Bayeu%20y%20Subias,%20Saint%20Teresa%20in%20Glory_Spanish,%20c.%201760-1770_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="842" data-original-width="1920" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjieJfmeSB7xZsuFJ-PzfmnlCKkG2ngKH1Yxo7EUgKuM4o6aSFmp-LtdBcsFt3DsPctJV_inOMb2bjXuCrmV_jmvQzn7y-oIRFXw12BGpyOQYHGHoNyi8kT4iXtuory7A2oaF-UyurZJbIo041NEdTlIhFovwBaoSM87RoRzbU2iNYe7Mh7Az6fPzCVS3o/w640-h280/1760_Francisco%20Bayeu%20y%20Subias,%20Saint%20Teresa%20in%20Glory_Spanish,%20c.%201760-1770_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Francisco Bayeu y Subias, Saint Teresa in Glory</div><div style="text-align: center;">Spanish, c. 1760-1770</div><div style="text-align: center;">Madrid, Museo Nacional del Prado</div><br /></td></tr></tbody></table><br />If she had done no other work in her life than through her mystical prayers and visions she would have been justly famous. That she accomplished so much in the practical level makes her life not only edifying, but downright amazing. </div><div dir="ltr" style="text-align: left;" trbidi="on"><br />
<br />
Saint Teresa of Jesus, pray for us!</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">© M. Duffy, 2011. Revised, with additional text and pictures, 2023.<br />
__________________________________________<br />
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<span style="background-color: white; color: #252525; font-family: inherit;">1. From </span><u><span style="background-color: white; color: #252525; font-family: inherit;">Complete Works St. Teresa of Avila</span><span style="background-color: white; color: #252525; font-family: inherit;"> </span></u><span style="background-color: white; color: #252525; font-family: inherit;">(1963) edited by E. Allison Peers, Vol. 3, p. 288.</span><br />
<br />
2. The other three female doctors of the church are: Saint Catherine of Siena, Saint Therese of Lisieux and Saint Hildegard of Bingen.<br />
<br />
3. Teresa of Avila. <u>The Life of St. Teresa de Jesus</u>, Teddington, Middelsex, The Echo Library, 2006, Chapter XXIX, Section 16-17, p. 197. Accessible at <a href="http://books.google.com/books?id=RmgiSHaOUVAC&lpg=PA1&dq=related%3AISBN1420933965&pg=PA2#v=onepage&q&f=false">http://books.google.com/books?id=RmgiSHaOUVAC&lpg=PA1&dq=related%3AISBN1420933965&pg=PA2#v=onepage&q&f=false</a><br />
<br />
4. Wittkower, Rudolf. <u>Gianlorenzo Bernini, The Sculptor of the Roman Baroque</u>, London, The Phaidon Press, Second edition, 1966, p.7. <br />
<br />
5. Wittkower, Rudolf. <u>op cit.,</u> pp. 25-26.<br />
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<div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="blogger-post-footer">Copyright Margaret Duffy, 2008-2017</div>Margaret Duffyhttp://www.blogger.com/profile/03821836487895782384noreply@blogger.com0tag:blogger.com,1999:blog-415269867796810849.post-13284313060213297332023-10-09T06:39:00.003-04:002024-02-29T08:03:36.622-05:00Picturing the Parables: Murder in the Vineyard<p><br /></p><p class="MsoNormal"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjE7DZjyXswIVNYQVe3vqWZlGbY6T6DsFREA7cZzvFPAnxUM3c-X9ptlKuswdy2qxtCobYABzxapIuE3-h4sb1t0mkCbPrTs34xmvYLpzb35BFiq9XxDLFpGUkLst0Rlo7StVX-bwrX-C7wjP335sMTjSGQ9RmhUEjKT3QTQz2RKQHU0xmD2xX93xZpos/s981/1350_From%20a%20Speculum%20humane%20salvationis_German,%20c.%201350_Karlsruhe,%20Badische%20Landesbibliothek_MS%20Karlsruhe%203378,%20fol.%2069r%20det.png" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="779" data-original-width="981" height="508" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjE7DZjyXswIVNYQVe3vqWZlGbY6T6DsFREA7cZzvFPAnxUM3c-X9ptlKuswdy2qxtCobYABzxapIuE3-h4sb1t0mkCbPrTs34xmvYLpzb35BFiq9XxDLFpGUkLst0Rlo7StVX-bwrX-C7wjP335sMTjSGQ9RmhUEjKT3QTQz2RKQHU0xmD2xX93xZpos/w640-h508/1350_From%20a%20Speculum%20humane%20salvationis_German,%20c.%201350_Karlsruhe,%20Badische%20Landesbibliothek_MS%20Karlsruhe%203378,%20fol.%2069r%20det.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">The Parable of the Murderous Tenants<br />From a <u><i>Speculum humane salvationis</i></u><br />German, c. 1350<br />Karlsruhe, Badische Landesbibliothek<br />MS Karlsruhe 3378, fol. 69r</span></td></tr></tbody></table><br /><o:p><br /> </o:p><p></p>
<p class="MsoNormal"><span style="font-size: medium;"><i><span style="background: white; color: #363936; font-family: Roboto; line-height: 107%;">“Jesus said to the chief
priests and the elders of the people:</span></i><i><span style="color: #363936; font-family: Roboto; line-height: 107%;"><br />
<span style="background: white;">"Hear another parable.</span><br />
<span style="background: white;">There was a landowner who planted a vineyard,</span><br />
<span style="background: white;">put a hedge around it, dug a wine press in it,
and built a tower.</span><br />
<span style="background: white;">Then he leased it to tenants and went on a
journey.</span><br />
<span style="background: white;">When vintage time drew near,</span><br />
<span style="background: white;">he sent his servants to the tenants to obtain
his produce.</span><br />
<span style="background: white;">But the tenants seized the servants and one they
beat,</span><br />
<span style="background: white;">another they killed, and a third they stoned.</span><br />
<span style="background: white;">Again he sent other servants, more numerous than
the first ones,</span><br />
<span style="background: white;">but they treated them in the same way.</span><br />
<span style="background: white;">Finally, he sent his son to them, thinking,</span><br />
<span style="background: white;">'They will respect my son.'</span><br />
<span style="background: white;">But when the tenants saw the son, they said to
one another,</span><br />
<span style="background: white;">'This is the heir.</span><br />
<span style="background: white;">Come, let us kill him and acquire his
inheritance.'</span><br />
<a name="_Hlk147705457"><span style="background: white;">They seized him, threw
him out of the vineyard, and killed him.</span></a><br />
<span style="background: white;">What will the owner of the vineyard do to those
tenants when he comes?"</span><br />
<span style="background: white;">They answered him,</span><br />
<span style="background: white;">"He will put those wretched men to a
wretched death</span><br />
<span style="background: white;">and lease his vineyard to other tenants</span><br />
<span style="background: white;">who will give him the produce at the proper
times."</span><br />
<span style="background: white;">Jesus said to them, "Did you never read in
the Scriptures:</span><br />
</span></i><em><span style="background: white; border: 1pt none windowtext; color: #363936; font-family: Roboto; font-style: normal; line-height: 107%; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-border-alt: none windowtext 0in; padding: 0in;">The stone that the builders
rejected</span></em><i><span style="background: white; border: 1pt none windowtext; color: #363936; font-family: Roboto; line-height: 107%; mso-border-alt: none windowtext 0in; padding: 0in;"><br />
</span></i><em><span style="background: white; border: 1pt none windowtext; color: #363936; font-family: Roboto; font-style: normal; line-height: 107%; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-border-alt: none windowtext 0in; padding: 0in;">has become the cornerstone;</span></em><i><span style="background: white; border: 1pt none windowtext; color: #363936; font-family: Roboto; line-height: 107%; mso-border-alt: none windowtext 0in; padding: 0in;"><br />
</span></i><em><span style="background: white; border: 1pt none windowtext; color: #363936; font-family: Roboto; font-style: normal; line-height: 107%; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-border-alt: none windowtext 0in; padding: 0in;">by the Lord has this been done,</span></em><i><span style="background: white; border: 1pt none windowtext; color: #363936; font-family: Roboto; line-height: 107%; mso-border-alt: none windowtext 0in; padding: 0in;"><br />
</span></i><em><span style="background: white; border: 1pt none windowtext; color: #363936; font-family: Roboto; font-style: normal; line-height: 107%; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-border-alt: none windowtext 0in; padding: 0in;">and it is wonderful in our
eyes?</span></em><i><span style="color: #363936; font-family: Roboto; line-height: 107%;"><br />
<span style="background: white;">Therefore, I say to you,</span><br />
<span style="background: white;">the kingdom of God will be taken away from you</span><br />
<span style="background: white;">and given to a people that will produce its
fruit."<o:p></o:p></span></span></i></span></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;">Matthew 21:33-43 (Gospel for the
Twenty-seventh Sunday in Ordinary Time)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: medium;"><span style="background: white; color: #363936; font-family: Roboto; line-height: 107%;">The parables of Jesus tell us a great
deal about God, as well as a great deal about how we are to interact with other
humans.<span style="mso-spacerun: yes;"> </span>We all know the stories of the
Prodigal Son</span><span style="background: white; color: #2b00fe; font-family: Roboto; line-height: 107%;">*</span><span style="background: white; color: #363936; font-family: Roboto; line-height: 107%;"> and the Good Samaritan</span><span style="background: white; color: blue; font-family: Roboto; line-height: 107%;">*</span><span style="background: white; color: #363936; font-family: Roboto; line-height: 107%;">.<span style="mso-spacerun: yes;">
</span>Indeed, these two parable stories have become so well-known that they
are instantly associated with certain behaviors.<span style="mso-spacerun: yes;"> </span>But the focus of most parables is not so much
on the human actions, but on the light that they shine on the nature of God,
especially on his mercy and forbearance, qualities that we can easily relate
to.<span style="mso-spacerun: yes;"> </span>But not all parables are like
that.<span style="mso-spacerun: yes;"> </span>The parable in this Gospel for the
twenty-seventh Sunday in Ordinary Time is a little different.<span style="mso-spacerun: yes;"> </span>It tells us about another aspect of God that
is a little harder for us to cozy up to.<span style="mso-spacerun: yes;">
</span>This is his amazing will to love us to the point of dying for us.<o:p></o:p></span></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQKLBG4zl_x2S4LR7UbNCFeSrY5P8MmTEzbsyyCORX-PIktnpkD5p4PRksdwrmkyZASY3j4iu3zb1bod-en0TrV4rkHT7ywFsOjJPf0LbAvujFcZNs7vtK7Kfz4xLRMreV7ItTAB7c-lL-0waJ3cHSGm1BKkUcv1PCuq0Acrayv5a2iGew4tllQTB7EJQ/s750/1300_From%20Speculum%20humanae%20salvationis_French%20(Avignon),%20First%20half%20of%2014th%20Century_Rome,%20Biblioteca%20Corsiniana_MS%2055.K2%20(Rossi%2017),%20fol.%2033r.png" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="750" data-original-width="750" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQKLBG4zl_x2S4LR7UbNCFeSrY5P8MmTEzbsyyCORX-PIktnpkD5p4PRksdwrmkyZASY3j4iu3zb1bod-en0TrV4rkHT7ywFsOjJPf0LbAvujFcZNs7vtK7Kfz4xLRMreV7ItTAB7c-lL-0waJ3cHSGm1BKkUcv1PCuq0Acrayv5a2iGew4tllQTB7EJQ/w640-h640/1300_From%20Speculum%20humanae%20salvationis_French%20(Avignon),%20First%20half%20of%2014th%20Century_Rome,%20Biblioteca%20Corsiniana_MS%2055.K2%20(Rossi%2017),%20fol.%2033r.png" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">The Tenants Murder the Son of the Vineyard Owner<br />From a <i><u>Speculum humanae salvationis</u></i><br />French (Avignon), First half of the 14th Century<br />Rome, Biblioteca Corsiniana<br />MS 55.K2 (Rossi 17), fol. 33r</span></td></tr></tbody></table><span style="font-size: medium;"><br /></span><p></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;">In several parables of Jesus, he sets
the story in a vineyard.<span style="mso-spacerun: yes;"> </span>It is very
evident from them that the vineyard is a metaphor for the created world and in
the Bible is a specific reference to the land and people of Israel.<span style="mso-spacerun: yes;"> </span>The owner of the vineyard is God.<span style="mso-spacerun: yes;"> </span>And his actions as the vineyard owner are the
actions of God.<span style="mso-spacerun: yes;"> </span>This is spelled out
quite clearly in the first reading for the same twenty-seventh Sunday in
Ordinary Time.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">“Let
me now sing of my friend,</span></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">my friend's
song concerning his vineyard.</span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">My
friend had a vineyard<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">on a
fertile hillside;<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">he
spaded it, cleared it of stones,<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">and
planted the choicest vines;<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">within
it he built a watchtower,<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">and
hewed out a wine press.<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">Then
he looked for the crop of grapes,<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">but
what it yielded was wild grapes.<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;"><o:p> </o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">Now,
inhabitants of Jerusalem and people of Judah,<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">judge
between me and my vineyard:<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">What
more was there to do for my vineyard<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">that
I had not done?<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">Why,
when I looked for the crop of grapes,<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">did
it bring forth wild grapes?<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">Now,
I will let you know<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">what
I mean to do with my vineyard:<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">take
away its hedge, give it to grazing,<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">break
through its wall, let it be trampled!<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">Yes,
I will make it a ruin:<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">it
shall not be pruned or hoed,<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">but
overgrown with thorns and briers;<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">I will
command the clouds<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">not
to send rain upon it.<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">The
vineyard of the LORD of hosts is the house of Israel,<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">and
the people of Judah are his cherished plant;<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">he
looked for judgment, but see, bloodshed!<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: medium;"><i><span style="background: white; color: #363936; font-family: Roboto;">for
justice, but hark, the outcry!”</span></i><span style="background: white; color: #363936; font-family: Roboto;"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium;">(Isaiah
5:1-7)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="background: white; font-family: Roboto; font-size: medium; line-height: 107%;"><span style="color: #363936;">In one of the parables the vineyard
owner decides to nurture a plant to encourage it to produce more before
deciding if it should be cut down</span><span style="color: #2b00fe;">*</span><span style="color: #363936;">, in another he hires workers throughout the
day and gives the same reward to all</span><span style="color: #2b00fe;">*</span><span style="color: #363936;">.</span><span style="color: #363936; mso-spacerun: yes;"> </span><span style="color: #363936;">These
parables describe the mercy and the justice of God.</span><span style="color: #363936; mso-spacerun: yes;"> </span><span style="color: #363936;">The parable of this Sunday is a bit
different.</span><span style="color: #363936; mso-spacerun: yes;"> </span><span style="color: #363936;">The vineyard owner sends his
servants to collect the payment due to him for renting it out to some
tenants.</span><span style="color: #363936; mso-spacerun: yes;"> </span><span style="color: #363936;">The tenants don’t want to pay,
so they brutally attack all the rent collectors he sends, even killing some of
them.</span><span style="color: #363936; mso-spacerun: yes;"> </span><span style="color: #363936;">Finally, he sends his son because,
surely, they will respect his son.</span><span style="color: #363936; mso-spacerun: yes;"> </span><span style="color: #363936;">But instead
of respecting him as an emissary for his father “</span><i style="color: #363936;">They seized him, threw him
out of the vineyard, and killed him”</i><span style="color: #363936;">, believing that they will </span><i style="color: #363936;">“acquire
his inheritance”.</i><span style="color: #363936; mso-spacerun: yes;"> </span><span style="color: #363936;">(Matthew 21:38-39)</span><span style="color: #363936; mso-spacerun: yes;"> </span><span style="color: #363936;">Then Jesus asks the question, </span><i style="color: #363936;">“What will
the owner of the vineyard do to those tenants when he comes?"</i><span style="color: #363936;"> (Matthew
21:40)</span><span style="color: #363936; mso-spacerun: yes;"> </span><span style="color: #363936;">His listeners answer with the
very sensible statement "</span><i style="color: #363936;">He will put those wretched men to a wretched
death and lease his vineyard to other tenants who will give him the produce at
the proper times"</i><span style="color: #363936;"> (Matthew 21:41) and Jesus reminds them that what he
is really talking about is the kingdom of God, which </span><i style="color: #363936;">“will be taken away
from you and given to a people that will produce its fruit”.</i><span style="color: #363936;"> (Matthew
21:43)<o:p></o:p></span></span></p><p class="MsoNormal"><span style="background: white; font-family: Roboto; font-size: medium; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb-NcixjLdFGm1u9bMA_b5zPaBFcYGqqwrWJfi-k1Ksew8Vy3R0xhWHMpQ9s413K968hcUDUdIONnjmQgqb6gSwZlNlIBmsfgsSIkFj6YLofPOYqEd0aFw4hm_jHDjG3pp-RpZd2kMhUIG-rlK2SFk_6xZEaH8bDnHMysQgtu6F_-AfEn6ws1Yae61Fi8/s638/1400_From%20a%20Speculum%20humanae%20salvationis_German%20(Swabian),%20Early%2015th%20Century_Nuremberg,%20Germanisches%20Nationalmuseum_MS%20Hs.%2022401,%20fol.%2025r.png" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="638" data-original-width="579" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb-NcixjLdFGm1u9bMA_b5zPaBFcYGqqwrWJfi-k1Ksew8Vy3R0xhWHMpQ9s413K968hcUDUdIONnjmQgqb6gSwZlNlIBmsfgsSIkFj6YLofPOYqEd0aFw4hm_jHDjG3pp-RpZd2kMhUIG-rlK2SFk_6xZEaH8bDnHMysQgtu6F_-AfEn6ws1Yae61Fi8/w580-h640/1400_From%20a%20Speculum%20humanae%20salvationis_German%20(Swabian),%20Early%2015th%20Century_Nuremberg,%20Germanisches%20Nationalmuseum_MS%20Hs.%2022401,%20fol.%2025r.png" width="580" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: Times New Roman;">The Tenants Murder the Son of the Vineyard Owner</span><br /><span style="font-family: Times New Roman;">From a <i><u>Speculum humanae salvationis</u></i><br />German (Swabian), Early 15th Century<br />Nuremberg, Germanisches Nationalmuseum<br />MS Hs. 22401, fol. 25r</span></span></td></tr></tbody></table><span style="background: white; font-family: Roboto; font-size: medium; line-height: 107%;"><br /><span style="color: #363936;"><br /></span></span><p></p><p class="MsoNormal"><span style="font-size: medium;"><span style="background-color: white; color: #363936; font-family: Roboto;">But there is more than that in this
parable.</span><span style="color: #363936; font-family: Roboto; mso-spacerun: yes;"> </span><span style="background-color: white; color: #363936; font-family: Roboto;">If the vineyard owner is God,
the vineyard the world and the murderous tenants those living in it, then the
servants sent to collect the rent are the prophets and the son of the vineyard
owner is Jesus himself.</span><span style="color: #363936; font-family: Roboto; mso-spacerun: yes;"> </span><span style="background-color: white; color: #363936; font-family: Roboto;">The prophets
were often mistreated by those to whom they were sent, and we know what
happened to Jesus.</span><span style="color: #363936; font-family: Roboto; mso-spacerun: yes;"> </span><span style="background-color: white; color: #363936; font-family: Roboto;">Therefore, this
parable is not just about a vineyard or even the kingdom of God in a generic
sort of way.</span><span style="color: #363936; font-family: Roboto; mso-spacerun: yes;"> </span><span style="background-color: white; color: #363936; font-family: Roboto;">It is very specific about
what it is saying, which is that just as the tenants assaulted the owner’s
servants and killed his son, so the people who inhabited the earthly vineyard
of God, the Jews, mistreated the prophets and in turn would contrive to kill
the son of God when he was sent.</span><span style="color: #363936; font-family: Roboto; mso-spacerun: yes;"> </span><span style="background-color: white; color: #363936; font-family: Roboto;">It is
Jesus foretelling his own murder.</span><span style="color: #363936; font-family: Roboto; mso-spacerun: yes;"> </span></span></p><p class="MsoNormal"><span style="font-size: medium;"><br /></span></p>
<h4 style="text-align: left;"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;">Iconography of the Parable</span></h4>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;">Some of the parables are very easy to
illustrate.<span style="mso-spacerun: yes;"> </span>The Prodigal Son, for
example, is very frequently illustrated. The story is an easy one to depict,
with lots of vignettes that can be used.<span style="mso-spacerun: yes;">
</span>Some of the parables are not like that.<span style="mso-spacerun: yes;">
</span>For instance, the hunt for a lost coin is not exactly a story that lends
itself to extensive imagery.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;">The parable of the murderous tenants is
somewhere in the middle.<span style="mso-spacerun: yes;"> </span>It has several
elements that can be imagined, but the actions are actually few.<span style="mso-spacerun: yes;"> </span>The tenants attack the servants and
eventually kill the son of the owner.<span style="mso-spacerun: yes;">
</span>That’s about it.<span style="mso-spacerun: yes;"> </span>Consequently,
the number of illustrations is limited.<span style="mso-spacerun: yes;">
</span>In addition, it does not seem to figure very much in the illuminated
Bibles, Bible paraphrases or missals that form the high art of the medieval
period.<span style="mso-spacerun: yes;"> Indeed, I was only able to find one instance that may illustrate this parable in a missal from the middle of the fourteenth century. </span></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTRPEu-23Yh1N_qVmKGSvnlCE-DjKSh28oEYDsdULpJZGkqkbEd10mTq5iblnoZApffcs0hYnqSyS4cl9gDNUqCGB-Pv7_ON9lhJJtY-3sFFMFAbEXwgLiCHCJUWXkpj8dhD1rZo1Kpbru8g08uQWGdLHth_2WZBGWj934iEMlsePznJPt6B7s2K2bQA8/s1368/1350_School%20of%20Jean%20Pucelle_From%20a%20Franciscan%20Missal_French%20(Paris),%20c.%201350_Oxford,%20The%20Bodleian%20Library_MS%20Douce%20313,%20fol.%2066v.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="973" data-original-width="1368" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTRPEu-23Yh1N_qVmKGSvnlCE-DjKSh28oEYDsdULpJZGkqkbEd10mTq5iblnoZApffcs0hYnqSyS4cl9gDNUqCGB-Pv7_ON9lhJJtY-3sFFMFAbEXwgLiCHCJUWXkpj8dhD1rZo1Kpbru8g08uQWGdLHth_2WZBGWj934iEMlsePznJPt6B7s2K2bQA8/w640-h456/1350_School%20of%20Jean%20Pucelle_From%20a%20Franciscan%20Missal_French%20(Paris),%20c.%201350_Oxford,%20The%20Bodleian%20Library_MS%20Douce%20313,%20fol.%2066v.jpg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">School of Jean Pucelle, The Murderous Tenants (?)<br />From a Franciscan <i><u>Missal</u></i><br />French (Paris), c. 1350<br />Oxford, The Bodleian Library<br />MS Douce 313, fol. 66v</span></td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"><br /></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>Instead, most of the images from
this period come from the <i><u>Speculum humanae </u></i>salvationis, the
best-known title of a type of book that is unfamiliar to us today, but which
was one of the most popular book types of the Middle Ages.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: medium;"><br /></span></p>
<h4 style="text-align: left;"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;">The Speculum humanae salvationis</span></h4>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;">In this book episodes from the life of
Christ were depicted alongside three other images, usually spread over two facing pages of the book. The scenes are generally drawn from the Old
Testament but occasionally from the Gospels, which were seen as prefigurations
of those episodes of Jesus’ life.<span style="mso-spacerun: yes;"> </span>In
this case, an episode from the Passion, that of Christ carrying the cross, was
juxtaposed on two Old Testament scenes (the Sacrifice of Isaac and the Spies
Carrying the Grapes of Canaan) and on the scene of the murder of the vineyard
owner’s son.<span style="mso-spacerun: yes;"> </span>This is a type of analysis
called typology in which events from Jewish tradition are seen as “types” of
the events in the life of Christ, that is as prefiguring the New Testament
event. It was a way of seeing all of Scripture as prophetic and directed toward
a single goal.<span style="mso-spacerun: yes;"> </span>In this case, for example,
the two Old Testament scenes, first Isaac following Abraham to the altar with
the wood for the sacrifice strapped to his back and then the spies carrying the
huge bunch of grapes back from Canaan to Moses are seen as distinct
prefigurations Christ carrying the cross.<span style="mso-spacerun: yes;">
</span>The scene of the slaying of the son of the vineyard owner is seen as a
prefiguration of the entire murder of Jesus.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; line-height: 107%;"><span style="font-size: medium; mso-spacerun: yes;"><span>The </span><i><u>Speculum humanae salvationis</u></i><span> was introduced by an unknown author in the early fourteenth century and the earliest images date from that period.</span><span style="mso-spacerun: yes;"> </span><span>Many of them are often fairly crude because the book was available for purchase by people of every economic status.</span><span style="mso-spacerun: yes;"> </span><span>Those available cheaply were illustrated by painters who were either just learning their craft or who were at the lowest level of artistic ability. Sometimes they were little more than mere sketches with a few points of added color.</span></span></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; line-height: 107%;"><span style="mso-spacerun: yes;"><span style="font-size: medium;"><br /></span></span></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyT0mbVEGiGfVeNMDWQz3crkS_o6Ak-rczDiSFRbkJxPrBDx3Ehp0GZ0cM5bOF0JwwT_2GlxCIKvwor0l1TvZ_z7LcXYJSWVV1kT-JI6UR65wJO6JhjhIGZpT9HxFt4eId3AiBqjYcE3VDtrC4bDLTgFeOUHkTPl-7ylCj1vvR3brkHfcqWOl2ON38qFs/s925/1325-From%20a%20Speculum%20humanae%20salvationis_South%20German,%20c.%201325-1375_London,%20British%20Library_MS%20Harley%204996,%20fol.%2024v.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="607" data-original-width="925" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyT0mbVEGiGfVeNMDWQz3crkS_o6Ak-rczDiSFRbkJxPrBDx3Ehp0GZ0cM5bOF0JwwT_2GlxCIKvwor0l1TvZ_z7LcXYJSWVV1kT-JI6UR65wJO6JhjhIGZpT9HxFt4eId3AiBqjYcE3VDtrC4bDLTgFeOUHkTPl-7ylCj1vvR3brkHfcqWOl2ON38qFs/w640-h420/1325-From%20a%20Speculum%20humanae%20salvationis_South%20German,%20c.%201325-1375_London,%20British%20Library_MS%20Harley%204996,%20fol.%2024v.jpg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">The Tenants Murder the Son of the Vineyard Owner and the Spies Return Bearing the Bunch of Grapes<br />From a <u><i>Speculum humanae salvationis</i></u><br />South German, c. 1325-1375<br />London, British Library<br />MS Harley 4996, fol. 24v<br /><br /><br /></span></td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEWs-V_O1ALkr6oOUCs0uEWjHwYU3Se9su96178bbQCG7J4EZABdy5wysoMjvZb4O2HtAMNwBiQRNUQruPpF2dUVheJhB0HzoTKT0qz7xAGdLwytx7AO4JTpso-wayU4FVqBbaNJ9R5PBjJKjFbzIu9xYfM3daqLYqTIUUC0Y7rNbPH-tNr9RdH38fIH4/s800/1330_Parable%20of%20the%20inheritor%20of%20the%20vineyard%20-From%20a%20Specuum%20humanae%20salvationis_Austrian,%20c.%201330-1340_Vienna,%20%C3%96sterreichische%20Nationalbibliothek.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="468" data-original-width="800" height="374" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEWs-V_O1ALkr6oOUCs0uEWjHwYU3Se9su96178bbQCG7J4EZABdy5wysoMjvZb4O2HtAMNwBiQRNUQruPpF2dUVheJhB0HzoTKT0qz7xAGdLwytx7AO4JTpso-wayU4FVqBbaNJ9R5PBjJKjFbzIu9xYfM3daqLYqTIUUC0Y7rNbPH-tNr9RdH38fIH4/w640-h374/1330_Parable%20of%20the%20inheritor%20of%20the%20vineyard%20-From%20a%20Specuum%20humanae%20salvationis_Austrian,%20c.%201330-1340_Vienna,%20%C3%96sterreichische%20Nationalbibliothek.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Tenants Murder the Son of the Vineyard Owner and the Spies Return Bearing the Bunch of Grapes<br />From a <u><i>Specuum humanae salvationis</i></u><br />Austrian, c. 1330-1340<br />Vienna, Österreichische Nationalbibliothek</td></tr></tbody></table><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; line-height: 107%;"><span style="font-size: medium; mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRvtJvc0aBbjwqhkx6bQ242drbV6c6GigJ14Vi5mKQJtLL5aexZozOAeiOjuNJ_vEeXRz5lAzoKoClvp5rUFVpzddrXj3DKKTS7opoJGpexaxBlZrSsHl2-CMQKLDi-ApsW1HUahEstELMttjWz88zybeakpHvtcokNf0Xu-yuWLGJJ3tbHjZZikoMIKU/s939/1350_From%20a%20Speculum%20humanae%20salvationis_German%20(Bavaria),%20c.%201350-1400_Bayerische%20Staatsbibliothek_MS%20Clm%203003,%20fol.21v-1.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="437" data-original-width="939" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRvtJvc0aBbjwqhkx6bQ242drbV6c6GigJ14Vi5mKQJtLL5aexZozOAeiOjuNJ_vEeXRz5lAzoKoClvp5rUFVpzddrXj3DKKTS7opoJGpexaxBlZrSsHl2-CMQKLDi-ApsW1HUahEstELMttjWz88zybeakpHvtcokNf0Xu-yuWLGJJ3tbHjZZikoMIKU/w640-h298/1350_From%20a%20Speculum%20humanae%20salvationis_German%20(Bavaria),%20c.%201350-1400_Bayerische%20Staatsbibliothek_MS%20Clm%203003,%20fol.21v-1.jpg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">The Sacrifice of Isaac, The Murder of the Vineyard Owner's Son and the Spies Bearing the Grapes of Canaan<br />From a <u><i>Speculum humanae salvationis</i></u><br />German (Bavaria), c. 1350-1400<br />Bayerische Staatsbibliothek<br />MS Clm 3003, fol.21v</span></td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; line-height: 107%;"><span style="font-size: medium; mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHb72gGMLojjNKIiWR2l2ffMLwsAcUobJvYCk1xsR3D-dT1fxQg4323ts7hdxtZ7mcyYgCNNZ3AS7EmElTQ0_fRJSUBkTmaAgIa-jIiG7BaRpn3iAUpd_PwYFl2ibRc3HXjZhCdbpfUYDWarVWUHisxx0egqKKWy0zNhCWTtS9XEwLG9qKBcgwMmZGSzU/s594/1350_From%20a%20Speculum%20humanae%20salvationis_German%20(Franconian),%20c.%201350_Berlin,%20Staatsbibliothek_MS%20lat.%20fol.%20329,%20fol.%2022v-23r-%60.png" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="215" data-original-width="594" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHb72gGMLojjNKIiWR2l2ffMLwsAcUobJvYCk1xsR3D-dT1fxQg4323ts7hdxtZ7mcyYgCNNZ3AS7EmElTQ0_fRJSUBkTmaAgIa-jIiG7BaRpn3iAUpd_PwYFl2ibRc3HXjZhCdbpfUYDWarVWUHisxx0egqKKWy0zNhCWTtS9XEwLG9qKBcgwMmZGSzU/w640-h232/1350_From%20a%20Speculum%20humanae%20salvationis_German%20(Franconian),%20c.%201350_Berlin,%20Staatsbibliothek_MS%20lat.%20fol.%20329,%20fol.%2022v-23r-%60.png" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Christ Carrying the Cross, The Sacrifice of Isaac, The Murder of the Vineyard Owner's Son and the Spies Bearing the Grapes of Canaan<br />From a<u><i> Speculum humanae salvationis</i></u><br />German (Franconian), c. 1350<br />Berlin, Staatsbibliothek<br />MS lat. fol. 329, fol. 22v-23r</span></td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4UB7fHZ0E2tZXBX6Plw3zAasrZfx-GIr0kTtMLblM6dN8rqzLvvGhBcsilv9O3nfOyOU3GqpF7wiDqkK0nT4PjFULg0ZC11iD6nsKRAjFGshlEO7EqRTEpqWKRsrwxxqZNSt_oOyFMWDnf8xCPjvANtbiyUpsPNUt4RyOjscOYYd1cSPX2-0tUT_8kNY/s632/1350_From%20a%20Speculum%20humanae%20salvationis_German,%20c.%201350-1400_London,%20British%20Library_MS%20Arundel%20120,%20fol.%2026r.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="332" data-original-width="632" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4UB7fHZ0E2tZXBX6Plw3zAasrZfx-GIr0kTtMLblM6dN8rqzLvvGhBcsilv9O3nfOyOU3GqpF7wiDqkK0nT4PjFULg0ZC11iD6nsKRAjFGshlEO7EqRTEpqWKRsrwxxqZNSt_oOyFMWDnf8xCPjvANtbiyUpsPNUt4RyOjscOYYd1cSPX2-0tUT_8kNY/w640-h336/1350_From%20a%20Speculum%20humanae%20salvationis_German,%20c.%201350-1400_London,%20British%20Library_MS%20Arundel%20120,%20fol.%2026r.jpg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Murder of the Son of the Vineyard Owner and the Spies Bearing the Grapes of Canaan<br />From a <i><u>Speculum humanae salvationis</u></i><br />German, c. 1350-1400<br />London, British Library<br />MS Arundel 120, fol. 26r</span></td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; line-height: 107%;"><span style="font-size: medium; mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimskp872o_hopgj1K7rzZm_iFQvBeCygv4zE30S5apnj240ol0ZXC4gC7sBnGW4zBNg1KqkbCpyPpF-a1mDNhf94udr_kV8Q-HrzOxirso5oBY2rsRCe_wJzk1JjSLZK3irWRh3G2__7B49Nsghp31-OCx6C-uEfUVBrYUURY13WLwIx7GN6GZIoW3NuU/s796/1400_From%20a%20Speculum%20humanae%20salvationis_German,%20c.%201400=1450_The%20Hague,%20Meermano%20Museum_MS%20RMMW%2010%20C%2023,%20fol.%2026r.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="796" data-original-width="684" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimskp872o_hopgj1K7rzZm_iFQvBeCygv4zE30S5apnj240ol0ZXC4gC7sBnGW4zBNg1KqkbCpyPpF-a1mDNhf94udr_kV8Q-HrzOxirso5oBY2rsRCe_wJzk1JjSLZK3irWRh3G2__7B49Nsghp31-OCx6C-uEfUVBrYUURY13WLwIx7GN6GZIoW3NuU/w550-h640/1400_From%20a%20Speculum%20humanae%20salvationis_German,%20c.%201400=1450_The%20Hague,%20Meermano%20Museum_MS%20RMMW%2010%20C%2023,%20fol.%2026r.jpg" width="550" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">The Tenants Murder the Son of the Owner of the Vineyard<br />From a <u><i>Speculum humanae salvationis</i></u><br />German, c. 1400-1450<br />The Hague, Meermano Museum<br />MS RMMW 10 C 23, fol. 26r</span></td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZv2jSAyA_LH0HekufuHKWjcOi3maLnDeR622j8clA5d198iVFcXtDkXPV8LRj1y9iw-mfJHtFaUHhF-SROmtRvOAM2Eazu7QfsKlCKr_Ugb8WQUV81d91OneHnO7fV62rzecuWvZzziLf_HrtbQM_r2dYv-UQdPWJyzSQTDrfRfWmMKULNi_fsoIBvCo/s653/1400_From%20a%20Speculum%20humanae%20salvationis_German,%20Early%2015th%20Century_Neustift%20bei%20Brixen,%20Stiftsbibliothek_MS%20Cod.%20166,%20fol.%2025r.png" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="653" data-original-width="527" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZv2jSAyA_LH0HekufuHKWjcOi3maLnDeR622j8clA5d198iVFcXtDkXPV8LRj1y9iw-mfJHtFaUHhF-SROmtRvOAM2Eazu7QfsKlCKr_Ugb8WQUV81d91OneHnO7fV62rzecuWvZzziLf_HrtbQM_r2dYv-UQdPWJyzSQTDrfRfWmMKULNi_fsoIBvCo/w516-h640/1400_From%20a%20Speculum%20humanae%20salvationis_German,%20Early%2015th%20Century_Neustift%20bei%20Brixen,%20Stiftsbibliothek_MS%20Cod.%20166,%20fol.%2025r.png" width="516" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">The Tenants Murder the Son of the Vineyard Owner<br />From a <u><i>Speculum humanae salvationis</i></u><br />German, Early 15th Century<br />Neustift bei Brixen, Stiftsbibliothek<br />MS Cod. 166, fol. 25r</span></td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJpa4P9o9DFW2VzDCukVNjzHrwGMwB3XSxviCTwWN-EtO-LjGI4KyAQKSxyvqwu65bGZg12hN6gWwAPVJHRBB55wTMTZ7DGsEIWO8kifm3uX8KSPtCHAQzY7aU6UFQFh-evwzqaHGk87RjhHBmFSDeRP8fDO6jvfh9-qfGZ2NPN3fWTSpj5RCiAzKKJDk/s599/1450_From%20a%20Speculum%20humanae%20salvationis_German%20(Cologne),%20c.%201450_The%20Hague,%20Meermano%20Museum_MS%20RMMW%2010%20B%2034,%20fol.%2023r.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="529" data-original-width="599" height="566" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJpa4P9o9DFW2VzDCukVNjzHrwGMwB3XSxviCTwWN-EtO-LjGI4KyAQKSxyvqwu65bGZg12hN6gWwAPVJHRBB55wTMTZ7DGsEIWO8kifm3uX8KSPtCHAQzY7aU6UFQFh-evwzqaHGk87RjhHBmFSDeRP8fDO6jvfh9-qfGZ2NPN3fWTSpj5RCiAzKKJDk/w640-h566/1450_From%20a%20Speculum%20humanae%20salvationis_German%20(Cologne),%20c.%201450_The%20Hague,%20Meermano%20Museum_MS%20RMMW%2010%20B%2034,%20fol.%2023r.jpg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">The Tenants Murder the Heir of the Vineyard<br />From a <u><i>Speculum humanae salvationis</i></u><br />German (Cologne), c. 1450<br />The Hague, Meermano Museum<br />MS RMMW 10 B 34, fol. 23r</span></td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="font-size: medium;"><span style="background-color: white; color: #363936; font-family: Roboto;">Ultimately, however, the book proved so
popular that more expensive editions were produced.</span><span style="color: #363936; font-family: Roboto; mso-spacerun: yes;"> </span><span style="background-color: white; color: #363936; font-family: Roboto;">By the late fifteenth century luxury editions
were often produced by noted illuminators.</span></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5_4P5A2mjIGw59EFFj1IW1840zfV6sZhwWzgJ7-B-s6gSKwQiTNh8lr5xEodYUKf8bFRXrRYqZsX1PZAuA4NDY1CHwxIKC59aUr8UmjNXmLXiVEjNVs6Zh1QAOXTnEmUOgd-d1h6_1OCZxxKLfrV4kYwKBCStARM3E0Fg_cJs2H2PW4ALaBkolObQg4c/s862/1400_From%20a%20Speculum%20humanae%20salvationis_Swiss%20(Basel),%20Early%2015th%20Century_Paris,%20BNF_MS%20Latin%20512,%20fol.%2024r01.jpeg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="560" data-original-width="862" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5_4P5A2mjIGw59EFFj1IW1840zfV6sZhwWzgJ7-B-s6gSKwQiTNh8lr5xEodYUKf8bFRXrRYqZsX1PZAuA4NDY1CHwxIKC59aUr8UmjNXmLXiVEjNVs6Zh1QAOXTnEmUOgd-d1h6_1OCZxxKLfrV4kYwKBCStARM3E0Fg_cJs2H2PW4ALaBkolObQg4c/w640-h416/1400_From%20a%20Speculum%20humanae%20salvationis_Swiss%20(Basel),%20Early%2015th%20Century_Paris,%20BNF_MS%20Latin%20512,%20fol.%2024r01.jpeg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">The Murder of the Heir and the Spies Returning with the Grapes of Canaan<br />From a <u><i>Speculum humanae salvationis</i></u><br />Swiss (Basel), Early 15th Century<br />Paris, Bibliotheque nationale de France<br />MS Latin 512, fol. 24r01</span></td></tr></tbody></table><span style="font-size: medium;"><br /><span style="background-color: white; color: #363936; font-family: Roboto;"><br /></span></span><p></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgINp-ssLcXIS0LKsbP00QTCaLSORbDWrSH7Pro3fz57SD_6AitUb3P0MTEcQ_gFUoikBGuh4TX_qEkI2wSiGj_kLN1K4kZo4gZ1JPLIitSyxmmEdAVO6Zo9kLixmRlMK2dwqUgZFXjWPa_2AMIu-mx40Vc6yqiITtVX82zfqloTfp34TSvfQYU5yD8irI/s654/1400_Hermann%20Wynrich%20von%20Wesel_From%20a%20Speculum%20humanae%20salvationis_German,%20Early%2015th%20Century_Vatican%20City,%20Biblioteca%20Apostolica%20Vaticana_MS%20Pal.%20lat.%20413,%20fol.%2026r.png" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="654" data-original-width="469" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgINp-ssLcXIS0LKsbP00QTCaLSORbDWrSH7Pro3fz57SD_6AitUb3P0MTEcQ_gFUoikBGuh4TX_qEkI2wSiGj_kLN1K4kZo4gZ1JPLIitSyxmmEdAVO6Zo9kLixmRlMK2dwqUgZFXjWPa_2AMIu-mx40Vc6yqiITtVX82zfqloTfp34TSvfQYU5yD8irI/w458-h640/1400_Hermann%20Wynrich%20von%20Wesel_From%20a%20Speculum%20humanae%20salvationis_German,%20Early%2015th%20Century_Vatican%20City,%20Biblioteca%20Apostolica%20Vaticana_MS%20Pal.%20lat.%20413,%20fol.%2026r.png" width="458" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Hermann Wynrich von Wesel, The Tenants Murder the Heir<br />From a <u><i>Speculum humanae salvationis</i></u><br />German, Early 15th Century<br />Vatican City, Biblioteca Apostolica Vaticana<br />MS Pal. lat. 413, fol. 26r</span></td></tr></tbody></table><span style="font-size: medium;"><br /><span style="background-color: white; color: #363936; font-family: Roboto;"><br /></span></span><p></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg30F8kIs8UKfswmgwBvk-0TJQW8R4f10PCq3nevFbkVDVoBhBg-7DiNBnbgVseZwLaD84hw_H8EorHQD38aW8h6iS9bvUx0LKinD4_uWhci8usPbk-3RmlLx_VE-a2yQIRO1hiXU_cmI5D1Alu1j1PXbZtNSGE0LO7R34MfsWEQi6fZMxya7N7it7RkDM/s649/1420_From%20a%20Speculum%20humanae%20salvationis_Czech,%20c.%201420_Prague,%20Narodni%20Muzeum_MS%20III.B.10,%20fol.%2026v.png" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="640" data-original-width="649" height="632" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg30F8kIs8UKfswmgwBvk-0TJQW8R4f10PCq3nevFbkVDVoBhBg-7DiNBnbgVseZwLaD84hw_H8EorHQD38aW8h6iS9bvUx0LKinD4_uWhci8usPbk-3RmlLx_VE-a2yQIRO1hiXU_cmI5D1Alu1j1PXbZtNSGE0LO7R34MfsWEQi6fZMxya7N7it7RkDM/w640-h632/1420_From%20a%20Speculum%20humanae%20salvationis_Czech,%20c.%201420_Prague,%20Narodni%20Muzeum_MS%20III.B.10,%20fol.%2026v.png" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">The Tenants Murder the Heir<br />From a <u><i>Speculum humanae salvationis</i></u><br />Czech, c. 1420<br />Prague, Narodni Muzeum<br />MS III.B.10, fol. 26v</span></td></tr></tbody></table><span style="font-size: medium;"><br /><span style="background-color: white; color: #363936; font-family: Roboto;"><br /></span></span><p></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHDVNTa0xAbHWeAUIIVIkb4ZmnxRPiGZL8ep81EGn4awnAv3p2X8yCzAz1QxczvkWVail0FHoO73Wj9tqcsiC3vfepBsliqkhbQxbzJAL9YfbnGrSWuyQFIqv33QuPvplgzEvBgEAiZ1-evUnqo_9t-i9FOSvSx7tiYS2UJVloIWaeArKGYQI0YpQAAs4/s800/1420_From%20a%20Speculum%20humanae%20salvationis_spanish,%20c.%201420-1440_Madrid,%20Biblioteca%20Nacional_MS%20B.%2019%20(Vit%2025-7),%20fol.%2022r.jpeg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="398" data-original-width="800" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHDVNTa0xAbHWeAUIIVIkb4ZmnxRPiGZL8ep81EGn4awnAv3p2X8yCzAz1QxczvkWVail0FHoO73Wj9tqcsiC3vfepBsliqkhbQxbzJAL9YfbnGrSWuyQFIqv33QuPvplgzEvBgEAiZ1-evUnqo_9t-i9FOSvSx7tiYS2UJVloIWaeArKGYQI0YpQAAs4/w640-h318/1420_From%20a%20Speculum%20humanae%20salvationis_spanish,%20c.%201420-1440_Madrid,%20Biblioteca%20Nacional_MS%20B.%2019%20(Vit%2025-7),%20fol.%2022r.jpeg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">The Murder of the Heir and the Spies Bearing the Grapes of Canaan<br />From a <u><i>Speculum humanae salvationis</i></u><br />Spanish, c. 1420-1440<br />Madrid, Biblioteca Nacional<br />MS B. 19 (Vit 25-7), fol. 22r</span></td></tr></tbody></table><span style="font-size: medium;"><br /><span style="background-color: white; color: #363936; font-family: Roboto;"><br /></span></span><p></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQPdVP3xfjrlLarugbkPSl9BPzlQdekNkmKVhmB8Q0tQ1PQh9f9W1hNC3ccdA-ipmfd2RwzibZa09KLMvWl2v81s7CUF6-czZl936Hz6YpYLrpeEhTVqvsONLA0liIyo8SUkkLjBp599XDs9FPmBrao-kTnjkm7er15VG1lYkG2I1HsThDHznrmJSq0NE/s310/1425_From%20a%20Life%20of%20Christ_Austrian,%20c.%201425-1435_Vienna,%20Oesterreichische%20Nationalbibliothek_.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="310" data-original-width="297" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQPdVP3xfjrlLarugbkPSl9BPzlQdekNkmKVhmB8Q0tQ1PQh9f9W1hNC3ccdA-ipmfd2RwzibZa09KLMvWl2v81s7CUF6-czZl936Hz6YpYLrpeEhTVqvsONLA0liIyo8SUkkLjBp599XDs9FPmBrao-kTnjkm7er15VG1lYkG2I1HsThDHznrmJSq0NE/w613-h640/1425_From%20a%20Life%20of%20Christ_Austrian,%20c.%201425-1435_Vienna,%20Oesterreichische%20Nationalbibliothek_.jpg" width="613" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">The Tenants Attack the Owner's Servants and Murder His Son<br />From a <u><i>Vita Christi</i></u><br />Austrian, c. 1425-1435<br />Vienna, Oesterreichische Nationalbibliothek</span></td></tr></tbody></table><span style="font-size: medium;"><br /><span style="background-color: white; color: #363936; font-family: Roboto;"><br /></span></span><p></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf9AK-07g9P7mbl0ETNSdavFWb50uw_kvh-FxIjYH346tYSDicyr8g_VjGbZSqBlXuYFE6g_xJi8vIhpgsuncerP4WlPhNiIr9YMz-d867MOMymOKdn8honMHUDTFVpcGkhVZ2diakrP4x9QOZ38VhB04m8fzBnytO070K7S7d-Il65DC2bBQ9t41kdRI/s732/1450_Circle%20of%20the%20Coetivy%20Master_From%20a%20Speculum%20humanae%20salvationis_French%20(Paris),%20c.%201450-1460_Einsiedeln,%20Stiftsbibliothek_MS%20Cod.%20206%20(49),%20fol.%2045v.png" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="732" data-original-width="624" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf9AK-07g9P7mbl0ETNSdavFWb50uw_kvh-FxIjYH346tYSDicyr8g_VjGbZSqBlXuYFE6g_xJi8vIhpgsuncerP4WlPhNiIr9YMz-d867MOMymOKdn8honMHUDTFVpcGkhVZ2diakrP4x9QOZ38VhB04m8fzBnytO070K7S7d-Il65DC2bBQ9t41kdRI/w546-h640/1450_Circle%20of%20the%20Coetivy%20Master_From%20a%20Speculum%20humanae%20salvationis_French%20(Paris),%20c.%201450-1460_Einsiedeln,%20Stiftsbibliothek_MS%20Cod.%20206%20(49),%20fol.%2045v.png" width="546" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Circle of the Coetivy Master, The Tenants Murder the Heir<br />From a <u><i>Speculum humanae salvationis</i></u><br />French (Paris), c. 1450-1460<br />Einsiedeln, Stiftsbibliothek<br />MS Cod. 206 (49), fol. 45v</span></td></tr></tbody></table><span style="font-size: medium;"><br /><span style="background-color: white; color: #363936; font-family: Roboto;"><br /></span></span><p></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs9deH5XbwFbhgRk-dqvGaBPCRA46WAiRrJZZLe8yXtKRDwjFC1rXCBxJmGuVC2L_2lUn7e__YXOeyiHdxcE1rUMW7ISuLHOVh-rsN54O8bv_0X-yjLfBfBCa_AOowpQIj1T9gHpQ-MjSB1fmWQYJCWzKEyNCDNClh4wmXDJmd_FJ2BO-J3yIrANJ4yX8/s723/1450_Circle%20of%20the%20Master%20of%20Mansel_From%20a%20Speculum%20humanae%20salvationis_French,%20c.%201450_Saint-Omer,%20Bibliotheque%20municipale_MS%20183,%20fol.%2022v.png" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="723" data-original-width="663" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs9deH5XbwFbhgRk-dqvGaBPCRA46WAiRrJZZLe8yXtKRDwjFC1rXCBxJmGuVC2L_2lUn7e__YXOeyiHdxcE1rUMW7ISuLHOVh-rsN54O8bv_0X-yjLfBfBCa_AOowpQIj1T9gHpQ-MjSB1fmWQYJCWzKEyNCDNClh4wmXDJmd_FJ2BO-J3yIrANJ4yX8/w586-h640/1450_Circle%20of%20the%20Master%20of%20Mansel_From%20a%20Speculum%20humanae%20salvationis_French,%20c.%201450_Saint-Omer,%20Bibliotheque%20municipale_MS%20183,%20fol.%2022v.png" width="586" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Circle of the Master of Mansel, The Tenants Murder the Heir<br />From a <u><i>Speculum humanae salvationis</i></u><br />French, c. 1450<br />Saint-Omer, Bibliotheque municipale<br />MS 183, fol. 22v</span></td></tr></tbody></table><span style="font-size: medium;"><br /><span style="background-color: white; color: #363936; font-family: Roboto;"><br /></span></span><p></p><p class="MsoNormal"><span style="background-color: white; color: #363936; font-family: Roboto; font-size: medium;"><br /></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC8E9n8rTR2HVjuEtVpCoDWXzyg23uxgOEFsrdgol4MeE5gFCIZV6wqIul4r3ZeCPeAhpEQ31SxyXOxa-GUNMV5RynPmq63CyUw9z7IuT7cFat5-nDZRQOUKbVIB4MmiT8pfUYZLZrnSSJ79yfOks3_juZxEIkytNrUMnHcBOfGWPc3x-TCFE55F2VfjI/s1056/1450_From%20a%20Speculum%20humanae%20salvationis_Dutch,%20c.%201450-1500_Cambridge%20(UK),%20Cambridge%20University%20Library_MS%20Add.%206447,%20fol.%2027r%20.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="536" data-original-width="1056" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC8E9n8rTR2HVjuEtVpCoDWXzyg23uxgOEFsrdgol4MeE5gFCIZV6wqIul4r3ZeCPeAhpEQ31SxyXOxa-GUNMV5RynPmq63CyUw9z7IuT7cFat5-nDZRQOUKbVIB4MmiT8pfUYZLZrnSSJ79yfOks3_juZxEIkytNrUMnHcBOfGWPc3x-TCFE55F2VfjI/w640-h324/1450_From%20a%20Speculum%20humanae%20salvationis_Dutch,%20c.%201450-1500_Cambridge%20(UK),%20Cambridge%20University%20Library_MS%20Add.%206447,%20fol.%2027r%20.jpg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">The Murder of the Heir and the Spies Carrying the Grapes of Canaan<br />From a <u><i>Speculum humanae salvationis</i></u><br />Dutch, c. 1450-1500<br />Cambridge (UK), Cambridge University Library<br />MS Add. 6447, fol. 27r </span></td></tr></tbody></table><span style="font-size: medium;"><br /><span style="background-color: white; color: #363936; font-family: Roboto;"><br /></span></span><p></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxntHy8kLKseFwL8Ogjvydu7lL7Ch2hE7gOVO9dwEx8PpnrbxY_08DpWtVvmIsOO9462uu5lHAi97w6tb7AuPyOnRorPrSdVCFCYf8obplzNk7m6axFZSMK2B-BsHKlSPbP8801LbGu16rwbU5dfhFNLGjkN_j-XIdh2XIw6XGXBEb2Hne4XuoJk7lGJw/s549/1460_From%20a%20Speculum%20humanae%20salvationis_Flemish%20(Bruges),%20c.%201460_Chicago,%20Newberry%20Library_MS%2040,%20fol.%2023r.png" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="548" data-original-width="549" height="638" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxntHy8kLKseFwL8Ogjvydu7lL7Ch2hE7gOVO9dwEx8PpnrbxY_08DpWtVvmIsOO9462uu5lHAi97w6tb7AuPyOnRorPrSdVCFCYf8obplzNk7m6axFZSMK2B-BsHKlSPbP8801LbGu16rwbU5dfhFNLGjkN_j-XIdh2XIw6XGXBEb2Hne4XuoJk7lGJw/w640-h638/1460_From%20a%20Speculum%20humanae%20salvationis_Flemish%20(Bruges),%20c.%201460_Chicago,%20Newberry%20Library_MS%2040,%20fol.%2023r.png" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">The Tenants Murder the Son of the Vineyard Owner<br />From a <i><u>Speculum humanae salvationis</u></i><br />Flemish (Bruges), c. 1460<br />Chicago, Newberry Library<br />MS 40, fol. 23r</span></td></tr></tbody></table><span style="font-size: medium;"><br /><span style="background-color: white; color: #363936; font-family: Roboto;"><br /></span></span><p></p><p class="MsoNormal"><span style="background-color: white; color: #363936; font-family: Roboto; font-size: medium;"><br /></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFJgUzQTsdquNRtcmNHCw8PRENon8Db26MvEaNJEGMD36onedWvbqAn6bf9bjJ30pL9c_3GqJ_cBGuDKKqUm8734gr_TawENASg9P8peWt4UXPpi86kw-ip3OpLgA1CGNM0GbfRvsKamNpUYVN7COfEuQfwcsO7NDRrtQqLecRD86NWcgmSe1l5i9GbX4/s2690/1475_Jean%20%20Colombe%20&%20Workshop_From%20Vie%20de%20Jesus-Christ%20by%20Ludolphe%20de%20Saxe_French%20(Bourges),%20c.%201475-1500_Paris,%20BNF_MS%20FRancais%20178,%20fol.%20122r.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="2415" data-original-width="2690" height="574" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFJgUzQTsdquNRtcmNHCw8PRENon8Db26MvEaNJEGMD36onedWvbqAn6bf9bjJ30pL9c_3GqJ_cBGuDKKqUm8734gr_TawENASg9P8peWt4UXPpi86kw-ip3OpLgA1CGNM0GbfRvsKamNpUYVN7COfEuQfwcsO7NDRrtQqLecRD86NWcgmSe1l5i9GbX4/w640-h574/1475_Jean%20%20Colombe%20&%20Workshop_From%20Vie%20de%20Jesus-Christ%20by%20Ludolphe%20de%20Saxe_French%20(Bourges),%20c.%201475-1500_Paris,%20BNF_MS%20FRancais%20178,%20fol.%20122r.jpg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Jean Colombe & Workshop, The Murder of the Son of the Vineyard Owner<br />From a <u><i>Vie de Jesus-Christ </i></u>by Ludolph of Saxony<br />French (Bourges), c. 1475-1500<br />Paris, Bibliotheque nationale de France<br />MS Francais 178, fol. 122r</span></td></tr></tbody></table><span style="font-size: medium;"><br /><span style="background-color: white; color: #363936; font-family: Roboto;"><br /></span></span><p></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTOpM3GXSC4fmKuIn_gdvSrZzquLN5QbJubdP6oyD43KKJnCGB2_MFqywtTQGks8_lJXvF5XF9fuh6h-q3CYzuIq6Wzy4JPZ0sEEEebWNh8EYxM05tTmL1hItqwGINTqmuZoS3ZB7meJ9svtfk-0Pq0shI-P_btd15yQAkw4H3YExGtpyrfU8Xm5mQx4w/s661/1480_From%20a%20Speculum%20humanae%20salvationis_French,%20c.%201480_Saint-Omer,%20Bibliotheque%20municipale_MS%20184,%20fol.%2015r.png" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="661" data-original-width="573" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTOpM3GXSC4fmKuIn_gdvSrZzquLN5QbJubdP6oyD43KKJnCGB2_MFqywtTQGks8_lJXvF5XF9fuh6h-q3CYzuIq6Wzy4JPZ0sEEEebWNh8EYxM05tTmL1hItqwGINTqmuZoS3ZB7meJ9svtfk-0Pq0shI-P_btd15yQAkw4H3YExGtpyrfU8Xm5mQx4w/w554-h640/1480_From%20a%20Speculum%20humanae%20salvationis_French,%20c.%201480_Saint-Omer,%20Bibliotheque%20municipale_MS%20184,%20fol.%2015r.png" width="554" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">The Murder of the Heir of the Vineyard<br />From a <u><i>Speculum humanae salvationis</i></u><br />French, c. 1480<br />Saint-Omer, Bibliotheque municipale<br />MS 184, fol. 15r</span></td></tr></tbody></table><span style="font-size: medium;"><br /><span style="background-color: white; color: #363936; font-family: Roboto;"><br /></span></span><p></p><p class="MsoNormal"><span style="background-color: white; color: #363936; font-family: Roboto; font-size: medium;"><br /></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi16QWPbqbiJuHTDp8yRWR5OK5jryskfKHFLGdqiL0gY08dtOqQu-QJiQ381naBbkPy4-2O0X_OuiFWGbkrqRR6k_5CElPL5qKkRfXDGcywlewPZOYdq4NtedH4Pyt0JKgZLYoqktVyxYBUOpDedyJoiY2tZVaf7yJxtoG6fmpctQQK4bFOrdRgKc_8i6U/s3897/1485_Master%20of%20Edward%20IV_From%20Miroir%20de%20la%20salvation%20humaine_Flemish%20(Bruges),%20c.%201485_Paris,%20BNF_MS%20Francais%206275,%20fol.%2023v.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="1457" data-original-width="3897" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi16QWPbqbiJuHTDp8yRWR5OK5jryskfKHFLGdqiL0gY08dtOqQu-QJiQ381naBbkPy4-2O0X_OuiFWGbkrqRR6k_5CElPL5qKkRfXDGcywlewPZOYdq4NtedH4Pyt0JKgZLYoqktVyxYBUOpDedyJoiY2tZVaf7yJxtoG6fmpctQQK4bFOrdRgKc_8i6U/w640-h240/1485_Master%20of%20Edward%20IV_From%20Miroir%20de%20la%20salvation%20humaine_Flemish%20(Bruges),%20c.%201485_Paris,%20BNF_MS%20Francais%206275,%20fol.%2023v.jpg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Master of Edward IV, Jesus Carries the Cross and the Sacrifice of Isaac<br />From <u><i>Miroir de la salvation humaine</i></u><br />Flemish (Bruges), c. 1485<br />Paris, Bibliotheque nationale de France<br />MS Francais 6275, fol. 23v<br />This is the left hand page of a two page spread.</span></td></tr></tbody></table><p></p><p class="MsoNormal"><span style="background-color: white; color: #363936; font-family: Roboto; font-size: medium;"><br /></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCjpgiQNQsyiOBY0mhmjQW4-fpGJo0DidtYbFYzk-ei7S-awxrLsq3NMi8893rGIIbYeSc2mJEaXw-5tWLOxJdH6zSKxvMMxz2LrxAlUiCtTAqzHZUpLBn72wRlgrl4osSMsxEHE6IZxvCrsLRQDLewG0rxAyTC2xJnXXlbcffAG7hBO1rJ9JBd6Z0YVM/s3893/1485_Master%20of%20Edward%20IV_From%20Miroir%20de%20la%20salvation%20humaine_Flemish%20(Bruges),%20c.%201485_Paris,%20BNF_MS%20Francais%206275,%20fol.%2024r.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="1463" data-original-width="3893" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCjpgiQNQsyiOBY0mhmjQW4-fpGJo0DidtYbFYzk-ei7S-awxrLsq3NMi8893rGIIbYeSc2mJEaXw-5tWLOxJdH6zSKxvMMxz2LrxAlUiCtTAqzHZUpLBn72wRlgrl4osSMsxEHE6IZxvCrsLRQDLewG0rxAyTC2xJnXXlbcffAG7hBO1rJ9JBd6Z0YVM/w640-h240/1485_Master%20of%20Edward%20IV_From%20Miroir%20de%20la%20salvation%20humaine_Flemish%20(Bruges),%20c.%201485_Paris,%20BNF_MS%20Francais%206275,%20fol.%2024r.jpg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Master of Edward IV, The Murder of the Heir and the Spies Carrying the Grapes of Canaan<br />From <u><i>Miroir de la salvation humaine</i></u><br />Flemish (Bruges), c. 1485<br />Paris, Bibliotheque nationale de France<br />MS Francais 6275, fol. 24r<br />This is the right hand page of the two page spread.</span></td></tr></tbody></table><span style="font-size: medium;"><br /><span style="background-color: white; color: #363936; font-family: Roboto;"><br /></span></span><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPWVxtUmM6BgzdIenSMjaN-vPT2NAI2fWGyjr_f5kzgeITCWfh-RzM9ahcwTG6z_vm3oANd9A3ZOjhZKF1Hm3YNnJ1bZECVRBzjI_Q8VeO5BhFxvqU3sCCL3fbvY9a88ez9VVvKY7EQBjGUlW7iVfGYB6YxqgIgsF6A5dw8HeBMoMWPAMMiFB6rrsmr9o/s738/1500_Circle%20of%20the%20Master%20of%20James%20IV%20of%20Scotland_From%20a%20Speculum%20humanae%20salvationis_Flemish,%20c.%201500_Chantilly,%20Musee%20Conde_MS%20139,%20fol.%2024r.png" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="738" data-original-width="673" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPWVxtUmM6BgzdIenSMjaN-vPT2NAI2fWGyjr_f5kzgeITCWfh-RzM9ahcwTG6z_vm3oANd9A3ZOjhZKF1Hm3YNnJ1bZECVRBzjI_Q8VeO5BhFxvqU3sCCL3fbvY9a88ez9VVvKY7EQBjGUlW7iVfGYB6YxqgIgsF6A5dw8HeBMoMWPAMMiFB6rrsmr9o/w584-h640/1500_Circle%20of%20the%20Master%20of%20James%20IV%20of%20Scotland_From%20a%20Speculum%20humanae%20salvationis_Flemish,%20c.%201500_Chantilly,%20Musee%20Conde_MS%20139,%20fol.%2024r.png" width="584" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Circle of the Master of James IV of Scotland, The Murder of the Heir<br />From a <u><i>Speculum humanae salvationis</i></u><br />Flemish, c. 1500<br />Chantilly, Musee Conde<br />MS 139, fol. 24r</span></td></tr></tbody></table><span style="font-size: medium;"><br /></span><p class="MsoNormal"><span style="background-color: white; color: #363936; font-family: Roboto; font-size: medium;">And then, everything changed with the
development of the printing press during the fifteenth century.</span></p>
<p class="MsoNormal"><span style="font-size: medium;"><span style="background: white; color: #363936; font-family: Roboto; line-height: 107%;"><o:p> </o:p></span><span style="background-color: white; color: #363936; font-family: Roboto;">As the technology of printing advanced
and as printed illustrations were added to printed texts the variety found in
the designs that had characterized the era of hand drawn illumination was
replaced by a more standardized set of images.</span><span style="color: #363936; font-family: Roboto; mso-spacerun: yes;">
</span><span style="background-color: white; color: #363936; font-family: Roboto;">One can see this developing in the late fifteenth century as the
printing press took over more and more book production, using what was already
available as a model.</span><span style="color: #363936; font-family: Roboto; mso-spacerun: yes;"> </span><span style="background-color: white; color: #363936; font-family: Roboto;">By around 1500
illuminated books were no longer being produced in any quantity. Rather the same books were being produced using moveable type with woodcut illustrations, often hand colored.</span></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0Z9K5Kcx0f1ygXMRabC-hU7RB_ynAonJuXnVx5ZVJLrT365UDJXyRy4ZEXXnLPRAGLoEYRU6bj66ijZIdj4-PDA9RWO6Q1VFOAe57FnuHKSwTPc4Kfs5z7manp5LkmMYp5RwLM5L4UX0GGEXT00LUo_9SLBTA4dzSB5FlTu6cPENdlndDPI3chEXmaz4/s373/1473_From%20Speculum%20humanae%20salvationis_German,%201473_Washington,%20Library%20of%20Congress_MS%20Incun.%201473%20.S7%20BT750,%20p.%20250.png" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="244" data-original-width="373" height="418" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0Z9K5Kcx0f1ygXMRabC-hU7RB_ynAonJuXnVx5ZVJLrT365UDJXyRy4ZEXXnLPRAGLoEYRU6bj66ijZIdj4-PDA9RWO6Q1VFOAe57FnuHKSwTPc4Kfs5z7manp5LkmMYp5RwLM5L4UX0GGEXT00LUo_9SLBTA4dzSB5FlTu6cPENdlndDPI3chEXmaz4/w640-h418/1473_From%20Speculum%20humanae%20salvationis_German,%201473_Washington,%20Library%20of%20Congress_MS%20Incun.%201473%20.S7%20BT750,%20p.%20250.png" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">The Murder of the Heir<br />From a <u><i>Speculum humanae salvationis</i></u><br />German, 1473<br />Washington, Library of Congress<br />MS Incun. 1473 .S7 BT750, p. 250</span></td></tr></tbody></table><span style="font-size: medium;"><br /><span style="background: white; color: #363936; font-family: Roboto; line-height: 107%;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"><br /></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxCUAxYmJXPjVYaasinluW8P4Kxo_RjuLJCXJeS5NfSF_vweTgtkYjN4BnuthfCvDnKIEvUJnXpePg7IDcAUZgXfbgUJ_5MN_syeu9_5IneApeqB7Dqr0DPBQOal93COBBI6ypVuaO686RouHcnYnwNs8r-XwKXWr3Z6R1nseJXEdVvybEj8axvpiGVfA/s673/1492_From%20a%20Spiegel%20menschlicher%20behaltnuss_German%20(Augsburg),%201492_Munich,%20Bayerische%20Staatsbiblithek_%23%20INk%20S-514-GW%20M43008,%20p.%20124_.png" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="673" data-original-width="509" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxCUAxYmJXPjVYaasinluW8P4Kxo_RjuLJCXJeS5NfSF_vweTgtkYjN4BnuthfCvDnKIEvUJnXpePg7IDcAUZgXfbgUJ_5MN_syeu9_5IneApeqB7Dqr0DPBQOal93COBBI6ypVuaO686RouHcnYnwNs8r-XwKXWr3Z6R1nseJXEdVvybEj8axvpiGVfA/w484-h640/1492_From%20a%20Spiegel%20menschlicher%20behaltnuss_German%20(Augsburg),%201492_Munich,%20Bayerische%20Staatsbiblithek_%23%20INk%20S-514-GW%20M43008,%20p.%20124_.png" width="484" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">The Murder of the Heir<br />From a <u><i>Spiegel menschlicher behaltnuss</i></u><br />German (Augsburg), 1492<br />Munich, Bayerische Staatsbiblithek<br /># INk S-514-GW M43008, p. 124</span></td></tr></tbody></table><span style="font-size: medium;"><br /></span><p class="MsoNormal"><span style="font-size: medium;"><br /><span style="background: white; color: #363936; font-family: Roboto; line-height: 107%;"><br /></span></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN9ZD0VBFo3XV-aE5P8tnyR6Qcw3POWtwy-fAvIKC8aXpRWJXWckPhUCiEG2M2YKNunckjcPaX_QJnw7KMwTvRUxHV4lGsrSHjhP_IK-MUZyzvIlJFbIxMLrEc2JtoSRoVOzol4yMkR37pk0MuqYnFACurQJNtu7dwa4t2jwYHhsj7wED2eAT1QfsaJK0/s1161/1493_From%20Le%20Mirouer%20de%20la%20redemption%20de%20l'umain%20lignage_French%20(Paris),%20c.%201493-1494_Paris,%20BNF_%23VELINS-906,%20fol.%2098v.jpeg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="1161" data-original-width="801" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN9ZD0VBFo3XV-aE5P8tnyR6Qcw3POWtwy-fAvIKC8aXpRWJXWckPhUCiEG2M2YKNunckjcPaX_QJnw7KMwTvRUxHV4lGsrSHjhP_IK-MUZyzvIlJFbIxMLrEc2JtoSRoVOzol4yMkR37pk0MuqYnFACurQJNtu7dwa4t2jwYHhsj7wED2eAT1QfsaJK0/w442-h640/1493_From%20Le%20Mirouer%20de%20la%20redemption%20de%20l'umain%20lignage_French%20(Paris),%20c.%201493-1494_Paris,%20BNF_%23VELINS-906,%20fol.%2098v.jpeg" width="442" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">The Sacrifice of Isaac and the Murder of the Heir to the Vineyard<br />From <u><i>Le Mirouer de la redemption de l'umain lignage</i></u><br />French (Paris), c. 1493-1494<br />Paris, Bibliotheque nationale de France<br />#VELINS-906, fol. 98v<br />This is the left hand page of a two page spread.<br /></span></td></tr></tbody></table><span style="font-size: medium;"><br /><span style="background: white; color: #363936; font-family: Roboto; line-height: 107%;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"><br /></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEg-KFPGKhTUCIuu3BS7qQU7O4Cq2ZyLXgVe6-Rn1KStCvScTUIX24T3wgSw2oPDXcLVvtdiAFKI_5-cx72WyALSPdPGVD9Ov8XzX614cIDgAK5Y8BUlVqfaswveLMCgkFhWLwGqIFPRiyM6px-6lIXa2TgDP9UY7WPa58R08Dzdm1bG5aUzTMaUrGSSQ/s1111/1493_From%20Le%20Mirouer%20de%20la%20redemption%20de%20l'umain%20lignage_French%20(Paris),%20c.%201493-1494_Paris,%20BNF_%23VELINS-906,%20fol.%2099r.jpeg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="1111" data-original-width="799" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEg-KFPGKhTUCIuu3BS7qQU7O4Cq2ZyLXgVe6-Rn1KStCvScTUIX24T3wgSw2oPDXcLVvtdiAFKI_5-cx72WyALSPdPGVD9Ov8XzX614cIDgAK5Y8BUlVqfaswveLMCgkFhWLwGqIFPRiyM6px-6lIXa2TgDP9UY7WPa58R08Dzdm1bG5aUzTMaUrGSSQ/w460-h640/1493_From%20Le%20Mirouer%20de%20la%20redemption%20de%20l'umain%20lignage_French%20(Paris),%20c.%201493-1494_Paris,%20BNF_%23VELINS-906,%20fol.%2099r.jpeg" width="460" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">The Spies Bearing the Grapes of Canaan and the Crowning with Thorns<br />From Le Mirouer de la redemption de l'umain lignage<br />French (Paris), c. 1493-1494<br />Paris, Bibliotheque nationale de France<br />#VELINS-906, fol. 99r<br /></span><div style="text-align: left;"><span style="font-size: medium;">This is the right hand page of two (see above). It is unusual in that a different point in the Passion of Christ has been chosen. This uses the Crowning with Thorns and not the Carrying of the Cross.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br /><span style="background: white; color: #363936; font-family: Roboto; line-height: 107%;"><br /></span></span><p></p><h4 style="text-align: left;"><span style="background-color: white; color: #363936; font-family: Roboto; font-size: medium;">Printed Bibles</span></h4>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;">The earliest biblical illustrations for
printed books reveal their relationship to the earlier illustrations of the <i><u>Speculum</u></i>.<span style="mso-spacerun: yes;"> </span>They are virtually identical in content and
composition.<span style="mso-spacerun: yes;"> </span>However, growing
sophistication in the production of printed images soon resulted in much more
elaborately designed illustrations that reflected the advances in perspective,
landscape painting and figure painting. By the seventeenth century book
illustration had settled into being a form of art that was every bit as advanced
as painting, but with a price tag that more and more people could afford.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; line-height: 107%;"><span style="font-size: medium; mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-9S4-LSCO3D21cYEpMn0VdMnHJMg6AgoHHSE3EEVWu6pZaDslSHTjlEwekoKTHqR_WaE7PpyxPh719YSITbqCbsufIWJpiXMFsoKLThxJTZcdkzvcRpYij9j55KM58TapUN6LEerBqWGLOE4uU71R6o8TXadP-43yPJaE4SHQodanxKH4UXYqFEebP40/s553/1538_From%20a%20New%20Testament%20in%20French_Flemish,%201538_Amsterdam,%20Vrije%20Universiteit_Edtion%201538.NT.fre.MC.a.png" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="391" data-original-width="553" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-9S4-LSCO3D21cYEpMn0VdMnHJMg6AgoHHSE3EEVWu6pZaDslSHTjlEwekoKTHqR_WaE7PpyxPh719YSITbqCbsufIWJpiXMFsoKLThxJTZcdkzvcRpYij9j55KM58TapUN6LEerBqWGLOE4uU71R6o8TXadP-43yPJaE4SHQodanxKH4UXYqFEebP40/w640-h452/1538_From%20a%20New%20Testament%20in%20French_Flemish,%201538_Amsterdam,%20Vrije%20Universiteit_Edtion%201538.NT.fre.MC.a.png" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Murder of the Owner's Servants and Son<br />From a <u><i>New Testament</i></u> in French<br />Flemish, 1538<br />Amsterdam, Vrije Universiteit<br />Edtion 1538.NT.fre.MC.a</span></td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheC3DaIICH_TKvOqp5B-PCJcVEASAPlB8OmpW9yLyA3N1fZeIwDxbUZkxx7uOt0cUEBA9go3eJSANm6_7ga58sY5ncJbYZmE7zky2bfE7gvl3ATGkY2WS9Ve7KSgF92cr62-b9YmQrgU49DFO1RGELi1pn9wQHMJQCgY-TgaWIm6I695xGRXLIvJrtsI4/s1838/1549_Augustin%20Hirschvogel,%20The%20Parable%20of%20the%20Husbandman%20and%20the%20Vineyard_From%20Old%20and%20New%20Testaments_German,%201549_New%20York,%20Metropolitan%20Museum%20of%20Art.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="1480" data-original-width="1838" height="516" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheC3DaIICH_TKvOqp5B-PCJcVEASAPlB8OmpW9yLyA3N1fZeIwDxbUZkxx7uOt0cUEBA9go3eJSANm6_7ga58sY5ncJbYZmE7zky2bfE7gvl3ATGkY2WS9Ve7KSgF92cr62-b9YmQrgU49DFO1RGELi1pn9wQHMJQCgY-TgaWIm6I695xGRXLIvJrtsI4/w640-h516/1549_Augustin%20Hirschvogel,%20The%20Parable%20of%20the%20Husbandman%20and%20the%20Vineyard_From%20Old%20and%20New%20Testaments_German,%201549_New%20York,%20Metropolitan%20Museum%20of%20Art.jpg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Augustin Hirschvogel, The Parable of the Husbandman and the Vineyard<br />From <u><i>Old and New Testaments</i></u><br />German, 1549<br />New York, Metropolitan Museum of Art</span></td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; line-height: 107%;"><span style="font-size: medium; mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwkhOhheSJYdgivPA7hW5KUFNTkjmtzG8zNRwN5-wASmQfV8WfhVc7EVsDXO-jwN7Aze6kaSeYuzBetFOLe1M1TyRFTzEtchycHIhDgcM3poGGm1cuYpb9ddOIX6RrCi7Oo9PCGUJTaFC4YZlYsxRdOUEkPN5Ix2srULZfrIDhqhEhqGGMOpmTCoC7h9E/s726/1558+From%20a%20New%20Testament%20in%20Dutch_Flemish,%201558_Amsterdam,%20Vrije%20Universiteit_Edition%201558,NT.dut.SC.a.png" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="443" data-original-width="726" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwkhOhheSJYdgivPA7hW5KUFNTkjmtzG8zNRwN5-wASmQfV8WfhVc7EVsDXO-jwN7Aze6kaSeYuzBetFOLe1M1TyRFTzEtchycHIhDgcM3poGGm1cuYpb9ddOIX6RrCi7Oo9PCGUJTaFC4YZlYsxRdOUEkPN5Ix2srULZfrIDhqhEhqGGMOpmTCoC7h9E/w640-h390/1558+From%20a%20New%20Testament%20in%20Dutch_Flemish,%201558_Amsterdam,%20Vrije%20Universiteit_Edition%201558,NT.dut.SC.a.png" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Murder of the Owner's Servants and His Son<br />From a <i><u>New Testament </u></i>in Dutch<br />Flemish, 1558<br />Amsterdam, Vrije Universiteit<br />Edition 1558,NT.dut.SC.a</span></td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHXRMth_7vZttOwnzXAK4Ak33OQjwZunslf4DLrhW5mNgCa79p7LLfw56p9q-e591KkYFpHENdZItJ8R7bJksjaf9uJnC3lhZ-W6mt6nRjRhbR1mQH_iCaMLHz-p2jZDzGGjBcqUk7yASIy65PMynl3eBiY5By6U3N87Wrv1NiJ_7-DUdWpcaWxWIHGvo/s475/1561_From%20a%20New%20Testament%20in%20Dutch_Dutch,%201561_Amsterdam,%20Vrije%20Universiteit_Edition%201561.NT.dut.HA.a.png" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="348" data-original-width="475" height="468" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHXRMth_7vZttOwnzXAK4Ak33OQjwZunslf4DLrhW5mNgCa79p7LLfw56p9q-e591KkYFpHENdZItJ8R7bJksjaf9uJnC3lhZ-W6mt6nRjRhbR1mQH_iCaMLHz-p2jZDzGGjBcqUk7yASIy65PMynl3eBiY5By6U3N87Wrv1NiJ_7-DUdWpcaWxWIHGvo/w640-h468/1561_From%20a%20New%20Testament%20in%20Dutch_Dutch,%201561_Amsterdam,%20Vrije%20Universiteit_Edition%201561.NT.dut.HA.a.png" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">The Owner's Servants Attacked by the Tenants<br />From a <u><i>New Testament</i></u> in Dutch<br />Dutch, 1561<br />Amsterdam, Vrije Universiteit<br />Edition 1561.NT.dut.HA.a</span></td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVqi7TcQJeBJbLfyquacnTotd3wJcHWyheR59qUFe19NeLXP4KVyISHFzp_LNdSy4uOhDqe0KWfqy2T7VxdXEKeg5JJ7YGXoqpIPWmjMGLiCzM-Eu7b0CeQMgR4oB089E6sAr4qzIxAaN48TqNKTOPMUuYA1rXI1jL4Sjgv1xyPNgF9Zm9_yE6VlVqxSg/s5236/1585_Adrien%20Collaert%20after%20Hans%20Bol,%20October,%20The%20Parable%20of%20the%20Tneants%20of%20the%20Vineyard_Flemish,%201585_Amsterdam,%20Rijkmsmuseum.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="3832" data-original-width="5236" height="468" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVqi7TcQJeBJbLfyquacnTotd3wJcHWyheR59qUFe19NeLXP4KVyISHFzp_LNdSy4uOhDqe0KWfqy2T7VxdXEKeg5JJ7YGXoqpIPWmjMGLiCzM-Eu7b0CeQMgR4oB089E6sAr4qzIxAaN48TqNKTOPMUuYA1rXI1jL4Sjgv1xyPNgF9Zm9_yE6VlVqxSg/w640-h468/1585_Adrien%20Collaert%20after%20Hans%20Bol,%20October,%20The%20Parable%20of%20the%20Tneants%20of%20the%20Vineyard_Flemish,%201585_Amsterdam,%20Rijkmsmuseum.jpg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Adrien Collaert after Hans Bol, October, The Parable of the Temants and the Vineyard Owner<br />Flemish, 1585<br />Amsterdam, Rijkmsmuseum<br /></span><div style="text-align: left;"><span style="color: #363936; font-size: medium;">Jesus is shown at the left relating this parable to the priests and elders.</span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div></td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; line-height: 107%;"><span style="font-size: medium; mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; line-height: 107%;"><span style="font-size: medium; mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNCbKclpMZw-xOGNy-rb2xhrHgkmkZRhcXKMYpqmU-BbDmml-SH0pgQb4GqPYQz_zhmqCGG1LnEN0ZMQi_M_mmpg3adQlazwgSzrQle-jguoG2AClE4Og-1oB89UplGEcbnc157c6NtrS3DqfXlQknr5-NZMRgpdxynUI345cs9UYc-n-BTLatMA_sEpU/s1740/1585_Jan%20Collaert%20I%20aftAMbr%20Francken_Fr%20Thesaurus%20Novi%20Testi%20elegantissimis%20iconibus%20expressus%20continens%20historias%20atq%20miracula%20do%5Bmi%5D%20ni%20nostri%20Iesu%20Christi_Flem,%201585_L,%20BM.JPG" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="1395" data-original-width="1740" height="514" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNCbKclpMZw-xOGNy-rb2xhrHgkmkZRhcXKMYpqmU-BbDmml-SH0pgQb4GqPYQz_zhmqCGG1LnEN0ZMQi_M_mmpg3adQlazwgSzrQle-jguoG2AClE4Og-1oB89UplGEcbnc157c6NtrS3DqfXlQknr5-NZMRgpdxynUI345cs9UYc-n-BTLatMA_sEpU/w640-h514/1585_Jan%20Collaert%20I%20aftAMbr%20Francken_Fr%20Thesaurus%20Novi%20Testi%20elegantissimis%20iconibus%20expressus%20continens%20historias%20atq%20miracula%20do%5Bmi%5D%20ni%20nostri%20Iesu%20Christi_Flem,%201585_L,%20BM.JPG" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Jan Collaert I after Ambrosius Francken, The Parable of the Evil Tenants<br />From the <u><i>Thesaurus Novi Testi elegantissimis iconibus expressus continens historias atq miracula do[mi]ni nostri Iesu Christi</i></u><br />Flemish, 1585<br />London, Trustees of the British Museum</span></td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5XuFjhedxmr1W4BcVJ7fywys-yI_PIbpxMq3LoRjBIZxAxtuRQ7oI7A6xWFjx0tLbPy83nArESWpSGYioImiu0cyqBfeP3Vzky7rIiCndW7vknuSsIyX_LVr_rNXYD9tb-kY5BzjjQIkEGSBtM3IvHrti2GGPjbEXQSv05nhIOOT25OxrqBs_b8VXgE8/s2376/1791_Simon%20Fokke,%20Parable%20of%20the%20Unfaithful%20Vineyard%20Workers_top_Dutch,%201791_Amsterdam,%20Rijksmuseum.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="2044" data-original-width="2376" height="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5XuFjhedxmr1W4BcVJ7fywys-yI_PIbpxMq3LoRjBIZxAxtuRQ7oI7A6xWFjx0tLbPy83nArESWpSGYioImiu0cyqBfeP3Vzky7rIiCndW7vknuSsIyX_LVr_rNXYD9tb-kY5BzjjQIkEGSBtM3IvHrti2GGPjbEXQSv05nhIOOT25OxrqBs_b8VXgE8/w640-h550/1791_Simon%20Fokke,%20Parable%20of%20the%20Unfaithful%20Vineyard%20Workers_top_Dutch,%201791_Amsterdam,%20Rijksmuseum.jpg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Simon Fokke, Parable of the Unfaithful Vineyard Workers<br />Dutch, 1791<br />Amsterdam, Rijksmuseum</span></td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJrlIZJxt0l4FVPxbhhZQSJBT4CVlFl69DUJPy5DivivGm8zztjg0W1q5ek_FAyZH0xJx5rMnq303nuerwJo1cFGngGk5ej4fmEA4j96MmJqG8k3wePXV7E-g-273cGem6_JXAn1UuZWN_aDyeGaEPfHIwK0v9u2S-B2U8ApkP9GD-2ZkpFAwHSb5IDwo/s1536/1864_John%20Everett%20Millais,%20The%20Wicked%20Husbandmen_Ills%20to%20the%20Parables%20of%20Our%20Lord_English,%201864_London,%20Tate.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="1536" data-original-width="1193" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJrlIZJxt0l4FVPxbhhZQSJBT4CVlFl69DUJPy5DivivGm8zztjg0W1q5ek_FAyZH0xJx5rMnq303nuerwJo1cFGngGk5ej4fmEA4j96MmJqG8k3wePXV7E-g-273cGem6_JXAn1UuZWN_aDyeGaEPfHIwK0v9u2S-B2U8ApkP9GD-2ZkpFAwHSb5IDwo/w498-h640/1864_John%20Everett%20Millais,%20The%20Wicked%20Husbandmen_Ills%20to%20the%20Parables%20of%20Our%20Lord_English,%201864_London,%20Tate.jpg" width="498" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">John Everett Millais, The Wicked Husbandmen View the Body of the Heir<br />From <u><i>Illustrations to the Parables of Our Lord</i></u><br />English, 1864<br />London, Tate</span></td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><h4 style="text-align: left;"><span style="background-color: white; color: #363936; font-family: Roboto; font-size: medium;">Other Genres</span></h4>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;">While the printed illustration is
primarily the medium that was used for this subject, I did find a few
exceptions.<span style="mso-spacerun: yes;"> </span>No doubt there are more that
I did not come across.<span style="mso-spacerun: yes;"> </span>But the subject
is not a common one in painting in any era, which is a pity because the parable
is an important one, showing us a glimpse into the mind and the self-giving
love of God.<o:p></o:p></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"><br /></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis0G9gyXIQx7tF0-Eq7wgXPl8epY7qYqowNZ_FzJrsaQvue1P_yHtqiUhiGOReQjbG_lttp5HTS7bNxADmqFOy25MRFIGRxRQ2Zp33Se0Sqc_PPSjaC14v8Yqx8iQWJIX9UiGCJaoLPtOmKJc3Q77dITlNLh0c_wyRrU_cf_QS8EEKNpmjRAq0demHqjo/s655/1455_Leonhard%20von%20Brixen,%20Parable%20of%20the%20inheritor%20of%20the%20vineyard_Austrian,%20c.%201455-1465_Brixen,%20Cathedral.jpeg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="474" data-original-width="655" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis0G9gyXIQx7tF0-Eq7wgXPl8epY7qYqowNZ_FzJrsaQvue1P_yHtqiUhiGOReQjbG_lttp5HTS7bNxADmqFOy25MRFIGRxRQ2Zp33Se0Sqc_PPSjaC14v8Yqx8iQWJIX9UiGCJaoLPtOmKJc3Q77dITlNLh0c_wyRrU_cf_QS8EEKNpmjRAq0demHqjo/w640-h464/1455_Leonhard%20von%20Brixen,%20Parable%20of%20the%20inheritor%20of%20the%20vineyard_Austrian,%20c.%201455-1465_Brixen,%20Cathedral.jpeg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Leonhard von Brixen, The Parable of the Heir of the Vineyard<br />Austrian, c. 1455-1465<br />Brixen, Cathedral</span></td></tr></tbody></table><span style="font-size: medium;"><br /><span style="background: white; color: #363936; font-family: Roboto; line-height: 107%;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"><br /></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ7xW5ai4iacoO4lYM7Nk1wrPE_Z0ojLPj57gIsUh9Jt1WPL1BiWSCuLYrfsltRzk8pCU4_mzeGxzXjFQk2yMxRXgq7Ayqt6769X_aEd3Q5FPyZ82xvsp2A2X_UDagff2nm2RVHr_c-LyLCnPS-EszP350cju3dMdlWV7L0mq-ywUQjoSMY1lHxr1J9Cs/s1437/1886_James%20Tissot,%20The%20Son%20of%20the%20Vineyard%20Owner_French,%20c.%201886-1864_New%20%20York,%20Brooklyn%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="1437" data-original-width="1107" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ7xW5ai4iacoO4lYM7Nk1wrPE_Z0ojLPj57gIsUh9Jt1WPL1BiWSCuLYrfsltRzk8pCU4_mzeGxzXjFQk2yMxRXgq7Ayqt6769X_aEd3Q5FPyZ82xvsp2A2X_UDagff2nm2RVHr_c-LyLCnPS-EszP350cju3dMdlWV7L0mq-ywUQjoSMY1lHxr1J9Cs/w494-h640/1886_James%20Tissot,%20The%20Son%20of%20the%20Vineyard%20Owner_French,%20c.%201886-1864_New%20%20York,%20Brooklyn%20Museum.jpg" width="494" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">James Tissot, The Son of the Vineyard Owner<br />French, c. 1886-1864<br />New York, Brooklyn Museum</span></td></tr></tbody></table><span style="font-size: medium;"><br /><span style="background: white; color: #363936; font-family: Roboto; line-height: 107%;"><br /></span></span><p></p><p class="MsoNormal"><span style="font-size: medium;"><br /></span></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;">© M. Duffy, 2023<o:p></o:p></span></p>
<p class="MsoNormal"><span style="background: white; font-family: Roboto; font-size: medium; line-height: 107%;"><o:p><span style="color: #363936;"> </span><span style="color: #2b00fe;">* </span>For earlier articles on the subject of these parables, please see:</o:p></span></p><p class="MsoNormal"><span style="background: white; font-family: Roboto; font-size: medium; line-height: 107%;"><o:p>The Prodigal Son --<a href="https://imaginemdei.blogspot.com/2016/03/illustrating-parables-prodigal-son.html" target="_blank"> https://imaginemdei.blogspot.com/2016/03/illustrating-parables-prodigal-son.html</a></o:p></span></p><p class="MsoNormal"><span style="background: white; font-family: Roboto; font-size: medium; line-height: 107%;"><o:p>The Good Samaritan -- <a href="https://imaginemdei.blogspot.com/2019/07/illustrating-parables-good-samaritan.html">https://imaginemdei.blogspot.com/2019/07/illustrating-parables-good-samaritan.html</a></o:p></span></p><p class="MsoNormal"><span style="background: white; font-family: Roboto; font-size: medium; line-height: 107%;"><o:p>The Parable of the Fig Tree -- <a href="https://imaginemdei.blogspot.com/2022/03/picturing-parablesthe-parable-of-barren.html">https://imaginemdei.blogspot.com/2022/03/picturing-parablesthe-parable-of-barren.html</a></o:p></span></p><p class="MsoNormal"><span style="background: white; font-family: Roboto; font-size: medium; line-height: 107%;"><o:p>The Workers in the Vineyard --<a href="https://imaginemdei.blogspot.com/2023/09/picturing-parables-laborers-in-vineyard.html" target="_blank"> https://imaginemdei.blogspot.com/2023/09/picturing-parables-laborers-in-vineyard.html</a></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-size: medium;"> </span></o:p></p>
<div style="border: 1pt solid windowtext; mso-border-alt: solid windowtext .5pt; mso-element: para-border-div; padding: 1pt 4pt;">
<p class="MsoNormal" style="border: none; mso-border-alt: solid windowtext .5pt; mso-padding-alt: 1.0pt 4.0pt 1.0pt 4.0pt; padding: 0in;"><span style="font-size: medium;"><span style="background: white; color: #363936; font-family: Roboto;">Excerpts from the <em><span style="border: 1pt none windowtext; font-family: Roboto; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-border-alt: none windowtext 0in; padding: 0in;">Lectionary for Mass for Use in the Dioceses of the United States
of America, second typical edition</span></em> © 2001, 1998, 1997, 1986,
1970 Confraternity of Christian Doctrine, Inc., Washington, DC. Used with
permission. All rights reserved. No portion of this text may be reproduced by
any means without permission in writing from the copyright owner.</span><span style="font-family: Roboto;"><o:p></o:p></span></span></p>
</div>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: medium; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 12pt; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 12pt; line-height: 107%;"><o:p> </o:p></span></p><div class="blogger-post-footer">Copyright Margaret Duffy, 2008-2017</div>Margaret Duffyhttp://www.blogger.com/profile/03821836487895782384noreply@blogger.com0tag:blogger.com,1999:blog-415269867796810849.post-75786077200798211062023-09-24T08:10:00.008-04:002023-09-24T17:58:51.799-04:00Picturing the Parables: The Laborers in the Vineyard<p> </p><p class="MsoNormal"><i><span style="background: white; color: #363936; font-size: 15pt; line-height: 107%;"></span></i></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; font-family: Roboto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJNv3_uxDwQ_J_Py37yg8oKr3esnJ53IamT2Pa_eW7pHXP6MebWTL7uPLdUtbE8UrRR8J7YL-4ovt_8gCtWZW-FkvfAafgR5cjD4A8smSkLMORYzFKRLYtnvrcGutEakf9A3A56A7Zjxpr9MgnhUaafIN9n31nIBbkWtvmN4lmclG6htGA1z4atG9RIqo/s2411/1030_From%20the%20Codex%20Aureus%20of%20Echternach_German,%20c.%201030-1050_Nuremberg,%20Germanisches%20Nationalmuseum_MS%20Hs%20156%20142,%20fol.%2076v.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2411" data-original-width="1771" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJNv3_uxDwQ_J_Py37yg8oKr3esnJ53IamT2Pa_eW7pHXP6MebWTL7uPLdUtbE8UrRR8J7YL-4ovt_8gCtWZW-FkvfAafgR5cjD4A8smSkLMORYzFKRLYtnvrcGutEakf9A3A56A7Zjxpr9MgnhUaafIN9n31nIBbkWtvmN4lmclG6htGA1z4atG9RIqo/w470-h640/1030_From%20the%20Codex%20Aureus%20of%20Echternach_German,%20c.%201030-1050_Nuremberg,%20Germanisches%20Nationalmuseum_MS%20Hs%20156%20142,%20fol.%2076v.jpg" width="470" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Parable of the Laborers in the Vineyard<br />From the <i><u>Codex Aureus</u></i> of Echternach<br />German (Echternach), c. 1030-1050<br />Nuremberg, Germanisches Nationalmuseum<br />MS Hs 156 142, fol. 76v</td></tr></tbody></table><i><span style="background: white; color: #363936; font-size: 15pt; line-height: 107%;"><br /><span style="font-family: inherit;"><br /></span></span></i><p></p><p class="MsoNormal"><i><span style="background: white; color: #363936; font-size: 15pt; line-height: 107%;"><span style="font-family: inherit;">“Jesus told his disciples
this parable:</span></span></i><i><span style="color: #363936; font-size: 15pt; line-height: 107%;"><span style="font-family: inherit;"><br />
<span style="background: white;">"The kingdom of heaven is like a landowner</span></span><br />
<span style="background: white; font-family: Roboto;">who went out at dawn to hire laborers for his
vineyard.</span><br />
<span style="background: white; font-family: Roboto;">After agreeing with them for the usual daily
wage,</span><br />
<span style="background: white; font-family: Roboto;">he sent them into his vineyard.</span><br />
<span style="background: white; font-family: Roboto;">Going out about nine o'clock,</span><br />
<span style="background: white; font-family: Roboto;">the landowner saw others standing idle in the
marketplace,</span><br />
<span style="background: white; font-family: Roboto;">and he said to them, 'You too go into my
vineyard,</span><br />
<span style="background: white; font-family: Roboto;">and I will give you what is just.'</span><br />
<span style="background: white; font-family: Roboto;">So they went off.</span><br />
<span style="background: white; font-family: Roboto;">And he went out again around noon,</span><br />
<span style="background: white; font-family: Roboto;">and around three o'clock, and did likewise.</span><br />
<span style="background: white; font-family: Roboto;">Going out about five o'clock,</span><br />
<span style="background: white; font-family: Roboto;">the landowner found others standing around, and
said to them,</span><br />
<span style="background: white; font-family: Roboto;">'Why do you stand here idle all day?'</span><br />
<span style="background: white; font-family: Roboto;">They answered, 'Because no one has hired us.'</span><br />
<span style="background: white; font-family: Roboto;">He said to them, 'You too go into my vineyard.'</span><br />
<span style="background: white; font-family: Roboto;">When it was evening the owner of the vineyard
said to his foreman,</span><br />
<span style="background: white; font-family: Roboto;">'Summon the laborers and give them their pay,</span><br />
<span style="background: white; font-family: Roboto;">beginning with the last and ending with the
first.'</span><br />
<span style="background: white; font-family: Roboto;">When those who had started about five o'clock
came,</span><br />
<span style="background: white; font-family: Roboto;">each received the usual daily wage.</span><br />
<span style="background: white; font-family: Roboto;">So when the first came, they thought that they
would receive more,</span><br />
<span style="background: white; font-family: Roboto;">but each of them also got the usual wage.</span><br />
<span style="background: white; font-family: Roboto;">And on receiving it they grumbled against the
landowner, saying,</span><br />
<span style="background: white; font-family: Roboto;">'These last ones worked only one hour,</span><br />
<span style="background: white; font-family: Roboto;">and you have made them equal to us,</span><br />
<span style="background: white; font-family: Roboto;">who bore the day's burden and the heat.'</span><br />
<span style="background: white; font-family: Roboto;">He said to one of them in reply,</span><br />
<span style="background: white; font-family: Roboto;">'My friend, I am not cheating you.</span><br />
<span style="background: white; font-family: Roboto;">Did you not agree with me for the usual daily
wage?</span><br />
<span style="background: white; font-family: Roboto;">Take what is yours and go.</span><br />
<span style="background: white; font-family: Roboto;">What if I wish to give this last one the same as
you?</span><br />
<span style="background: white; font-family: Roboto;">Or am I not free to do as I wish with my own
money?</span><br />
<span style="background: white; font-family: Roboto;">Are you envious because I am generous?'</span><br />
<span style="background: white; font-family: Roboto;">Thus, the last will be first, and the first will
be last."<o:p></o:p></span></span></i></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">Matthew 20:1-16 (Gospel for the
Twenty-fifth Sunday in Ordinary Time)<o:p></o:p></span></p>
<h3 style="text-align: left;"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><o:p>Human Fairness and God's Justice </o:p></span></h3>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">This parable of Jesus has always been
difficult for me (and I suspect for many others) to completely accept.<span style="mso-spacerun: yes;"> </span>The story of the vineyard owner who hires
workers throughout the day and then pays all of them the same amount of money
is a tough one.<span style="mso-spacerun: yes;"> </span>We, like the workers who
had worked the full day from 5 AM to the evening, feel at least slightly aggrieved.<span style="mso-spacerun: yes;"> </span>Something is wrong with the situation.<span style="mso-spacerun: yes;"> </span>It isn’t FAIR!<o:p></o:p></span></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">Fairness is a cherished human
virtue.<span style="mso-spacerun: yes;"> </span>It is the “level playing field”,
it is the “fair wage for a fair day’s work”, it is “the fairness doctrine” in
politics.<span style="mso-spacerun: yes;"> </span>We demand that things be
“fair” in our work, in our politics and in society as a whole.<span style="mso-spacerun: yes;"> </span>“That’s not fair!” is a protest heard
everywhere from the baseball field to the marketplace (whether metaphorical or
actual).<span style="mso-spacerun: yes;"> </span>“Fair” is a quality most of<span style="mso-spacerun: yes;"> </span>us strive to maintain in our personal lives
and in our business transactions.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">But this parable stands all that on its
head.<span style="mso-spacerun: yes;"> </span>It is a story told through the
eyes of God himself.<span style="mso-spacerun: yes;"> </span>And, although
“being fair” sounds like a worthy aspiration, reflecting the divine rule of “do
unto others”, it is not the necessarily the measure that God uses.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">More important than “fair” is “justice”
and this is where we trip up.<span style="mso-spacerun: yes;"> </span>Our
measuring stick for interactions with our fellow humans is primarily fairness,
we try to be even handed in our dealings with others.<span style="mso-spacerun: yes;"> </span>But God’s nature requires justice and that is
how He measures us.<span style="mso-spacerun: yes;"> </span>So, in the parable,
it is just, it is “fair” that the workers who worked all day receive no more
than the wage they agreed to when they accepted the employment.<span style="mso-spacerun: yes;"> </span>Although our human instincts join their
protest against what they consider to be unfair, they are actually getting what
they agreed to.<span style="mso-spacerun: yes;"> </span>Why?<span style="mso-spacerun: yes;"> </span>Because the owner of the vineyard wishes to
be generous to those workers who came hired late and only worked for a brief
time.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">Of course, the purpose of the parable is
to enlighten us to the point of view of God and Jesus isn’t actually talking
about workers in a vineyard.<span style="mso-spacerun: yes;"> </span>These are
metaphors for a deeper reality.<span style="mso-spacerun: yes;"> </span>The
parable begins with the words “the Kingdom of Heaven is like….” and the meaning
is that God decides who will live in that Kingdom.<span style="mso-spacerun: yes;"> </span>According to the parable those who become reconciled
to God just before their death will receive the same reward as those who
followed Him from their earliest days.<span style="mso-spacerun: yes;">
</span>This is God’s justice as well as His mercy.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">Indeed, the Mass for the twenty-fifth
Sunday in Ordinary Time makes this point twice.<span style="mso-spacerun: yes;">
</span>The first reading, from the Old Testament Book of Isaiah reads:<o:p></o:p></span></p>
<p class="MsoNormal"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">“Seek the LORD while he may
be found,<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">call him while he is near.<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">Let the scoundrel forsake
his way,<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">and the wicked his thoughts;<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">let him turn to the LORD for
mercy;<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">to our God, who is generous
in forgiving.<o:p></o:p></span></i></p>
<p class="MsoNormal"><b><i><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">For my thoughts are not your
thoughts,<o:p></o:p></span></i></b></p>
<p class="MsoNormal"><b><i><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">nor are your ways my ways,
says the LORD.<o:p></o:p></span></i></b></p>
<p class="MsoNormal"><b><i><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">As high as the heavens are
above the earth,<o:p></o:p></span></i></b></p>
<p class="MsoNormal"><b><i><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">so high are my ways above
your ways<o:p></o:p></span></i></b></p>
<p class="MsoNormal"><b><i><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">and my thoughts above your
thoughts.”<o:p></o:p></span></i></b></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">Isaiah 55:6-9<o:p></o:p></span></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">And that, tough and “unfair” as it may
seem to us is a very comforting message about God’s mercy and his justice.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<h3 style="text-align: left;"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">The Parable of the Workers in the
Vineyard in Art</span></h3>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">The parables as a group are sometimes
not the easiest of the Gospel passages to illustrate and this parable is
particularly difficult.<span style="mso-spacerun: yes;"> </span>There are
several elements of the story that make it more difficult than most.<span style="mso-spacerun: yes;"> </span>First, there is the hiring of the workers,
which is spread over the entire day, not easy to represent in one simple image.<span style="mso-spacerun: yes;"> </span>Then, there is the payment for the workers,
again spread over some time.<span style="mso-spacerun: yes;"> </span>This is
followed by the complaint of the workers hired in the early morning against the
equal pay offered to those who had worked only one hour and the response of the
owner <i>“Are you envious because I am generous?”</i> (Matthew 20:15)<i> </i>And
lastly, there is the stark reminder of God’s just point of view <i>“the last
will be first, and the first will be last."</i> (Matthew 20:16)<o:p></o:p></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWXZwkD99eO2g-5smXLCaO_T9bVGabqvDHZkOxmwHfQN_b_3yxrpnOf_91KhJTlq83eEqOl2NcKXbdfMm_Ip_dLtBR85AEE5NMfUOL_9GxbtizBCDq_KYiaQz1NuCuDsHyuqW-o0KjO_yzuH_dwfX56wz7r_Xw-8aBDO8HXld8nyVaWq8dmg1ZnI5Edek/s1024/1039_From%20the%20Gospel%20Lectionary%20of%20Henry%20III_German%20(Echternach),%20c.%201039-1040_Premen,%20Staats-%20und%20Universitatsbibliothek_MS%20b%2021.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="800" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWXZwkD99eO2g-5smXLCaO_T9bVGabqvDHZkOxmwHfQN_b_3yxrpnOf_91KhJTlq83eEqOl2NcKXbdfMm_Ip_dLtBR85AEE5NMfUOL_9GxbtizBCDq_KYiaQz1NuCuDsHyuqW-o0KjO_yzuH_dwfX56wz7r_Xw-8aBDO8HXld8nyVaWq8dmg1ZnI5Edek/w500-h640/1039_From%20the%20Gospel%20Lectionary%20of%20Henry%20III_German%20(Echternach),%20c.%201039-1040_Premen,%20Staats-%20und%20Universitatsbibliothek_MS%20b%2021.jpg" width="500" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Parable of the Laborers in the Vineyard<br />From the <u><i>Gospel Lectionary of Henry III</i></u><br />German (Echternach), c. 1039-1040<br />Bremen, Staats-und-Universitatsbibliothek<br />MS b 21</td></tr></tbody></table><span style="background-color: white; color: #363936; font-family: Roboto; font-size: 15pt;"><br /></span><p></p><p class="MsoNormal"><span style="background-color: white; color: #363936; font-family: Roboto; font-size: 15pt;">The earliest images of this parable that
I could find come from manuscripts painted in the Ottonian period.</span><span style="color: #363936; font-family: Roboto; font-size: 15pt;"> </span><span style="background-color: white; color: #363936; font-family: Roboto; font-size: 15pt;">This is a period which follows the Carolingian
renaissance of the eighth and ninth centuries.</span><span style="color: #363936; font-family: Roboto; font-size: 15pt;">
</span><span style="background-color: white; color: #363936; font-family: Roboto; font-size: 15pt;">These manuscripts were painted in the scriptoria of German monasteries
that were under the patronage of the successors of the Carolingian emperors,
such as Echternach and Reichenau.</span><span style="color: #363936; font-family: Roboto; font-size: 15pt;"> </span><span style="background-color: white; color: #363936; font-family: Roboto; font-size: 15pt;">These images
make an effort to tell all the parts of the story.</span><span style="color: #363936; font-family: Roboto; font-size: 15pt;"> </span></p><p class="MsoNormal"><span style="color: #363936; font-family: Roboto; font-size: 15pt;"><br /></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO_FjFK-HTOPTAs6mcLkJR2S06hWf3mWAA0a-2Tvg-0Zkd4-vtzJIR2E2b00oPoHOrw27E1jQt5AGdCVolvSRHoxRGp-fQ1KU--9C2Wwt5DpU_V-huGEvvXTLNeJn7jpcpKd9aDUtUNK_Q3--0m08nJxCmJvailNDPMl8FGfPEkRgbdrpV1NV9D36SR40/s1172/1196_Benedictus%20Antelami_Italian,%20c.%201196-1200_Parma,%20Baptistery.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1172" data-original-width="365" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO_FjFK-HTOPTAs6mcLkJR2S06hWf3mWAA0a-2Tvg-0Zkd4-vtzJIR2E2b00oPoHOrw27E1jQt5AGdCVolvSRHoxRGp-fQ1KU--9C2Wwt5DpU_V-huGEvvXTLNeJn7jpcpKd9aDUtUNK_Q3--0m08nJxCmJvailNDPMl8FGfPEkRgbdrpV1NV9D36SR40/w200-h640/1196_Benedictus%20Antelami_Italian,%20c.%201196-1200_Parma,%20Baptistery.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Benedetto Antelami, The Parable of the Laborers in the Vineyard<br />Italian, c. 1196-1200<br />Parma, Baptistery</td></tr></tbody></table><span style="background-color: white; color: #363936; font-family: Roboto; font-size: 15pt;"><br /></span><p></p><p class="MsoNormal"><span style="background-color: white; color: #363936; font-family: Roboto; font-size: 15pt;">So does the sculptor Benedetto Antelami
and the Master of Edward IV, a manuscript painter of the late fifteenth
century.</span><span style="color: #363936; font-family: Roboto; font-size: 15pt;"> </span></p><p class="MsoNormal"><span style="color: #363936; font-family: Roboto; font-size: 15pt;"><br /></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRjpdBlHFccEl0MA1BAtxaRjjRCWv5JgudC_ZU4OwFn8mQ2azGcnaOdOb3cK0P93EmRojcZBqTtznb5n0NjHKitTZgivBOSEnTCJ_GCGsodQIZAcgA71AFcQh3BRBgs5ix2ZeE9Ww0oSDE-v3o8NEEqGMhgEcln7L2sGIFOpbPC4yLb9WbMyUdEtdcxsk/s478/1487_master%20of%20Edward%20IV,%20Parable%20of%20the%20Laborers%20in%20the%20Vineyard_From%20the%20Vita%20Christi_Flemish%20(Bruges),%20c.%201487-1490_New%20York,%20Pierpont_MS%20M%20894,%20fol.%2083v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="380" data-original-width="478" height="508" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRjpdBlHFccEl0MA1BAtxaRjjRCWv5JgudC_ZU4OwFn8mQ2azGcnaOdOb3cK0P93EmRojcZBqTtznb5n0NjHKitTZgivBOSEnTCJ_GCGsodQIZAcgA71AFcQh3BRBgs5ix2ZeE9Ww0oSDE-v3o8NEEqGMhgEcln7L2sGIFOpbPC4yLb9WbMyUdEtdcxsk/w640-h508/1487_master%20of%20Edward%20IV,%20Parable%20of%20the%20Laborers%20in%20the%20Vineyard_From%20the%20Vita%20Christi_Flemish%20(Bruges),%20c.%201487-1490_New%20York,%20Pierpont_MS%20M%20894,%20fol.%2083v.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Edward IV, Parable of the Laborers in the Vineyard<br />From a <i><u>Vita Christi</u></i><br />Flemish (Bruges), c. 1487-1490<br />New York, Pierpont Morgan Library<br />MS M 894, fol. 83v</td></tr></tbody></table><br /><p></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">The great precursor of the High Renaissance,
Andrea del Sarto, illustrated two movements of the story, the Hiring of the
Laborers and their Payment in two chiaroscuro frescoes painted between 1510 and
1514 in the monastery garden at the Santissima Annunziata church in
Florence.<span style="mso-spacerun: yes;"> </span>Unfortunately, these frescoes were
destroyed during the course of the centuries. <sup>1</sup> However, they were
frequently copied and, thus, well known throughout Europe.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7PKTB1pgdvfEJLzcFL8AEtWttEKns6tQir1U52gcZoBNUY59HmGJNzOZ55XFyHympia1p5Z5RPsmQRHX-fQ_p6WbV7e6xf4nnQDBNYNw3B75_qJTREl4ZkexTDKhJXq6YztE8TRZzOgfPqj3-dptVXTTc7mVqATAdErHiId6P5huZ8gYdM9M7LmU7m2c/s1500/1563_Cornelis%20Cort%20After%20Andrea%20del%20Sarto_Dutch,%201563_Philadelphia,%20Museum%20of%20Art.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1165" data-original-width="1500" height="498" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7PKTB1pgdvfEJLzcFL8AEtWttEKns6tQir1U52gcZoBNUY59HmGJNzOZ55XFyHympia1p5Z5RPsmQRHX-fQ_p6WbV7e6xf4nnQDBNYNw3B75_qJTREl4ZkexTDKhJXq6YztE8TRZzOgfPqj3-dptVXTTc7mVqATAdErHiId6P5huZ8gYdM9M7LmU7m2c/w640-h498/1563_Cornelis%20Cort%20After%20Andrea%20del%20Sarto_Dutch,%201563_Philadelphia,%20Museum%20of%20Art.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Cornelis Cort After Andrea del Sarto, The Vineyard Owner Hiring Workers<br />Dutch, 1563<br />Philadelphia, Museum of Art</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisrwDX1cQN1SNe3KBh7UCLt3y0Fgljo5K_Vc63CNOwl4oixk7kuou3hEZcyXfovEgWkrmOL0LSh7sEn-4349Qm-N11XMiSLjP2A9K6XYMCRCuv_h5z7n4Qtl7GPHF9tTiCfvWl0GTkbhpDqC3exengwu__mxlx1MOTSqpMFK2oLFfiGKcyndrgWhjn_kY/s1500/1600_Cesare%20Roberti%20After%20Andrea%20del%20Sarto_Italian,%20Early%2017th%20Century_Philadelphia,%20Museum%20of%20Art.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1015" data-original-width="1500" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisrwDX1cQN1SNe3KBh7UCLt3y0Fgljo5K_Vc63CNOwl4oixk7kuou3hEZcyXfovEgWkrmOL0LSh7sEn-4349Qm-N11XMiSLjP2A9K6XYMCRCuv_h5z7n4Qtl7GPHF9tTiCfvWl0GTkbhpDqC3exengwu__mxlx1MOTSqpMFK2oLFfiGKcyndrgWhjn_kY/w640-h434/1600_Cesare%20Roberti%20After%20Andrea%20del%20Sarto_Italian,%20Early%2017th%20Century_Philadelphia,%20Museum%20of%20Art.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Cesare Roberti After Andrea del Sarto, The Vineyard Owner Hiring Workers<br />Italian, Early 17th Century<br />Philadelphia, Museum of Art</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN68Hzg4BIiPXuw0CNfP_JeYM8tRjQam43ShAZ96oBMcJjvDjtNdIrigI_b3pvLmYfb-MfbThuSy-BaOrdBN-JMpmV6iOWd46PE9vgHOXW13GfPxNcoxugGGh54lBfJ-1_WFGJrYj5wHksmePkN9-nQsmU3WPM6mrIdeXUwfSWU_P1OfN9u888_qCnLVw/s3000/1610_Cesare%20Roberti%20after%20Andrea%20del%20Sarto_Italian,%20c.%20161-1650_Madrid,%20Real%20Academia%20de%20Bellas%20Artes%20de%20San%20Fernanco.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2110" data-original-width="3000" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN68Hzg4BIiPXuw0CNfP_JeYM8tRjQam43ShAZ96oBMcJjvDjtNdIrigI_b3pvLmYfb-MfbThuSy-BaOrdBN-JMpmV6iOWd46PE9vgHOXW13GfPxNcoxugGGh54lBfJ-1_WFGJrYj5wHksmePkN9-nQsmU3WPM6mrIdeXUwfSWU_P1OfN9u888_qCnLVw/w640-h450/1610_Cesare%20Roberti%20after%20Andrea%20del%20Sarto_Italian,%20c.%20161-1650_Madrid,%20Real%20Academia%20de%20Bellas%20Artes%20de%20San%20Fernanco.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Cesare Roberti after Andrea del Sarto, The Vineyard Owner Hiring Workers<br />Italian, c. 161-1650<br />Madrid, Real Academia de Bellas Artes de San Fernanco</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwqFWa9ZLKbWE-04uO6vY9IIA25mUb5lKtvkXmlNTsjSWBGOYuGfAW7UprZyIlUm2L1cDes_i8fzTzrLEHQcFh5UZGTqooUCSkPZVZEMwHlDNGduzuWhyTttGIgNZxt6YLdHQF1fcnB3j2MPRcYl7V6f_xXwSx6tTnP1FQjrZB1Y_rqU6bFk23agvGB6A/s699/1500_Andrea%20del%20Sarto_Italian,%20c.%201500-1530_Vienna,%20Albertina.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="539" data-original-width="699" height="494" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwqFWa9ZLKbWE-04uO6vY9IIA25mUb5lKtvkXmlNTsjSWBGOYuGfAW7UprZyIlUm2L1cDes_i8fzTzrLEHQcFh5UZGTqooUCSkPZVZEMwHlDNGduzuWhyTttGIgNZxt6YLdHQF1fcnB3j2MPRcYl7V6f_xXwSx6tTnP1FQjrZB1Y_rqU6bFk23agvGB6A/w640-h494/1500_Andrea%20del%20Sarto_Italian,%20c.%201500-1530_Vienna,%20Albertina.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Andrea del Sarto, The Vineyard Owner Paying the Workers<br />Italian, c. 1500-1530<br />Vienna, Albertina Museum</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV1etuGstm6GxWR_06kBMBM540ovfViR-EnisuDEGcQKw9YU7qKNZi1GK95VFIlPqUU52ynsKqC-tLZTpk_ju3pLDFp-0R8qN6iCJbLSYPMyqsPhONmxxlbc2fmxnQaJU8Crvz5bzQ1u7HGWOPNyD6wB8DRskUbO08jgsGUtVpTy_6I_HW0OqLdXfVPvA/s651/1500_Andrea%20del%20Sarto_Italian,%20c.%201500-1530_Milan,%20Pinacoteca%20di%20Brera.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="453" data-original-width="651" height="446" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV1etuGstm6GxWR_06kBMBM540ovfViR-EnisuDEGcQKw9YU7qKNZi1GK95VFIlPqUU52ynsKqC-tLZTpk_ju3pLDFp-0R8qN6iCJbLSYPMyqsPhONmxxlbc2fmxnQaJU8Crvz5bzQ1u7HGWOPNyD6wB8DRskUbO08jgsGUtVpTy_6I_HW0OqLdXfVPvA/w640-h446/1500_Andrea%20del%20Sarto_Italian,%20c.%201500-1530_Milan,%20Pinacoteca%20di%20Brera.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Copy after Andrea del Sarto, The Vineyard Owner Paying the Workers<br />Italian, c. 1500-1530<br />Milan, Pinacoteca di Brera</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji7ncEGSGmV1pCQdVO0tJZq_A9DpyVF0CHzH4-2itb3LPMkZaBvbwSezVs2eST7bUCmIfPwHkr-YdiX4pcHgbG2KB6hbqWCSfHqdxN9CsNooqKWYnWpgjmIGcT7vD4Rw2lihnSPS6JdiF-PRtet3vZ7cUyAUfJzdWiWsOsA5CjTJn8_Ief27zFHw2S8Y4/s581/1500_Cpy%20after%20Andrea%20del%20Sarto_Italian,%20c.%201500-1530_Paris,%20Musee%20du%20Louvre,%20Departement%20des%20Arts%20graphiques.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="433" data-original-width="581" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji7ncEGSGmV1pCQdVO0tJZq_A9DpyVF0CHzH4-2itb3LPMkZaBvbwSezVs2eST7bUCmIfPwHkr-YdiX4pcHgbG2KB6hbqWCSfHqdxN9CsNooqKWYnWpgjmIGcT7vD4Rw2lihnSPS6JdiF-PRtet3vZ7cUyAUfJzdWiWsOsA5CjTJn8_Ief27zFHw2S8Y4/w640-h476/1500_Cpy%20after%20Andrea%20del%20Sarto_Italian,%20c.%201500-1530_Paris,%20Musee%20du%20Louvre,%20Departement%20des%20Arts%20graphiques.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Copy after Andrea del Sarto, The Vineyard Owner Paying the Workers<br />Italian, 16th Century<br />Paris, Musé<span style="text-align: left;">e du Louvre, </span>Département des Arts graphiques</span><br /><br /></td></tr></tbody></table><p></p><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWBJqgM4jhnOjm0IBMwzmDLMqMe5m-j0xk9jFE9AEMWd5NIEjPK4AmWeOlHE5YiQtTTbnFwwUBbqAz8cc6ioWs2uKHTD1McRqq7o4SiLBNt588YErKGh_4gjBlxiHeyit2Le4ZIJjhrKwAkqpDuwmHvuVLNFTkprGaO82jhuHjd7nWKdLuwvjS3bKtB50/s748/1590_Fedrico%20Zuccaro%20after%20Andrea%20del%20Sarto_Italian,%20c.%201590-1609_Paris,%20Musee%20du%20Louvre,%20Departement%20des%20Arts%20graphiques.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="520" data-original-width="748" height="444" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWBJqgM4jhnOjm0IBMwzmDLMqMe5m-j0xk9jFE9AEMWd5NIEjPK4AmWeOlHE5YiQtTTbnFwwUBbqAz8cc6ioWs2uKHTD1McRqq7o4SiLBNt588YErKGh_4gjBlxiHeyit2Le4ZIJjhrKwAkqpDuwmHvuVLNFTkprGaO82jhuHjd7nWKdLuwvjS3bKtB50/w640-h444/1590_Fedrico%20Zuccaro%20after%20Andrea%20del%20Sarto_Italian,%20c.%201590-1609_Paris,%20Musee%20du%20Louvre,%20Departement%20des%20Arts%20graphiques.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Fedrico Zuccaro after Andrea del Sarto, The Vineyard Owner Paying the Workers<br />Italian, c. 1590-1609<br />Paris, Musé<span style="background-color: white; text-align: left;">e du Louvre, </span><span style="background-color: white;">Département des Arts graphiques</span></span></td></tr></tbody></table> <br /><br /><br /><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi21cjhFpkxpGcop39Pk6yQxR66TEuFldrhDwmZud93QMXVvTXf3vKG3Mh-iLZ3mngyo9ME-MjJw_FsK9qntV5pa4CK0MBBBHBqlkEvO8wu6E453DgQSal0rfHmeBDVTHa_4oroDcSbj_Pch_FVGda0a4E7g-AZp-zneOE3YpH9GhEX-zJU8q8hnHZj4kY/s638/1600_Peter%20Paul%20Rubens%20after%20Andrea%20del%20Sarto_Italian,%20c.%201600_Paris,%20Musee%20du%20Louvre,%20Departement%20des%20Arts%20graphiques.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="423" data-original-width="638" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi21cjhFpkxpGcop39Pk6yQxR66TEuFldrhDwmZud93QMXVvTXf3vKG3Mh-iLZ3mngyo9ME-MjJw_FsK9qntV5pa4CK0MBBBHBqlkEvO8wu6E453DgQSal0rfHmeBDVTHa_4oroDcSbj_Pch_FVGda0a4E7g-AZp-zneOE3YpH9GhEX-zJU8q8hnHZj4kY/w640-h424/1600_Peter%20Paul%20Rubens%20after%20Andrea%20del%20Sarto_Italian,%20c.%201600_Paris,%20Musee%20du%20Louvre,%20Departement%20des%20Arts%20graphiques.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Peter Paul Rubens after Andrea del Sarto, The Vineyard Owner Paying the Workers<br />Italian, c. 1600<br />Paris, Musé<span style="text-align: left;">e du Louvre, </span>Département des Arts graphiques</span></td></tr></tbody></table><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /></span></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">However, in the main, these efforts to
tell a complete story in one or two images were usually abandoned in favor of
focus on the several actions of the owner represented separately.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><span style="mso-spacerun: yes;"><br /></span></span></p>
<h4 style="text-align: left;"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">Hiring the Workers</span></h4>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">These images are the simplest to
understand.<span style="mso-spacerun: yes;"> </span>The owner of the vineyard
hires men and sends them to his fields.<span style="mso-spacerun: yes;">
</span>Most of the images show that other men are already at work in the fields.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbt4thBnS5tkAaNAELp0V5WEr_o5K0Y-m97FTXnyFl-HCMGMkwfKwxk3snbus3Wl4lU-i7_CHU5IuttTb8ecAoHKVQF5x-WsrXvG-hnH2Gknp3qvZEOlJO06XvjdigzW62r4yPA7xmUYK07-j1y5b6HQ-9TtNNSjkBDepicJyxUCceGohKpu49QlUr5ck/s633/1425_Parable%20of%20the%20workers%20in%20the%20vineyard%20-From%20a%20Leben%20Jesu_Austrian,%20c.%201425-1435_Vienna,%C3%96sterreichische%20Nationalbibliothek_MS%20Cod.%20485,%20fol.%2039v.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="621" data-original-width="633" height="628" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbt4thBnS5tkAaNAELp0V5WEr_o5K0Y-m97FTXnyFl-HCMGMkwfKwxk3snbus3Wl4lU-i7_CHU5IuttTb8ecAoHKVQF5x-WsrXvG-hnH2Gknp3qvZEOlJO06XvjdigzW62r4yPA7xmUYK07-j1y5b6HQ-9TtNNSjkBDepicJyxUCceGohKpu49QlUr5ck/w640-h628/1425_Parable%20of%20the%20workers%20in%20the%20vineyard%20-From%20a%20Leben%20Jesu_Austrian,%20c.%201425-1435_Vienna,%C3%96sterreichische%20Nationalbibliothek_MS%20Cod.%20485,%20fol.%2039v.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Vineyard Owner Hires Laborers for the Vineyard <br />From a <i><u>Leben Jesu</u></i><br />Austrian, c. 1425-1435<br />Vienna, Österreichische Nationalbibliothek<br />MS Cod. 485, fol. 39v</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFm9ge0KDHzfrY-npuXNaKr8wXKnZq8XV12v4YuMoz7OGsWsWo2qOb4-yY03cmcuthyKEVjDJoiHEXXcrcMmmm-VyZdFz3yzyBJeqV4wc_UJrHBc4lbjM1VVIcMTDBS9lLJpGkIUOUPv5UdW_vOTskOXZQ-jbM109cMxpzE72HtZukOZVlR0tT0_S-WZw/s5708/1485_Antwerp%20Master%20I_Flemish,%20c.%201485-1491_Amsterdam,%20Rijksmuseum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4320" data-original-width="5708" height="484" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFm9ge0KDHzfrY-npuXNaKr8wXKnZq8XV12v4YuMoz7OGsWsWo2qOb4-yY03cmcuthyKEVjDJoiHEXXcrcMmmm-VyZdFz3yzyBJeqV4wc_UJrHBc4lbjM1VVIcMTDBS9lLJpGkIUOUPv5UdW_vOTskOXZQ-jbM109cMxpzE72HtZukOZVlR0tT0_S-WZw/w640-h484/1485_Antwerp%20Master%20I_Flemish,%20c.%201485-1491_Amsterdam,%20Rijksmuseum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Antwerp Master I, The Vineyard Owner Hires Laborers for the Vineyard<br />Flemish, c. 1485-1491<br />Amsterdam, Rijksmuseum</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0XgJIQnzzTrtIhgyazqY9-0vtaJTUJN4HhF7xjPpX5BfhTlhUWKh9cC_h-3XSAeqmvWEdq9UhSYt2p1XerL_F1IPjCRG7DYYLKopfvEJvoeC1IkcxRJYm0gL0i-_l7TzByXZPX3VSaKgN9MkDp776zOSys8TJ9vhgXoqDy6j8F0yEStjAs0-w17ZWzls/s5978/1503%20Master%20of%20Delft_Dutch,%20c%201503_Amsetrdam.%20Rijksmuseum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4104" data-original-width="5978" height="442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0XgJIQnzzTrtIhgyazqY9-0vtaJTUJN4HhF7xjPpX5BfhTlhUWKh9cC_h-3XSAeqmvWEdq9UhSYt2p1XerL_F1IPjCRG7DYYLKopfvEJvoeC1IkcxRJYm0gL0i-_l7TzByXZPX3VSaKgN9MkDp776zOSys8TJ9vhgXoqDy6j8F0yEStjAs0-w17ZWzls/w640-h442/1503%20Master%20of%20Delft_Dutch,%20c%201503_Amsetrdam.%20Rijksmuseum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"> Master of Delft, The Vineyard Owner Hires Laborers for the Vineyard<br />Dutch, c 1503<br />Amsterdam. Rijksmuseum<br /><div style="text-align: left;"><span style="color: #363936; font-size: 15pt;"><br /></span></div><div style="text-align: left;"><span style="color: #363936; font-size: 15pt;"><br /></span></div><div style="text-align: left;"><span style="color: #363936; font-size: 15pt;"> This image is obviously based on the one above, but the artist has tweaked the poses of the figures and their numbers, as well as some parts of their apparel to make it his own.</span></div></td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1eGE3b8B0TrSCNRESADIFVG3q26Vxgkm1dg7KaVYFCs7SmBTIO2ITD3JyPNwBudBk1RBi2VLj7qxvkqP8qb52PY_NhjYhLR0xkvda894ynnrk1yIkSArhfdpNRLhqjLo4ao0kAldFhzwKDX-gI8GQnQj4bDCr7eLG4itxIU2EbxzvDshv7ZK9MlXb8Is/s1874/1525_Monogrammist%20R,%20The%20parable%20of%20the%20workers%20in%20the%20vineyard_German,%20C.%201525-1600_Wolfenbuttel,%20Herzog%20August%20Library_Page_1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1490" data-original-width="1874" height="508" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1eGE3b8B0TrSCNRESADIFVG3q26Vxgkm1dg7KaVYFCs7SmBTIO2ITD3JyPNwBudBk1RBi2VLj7qxvkqP8qb52PY_NhjYhLR0xkvda894ynnrk1yIkSArhfdpNRLhqjLo4ao0kAldFhzwKDX-gI8GQnQj4bDCr7eLG4itxIU2EbxzvDshv7ZK9MlXb8Is/w640-h508/1525_Monogrammist%20R,%20The%20parable%20of%20the%20workers%20in%20the%20vineyard_German,%20C.%201525-1600_Wolfenbuttel,%20Herzog%20August%20Library_Page_1.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Monogrammist R, The Vineyard Owner Hires Laborers for the Vineyard<br />German, c. 1525-1600<br />Wolfenbuttel, Herzog August Library</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvjm0hH8WngYD9p8_SfbaqiBAJqv6cbW3tynVX9uhlMLpUKjDJuH2vgqDCQsy6xbwNbwz6gP15rZiipyDoFd7ID4GorC9pNWIWgvhhN28eNc3wLP_MFA0Plsj_QObfjextvQ5D2Go88-k67-eeo6F_lfbgt5F4pvvA-Xie4qEj1hH6-M8pTXUoaivaSus/s1123/1530_Sebald%20Beham_From%20a%20Series%20of%20New%20Testament%20Illustrations_German,%201530_London,%20Trustees%20of%20the%20British%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1123" data-original-width="807" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvjm0hH8WngYD9p8_SfbaqiBAJqv6cbW3tynVX9uhlMLpUKjDJuH2vgqDCQsy6xbwNbwz6gP15rZiipyDoFd7ID4GorC9pNWIWgvhhN28eNc3wLP_MFA0Plsj_QObfjextvQ5D2Go88-k67-eeo6F_lfbgt5F4pvvA-Xie4qEj1hH6-M8pTXUoaivaSus/w460-h640/1530_Sebald%20Beham_From%20a%20Series%20of%20New%20Testament%20Illustrations_German,%201530_London,%20Trustees%20of%20the%20British%20Museum.jpg" width="460" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sebald Beham, The Vineyard Owner Hires a Laborer for the Vineyard<br />From a Series of New Testament Illustrations<br />German, 1530<br />London, Trustees of the British Museum</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyTbPVzkJiFWQOv0m2Ymu1_OdKMwWNg9cJREXZG6IXRnGPBBuqxyr5H9TEiOHcs7Ylj5TZ6HYTbpMDGTHM3QNfNmMXqs5_ansKYJN3_VaC76YSsbIr47svwvmhLZhTbIABHXlH2aSEyIfbOfpIccYvclcrVeMvyx-TO0TDTalMumOHfZhCG7edEC9rs3E/s5412/1564_Georg%20Pencz_German,%20c.1534-1535_Amersterdam,%20Rijksmuseum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3494" data-original-width="5412" height="414" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyTbPVzkJiFWQOv0m2Ymu1_OdKMwWNg9cJREXZG6IXRnGPBBuqxyr5H9TEiOHcs7Ylj5TZ6HYTbpMDGTHM3QNfNmMXqs5_ansKYJN3_VaC76YSsbIr47svwvmhLZhTbIABHXlH2aSEyIfbOfpIccYvclcrVeMvyx-TO0TDTalMumOHfZhCG7edEC9rs3E/w640-h414/1564_Georg%20Pencz_German,%20c.1534-1535_Amersterdam,%20Rijksmuseum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Georg Pencz, The Vineyard Owner Hires Laborers for the Vineyard<br />German, c.1534-1535<br />Amsterdam, Rijksmuseum</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyq1UmTbyE8dfyBnfuEyTYYf3XIUPs_AfFSuHqdTcF2-fg2uA1l2xfc0ZM6x_1_tV2yLcN8lWm5JvkBr8TtjPipd4YEs9XIxvGO9R8TZ6wjq17xh6TDv9hAcqhUU02Tz7cg_qlwaUnCVs37xX7yimWv9xanUCCA0b5ZVjVZDH8TNpvlto7Tw683izQ-yk/s4428/1597_Jan%20Collaert%20the%20Younger%20after%20Maerten%20de%20Vos_Flemish,%201597_Amsterdam,%20Rijksmuseum-2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3465" data-original-width="4428" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyq1UmTbyE8dfyBnfuEyTYYf3XIUPs_AfFSuHqdTcF2-fg2uA1l2xfc0ZM6x_1_tV2yLcN8lWm5JvkBr8TtjPipd4YEs9XIxvGO9R8TZ6wjq17xh6TDv9hAcqhUU02Tz7cg_qlwaUnCVs37xX7yimWv9xanUCCA0b5ZVjVZDH8TNpvlto7Tw683izQ-yk/w640-h500/1597_Jan%20Collaert%20the%20Younger%20after%20Maerten%20de%20Vos_Flemish,%201597_Amsterdam,%20Rijksmuseum-2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jan Collaert the Younger after Maerten de Vos, The Vineyard Owner Hires a Laborer for the Vineyard<br />Flemish, 1597<br />Amsterdam, Rijksmuseum</td></tr></tbody></table><br /><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZH2YheHsh8CQnVryk4gJP0nAMGpU8cT5OP8618Q_rBBwN5inB4FBmhr8Jlu4YA31Ms8wONJh9_O9qlWPHcFM0epa2cA1A_3PRWBCYsr7GzgC-tagWqBMuuxc_neCXfXv0aL8NWUwrfVC7j2KkFK07UTZLV0WEpOtxgqz_5vln03EFGWKSyywQkKflkys/s5732/1603_Jacob%20Matham%20after%20Pieter%20Aertsen,%20Market%20Scene%20with%20the%20Parable%20in%20the%20Background_Dutch,%20c.%201600-1603_Amsterdam,Rijksmuseum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3996" data-original-width="5732" height="446" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZH2YheHsh8CQnVryk4gJP0nAMGpU8cT5OP8618Q_rBBwN5inB4FBmhr8Jlu4YA31Ms8wONJh9_O9qlWPHcFM0epa2cA1A_3PRWBCYsr7GzgC-tagWqBMuuxc_neCXfXv0aL8NWUwrfVC7j2KkFK07UTZLV0WEpOtxgqz_5vln03EFGWKSyywQkKflkys/w640-h446/1603_Jacob%20Matham%20after%20Pieter%20Aertsen,%20Market%20Scene%20with%20the%20Parable%20in%20the%20Background_Dutch,%20c.%201600-1603_Amsterdam,Rijksmuseum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jacob Matham after Pieter Aertsen, Market Scene with the Parable of the Laborers in the Vineyard in the Background<br />Dutch, c. 1600-1603<br />Amsterdam, Rijksmuseum</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoOszokB6HkKXDG-lQVujFhOF0Ac0CWOnvkjYPaFTZ4wrJIHImtcDOEukjQqzUdDlm40Ye5ahwlSxCNwY0ErodF3N6NaD_TaohCnbsYyJ9yH4YfqAv_Pikyuem4zXBpKFQU3hjb36b3dOM8ax6rMrxg6whie22HkxZZv4cX7dEuFflxz24MO58KmGVM2A/s650/1616_Att%20to%20Joachim%20Govertszoon%20Camphuysen%20or%20Gillis%20Peeters,%20Subj%20w%20City%20of%20Antwerp%20in%20Bkg_Dutch,%20c.%201616-1659_Private%20Coll.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="449" data-original-width="650" height="442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoOszokB6HkKXDG-lQVujFhOF0Ac0CWOnvkjYPaFTZ4wrJIHImtcDOEukjQqzUdDlm40Ye5ahwlSxCNwY0ErodF3N6NaD_TaohCnbsYyJ9yH4YfqAv_Pikyuem4zXBpKFQU3hjb36b3dOM8ax6rMrxg6whie22HkxZZv4cX7dEuFflxz24MO58KmGVM2A/w640-h442/1616_Att%20to%20Joachim%20Govertszoon%20Camphuysen%20or%20Gillis%20Peeters,%20Subj%20w%20City%20of%20Antwerp%20in%20Bkg_Dutch,%20c.%201616-1659_Private%20Coll.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Attributed to Joachim Govertszoon Camphuysen or Gillis Peeters, The Owner of the Vineyard Hires His Laborers with the City of Antwerp in the Background<br />Dutch, c. 1616-1659<br />Private Collection</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwIdX96IAZW7eXf52-rO_QTvtuDjWG06QUlNaKfeunOxG0RZjdj1oJqtcDx83lrC4jfyKnmM9XaLgbo-buif4XVK0cuSGK3qfIhyd5jP08FVckDeLGrtii_eH7wSvQI7_Tg4wmTrtv3QjU2ngzciqo1nAwcekPGEIiPitnjT9UaaGL-xNTvGEDRk6oXVw/s1223/1618_Domenico%20Fetti_Italian,%20c.%201618_Florence,%20Galleria%20Palatina,%20Palazzo%20Pitti.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1223" data-original-width="700" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwIdX96IAZW7eXf52-rO_QTvtuDjWG06QUlNaKfeunOxG0RZjdj1oJqtcDx83lrC4jfyKnmM9XaLgbo-buif4XVK0cuSGK3qfIhyd5jP08FVckDeLGrtii_eH7wSvQI7_Tg4wmTrtv3QjU2ngzciqo1nAwcekPGEIiPitnjT9UaaGL-xNTvGEDRk6oXVw/w366-h640/1618_Domenico%20Fetti_Italian,%20c.%201618_Florence,%20Galleria%20Palatina,%20Palazzo%20Pitti.jpg" width="366" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Domenico Fetti, The Vineyard Owner Hires a Laborer<br />Italian, c. 1618<br />Florence, Galleria Palatina, Palazzo Pitti</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXjSgHat5NDh9bBqinsMtj9hl7RB4rIzfswScejAdGC42Mj2jzUF03u_d0hwD5K4WxfwV12U3Iw5Zm080W6XAU80hThu579P2XH3JZHgPpHYstm-vCy3kMXC8HEheNDsrvEAQbM0Axuk1226b5nBTGHDR1-4ak4HW1dDFeJ-jzTvk-7vzhztXrI9vVIyY/s800/1672_Nicolas%20Cochin_French,%20c.%201672_Nancy,%20Musee%20des%20Beaux-Arts.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="589" data-original-width="800" height="472" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXjSgHat5NDh9bBqinsMtj9hl7RB4rIzfswScejAdGC42Mj2jzUF03u_d0hwD5K4WxfwV12U3Iw5Zm080W6XAU80hThu579P2XH3JZHgPpHYstm-vCy3kMXC8HEheNDsrvEAQbM0Axuk1226b5nBTGHDR1-4ak4HW1dDFeJ-jzTvk-7vzhztXrI9vVIyY/w640-h472/1672_Nicolas%20Cochin_French,%20c.%201672_Nancy,%20Musee%20des%20Beaux-Arts.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Nicolas Cochin, The Vineyard Owner Hires Laborers for the Vineyard<br />French, c. 1672<br />Nancy, Musé<span style="text-align: start;">e </span>des Beaux-Arts</span></td></tr></tbody></table><p></p><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBdfnxQ-YHYXeHaqckGbdq0unGpLAtR7boyGQ6Y_0WaViQ2N17cxCfMfERPyZ5kXWBEB-f0LdEMq_wqvAswAjuIi72kgkFBBgzeTAo_hv2GGMtiEtuxjYPMGJrcu951m5TQMla5URi2mX8V4Uqs7xKhYi9SZnpCOuqd9yzzEvVTO-1pSgB2jl9QhcdloI/s864/1675_Sebastien%20Leclerc_Page%2026%20of%20Histoire%20sacree%20en%20tableaux,%20Vol.%20III_French,%20c.%201675_Dresden,%20Staatliche%20Kunstsammlungen,%20Kupferstich-Kabinett.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="636" data-original-width="864" height="472" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBdfnxQ-YHYXeHaqckGbdq0unGpLAtR7boyGQ6Y_0WaViQ2N17cxCfMfERPyZ5kXWBEB-f0LdEMq_wqvAswAjuIi72kgkFBBgzeTAo_hv2GGMtiEtuxjYPMGJrcu951m5TQMla5URi2mX8V4Uqs7xKhYi9SZnpCOuqd9yzzEvVTO-1pSgB2jl9QhcdloI/w640-h472/1675_Sebastien%20Leclerc_Page%2026%20of%20Histoire%20sacree%20en%20tableaux,%20Vol.%20III_French,%20c.%201675_Dresden,%20Staatliche%20Kunstsammlungen,%20Kupferstich-Kabinett.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sebastien Leclerc, The Vineyard Owner Hires Laborers for the Vineyard<br />Page 26 of <i><u>Histoire sacree en tableaux</u></i>, Vol. III<br />French, c. 1675<br />Dresden, Staatliche Kunstsammlungen, Kupferstich-Kabinett</td></tr></tbody></table><br /></div><br /><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfmg6O_MbMSwhApu-xAHwv1ZzWOxkEFYzF3X2JjdvmXYb4wfAYFgoj4_zUO5vdedwOTH9PbFsvUCX3-JCavu2z2z_u3KT_h5sT6cjRimKK4rAKY8pjZ9KYGMz6xOd0QG-X-DKKeLyZFD9KVSTSygjMONjnlmt1PEFAo5muGJfwzyTtG_2TA6oRBPKJYb8/s1400/1769_Johann%20Christian%20Brand_Austrian,%201769_Vienna,%20Akademie%20der%20bildenden%20Kuenste.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1018" data-original-width="1400" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfmg6O_MbMSwhApu-xAHwv1ZzWOxkEFYzF3X2JjdvmXYb4wfAYFgoj4_zUO5vdedwOTH9PbFsvUCX3-JCavu2z2z_u3KT_h5sT6cjRimKK4rAKY8pjZ9KYGMz6xOd0QG-X-DKKeLyZFD9KVSTSygjMONjnlmt1PEFAo5muGJfwzyTtG_2TA6oRBPKJYb8/w640-h466/1769_Johann%20Christian%20Brand_Austrian,%201769_Vienna,%20Akademie%20der%20bildenden%20Kuenste.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Johann Christian Brand, The Vineyard Owner Hires Laborers for the Vineyard<br />Austrian, 1769<br />Vienna, Akademie der bildenden Kùnste</td></tr></tbody></table><p></p><p class="MsoNormal"><br /></p><p class="MsoNormal"><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjniv9TVBQkwKYS1EcLB7bGDgVRRM8AczJRHNGiNwfIXbCeW0HEMkrn8tFd6u_kIefy6aaYnyTt7RvZ7Eg8ALZ5BUenG-djWtX0Q0KzVYW582lLLp-d4S-P-76icCNGGZNx3JbWJI2IQfgKr2nfCscHcnsAPy7dSH7Jjhg_2ztLH0Kzs5vSa5RzEelacmw/s1200/1800_Winter%20Carl%20Hansson_Swedish,%20c.%201800_Falun%20(SE),%20%20Dalarnas%20Museum.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="982" data-original-width="1200" height="524" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjniv9TVBQkwKYS1EcLB7bGDgVRRM8AczJRHNGiNwfIXbCeW0HEMkrn8tFd6u_kIefy6aaYnyTt7RvZ7Eg8ALZ5BUenG-djWtX0Q0KzVYW582lLLp-d4S-P-76icCNGGZNx3JbWJI2IQfgKr2nfCscHcnsAPy7dSH7Jjhg_2ztLH0Kzs5vSa5RzEelacmw/w640-h524/1800_Winter%20Carl%20Hansson_Swedish,%20c.%201800_Falun%20(SE),%20%20Dalarnas%20Museum.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Winter Carl Hansson, Deorative Wall Painting, The Parable of the Laborers in the Vineyard<br />Swedish, c. 1800<br />Falun (SE), Dalarnas Museum</td></tr></tbody></table><br /><h4 style="text-align: left;"><span style="background-color: white; color: #363936; font-family: Roboto; font-size: 15pt;">Paying the Workers</span></h4>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">The images of payment are a little more
complex.<span style="mso-spacerun: yes;"> </span>One has to be alert for signs
of dissent among the workers as they receive payment.<span style="mso-spacerun: yes;"> </span>However, the images which record just payment
being made are numerous.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Zyl1tvYrKRenI5gfwM05l6pV3tH4VA71h9UbFQbYR1puVo7sVw8mtGp5hEMdlYYKWyIhylIIDyhPZjNsyDZH5TU9qn8RmlK8TPlpYVSCIPNBS4nnQ9bYYBAGfupfSKedWhURF8AII9JY-sm1yyI5SSCL4z7bhWOIDpyJXnDgqda0Qh4SPdGbaDrQCFI/s1216/1350_School%20of%20Jean%20Pucelle_From%20a%20Franciscan%20Missal_French%20(Paris),%20c.%201350_Oxford,%20The%20Bodleian%20Library_MS%20Douce%20313,%20fol.%2035r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1032" data-original-width="1216" height="544" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8Zyl1tvYrKRenI5gfwM05l6pV3tH4VA71h9UbFQbYR1puVo7sVw8mtGp5hEMdlYYKWyIhylIIDyhPZjNsyDZH5TU9qn8RmlK8TPlpYVSCIPNBS4nnQ9bYYBAGfupfSKedWhURF8AII9JY-sm1yyI5SSCL4z7bhWOIDpyJXnDgqda0Qh4SPdGbaDrQCFI/w640-h544/1350_School%20of%20Jean%20Pucelle_From%20a%20Franciscan%20Missal_French%20(Paris),%20c.%201350_Oxford,%20The%20Bodleian%20Library_MS%20Douce%20313,%20fol.%2035r.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">School of Jean Pucelle, The Vineyard Owner Paying the Workers<br />From a <u><i>Missal</i></u><br />French (Paris), c. 1350<br />Oxford, The Bodleian Library<br />MS Douce 313, fol. 35r</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIbM5TqxzUxPDlqRmNc8RDIZ0nHZkSIwf2HimpOuJq9D4Fts_HPogiWcYYddT2SezUDtIEbVJ1tByMGVKimJjlOG8SAs4EZC0bt1ZEfGrYStlgaKQ-PxfKek69-hGbqWxQ1shwN-iwJh3hHwdkjWpqU8jmg9nAOrJ0pSlGtFyTrUc92T44yscO2NFc54M/s831/1366_German,%20c.%201366-1368_Bremen,%20Cathedral%20of%20Saint%20Peter.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="831" data-original-width="674" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIbM5TqxzUxPDlqRmNc8RDIZ0nHZkSIwf2HimpOuJq9D4Fts_HPogiWcYYddT2SezUDtIEbVJ1tByMGVKimJjlOG8SAs4EZC0bt1ZEfGrYStlgaKQ-PxfKek69-hGbqWxQ1shwN-iwJh3hHwdkjWpqU8jmg9nAOrJ0pSlGtFyTrUc92T44yscO2NFc54M/w520-h640/1366_German,%20c.%201366-1368_Bremen,%20Cathedral%20of%20Saint%20Peter.jpg" width="520" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Vineyard Owner Paying the Workers<br />German, c. 1366-1368<br />Bremen, Cathedral of Saint Peter</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeRj-IGwPb2_5GgXp6KMQ8q6oALjl-Nvzn733hWUXFloTMvMO5myt92bObHntgujZAQkMJ4kI0dWMDfSDNd3gdHPvFigAVp5XeclHx3VJbzO0RyWmmyIaq1x81Mw4SnRRXxdbfB3gDixwmCiH0idYH6Yf45Gm0iMk8QRVwaDthhdrjPnXrwp1hI1h36B0/s465/1419_The%20Bedford%20Master%20&%20Works,%20Owner%20Paying%20Two%20Laborers%20in%20the%20Vineyard_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201419-1437_New%20York,%20Pierpont_MS%20M%20359,%20fol.%2074r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="465" data-original-width="405" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeRj-IGwPb2_5GgXp6KMQ8q6oALjl-Nvzn733hWUXFloTMvMO5myt92bObHntgujZAQkMJ4kI0dWMDfSDNd3gdHPvFigAVp5XeclHx3VJbzO0RyWmmyIaq1x81Mw4SnRRXxdbfB3gDixwmCiH0idYH6Yf45Gm0iMk8QRVwaDthhdrjPnXrwp1hI1h36B0/w558-h640/1419_The%20Bedford%20Master%20&%20Works,%20Owner%20Paying%20Two%20Laborers%20in%20the%20Vineyard_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201419-1437_New%20York,%20Pierpont_MS%20M%20359,%20fol.%2074r.jpg" width="558" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Bedford Master and Workshop,The Vineyard Owner Paying Two Workers<br />From a <u><i>Book of Hours</i></u><br />French (Paris), c. 1419-1437<br />New York, Pierpont Morgan Library<br />MS M 359, fol. 74r</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm38KFFtq1-YVfSvS9Dd3YqltG-q8xf-rza_3v4MrKgre7dK0T1TniLH0hT0GcIt93-UHWVtgVe5njBzpW-5JvkotQQkL_2HamtpvR1o_bUxFdhLwE3Be-20QIjaBDgm4eUiN26-3r0RYvnZOrRpCFhaoZRW1jldWkz6JYgUrj20oD4uVmHJgKdFSjznA/s856/1536_Anonymous_Possibly%20Dutch,%20%201536_Amsterdam,%20Rijksmuseum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="856" data-original-width="693" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm38KFFtq1-YVfSvS9Dd3YqltG-q8xf-rza_3v4MrKgre7dK0T1TniLH0hT0GcIt93-UHWVtgVe5njBzpW-5JvkotQQkL_2HamtpvR1o_bUxFdhLwE3Be-20QIjaBDgm4eUiN26-3r0RYvnZOrRpCFhaoZRW1jldWkz6JYgUrj20oD4uVmHJgKdFSjznA/w518-h640/1536_Anonymous_Possibly%20Dutch,%20%201536_Amsterdam,%20Rijksmuseum.jpg" width="518" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Anonymous, The Vineyard Owner Paying a Worker<br />Possibly Dutch, 1536<br />Amsterdam, Rijksmuseum</td></tr></tbody></table><br /><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlD92ecrPd6ASKy9wcoDeoHAd3_48EfUPZh-qbMWZ19o0l2clXsbeyOsoTItXcsyGhFrg-bvyAXdkhzNFY2ABwgHlzF1jbrMZlLIvZdnCGvlXliEmB4LpDa9VTA8szHxOwc4cTb21FVELqfcRS0blHxuR8SrswSArtapjYIDXoWF7lFj8iey2H6aalAf4/s1666/1585_J~1.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1345" data-original-width="1666" height="516" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlD92ecrPd6ASKy9wcoDeoHAd3_48EfUPZh-qbMWZ19o0l2clXsbeyOsoTItXcsyGhFrg-bvyAXdkhzNFY2ABwgHlzF1jbrMZlLIvZdnCGvlXliEmB4LpDa9VTA8szHxOwc4cTb21FVELqfcRS0blHxuR8SrswSArtapjYIDXoWF7lFj8iey2H6aalAf4/w640-h516/1585_J~1.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jan Collaert I after Ambrosius Francken, The Vineyard Owner Paying Some of the Workers<br />From the <i><u>Thesaurus Novi Testi elegantissimis iconibus expressus continens historias atq miracula do[mi] ni nostri Iesu Christi</u></i><br />Flemish, 1585<br />London, Trustees of the British Museum<br /><br /></td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR2fub379Z8SkXfcIKN-Gj2jG8nP8GyhbRq9HSRDA5hiQtnogk1a9pxjfcIAZpdvWEkzS2ItTh3O5RfLUn9SVi8DkYpNe19HuROg3Wcw2OHoueHFxwIGCsZlPNTMTgJnzd56HfqJGZ8yPy0wHLfkyIWwRgeD3Um4n2W5BTiRtqwDui74jKG5nMksUbFBc/s2250/1593_Bernardino%20Passeri,%20Parable%20of%20the%20Workers%20in%20the%20Vineyard_Italian,%201593_Lodon,%20Royal%20Collection%20Trust.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2250" data-original-width="1864" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR2fub379Z8SkXfcIKN-Gj2jG8nP8GyhbRq9HSRDA5hiQtnogk1a9pxjfcIAZpdvWEkzS2ItTh3O5RfLUn9SVi8DkYpNe19HuROg3Wcw2OHoueHFxwIGCsZlPNTMTgJnzd56HfqJGZ8yPy0wHLfkyIWwRgeD3Um4n2W5BTiRtqwDui74jKG5nMksUbFBc/w530-h640/1593_Bernardino%20Passeri,%20Parable%20of%20the%20Workers%20in%20the%20Vineyard_Italian,%201593_Lodon,%20Royal%20Collection%20Trust.jpg" width="530" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bernardino Passeri, Parable of the Workers in the Vineyard, The Owner Pays the Workers<br />Italian, 1593<br />London, Royal Collection Trust</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA1VEXewm2uuZg49p7K97-YxGSoChtAhGqpGyeYlobefcYuN-38vhUSa9zDiAfLkSe7t7lfWU4nXfBz51MzXzMIzRXM3pXwMWG-4i4ZOQx4SIZrqPyaztT-sYJ2EvjvwgbjjFBAOGEKWrPBJu3yczDU2ZysDeB4I3xYyEFOdanxt_VReS6y-1AIcpnzAs/s6804/1593_Johannes%20Wierix%20after%20Bernardino%20Passeri_Flemish,%201593_Amsterdam,%20Rijksmuseum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="6804" data-original-width="4374" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA1VEXewm2uuZg49p7K97-YxGSoChtAhGqpGyeYlobefcYuN-38vhUSa9zDiAfLkSe7t7lfWU4nXfBz51MzXzMIzRXM3pXwMWG-4i4ZOQx4SIZrqPyaztT-sYJ2EvjvwgbjjFBAOGEKWrPBJu3yczDU2ZysDeB4I3xYyEFOdanxt_VReS6y-1AIcpnzAs/w412-h640/1593_Johannes%20Wierix%20after%20Bernardino%20Passeri_Flemish,%201593_Amsterdam,%20Rijksmuseum.jpg" width="412" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Johannes Wierix after Bernardino Passeri, Parable of the Workers in the Vineyard, The Owner Pays the Workers<br />Flemish, 1593<br />Amsterdam, Rijksmuseum</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVnfgkOQ0aBKZVlbujpxLTrSX9Du24-PmOQczQosedSDtSX5WJiTMSPz9LwAVMBHWdUwQ2cnWEdMAr5p9R3iEb2Ov-vU1fDiKnm2qPlyVVQ-gWDovkYx6DyNsjqz6NSncKukScdxYrCdLvfiLOnqYesLHwasmvIscil6Iq37sZS-MUpkAh1FV86sypUfs/s650/1625_Lambert%20Jacobszoon_Dutch,%20c.%201625-1630_Besancon,%20Musee%20des%20BEaux-Arts%20et%20d'Archeologie%20de%20Besancon.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="557" data-original-width="650" height="548" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVnfgkOQ0aBKZVlbujpxLTrSX9Du24-PmOQczQosedSDtSX5WJiTMSPz9LwAVMBHWdUwQ2cnWEdMAr5p9R3iEb2Ov-vU1fDiKnm2qPlyVVQ-gWDovkYx6DyNsjqz6NSncKukScdxYrCdLvfiLOnqYesLHwasmvIscil6Iq37sZS-MUpkAh1FV86sypUfs/w640-h548/1625_Lambert%20Jacobszoon_Dutch,%20c.%201625-1630_Besancon,%20Musee%20des%20BEaux-Arts%20et%20d'Archeologie%20de%20Besancon.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Lambert Jacobszoon, The Vineyard Owner Paying the Workers<br />Dutch, c. 1625-1630<br />Besancon, Musé<span style="text-align: start;">e</span> des Beaux-Arts et d'Archeologie de Besancon</span></td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDWYAMQuUL7Z27u4g4XkrvAyxttVvJ9bEQ6nZL_HwiE5LAhWsMOaFvWrBIXLxjo2rTU53Vk8_IKygUvsqZvBzEnb0tyfT1c0-7Je4Hxmu7bCFW19yaiHA2ru1vopUiMNY0xi-iz_OIvXmLXbXMKzwnDF4zzbMaj43lfFEnGZz3WD6w9iZBkquZJk8aVfY/s1200/1637_Rembrandt_Dutch,%20c.%201637_Saint%20Petersburg,%20State%20Hermitage%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="928" data-original-width="1200" height="494" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDWYAMQuUL7Z27u4g4XkrvAyxttVvJ9bEQ6nZL_HwiE5LAhWsMOaFvWrBIXLxjo2rTU53Vk8_IKygUvsqZvBzEnb0tyfT1c0-7Je4Hxmu7bCFW19yaiHA2ru1vopUiMNY0xi-iz_OIvXmLXbXMKzwnDF4zzbMaj43lfFEnGZz3WD6w9iZBkquZJk8aVfY/w640-h494/1637_Rembrandt_Dutch,%20c.%201637_Saint%20Petersburg,%20State%20Hermitage%20Museum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Rembrandt, The Vineyard Owner Paying Workers<br />Dutch, c. 1637<br />Saint Petersburg, State Hermitage Museum</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Roboto; margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheYwZrpfdZCPzRaTI3xdzAk8YYP4sJ3mtjwt1d9FjJ-vByxQLuDa2P7xNaWlIwFK_dUf6NPiWOhsOll1KlyeQvWYs0WW9N6X7lDVX-VYjO9sDLk9PjINyWo-dcboitpTGlvOx28wOcxXA_-L_AHvE8o5n1nAAaitGDB36Opiu-j-FXRp_UKpRjRgK5lXo/s6908/1650_Circle%20of%20Ferdinand%20Bol-Dutch,%201650_Frankfurt-am-Main,%20Staedel%20Museum.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="6908" data-original-width="6216" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheYwZrpfdZCPzRaTI3xdzAk8YYP4sJ3mtjwt1d9FjJ-vByxQLuDa2P7xNaWlIwFK_dUf6NPiWOhsOll1KlyeQvWYs0WW9N6X7lDVX-VYjO9sDLk9PjINyWo-dcboitpTGlvOx28wOcxXA_-L_AHvE8o5n1nAAaitGDB36Opiu-j-FXRp_UKpRjRgK5lXo/w576-h640/1650_Circle%20of%20Ferdinand%20Bol-Dutch,%201650_Frankfurt-am-Main,%20Staedel%20Museum.png" width="576" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Circle of Ferdinand Bol, The Vineyard Owner Paying a Worker<br />Dutch, 1650<br />Frankfurt-am-Main, St<span style="font-size: 11pt; line-height: 107%;">ädel</span> Museum</span></td></tr></tbody></table><span style="background: white; color: #363936; font-size: 15pt; line-height: 107%;"><br /><span style="font-family: Roboto;"><br /></span></span><p></p><h4 style="text-align: left;"><span style="background-color: white; color: #363936; font-family: Roboto; font-size: 15pt;">Receiving the Compliant of the Early
Workers</span></h4>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">While the first two parts of the story,
the hiring and paying of the workers, has a pretty even distribution throughout
the centuries, the motif of the complaining laborers became the principal image
beginning with the later sixteenth century.<span style="mso-spacerun: yes;">
</span>This is true both for countries that were predominantly Catholic as well
as those that were primarily Protestant, although it is somewhat more prevalent
in the Protestant countries.<span style="mso-spacerun: yes;"> </span>Perhaps it
is the idea of protest that gave this image a greater appeal in the north.<span style="mso-spacerun: yes;"> Whatever the reason, this aspect of the story has the largest number of examples.</span><o:p></o:p></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3pFN3PrAC_3d-ozuWUXTC7VNqlkSo1x1galfUjyJzuKFnhwet4Blt-_UgLlE_-2e-d4DAGQq2--4CzMS2O6JYufN54X5iukqkVFNy23moyvAa2mkcrYrx_p69SJqRxfvryhp-WYNhKh-_QOcYJ6G6Jhv38aKImJSPjbn8y4zDvYrO_0VEbs9QU7mMFhw/s5192/1583_Abraham%20de%20Bruyn%20after%20Chrispijn%20van%20den%20Broeck_Flemish,%201583_Amsterdam,%20Rijksmuseum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="5192" data-original-width="3894" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3pFN3PrAC_3d-ozuWUXTC7VNqlkSo1x1galfUjyJzuKFnhwet4Blt-_UgLlE_-2e-d4DAGQq2--4CzMS2O6JYufN54X5iukqkVFNy23moyvAa2mkcrYrx_p69SJqRxfvryhp-WYNhKh-_QOcYJ6G6Jhv38aKImJSPjbn8y4zDvYrO_0VEbs9QU7mMFhw/w480-h640/1583_Abraham%20de%20Bruyn%20after%20Chrispijn%20van%20den%20Broeck_Flemish,%201583_Amsterdam,%20Rijksmuseum.jpg" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Abraham de Bruyn after Chrispijn van den Broeck, The Workers Complain to the Vineyard Owner<br />Flemish, 1583<br />Amsterdam, Rijksmuseum</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn10qTcnO3uYVGYXpyX4vu4JquppP3oAQYbiCTk_OEh_S3VKn39DSzpkBcNEdwuTzQL79sRB__1cgOFYBBaXD01H3Va0XmkYL0fOMQquu0y372L_1MDl4LlO0CKKasONeav7bYBFn4hae8fvZlhvfiiCSVxUd6lvKsNR4J0da6ZPIy2GdofDxYJustUac/s650/1600_Anonymous%20Dutch_Dutch,%2017th%20Century_Frankfurt%20am%20Main,%20Stadelschen%20Kunstinstitut,%20Graphische%20Sammlung.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="613" data-original-width="650" height="604" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn10qTcnO3uYVGYXpyX4vu4JquppP3oAQYbiCTk_OEh_S3VKn39DSzpkBcNEdwuTzQL79sRB__1cgOFYBBaXD01H3Va0XmkYL0fOMQquu0y372L_1MDl4LlO0CKKasONeav7bYBFn4hae8fvZlhvfiiCSVxUd6lvKsNR4J0da6ZPIy2GdofDxYJustUac/w640-h604/1600_Anonymous%20Dutch_Dutch,%2017th%20Century_Frankfurt%20am%20Main,%20Stadelschen%20Kunstinstitut,%20Graphische%20Sammlung.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Anonymous Dutch, The Workers Complain to the Vineyard Owner<br />Dutch, 17th Century<br />Frankfurt am Main, Stadelschen Kunstinstitut, Graphische Sammlung</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF4oRYrbgp2vHZAco1RykMV1pUU3KIuPT-N-08jTqIhSnr5euNqPIQ4BHNdR7xBfFFjs-7QnINgQAEzbgbXVuPm2iwUfZH117jGk6PYnoj0csbj4byYeTbX7EVC30mM8MtI3Qc7w6m_B0hxqMdC6DhmNYYezN0OK_FDdV-QS8WyfFRRFsW4zsAyQbDWiM/s800/1600_Marten%20de%20Vos_Flemish,%20c.%201600_Stockholm,%20National%20Museum%20of%20Sweden.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="355" data-original-width="800" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF4oRYrbgp2vHZAco1RykMV1pUU3KIuPT-N-08jTqIhSnr5euNqPIQ4BHNdR7xBfFFjs-7QnINgQAEzbgbXVuPm2iwUfZH117jGk6PYnoj0csbj4byYeTbX7EVC30mM8MtI3Qc7w6m_B0hxqMdC6DhmNYYezN0OK_FDdV-QS8WyfFRRFsW4zsAyQbDWiM/w640-h284/1600_Marten%20de%20Vos_Flemish,%20c.%201600_Stockholm,%20National%20Museum%20of%20Sweden.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Marten de Vos, The Workers Complain<br />Flemish, c. 1600<br />Stockholm, National Museum of Sweden</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-WR2We33Papv2pV7ZSckihC-jQbQs9l2Xj5dlSQnkUrQRItPmDFJV3O41Z3BTBfEI28F9dvyctnbFhCuwiFNrE0OP-sG_M2XN2saC-i8xx02K-wRIPkHjqslBa38QShG2xozupeRsOVTg7gsjPGt85V6Ee5P_98oblO2_fISvS7RfN02aGrvK61EaXWc/s650/1622_Jan%20Pynas_Dutch,%201622_Prague,%20Narodni%20Galerie.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="506" data-original-width="650" height="498" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-WR2We33Papv2pV7ZSckihC-jQbQs9l2Xj5dlSQnkUrQRItPmDFJV3O41Z3BTBfEI28F9dvyctnbFhCuwiFNrE0OP-sG_M2XN2saC-i8xx02K-wRIPkHjqslBa38QShG2xozupeRsOVTg7gsjPGt85V6Ee5P_98oblO2_fISvS7RfN02aGrvK61EaXWc/w640-h498/1622_Jan%20Pynas_Dutch,%201622_Prague,%20Narodni%20Galerie.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jan Pynas, The Workers Complain to the Owner of the Vineyard<br />Dutch, 1622<br />Prague, Narodni Galerie</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_uxxHSuLlZgo8ESEIuf7WsWpmO5hsjxdIWDy5r2erEmqswpGkWH1Idzrf4Sgamf3xq2yaO3b1hB4q7ppZfdsEgxpmHFMunBVo5UW2aqmRU2KMlq9BSUabQ_1099XOCTI44yiQE4Jtz95cCkrqySrjaQ1RvSmOJg5D5abDpEzpZR71obc9IQvkbAq8QyE/s666/1630_Lambert%20Jacobszoon_Dutch,%20First%20Half%20of%2017th%20Century_Rouen,%20Musee%20des%20Beaux-Arts.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="666" height="576" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_uxxHSuLlZgo8ESEIuf7WsWpmO5hsjxdIWDy5r2erEmqswpGkWH1Idzrf4Sgamf3xq2yaO3b1hB4q7ppZfdsEgxpmHFMunBVo5UW2aqmRU2KMlq9BSUabQ_1099XOCTI44yiQE4Jtz95cCkrqySrjaQ1RvSmOJg5D5abDpEzpZR71obc9IQvkbAq8QyE/w640-h576/1630_Lambert%20Jacobszoon_Dutch,%20First%20Half%20of%2017th%20Century_Rouen,%20Musee%20des%20Beaux-Arts.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Lambert Jacobszoon, The Workers Complain to the Owner of the Vineyard<br />Dutch, First Half of 17th Century<br />Rouen, Musé<span style="text-align: start;">e</span> des Beaux-Arts</span></td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal"><span style="background: white; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkExoT2Gyonu55n1Fxf5iY-HI01pK7na2TSmsUQBKwdgbFs8-BeK1QiW-QDfqBhg4Kfh0i8s6TB1aMf3tYPMiPa8BR3kZKBmlyRfUwSiNyBwybEPcfDk0xeIEunzheabD0UqD1ab7_7czgYcw_Ha5SEmGXedODjWm2QmkIPE4XK8dw_L3u7vrhIGiA15o/s800/1630_Nicolaes%20Corneliszoon%20Moeyaert,%20The%20Parab%20le%20of%20the%20Workers%20of%20the%20Eleventh%20Hour_Dutch,%20c.%201630-1640_Chambery,%20Musee%20des%20Beaux-Arts.jpg" style="font-size: 20px; margin-left: auto; margin-right: auto;"><span style="color: #363936; font-family: inherit;"><img border="0" data-original-height="542" data-original-width="800" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkExoT2Gyonu55n1Fxf5iY-HI01pK7na2TSmsUQBKwdgbFs8-BeK1QiW-QDfqBhg4Kfh0i8s6TB1aMf3tYPMiPa8BR3kZKBmlyRfUwSiNyBwybEPcfDk0xeIEunzheabD0UqD1ab7_7czgYcw_Ha5SEmGXedODjWm2QmkIPE4XK8dw_L3u7vrhIGiA15o/w640-h434/1630_Nicolaes%20Corneliszoon%20Moeyaert,%20The%20Parab%20le%20of%20the%20Workers%20of%20the%20Eleventh%20Hour_Dutch,%20c.%201630-1640_Chambery,%20Musee%20des%20Beaux-Arts.jpg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"><span style="color: #363936; text-align: start;">Nicolaes Corneliszoon Moeyaert, The Parable of the Workers of the Eleventh Hour<br />Dutch, c. 1630-1640<br />Chambery, </span>Musé<span style="text-align: start;">e</span> <span style="color: #363936; text-align: start;">des Beaux-Arts</span></span></td></tr></tbody></table><span style="background: white; line-height: 107%;"><br /><span style="color: #363936; font-family: Roboto; font-size: 15pt;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeNF_YhaOQlcdbwpBNPQF8VYrkodaRWtms-66ppyf3ueKId2WJ8s054x19hkbvW2w1mD2mhGTnPg-KD_0h3JxAPhWJhv8BV_0qh_ddtjqWaVLPvKM0moS7BtNFp4R1Ys7OFNDIz8Hwxm1_opI2NP1K3Apt6EgPXLX_CBEwyWWrd5IMBTyLiES3QR5pv0w/s650/1640_David%20Collins_Dutch,%20First%20Half%20of%20!7th%20Century_PC.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="394" data-original-width="650" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeNF_YhaOQlcdbwpBNPQF8VYrkodaRWtms-66ppyf3ueKId2WJ8s054x19hkbvW2w1mD2mhGTnPg-KD_0h3JxAPhWJhv8BV_0qh_ddtjqWaVLPvKM0moS7BtNFp4R1Ys7OFNDIz8Hwxm1_opI2NP1K3Apt6EgPXLX_CBEwyWWrd5IMBTyLiES3QR5pv0w/w640-h388/1640_David%20Collins_Dutch,%20First%20Half%20of%20!7th%20Century_PC.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">David Collins, The Workers Complain to the Owner of the Vineyard<br />Dutch, First Half of !7th Century<br />Private Collection</span></td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOwYwE8jvJegfaAvcIID8PIq6lSIc4yjHiwCePCHK6balaNCVBObHfoeD3oRtP1yyKNKo6Tf9BpnmzrFVIvP82d3AGsIu55_maPN_7aEMRRgVUiqL-7jXq8uh07syrzstOjp0baB1JMqU99lNQKdL2rEZALPuuH2b57c0JsB9QLTYBMRUO1q9ZnjQPxxA/s1200/1645_Salomon%20Koninck_Dutch,%20c.%201645-1650_Saint%20Petersburg,%20State%20Hermitage%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="980" data-original-width="1200" height="522" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOwYwE8jvJegfaAvcIID8PIq6lSIc4yjHiwCePCHK6balaNCVBObHfoeD3oRtP1yyKNKo6Tf9BpnmzrFVIvP82d3AGsIu55_maPN_7aEMRRgVUiqL-7jXq8uh07syrzstOjp0baB1JMqU99lNQKdL2rEZALPuuH2b57c0JsB9QLTYBMRUO1q9ZnjQPxxA/w640-h522/1645_Salomon%20Koninck_Dutch,%20c.%201645-1650_Saint%20Petersburg,%20State%20Hermitage%20Museum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Salomon Koninck, The Workers Complain to the Owner of the Vineyard<br />Dutch, c. 1645-1650<br />Saint Petersburg, State Hermitage Museum</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMhOe28cUEWsW45SLArbxUpEqJ2leJb_6R0rZktAZUGJ9vEVTrtWHCBYyu8dw_C75T_KxN8a2c5MxHQqWY6toU7oq6oxFNhFbHK9aZCUS2W60yY_VHLepixRYvxfCHz62Fy9La2Qx3O6dsKbMq87rPGxkHfgTwEJetDvLQZDk2dL_NDgKY2DbbbjDCM10/s1600/1650_Jan%20de%20Bray_Dutch,%20Second%20Half%20of%20the%2017th%20Century_Boston,%20Museum%20of%20Fine%20Arts.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1168" data-original-width="1600" height="468" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMhOe28cUEWsW45SLArbxUpEqJ2leJb_6R0rZktAZUGJ9vEVTrtWHCBYyu8dw_C75T_KxN8a2c5MxHQqWY6toU7oq6oxFNhFbHK9aZCUS2W60yY_VHLepixRYvxfCHz62Fy9La2Qx3O6dsKbMq87rPGxkHfgTwEJetDvLQZDk2dL_NDgKY2DbbbjDCM10/w640-h468/1650_Jan%20de%20Bray_Dutch,%20Second%20Half%20of%20the%2017th%20Century_Boston,%20Museum%20of%20Fine%20Arts.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jan de Bray, The Vineyard Owner Listens to the Complaint of the Workers<br />Dutch, Second Half of the 17th Century<br />Boston, Museum of Fine Arts</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Roboto; margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUvks2sbD5k6L4SpsyZePQNyiqHaQ7GcQpzKRIGIwWEy3_lc2UngvjPNHuLtvCHk4BgHhoUXD-Xx-h3SiAMl_XG-AcMNaour7FF56Njpml6rEQol8TZNVlYvfxQCtxn5r9WpRORGk5rl4Z5Y-WjLyZ96K7laoVlhAZEKRpP7wEuXSSrRv4aBARhcQ-YIQ/s543/1680_Jan%20Luyken_Dutch,%20c.%20End%20of%2017th%20Century_Paris,%20Musee%20du%20Louvre,%20Departement%20des%20Arts%20graphiques.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="381" data-original-width="543" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUvks2sbD5k6L4SpsyZePQNyiqHaQ7GcQpzKRIGIwWEy3_lc2UngvjPNHuLtvCHk4BgHhoUXD-Xx-h3SiAMl_XG-AcMNaour7FF56Njpml6rEQol8TZNVlYvfxQCtxn5r9WpRORGk5rl4Z5Y-WjLyZ96K7laoVlhAZEKRpP7wEuXSSrRv4aBARhcQ-YIQ/w640-h450/1680_Jan%20Luyken_Dutch,%20c.%20End%20of%2017th%20Century_Paris,%20Musee%20du%20Louvre,%20Departement%20des%20Arts%20graphiques.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Jan Luyken, The Workers Complain to the Owner of the Vineyard<br />Dutch, c. End of 17th Century<br />Paris, Musé<span style="text-align: left;">e du Louvre, </span>Département des Arts graphiques</span></td></tr></tbody></table><span style="background: white; color: #363936; font-size: 15pt; line-height: 107%;"><br /><span style="font-family: Roboto;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicRw7Qs1G3Kryb9Z76glCVA9G6kHwvucUZQ0cXYxW5N3W5thR1s8dyJhyd9yZfiqcGdjv6RKKe6_XLF3BhkukYBJaHoVsgCqqQacdvzZmN9jLqxdMEgyTVLDz2yw4ZDSNUaUgvTJNBZcmPW499budcsfZNo9k9EeQhfp3ZRUOYlLrbV9wx3HJSkIhH0hA/s753/1688_G.%20Fremen_English,%20c.%201690_London,%20The%20Courtauld.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="753" data-original-width="472" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicRw7Qs1G3Kryb9Z76glCVA9G6kHwvucUZQ0cXYxW5N3W5thR1s8dyJhyd9yZfiqcGdjv6RKKe6_XLF3BhkukYBJaHoVsgCqqQacdvzZmN9jLqxdMEgyTVLDz2yw4ZDSNUaUgvTJNBZcmPW499budcsfZNo9k9EeQhfp3ZRUOYlLrbV9wx3HJSkIhH0hA/w402-h640/1688_G.%20Fremen_English,%20c.%201690_London,%20The%20Courtauld.jpg" width="402" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">G. Fremen, The Vineyard Owner Answering the Complaining Workers<br />English, c. 1690<br />London, The Courtauld</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_oD0N9BgFZRkGWx2MFjdDQGltDXbYXsfR8tB7A8YFoXwh3vP30b0GsjQe1y83NVYIfYjEux62zHms69FOJfyaDhuNJ07RhCRY1UnekPei-7tQu7fE2yLp4DSuL1dNJvbPvmk3btqwG0TfvtvKSFktwjPbh6AOA31JXkwxWHJQs0ihs0iIgbIyo-ByUL0/s2123/1703_John%20Hall%20After%20John%20Opie,%20The%20Lord%20of%20the%20Vineyard_From%20Macklin's%20Bible_English,%201703_London,%20Trustees%20of%20the%20British%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2123" data-original-width="1748" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_oD0N9BgFZRkGWx2MFjdDQGltDXbYXsfR8tB7A8YFoXwh3vP30b0GsjQe1y83NVYIfYjEux62zHms69FOJfyaDhuNJ07RhCRY1UnekPei-7tQu7fE2yLp4DSuL1dNJvbPvmk3btqwG0TfvtvKSFktwjPbh6AOA31JXkwxWHJQs0ihs0iIgbIyo-ByUL0/w526-h640/1703_John%20Hall%20After%20John%20Opie,%20The%20Lord%20of%20the%20Vineyard_From%20Macklin's%20Bible_English,%201703_London,%20Trustees%20of%20the%20British%20Museum.jpg" width="526" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">John Hall After John Opie, The Lord of the Vineyard<br />From Macklin's <i><u>Bible</u></i><br />English, 1703<br />London, Trustees of the British Museum</td></tr></tbody></table><br /><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-family: Roboto; margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHmoh6SzUBvjlWvevogM4t5BmSxzrUrsQtqMgvE331ziDXmzJghD0Q5Mm3K37WnV4XClfjd0AWWBAQW1CB3YozrHTod6XOpeiS2ggwPQbcLl-GsoJGXlHmzbY5vYjLMekFXsr4zXZ1WSIpVagHXa_n__4yxOCJLEM-hg-GFCrH7hVwB-GcrhtuImc9Nho/s570/1725_Franz%20Anton%20Kraus_German,%20c.%201725-1750_Dijon,%20Musee%20des%20Beaux-Arts.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" data-original-height="570" data-original-width="469" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHmoh6SzUBvjlWvevogM4t5BmSxzrUrsQtqMgvE331ziDXmzJghD0Q5Mm3K37WnV4XClfjd0AWWBAQW1CB3YozrHTod6XOpeiS2ggwPQbcLl-GsoJGXlHmzbY5vYjLMekFXsr4zXZ1WSIpVagHXa_n__4yxOCJLEM-hg-GFCrH7hVwB-GcrhtuImc9Nho/w526-h640/1725_Franz%20Anton%20Kraus_German,%20c.%201725-1750_Dijon,%20Musee%20des%20Beaux-Arts.jpg" width="526" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Franz Anton Kraus, The Owner of the Vineyard Responds to the Complaining Worker<br />German, c. 1725-1750<br />Dijon, Musé<span style="text-align: left;">e </span>des Beaux-Arts</span></td></tr></tbody></table><span style="background: white; color: #363936; font-size: 15pt; line-height: 107%;"><br /><span style="font-family: Roboto;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQQFO-y5tpy0pw7Y5ACulAimOj3MW4h4ekctcN04R7B6wNpTbx1wgK8Kq1Duq0bemibbH158WblUYE-GTzUMIxWM6t8Sx7jLTDMX-z7XTZT2GiyuT7j-LAbBjvDfasLOf6vSvMfwuSeEwRrALx18u6XlVJWdBMqC5vkf0i2-QokgLV4pzQc_CbK_mb_0Y/s670/1750+James%20Basire%20the%20Elder_English,%20c.%201750-1802_London,%20The%20Courtauld.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="670" data-original-width="459" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQQFO-y5tpy0pw7Y5ACulAimOj3MW4h4ekctcN04R7B6wNpTbx1wgK8Kq1Duq0bemibbH158WblUYE-GTzUMIxWM6t8Sx7jLTDMX-z7XTZT2GiyuT7j-LAbBjvDfasLOf6vSvMfwuSeEwRrALx18u6XlVJWdBMqC5vkf0i2-QokgLV4pzQc_CbK_mb_0Y/w438-h640/1750+James%20Basire%20the%20Elder_English,%20c.%201750-1802_London,%20The%20Courtauld.jpg" width="438" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">James Basire the Elder, The Vineyard Owner Answers the Complaining Worker<br />English, c. 1750-1802<br />London, The Courtauld<br /><div style="text-align: left;"><span style="color: #363936; font-size: 15pt;">The text below is a paraphrase of the Gospel and reads "But he answered one of them and said Friend I do thee no wrong: didst not thou agree with me for a Penny take that thine is and go thy way."</span></div></td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZzt-5Gvsw5eAw8-MzQ9IrqFv-e4an1NW17sJVlm-nXf8LlLjDpXv3ZcETMMNX9i73oJazEyrA-T-msCbr7KqXHGajB3QhAY-XbkWx-KCPul462KLSw8g0MGHFdNrbErnK4ePNVgwi1VyO1Vd0VBBdI5ADxjtcVPL8n9xnHePGc-gYV8CPSIz6pR8lj1k/s1500/1752_Christian%20Wilhelm%20Ernst%20Dietrich_German,%20c.%201752_Warsaw,%20%C5%81azienki%20Palace.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZzt-5Gvsw5eAw8-MzQ9IrqFv-e4an1NW17sJVlm-nXf8LlLjDpXv3ZcETMMNX9i73oJazEyrA-T-msCbr7KqXHGajB3QhAY-XbkWx-KCPul462KLSw8g0MGHFdNrbErnK4ePNVgwi1VyO1Vd0VBBdI5ADxjtcVPL8n9xnHePGc-gYV8CPSIz6pR8lj1k/w512-h640/1752_Christian%20Wilhelm%20Ernst%20Dietrich_German,%20c.%201752_Warsaw,%20%C5%81azienki%20Palace.jpg" width="512" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Christian Wilhelm Ernst Dietrich, The Workers Complain the the Vineyard Owner<br />German, c. 1752<br />Warsaw, Łazienki Palace</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXcfQRKu0i7U6jb7py4OSnf5GZPZa1phOosk_77fR7rccP3NNxr077wbnhRkpLd9ChSE3pcQLTmHmwLScBYqtPBILfBm4dk_k41PkKjsP4AX_g_y0SZawwq2RYN9ieACmyFuGYluj4hdRG1zRIllhVNVcnmzpzjDNwgBmbM9KIt0OXMGtwalS5VCYdHz4/s2058/1770_Anonymous_British,%20c.%201770_London,%20Trustees%20of%20the%20British%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1830" data-original-width="2058" height="570" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXcfQRKu0i7U6jb7py4OSnf5GZPZa1phOosk_77fR7rccP3NNxr077wbnhRkpLd9ChSE3pcQLTmHmwLScBYqtPBILfBm4dk_k41PkKjsP4AX_g_y0SZawwq2RYN9ieACmyFuGYluj4hdRG1zRIllhVNVcnmzpzjDNwgBmbM9KIt0OXMGtwalS5VCYdHz4/w640-h570/1770_Anonymous_British,%20c.%201770_London,%20Trustees%20of%20the%20British%20Museum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Anonymous, The Labourers in the Vineyard<br />British, c. 1770<br />London, Trustees of the British Museum<br />The text reads "Friend, I do thee no wrong, didst not thou agree with me for a penny?"</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNcu-Pmmi32z2INn_vYmodNCCNzTst3WZ5QoCB8wxqlGP_ijAOvvC5HYJeJHDXa-YKQXWduWziQ_0ucNPalqHTD5-XpwuwLtsXAm4efuGlqmz0fdwTbN9AoPBWsertljuhNnvZPcZX0MD4FnsICj3PchwsSVL2AblRV4fQjEZd3tCGh_ftm9OOj_SXk_o/s2500/1771_Marie%20Angelique%20Picot%20After%20Rembrandt,%20The%20Lord%20of%20the%20Vineyard%20Paying%20His%20Laborers_English,%201771_London,%20Trustees%20of%20the%20British%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2500" data-original-width="1794" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNcu-Pmmi32z2INn_vYmodNCCNzTst3WZ5QoCB8wxqlGP_ijAOvvC5HYJeJHDXa-YKQXWduWziQ_0ucNPalqHTD5-XpwuwLtsXAm4efuGlqmz0fdwTbN9AoPBWsertljuhNnvZPcZX0MD4FnsICj3PchwsSVL2AblRV4fQjEZd3tCGh_ftm9OOj_SXk_o/w460-h640/1771_Marie%20Angelique%20Picot%20After%20Rembrandt,%20The%20Lord%20of%20the%20Vineyard%20Paying%20His%20Laborers_English,%201771_London,%20Trustees%20of%20the%20British%20Museum.jpg" width="460" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Marie Angelique Picot After Rembrandt, The Lord of the Vineyard Paying His Labourers<br />English, 1771<br />London, Trustees of the British Museum</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkZmt3JRE5BrQePLMUewFCryjvF5O4KRYdP77BVwhpe5YKa3JwW_KnL_-TnoAYd-AyBmqtyW21MKjubnP7xgcgQlSeYqBs4x0yYZxw4eTtvVcNbXjoFDY28anTYNfiASPMBodhEEGL5k2xFnanUf3w-F9_dfD55FYUZWY5k0NS9JRuL6PlzLzppRVgvOY/s1500/1775_Chrstian%20Bernhard%20Rode_German,%201775_Philadelphia,%20Museum%20of%20Art.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1195" data-original-width="1500" height="510" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkZmt3JRE5BrQePLMUewFCryjvF5O4KRYdP77BVwhpe5YKa3JwW_KnL_-TnoAYd-AyBmqtyW21MKjubnP7xgcgQlSeYqBs4x0yYZxw4eTtvVcNbXjoFDY28anTYNfiASPMBodhEEGL5k2xFnanUf3w-F9_dfD55FYUZWY5k0NS9JRuL6PlzLzppRVgvOY/w640-h510/1775_Chrstian%20Bernhard%20Rode_German,%201775_Philadelphia,%20Museum%20of%20Art.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Chrstian Bernhard Rode, The Owner of the Vineyard Listens to the Complaints of the Workers<br />German, 1775<br />Philadelphia, Museum of Art</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXRcVUDo-dfNuM25HdKMr_zoZpvZFF_pDYwxE3OduOsPQ_TCRWLZqRO52PbczGzfnGrKxmUlu_hV3meLjacfAyfoyQCQ5w4BgdqBPdEVNCKlkRkhzM_AysKWhtTx08fSigaBtVXBOH4dwKT8pOsx8BvzpYvUFZrpsZ0MWBuD7-SYWDhljoE2ABB55WqrQ/s2412/1791_Simon%20Fokke,Pharisee%20&%20Publican%20&%20Workers%20in%20the%20Vineyard_Dutch,%201791_Amsterdam,%20Rijksmuseum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2058" data-original-width="2412" height="546" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXRcVUDo-dfNuM25HdKMr_zoZpvZFF_pDYwxE3OduOsPQ_TCRWLZqRO52PbczGzfnGrKxmUlu_hV3meLjacfAyfoyQCQ5w4BgdqBPdEVNCKlkRkhzM_AysKWhtTx08fSigaBtVXBOH4dwKT8pOsx8BvzpYvUFZrpsZ0MWBuD7-SYWDhljoE2ABB55WqrQ/w640-h546/1791_Simon%20Fokke,Pharisee%20&%20Publican%20&%20Workers%20in%20the%20Vineyard_Dutch,%201791_Amsterdam,%20Rijksmuseum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Simon Fokke, The Workers in the Vineyard<br />Dutch, 1791<br />Amsterdam, Rijksmuseum</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP9X-mRqibi5BkrnahQDq61CBy9CzZUNm7VBksN7sHq1dK-WEi-94x4mgRiqZ53ToKAsAZoyYxvaG9bw1RQwS-rL3j_PQHS6SDo59NS33Ygo-R4fdT7XLvCt1hw5M58IHvAEH_QKFTyCkVQTUPVpE6TE4IRkoCvloquvEH17TltenbFBNMPMy0IfP8HyM/s2500/1803_Anonymous_English,%201803_London,%20Trustees%20of%20the%20British%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1749" data-original-width="2500" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP9X-mRqibi5BkrnahQDq61CBy9CzZUNm7VBksN7sHq1dK-WEi-94x4mgRiqZ53ToKAsAZoyYxvaG9bw1RQwS-rL3j_PQHS6SDo59NS33Ygo-R4fdT7XLvCt1hw5M58IHvAEH_QKFTyCkVQTUPVpE6TE4IRkoCvloquvEH17TltenbFBNMPMy0IfP8HyM/w640-h448/1803_Anonymous_English,%201803_London,%20Trustees%20of%20the%20British%20Museum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Anonymous, The Labourers in the Vineyard<br />English, 1803<br />London, Trustees of the British Museum</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifHPhVmuDSRTVCuhnBsVVTQ6REhAsinjn4LzaWes9GiC5GYtO-A2ZWTngDNnH6TAaQCsfXJHFMjC3Tontip8OrgxmUEMyCsFC1oZ3It-94Wmt268P1S50RE2Nfj4AIBNIjaM6ReJyiN0QgP1nCndQbYu8Cchf06_sVgpW5fjuYBfA6e380xjpeu_KIAcI/s1536/1864_John%20Everett%20Millais_From%20The%20Parables%20of%20Our%20Lord_English,%201864_London,%20Tate%20Collection.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="1199" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifHPhVmuDSRTVCuhnBsVVTQ6REhAsinjn4LzaWes9GiC5GYtO-A2ZWTngDNnH6TAaQCsfXJHFMjC3Tontip8OrgxmUEMyCsFC1oZ3It-94Wmt268P1S50RE2Nfj4AIBNIjaM6ReJyiN0QgP1nCndQbYu8Cchf06_sVgpW5fjuYBfA6e380xjpeu_KIAcI/w500-h640/1864_John%20Everett%20Millais_From%20The%20Parables%20of%20Our%20Lord_English,%201864_London,%20Tate%20Collection.jpg" width="500" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">John Everett Millais, The Labourers in the Vineyard<br />From <i><u>The Parables of Our Lord</u></i><br />English, 1864<br />London, Tate Collection</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU0ryC-nGxtv_FWsvdvc606XscnYI1XHrpAQUch0Dqu-VvZsCsgYvfy8cVYYlQgR6p8maOujAv7otOc_tWM7qaaZqQDs2GttgAvLnoU9Jq_KdZ5Y32JG6CM8OJ356PUoGfNUtnYl0j2iBKq64eDQ18PqPvapaKgY37Y9XLTqwdtPns7lOVSY3gT062jX4/s1048/1903_Charles%20Ricketts_From%20The%20Parables%20of%20the%20Gospel,%20Vale%20Press,%201903_English,%201903_London,%20Trustees%20of%20the%20British%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1048" data-original-width="943" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU0ryC-nGxtv_FWsvdvc606XscnYI1XHrpAQUch0Dqu-VvZsCsgYvfy8cVYYlQgR6p8maOujAv7otOc_tWM7qaaZqQDs2GttgAvLnoU9Jq_KdZ5Y32JG6CM8OJ356PUoGfNUtnYl0j2iBKq64eDQ18PqPvapaKgY37Y9XLTqwdtPns7lOVSY3gT062jX4/w576-h640/1903_Charles%20Ricketts_From%20The%20Parables%20of%20the%20Gospel,%20Vale%20Press,%201903_English,%201903_London,%20Trustees%20of%20the%20British%20Museum.jpg" width="576" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Charles Ricketts, The Labourers in the Vineyard<br />From <i><u>The Parables of the Gospel</u></i>, Vale Press, 1903<br />English, 1903<br />London, Trustees of the British Museum</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><span style="mso-spacerun: yes;"><br /></span></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><span style="mso-spacerun: yes;"><br /></span></span></p>
<h4 style="text-align: left;"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">Jesus Telling the Disciples the Parable</span></h4>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">In spite of at least one earlier example, in the sixteenth century there appears to
have been a move to step back from the illustration of the parable story to
take a longer view.<span style="mso-spacerun: yes;"> </span>In these images
Jesus appears as a narrator, telling his disciples the story or directly addressing
the viewer with the story.<span style="mso-spacerun: yes;"> </span>This is a
motif that does not appear to have lasted very long.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><o:p> </o:p></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbbipUIUlOtFkECr0EY0CZxdhOtti3R25knv2V-XYoOXc-kUHvJRznmEGsAgp9WNqZGQq6dtYmUmtZTQtB30ROFhYKS34VVaihZnXqcpbdq5vAh6VXRcuETfDFR_Ex7-lyJzDL41TgKUXBaJ9zhJYgBexIgYZTZTRmN16Ug5jlg6Tfu8ZJlfAR9qSxh4U/s1023/1350_F~1.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1016" data-original-width="1023" height="636" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbbipUIUlOtFkECr0EY0CZxdhOtti3R25knv2V-XYoOXc-kUHvJRznmEGsAgp9WNqZGQq6dtYmUmtZTQtB30ROFhYKS34VVaihZnXqcpbdq5vAh6VXRcuETfDFR_Ex7-lyJzDL41TgKUXBaJ9zhJYgBexIgYZTZTRmN16Ug5jlg6Tfu8ZJlfAR9qSxh4U/w640-h636/1350_F~1.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Christ Telling the Parable of the Laborers in the Vineyard to the Disciples<br />From a <u><i>Commentary on the Gospels</i></u> by William of Nottingham<br />English, End of 14th Century-Beginning of 15th Century<br />Oxford, Bodleian Library<br />MS Laud-Misc-165, fol. 379v</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><o:p><br /></o:p></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><o:p>This fifteenth-century image above is the only one I have found from the period prior to the invention of printing.</o:p></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><o:p><br /></o:p></span></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinaS6WGDiVvcv3pt5dPPMtrERPDrldIQUGa8_1bLWToGSKdCYqlTbRZDA_5ajuiCyVtooyvIt-lWP81NLbgDY_EeyaelfFCOh8eF_Q9jCZbX4LBj95sUIpAmc3s2hIC-ifrQmnMBkQnKlg6PrwVdCYcgHpcFZeKMX3sdpMY8hkSi3UfK6z8SApUY8zS_4/s535/1509_Urs%20Graf_From%20Wilhelm%20of%20Auvergne,%20'Postilla...%20super%20Epistolas%20et%20Evangelia'_Swiss,%201509_London,%20Trustees%20of%20the%20BM.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="535" data-original-width="415" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinaS6WGDiVvcv3pt5dPPMtrERPDrldIQUGa8_1bLWToGSKdCYqlTbRZDA_5ajuiCyVtooyvIt-lWP81NLbgDY_EeyaelfFCOh8eF_Q9jCZbX4LBj95sUIpAmc3s2hIC-ifrQmnMBkQnKlg6PrwVdCYcgHpcFZeKMX3sdpMY8hkSi3UfK6z8SApUY8zS_4/w496-h640/1509_Urs%20Graf_From%20Wilhelm%20of%20Auvergne,%20'Postilla...%20super%20Epistolas%20et%20Evangelia'_Swiss,%201509_London,%20Trustees%20of%20the%20BM.jpg" width="496" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Urs Graf, Jesus Telling the Parable of the Laborers in the Vineyard<br />From <i><u>Postilla... super Epistolas et Evangelia</u></i> by Wilhelm of Auvergne<br />Swiss, 1509<br />London, Trustees of the British Museum</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><o:p><br /></o:p></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizfoGrao7AKbCfaIcFmOuoP_B0NOUUsT-k5u_kPsuxPbs-4fYQwoVFENeym7F8BAbnj1SnYHq3OndsxrxA2bvTn_U95LjXMTP02I93NchvVckKybNy01fNeSRU-hUoBAoYlfdtcn-7n9njjqWNXgeOSXoQa3D-aHuuyuQtPQ031pRHCwhToYkF_RS1n-M/s918/1513_M~1.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="706" data-original-width="918" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizfoGrao7AKbCfaIcFmOuoP_B0NOUUsT-k5u_kPsuxPbs-4fYQwoVFENeym7F8BAbnj1SnYHq3OndsxrxA2bvTn_U95LjXMTP02I93NchvVckKybNy01fNeSRU-hUoBAoYlfdtcn-7n9njjqWNXgeOSXoQa3D-aHuuyuQtPQ031pRHCwhToYkF_RS1n-M/w640-h492/1513_M~1.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Monogrammist HE, Christ Telling His Disciples the Parable of the Laborers in the Vineyard<br />German, c. 1515-1554<br />Wolfenbuttel, Herzog August Bibliothek</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><o:p><br /></o:p></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipGHjewvWLunu_y_H-8gI0O1gkm2Bxq1mbHKiLDKbxHHGcPIqiH6gt257k7zfuuHDWVmwTGn7QnyK0cfEWlxUbPEwD6whrqVqq_SPEO8LSoquHi4ZrkCjRa8VNoz7LyGXKuCE6emjE0yDzgF_vZgQxQUpEgT1zaWPT7-u__ACjKipkngsFbUdftevXI1Q/s1744/1520_Hans%20Brosamer_German,%20c.%201520-1524_London,%20Trustees%20of%20the%20BM.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1352" data-original-width="1744" height="496" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipGHjewvWLunu_y_H-8gI0O1gkm2Bxq1mbHKiLDKbxHHGcPIqiH6gt257k7zfuuHDWVmwTGn7QnyK0cfEWlxUbPEwD6whrqVqq_SPEO8LSoquHi4ZrkCjRa8VNoz7LyGXKuCE6emjE0yDzgF_vZgQxQUpEgT1zaWPT7-u__ACjKipkngsFbUdftevXI1Q/w640-h496/1520_Hans%20Brosamer_German,%20c.%201520-1524_London,%20Trustees%20of%20the%20BM.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Hans Brosamer, Christ Telling His Disciples the Parable of the Laborers in the Vineyard<br />German, c. 1520-1524<br />London, Trustees of the British Museum</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><o:p><br /></o:p></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxTr4tGW-ktObrvFLeysrIFejG-rAA_LCm6Qt-m7sAkLZOPee9z8dpEsfqD5tvALLiZ51TR6_ghs-X6WYzrsS5x50YE8r0iz-He0njW_wqliUfzISY2e0D0MBxMDtR1RrrfqXhtnYULLziE7RRnmBaaAwX9qdpYq-8EidrI-Qro2fKcqY_zmm4Ca7Z59o/s4000/1525_Jan%20Rombouts,%20The%20Parable%20of%20the%20Vineyard_Dutch,%20c.%201525-1530_New%20York,%20Metropolitan%20Museum%20of%20Art.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4000" data-original-width="3130" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxTr4tGW-ktObrvFLeysrIFejG-rAA_LCm6Qt-m7sAkLZOPee9z8dpEsfqD5tvALLiZ51TR6_ghs-X6WYzrsS5x50YE8r0iz-He0njW_wqliUfzISY2e0D0MBxMDtR1RrrfqXhtnYULLziE7RRnmBaaAwX9qdpYq-8EidrI-Qro2fKcqY_zmm4Ca7Z59o/w500-h640/1525_Jan%20Rombouts,%20The%20Parable%20of%20the%20Vineyard_Dutch,%20c.%201525-1530_New%20York,%20Metropolitan%20Museum%20of%20Art.jpg" width="500" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jan Rombouts, The Parable of the Vineyard<br />Dutch, c. 1525-1530<br />New York, Metropolitan Museum of Art</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><o:p><br /></o:p></span><p></p><p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigO3tXmohlprDLl6at7VUlSvF7HocuK3piPpfrpOTbqqFeLSqiAGj5uzp1aqsxt0e0HkfNkbj7ri3pkmaMD-gpdAtNcKQEX1tONWlc2f6bOlSPxstWgvTvBFwtZRJF-gPuwtXmbfcA_fjtOv9RPMKzF0TNgYBakj4CdxXyAxKKVKIB2Mh6BwH-qqQJpr4/s5222/1585_Adriadn%20Collaert%20after%20Hans%20Bol,%20April%20The%20Parable%20of%20the%20Workers%20in%20_Flemish,%201585_Amsterdam,%20Rijksmuseum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3832" data-original-width="5222" height="470" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigO3tXmohlprDLl6at7VUlSvF7HocuK3piPpfrpOTbqqFeLSqiAGj5uzp1aqsxt0e0HkfNkbj7ri3pkmaMD-gpdAtNcKQEX1tONWlc2f6bOlSPxstWgvTvBFwtZRJF-gPuwtXmbfcA_fjtOv9RPMKzF0TNgYBakj4CdxXyAxKKVKIB2Mh6BwH-qqQJpr4/w640-h470/1585_Adriadn%20Collaert%20after%20Hans%20Bol,%20April%20The%20Parable%20of%20the%20Workers%20in%20_Flemish,%201585_Amsterdam,%20Rijksmuseum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Adriadn Collaert after Hans Bol, April, The Parable of the Workers in the Vineyard<br />Flemish, 1585<br />Amsterdam, Rijksmuseum</td></tr></tbody></table><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><br /><o:p><br /></o:p></span><p></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">From the late fifteenth century, with the invention of the printing press, images were primarily spread by
means of prints.<span style="mso-spacerun: yes;"> </span>It would appear that this
remained the preferred medium until the early seventeenth century, when
painting on canvas began to appear as well.<span style="mso-spacerun: yes;">
</span>However, since prints can easily be used as book illustrations, the
printed continued to flourish.<span style="mso-spacerun: yes;"> </span>And, when
used as book illustrations, the subject returned to the use for which it was
first created.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">© M. Duffy, 2023<o:p></o:p></span></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoListParagraph" style="mso-list: l0 level1 lfo1; text-indent: -0.25in;"><!--[if !supportLists]--><span style="color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%; mso-bidi-font-family: Roboto; mso-fareast-font-family: Roboto;"><span style="mso-list: Ignore;">1.<span style="font: 7pt "Times New Roman";"> </span></span></span><!--[endif]--><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>Catalogue entry: </span><span style="color: #27221f; font-family: Roboto; font-size: 14pt; line-height: 107%; mso-bidi-font-family: Arial;">Museum Boijmans Van Beuningen</span>, Rotterdam.<span style="color: #27221f; font-family: Roboto; mso-bidi-font-family: Arial;"><span style="mso-spacerun: yes;"> </span><a href="https://www.boijmans.nl/en/collection/artworks/43978/the-labourers-in-the-vineyard">https://www.boijmans.nl/en/collection/artworks/43978/the-labourers-in-the-vineyard</a></span><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;"><o:p> </o:p></span></p>
<div style="border: 1pt solid windowtext; mso-border-alt: solid windowtext .5pt; mso-element: para-border-div; padding: 1pt 4pt;">
<p class="MsoNormal" style="border: none; mso-border-alt: solid windowtext .5pt; mso-padding-alt: 1.0pt 4.0pt 1.0pt 4.0pt; padding: 0in;"><span style="background: white; color: #363936; font-family: Roboto; font-size: 15pt; line-height: 107%;">Excerpts
from the Lectionary for Mass for Use in the Dioceses of the United States of
America, second typical edition © 2001, 1998, 1997, 1986, 1970 Confraternity of
Christian Doctrine, Inc., Washington, DC. Used with permission. All rights
reserved. No portion of this text may be reproduced by any means without
permission in writing from the copyright owner.<o:p></o:p></span></p>
</div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="blogger-post-footer">Copyright Margaret Duffy, 2008-2017</div>Margaret Duffyhttp://www.blogger.com/profile/03821836487895782384noreply@blogger.com0tag:blogger.com,1999:blog-415269867796810849.post-37805081706055121212023-09-15T04:26:00.004-04:002023-09-15T04:27:50.942-04:00Our Lady of Sorrows, The Seven Sorrows of the Virgin Mary<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormal"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-color: white; color: #333333; float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXFGdGsNxGw1lrQCJEy-mr8xbozO4a5r7gJnaK-pb_2sd7AVTfGUtfTUpBp8Yz9ur5O_n_ntwjO2P3fE1wCsuE0DMhaxjyhIpsdAjVyPvmOm6xM2-11OkOpjfYCTP7SUm4w2IgAtFEI-xfoBQMBUtrrN_N7aQFeTHlCxQFuMmnYmdJNw3ypvF6TTcg/s7318/1525_Simon%20Bening_Seven%20Sorrows_Prayer%20Book%20of%20Cardinal%20Albrecht%20of%20Brandenburg_Flemish_Bruges_c.1525-1530_Getty_MS%20Ludwi.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="7318" data-original-width="5022" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXFGdGsNxGw1lrQCJEy-mr8xbozO4a5r7gJnaK-pb_2sd7AVTfGUtfTUpBp8Yz9ur5O_n_ntwjO2P3fE1wCsuE0DMhaxjyhIpsdAjVyPvmOm6xM2-11OkOpjfYCTP7SUm4w2IgAtFEI-xfoBQMBUtrrN_N7aQFeTHlCxQFuMmnYmdJNw3ypvF6TTcg/w440-h640/1525_Simon%20Bening_Seven%20Sorrows_Prayer%20Book%20of%20Cardinal%20Albrecht%20of%20Brandenburg_Flemish_Bruges_c.1525-1530_Getty_MS%20Ludwi.jpg" width="440" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #333333; font-family: cantarell; font-size: 12.672px;">Simon Bening, The Seven Sorrows of Mary</span><br style="color: #333333; font-family: cantarell; font-size: 12.672px;" /><span style="color: #333333; font-family: cantarell; font-size: 12.672px;">from the <i><u>Prayer Book of Cardinal Albrecht of Brandenburg</u></i></span><br style="color: #333333; font-family: cantarell; font-size: 12.672px;" /><span style="color: #333333; font-family: cantarell; font-size: 12.672px;">Flemish (Bruges), c.1525-1530</span><br style="color: #333333; font-family: cantarell; font-size: 12.672px;" /><span style="color: #333333; font-family: cantarell; font-size: 12.672px;">Los Angeles, J. Paul Getty Museum</span><br style="color: #333333; font-family: cantarell; font-size: 12.672px;" /><span style="color: #333333; font-family: cantarell; font-size: 12.672px;">MS Ludwig IX 19, fol. 251v</span></td></tr></tbody></table></div><div class="MsoNormal"><div class="MsoNormal"><ol></ol><br /><ol style="text-align: left;"><span style="font-family: helvetica;"><br /> <br /><br /> <br /> September 15 is the feast of Our Lady of Sorrows. To non-Catholics it may look like yet another in a series of Marian feast days that honor Mary under various titles that begin with "Our Lady of........", usually followed by a place name (Fatima, Lourdes, Walsingham, etc.) This one is a little different. So, where does this title for the Virgin Mary come from? Well, some people may be astonished for find that it comes from the Bible, from the Gospel of Luke, in fact.<br /> <br /> <br /> When Jesus was presented in the Temple, Simeon, the old man who had been awaiting the arrival of the Messiah, recognized the Baby as the One and greeted Him appropriately with the beautiful song of praise which is known as the Nunc Dimittis.* Then Saint Luke tells us that <br /> “The child’s father and mother were amazed at what was said about him; and Simeon blessed them and said to Mary his mother, “Behold, this child is destined for the fall and rise of many in Israel, and to be a sign that will be contradicted (and you yourself a sword will pierce) so that the thoughts of many hearts may be revealed.” <br /> (Luke 2:32-35, one of two Gospel readings which may be used for the Feast of Our Lady of Sorrows, italics are mine,) <br /> This piercing of the heart of Mary in connection with the life of her Son came true as Simeon stated (or rather as the retrospection of the Gospel writer intended) and was magnified in pious tradition to become the Seven Sorrows of Mary, each Sorrow an episode in her life and that of Jesus. <br /> <br /><br /><br /> <span style="font-family: helvetica;">The Seven Sorrows are:</span><br style="font-family: "Times New Roman";" />1. The prophecy of Simeon (Luke 2:25-35) <br />2. The flight into Egypt (Matthew 2:13-15) <br />3. Loss of the Child Jesus for three days (Luke 2:41-50) <br />4. Mary meets Jesus on his way to Calvary (Luke 23:27-31; John 19:17) <br />5. Crucifixion and Death of Jesus (John 19:25-30) <br />6. The body of Jesus being taken from the Cross (Psalm 130; Luke 23:50-54; John 19:31-37) <br />7. The burial of Jesus (Isaiah 53:8; Luke 23:50-56; John 19:38-42; Mark 15:40-47)<span style="color: #2b00fe;"><b><u>1 </u></b></span><br /> <br /> Artists have shown different ways of depicting Mary’s sorrows and her response to them. <br /> <br /> <br /> <br /> Because the greatest number of Sorrows are related to the Passion of Christ, the predominant manner in which Mary’s sorrows has been depicted is as part of the Passion narrative. Following the hints found in the Gospels Mary has appeared in the crowd following Jesus as He carries the cross, she has been depicted in an agony of grief as she stands at the foot of the cross, supported by St. John the Evangelist and her female companions. <br /><br /><br /></span></ol><h4><ol style="text-align: left;"><span style="font-family: helvetica;">Following Jesus on His Journey to Golgotha</span></ol></h4><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWuXG-J90bYniqyzIPShDr4ndhr8-q31KCOFuwcnBijzlLsV7HzP8sM9IP0QQDesclYsBljdRj67v8vpY8yPh3Q6bIRFTt8k3n1VuQUKeaUXGuAEXuwVGk0AUWaKWIG3dy3lJ8mGSUXUDoE1fBCHSNZEt2KQAWLgQfu2j12zjbcm-nX21qKjKzX5Bd/s1244/1333+Simone%20Martini_Carrying%20Cross_1333_Louvre.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWuXG-J90bYniqyzIPShDr4ndhr8-q31KCOFuwcnBijzlLsV7HzP8sM9IP0QQDesclYsBljdRj67v8vpY8yPh3Q6bIRFTt8k3n1VuQUKeaUXGuAEXuwVGk0AUWaKWIG3dy3lJ8mGSUXUDoE1fBCHSNZEt2KQAWLgQfu2j12zjbcm-nX21qKjKzX5Bd/w388-h640/1333+Simone%20Martini_Carrying%20Cross_1333_Louvre.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Simone Martini, Jesus Carrying the Cross</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Italian, 1333</div><div style="text-align: center;">Paris, Musée du Louvre</div></span></ol></td></tr></tbody></table><ol style="text-align: left;"><span style="font-family: helvetica;"><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf5rIgMcRFxeHHj2SZTT89ptx991U0ghwValxlFeSZbG0DO2rShpDNUDad-JPh-RxwvO3UcQkgl6MHqSoYvzvzSWq9aPGwtDFBXnTQ8fnuRvqeIIdH689rRH9OcHx4ED8uLEOnN_aCE82IDs3qPBYNbBZisXaKDMTFfw-zLKuuZ-LunYrcRUBAjFm3/s1411/1375_Jean%20le%20Noir_Petites%20Heures%20de%20Jean%20de%20Berry_Paris_c1375_BNF_Latin%2018014_86v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf5rIgMcRFxeHHj2SZTT89ptx991U0ghwValxlFeSZbG0DO2rShpDNUDad-JPh-RxwvO3UcQkgl6MHqSoYvzvzSWq9aPGwtDFBXnTQ8fnuRvqeIIdH689rRH9OcHx4ED8uLEOnN_aCE82IDs3qPBYNbBZisXaKDMTFfw-zLKuuZ-LunYrcRUBAjFm3/w524-h640/1375_Jean%20le%20Noir_Petites%20Heures%20de%20Jean%20de%20Berry_Paris_c1375_BNF_Latin%2018014_86v.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Jean le Noir, Jesus Carrying the Cross</span></div><span style="font-family: helvetica;"><div style="text-align: center;">From the <i><u>Petites Heures de Jean de Berry</u></i></div><div style="text-align: center;">French (Paris), c. 1375</div><div style="text-align: center;">Paris, Bibliotheque nationale de France</div><div style="text-align: center;">Latin 18014, fol. 86v</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjL6fmj4JMrA4yNL-0lTSLkRKJiFNKX1VG6y-U31T1WyAE0poANTcjRxgTMp61ipy85gBhxCjXKDcDOEbqfjkG0zRYjM_npZUAqmlG1ggo9ODkmm61z3Om3cshPtw17SN2q1Dt44sDcMvvLpbDUQ_rZrDK5O3E_n3YleGnd7sEBo69atjeJBf-4zmn/s6868/1510_Master%20of%20Hoogstraeten,%20Flight_L3%20of%20Seven%20Sorrows%20Altarpiece_Flemish,%20c.%201510-1520_Antwerp,%20Royal%20Museum%20of%20Fine%20Arts.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjL6fmj4JMrA4yNL-0lTSLkRKJiFNKX1VG6y-U31T1WyAE0poANTcjRxgTMp61ipy85gBhxCjXKDcDOEbqfjkG0zRYjM_npZUAqmlG1ggo9ODkmm61z3Om3cshPtw17SN2q1Dt44sDcMvvLpbDUQ_rZrDK5O3E_n3YleGnd7sEBo69atjeJBf-4zmn/w449-h640/1510_Master%20of%20Hoogstraeten,%20Flight_L3%20of%20Seven%20Sorrows%20Altarpiece_Flemish,%20c.%201510-1520_Antwerp,%20Royal%20Museum%20of%20Fine%20Arts.jpg" width="449" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Master of Hoogstraeten, The Road to Calvary and Flight into Egypt</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Third panel from the left of the <i>Seven Sorrows Altarpiece</i></div><div style="text-align: center;">Flemish, c. 1510-1520</div><div style="text-align: center;">Antwerp, Royal Museum of Fine Arts of Belgium</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /></span></ol><h4><ol style="text-align: left;"><span style="font-family: helvetica;">Standing at the Cross</span></ol></h4><ol style="text-align: left;"><span style="font-family: helvetica;"><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcVsGFBJ-oHqCtgChZsMWnUAeZ14dORNjRmHM5e7uRa2l8SVsYaSHnoB4D58NiccR61dO1NhgNylVb5zl6G8hXsz1fR-E6KkKm4ipY1_eB4YwBxnsO6DKui3E7NpDOpMGuaC8KlgigP8ciXKDQ7TtXuE1XeblnLvReDKHVmlu1kRtm7Iw_ztW534fV/s2536/586_Rabbula%20Gospels_Syrian_Beth%20Zagba_Florence_Bibliotheca%20Medicea-Laurenziana_MS.%20Plut.%20I.%20%2056_12v-13r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcVsGFBJ-oHqCtgChZsMWnUAeZ14dORNjRmHM5e7uRa2l8SVsYaSHnoB4D58NiccR61dO1NhgNylVb5zl6G8hXsz1fR-E6KkKm4ipY1_eB4YwBxnsO6DKui3E7NpDOpMGuaC8KlgigP8ciXKDQ7TtXuE1XeblnLvReDKHVmlu1kRtm7Iw_ztW534fV/w640-h466/586_Rabbula%20Gospels_Syrian_Beth%20Zagba_Florence_Bibliotheca%20Medicea-Laurenziana_MS.%20Plut.%20I.%20%2056_12v-13r.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Crucifixion</span></div><span style="font-family: helvetica;"><div style="text-align: center;">From the <i><u>Rabbula Gospels</u></i></div><div style="text-align: center;">Syrian (Beth Zagba), c. 586</div><div style="text-align: center;">Florence, Bibliotheca Medicea-Laurenziana</div><div style="text-align: center;">MS. Plut. I. 56, fol. 12v-13r</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgytw5bXteusv5qNrSFNmGiLBB_D4TcTmuhu5ecwLGjlNUXzLHohyYZaFi2pVlrmuhjlNf4DPcwa1HJtwd9FEZL8OZ9bLOKU6QgrBBbw06K8Lgs-NMP-4Fh3gbt7CAaEtC9YTaaE4mnwTwAZhTZjQ6gCGMfK5Sal6AgTHYujtgcFLW8nT2xNxAs0Q4/s602/1060_Gospel%20Book_English%20(Canterbury),%20c.%201060-1070_Pierpont_MS%20M709,%20fol.%201v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgytw5bXteusv5qNrSFNmGiLBB_D4TcTmuhu5ecwLGjlNUXzLHohyYZaFi2pVlrmuhjlNf4DPcwa1HJtwd9FEZL8OZ9bLOKU6QgrBBbw06K8Lgs-NMP-4Fh3gbt7CAaEtC9YTaaE4mnwTwAZhTZjQ6gCGMfK5Sal6AgTHYujtgcFLW8nT2xNxAs0Q4/w430-h640/1060_Gospel%20Book_English%20(Canterbury),%20c.%201060-1070_Pierpont_MS%20M709,%20fol.%201v.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Crucifixion</span></div><span style="font-family: helvetica;"><div style="text-align: center;">From a <i><u>Gospel Book</u></i></div><div style="text-align: center;">English (Canterbury), c. 1060-1070</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS M 709, fol. 1v</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBQm4zZaHrZLIBiR9-hLu4WS_rGy6DtRLMTJnMbkqZyzPclB0Y_KraphpjmFe1q9yAUqweVdPLk195s4POWhOvtqNwsQMgG383TXEpJxwBkapjs8AtsqnikoThYyC0mWEljE1xOaf_iat5vgPEE7386lHFPoo7YsUXIfDUZ65DZaRvXW9mICeVwSoH/s445/1215_Lectionary_German_Saxony_1215-35_Morgan_m299.006r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBQm4zZaHrZLIBiR9-hLu4WS_rGy6DtRLMTJnMbkqZyzPclB0Y_KraphpjmFe1q9yAUqweVdPLk195s4POWhOvtqNwsQMgG383TXEpJxwBkapjs8AtsqnikoThYyC0mWEljE1xOaf_iat5vgPEE7386lHFPoo7YsUXIfDUZ65DZaRvXW9mICeVwSoH/w462-h640/1215_Lectionary_German_Saxony_1215-35_Morgan_m299.006r.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Crucifixion</span></div><span style="font-family: helvetica;"><div style="text-align: center;">From a <i><u>Lectionary</u></i></div><div style="text-align: center;">German (Saxony), c. 1215-1235</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS M 299, fol. 6r</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a del="" duomo.jpg="" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcj1lDW2N9GGryX4iCV926twnlTLKavRjyMvqL0Mu-sQZHgEZZjK80TDrVxIe20c3WlOD0FTa_gaEkxqPABAav-NWe2Dx9VqUDaWheMnVTNgGNAjTxyJQ8eXHMkpH1iG9xhEwA06EwEkhj8lcgoxryhu95iKr4LMlTqnwWsiuvWcJNWqKxBwQ_0moh/s1200/1308_Duccio_1308-11_Siena_Museo%20dell" opera="" style="margin-left: auto; margin-right: auto;"><img border="0" del="" duomo.jpg="" opera="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcj1lDW2N9GGryX4iCV926twnlTLKavRjyMvqL0Mu-sQZHgEZZjK80TDrVxIe20c3WlOD0FTa_gaEkxqPABAav-NWe2Dx9VqUDaWheMnVTNgGNAjTxyJQ8eXHMkpH1iG9xhEwA06EwEkhj8lcgoxryhu95iKr4LMlTqnwWsiuvWcJNWqKxBwQ_0moh/w488-h640/1308_Duccio_1308-11_Siena_Museo%20dell" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Duccio, The Crucifixion</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Italian, 1308-1311</div><div style="text-align: center;">Siena, Museo dell'Opera del Duomo</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP1NUt1EG_0g_o0tTNqcmjI5SeybNh21ckAg1sh7xvxKaYphOywOLp2tvhlVFZ4CVpGf11T5GWLRtUMk6lQgtWj_B0Ua6lO59r1wW45be3HY7Mep_1fQTmuAFsmFqnv8EMzFDaWXk7Oit3safhEjwe5AX2ljc7uO7k6B-UtnCov_-_uAJQgCNJFRBC/s3000/1445_Rogier%20van%20der%20Weyden_c.1445_Vienna,%20KH%20(2).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP1NUt1EG_0g_o0tTNqcmjI5SeybNh21ckAg1sh7xvxKaYphOywOLp2tvhlVFZ4CVpGf11T5GWLRtUMk6lQgtWj_B0Ua6lO59r1wW45be3HY7Mep_1fQTmuAFsmFqnv8EMzFDaWXk7Oit3safhEjwe5AX2ljc7uO7k6B-UtnCov_-_uAJQgCNJFRBC/w640-h426/1445_Rogier%20van%20der%20Weyden_c.1445_Vienna,%20KH%20(2).jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Rogier van der Weyden, The Crucifixion</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Flemish, c.1445</div><div style="text-align: center;">Vienna, Kunsthistorisches Museum</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhop0Az65lay5qcXxVIGwNOY0ZuJDim7UXadZFCa_Q4oh6iLUcOVk3nU0ElNCSdgbGf3hJiu1M89cFnsz9c6Fs6Qoo3SOKdE7UfJhbEdoPwsb86AT-_daSUC6RE4QzU5ckpG2JpHzfWo9PiqhtfGAamz6mcDDYOIERqySQHaC6UeTamyWMfTqKYEv0_/s3208/1510_Francesco%20Granacci_c.1510_Met%20(2).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhop0Az65lay5qcXxVIGwNOY0ZuJDim7UXadZFCa_Q4oh6iLUcOVk3nU0ElNCSdgbGf3hJiu1M89cFnsz9c6Fs6Qoo3SOKdE7UfJhbEdoPwsb86AT-_daSUC6RE4QzU5ckpG2JpHzfWo9PiqhtfGAamz6mcDDYOIERqySQHaC6UeTamyWMfTqKYEv0_/w362-h640/1510_Francesco%20Granacci_c.1510_Met%20(2).jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Francesco Granacci. The Crucifixion</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Italian, c.1510</div><div style="text-align: center;">New York, Metropolitan Museum of Art</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieBH4UjWhWLh-hq_I_xk-VfAwE9uSJbcjDgVQ1aB2J3rGXmfIUx-3DSncLYY1gsMnHY-nNqM0iKRLESVdCAIqRsXbJl0hc06q3ocynjzAr0qT0GPG8DHk_7pak2LKCP1hZqSKvMAXkrR9FAbhkuM3W0jCpX1dc4pmxNkQEua-3dCjJkU1nvdj4GKp9/s6541/1510_Master%20of%20Hoogstraeten,%20Cruci_L4%20of%20Seven%20Sorrows%20Altarpiece_Flemish,%20c.%201510-1520_Antwerp,%20Royal%20Museum%20of%20Fine%20Arts.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieBH4UjWhWLh-hq_I_xk-VfAwE9uSJbcjDgVQ1aB2J3rGXmfIUx-3DSncLYY1gsMnHY-nNqM0iKRLESVdCAIqRsXbJl0hc06q3ocynjzAr0qT0GPG8DHk_7pak2LKCP1hZqSKvMAXkrR9FAbhkuM3W0jCpX1dc4pmxNkQEua-3dCjJkU1nvdj4GKp9/w498-h640/1510_Master%20of%20Hoogstraeten,%20Cruci_L4%20of%20Seven%20Sorrows%20Altarpiece_Flemish,%20c.%201510-1520_Antwerp,%20Royal%20Museum%20of%20Fine%20Arts.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Master of Hoogstraeten, The Crucifixion</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Fourth panel from the left of the <i>Seven Sorrows Altarpiece</i></div><div style="text-align: center;">Flemish, c. 1510-1520</div><div style="text-align: center;">Antwerp, Royal Museum of Fine Arts of Belgium</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br />Beyond the Gospels narratives, logical conclusion has meant that she also appears, similarly afflicted, in the great Pietà mages, and as the chief mourner at scenes of the entombment. <br /><br /></span></ol><h4><ol style="text-align: left;"><span style="font-family: helvetica;">The Pietà (Mary Mourning Her Son after His Removal from the Cross)</span></ol></h4><ol style="text-align: left;"><span style="font-family: helvetica;"><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMT3Fzw4DV23wxFzIKuDrmTCJov1Ev7AayT6_fBMpcjk5V_Gd5NqEUfIkOIRT01ZM2pExnzZKv5AJlVrPLfxJ0xvUULg7jKmfQqcpv4gZ4AI6gh9joSqawgY4d1OxI4X-Z0WjAU5cS5ax_71YtVUnBD5T_3Hck-BrUyP-yxaNFzY06eSLz3iJstDTD/s1200/1300_Roettgen%20Pieta_German,%20c.%201300_Bonn,%20Rheinisches%20Landesmuseum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMT3Fzw4DV23wxFzIKuDrmTCJov1Ev7AayT6_fBMpcjk5V_Gd5NqEUfIkOIRT01ZM2pExnzZKv5AJlVrPLfxJ0xvUULg7jKmfQqcpv4gZ4AI6gh9joSqawgY4d1OxI4X-Z0WjAU5cS5ax_71YtVUnBD5T_3Hck-BrUyP-yxaNFzY06eSLz3iJstDTD/w484-h640/1300_Roettgen%20Pieta_German,%20c.%201300_Bonn,%20Rheinisches%20Landesmuseum.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Anonymous, The Röttgen Pietà</span></div><span style="font-family: helvetica;"><div style="text-align: center;">German, c. 1300</div><div style="text-align: center;">Bonn, Rheinisches Landesmuseum</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAg3tYOwZkkQoYp8i76NYeqgq4C99LoY5A5UKr9f3AbEPoOjTL-v1lQF8tkxvWTzb5bItDSjLzP8GHPL69dnJN0BY3PExqlwi0t8GXaBUs0tDDWhEsXzD9Gm03PYR5UabsTEgFDog_uC06YzKQvRJLydRaKin1kzDRb5VrxTC82ktP1RLL4oBg5DnD/s527/1370_Pieta%20and%20Ascension_From%20Speculum%20humanae%20salvationis_French%20(Alsace),%20c.%201370-1380_Paris,%20BNf_MS%20Latin%20511,%20fol%20(2).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAg3tYOwZkkQoYp8i76NYeqgq4C99LoY5A5UKr9f3AbEPoOjTL-v1lQF8tkxvWTzb5bItDSjLzP8GHPL69dnJN0BY3PExqlwi0t8GXaBUs0tDDWhEsXzD9Gm03PYR5UabsTEgFDog_uC06YzKQvRJLydRaKin1kzDRb5VrxTC82ktP1RLL4oBg5DnD/w554-h640/1370_Pieta%20and%20Ascension_From%20Speculum%20humanae%20salvationis_French%20(Alsace),%20c.%201370-1380_Paris,%20BNf_MS%20Latin%20511,%20fol%20(2).jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Pietà</span></div><span style="font-family: helvetica;"><div style="text-align: center;">From the <u><i>Speculum humanae salvationis</i></u></div><div style="text-align: center;">French (Alsace), c. 1370-1380</div><div style="text-align: center;">Paris, Bibliotheque nationale de France</div><div style="text-align: center;">MS Latin 511, fol. 48r</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a c.="" collection.jpg="" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidB_rZz976QXzNxcfYAvvhpyd_pybh16bsgFVG-JboLrl4qOg-_Iw2FNNSbyshOb8IXU59dnE34BqJ7IgISfHRvH4HPkND_kvchRYMxKTprvrqXPwiquC3si9GDM16qiwO4M3gwNZbp5HsiZjpP7Dl_2SF_ZiN_erzSS3Yz6-gDE3alqbknE1CMp5L/s1134/1370_Roberto%20d" oderisi_itlian="" private="" style="margin-left: auto; margin-right: auto;"><img border="0" c.="" collection.jpg="" oderisi_itlian="" private="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidB_rZz976QXzNxcfYAvvhpyd_pybh16bsgFVG-JboLrl4qOg-_Iw2FNNSbyshOb8IXU59dnE34BqJ7IgISfHRvH4HPkND_kvchRYMxKTprvrqXPwiquC3si9GDM16qiwO4M3gwNZbp5HsiZjpP7Dl_2SF_ZiN_erzSS3Yz6-gDE3alqbknE1CMp5L/w392-h640/1370_Roberto%20d" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Roberto d'Oderisi, The Pietà</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Italian, c. 1370</div><div style="text-align: center;">Private Collection</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipA2JkHP2itZvUy5kuWVrp8NY605j_4ytMJidrpksoeAAaMacs9v9plVI_ZjiJeNsmb5NDv5gChJ6Iobf5KiyZ0yoXChC8_9Jc9l_EQmms1MWVcWxaQ7-4dCBF1WjXbzioUOlgKzVJH5RpeJoYMzteWHisdLNa4vGxtLYa7ycJ33GCbw4kUud6Hd06/s1429/1400_Master%20of%20Albocassar+Spanish,%20c.%201400-1420_Paris,%20Musee%20du%20Louvre.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipA2JkHP2itZvUy5kuWVrp8NY605j_4ytMJidrpksoeAAaMacs9v9plVI_ZjiJeNsmb5NDv5gChJ6Iobf5KiyZ0yoXChC8_9Jc9l_EQmms1MWVcWxaQ7-4dCBF1WjXbzioUOlgKzVJH5RpeJoYMzteWHisdLNa4vGxtLYa7ycJ33GCbw4kUud6Hd06/w528-h640/1400_Master%20of%20Albocassar+Spanish,%20c.%201400-1420_Paris,%20Musee%20du%20Louvre.JPG" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Master of Albocassar, The Virgin in Grief</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Spanish, c. 1400-1420</div><div style="text-align: center;">Paris, Musée du Louvre</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrwwC4Zfp12lIvTjmt4WqM0LER-_Mo0pjGKuv6RHkUZGqxK7ICQNwIL_Pxy3aWpTK21opuaYqNWknU9eUZP9NFDq3aW0NNiSy2CxX71rcG67Fsroa7G49Xc6aYZif3zjh0OI1m14kBiAR-Dt5rloFAMiOAADVmvJoxUD6-rvVi7NHkPO_OOl6Ifk3J/s750/1450_Pieta%20of%20Tarascon_French%20(Provencal),%20c.%201450-1475_Paris,%20Musee%20de%20Cluny.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrwwC4Zfp12lIvTjmt4WqM0LER-_Mo0pjGKuv6RHkUZGqxK7ICQNwIL_Pxy3aWpTK21opuaYqNWknU9eUZP9NFDq3aW0NNiSy2CxX71rcG67Fsroa7G49Xc6aYZif3zjh0OI1m14kBiAR-Dt5rloFAMiOAADVmvJoxUD6-rvVi7NHkPO_OOl6Ifk3J/w640-h414/1450_Pieta%20of%20Tarascon_French%20(Provencal),%20c.%201450-1475_Paris,%20Musee%20de%20Cluny.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Pieta of Tarascon</span></div><span style="font-family: helvetica;"><div style="text-align: center;">French (Provencal), c. 1450-1475</div><div style="text-align: center;">Paris, Musée de Cluny, Musée nationale du Moyen Age</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYjNs0saj485jxSMv4rFsYB4qbY8E0iMSZU9Q86j_MVGJS9lv3AxUqF0J18CBcWOLCnByxGo_mgj_oeEZNypPrYp1nh19jzgjMqs0vJl8k5205xfc64gN4mNYPN-ykfG4NyzBA8Wtrn_mBnFkiZzMp3Rd7Uq7pVvOJmOg4tmD9RdrGMAWvbO4JS1_K/s1270/1460_Enguerrand%20Quarton,%20Pieta%20of%20Villeneuve-les-Avignon_French,%20c.%201460_Paris,%20Musee%20du%20Louvre.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYjNs0saj485jxSMv4rFsYB4qbY8E0iMSZU9Q86j_MVGJS9lv3AxUqF0J18CBcWOLCnByxGo_mgj_oeEZNypPrYp1nh19jzgjMqs0vJl8k5205xfc64gN4mNYPN-ykfG4NyzBA8Wtrn_mBnFkiZzMp3Rd7Uq7pVvOJmOg4tmD9RdrGMAWvbO4JS1_K/w640-h484/1460_Enguerrand%20Quarton,%20Pieta%20of%20Villeneuve-les-Avignon_French,%20c.%201460_Paris,%20Musee%20du%20Louvre.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Enguerrand Quarton, The Pietà of Villeneuve-les-Avignon</span></div><span style="font-family: helvetica;"><div style="text-align: center;">French, c. 1460</div><div style="text-align: center;">Paris, Musée du Louvre</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXpVTDkXBpovlaT4xbdreIFjw2nVIHlHxshOMomMc48gUC2_ha6N6PyzD_aEDK-H6URoMD2rkHhRTJg7vbQEVQwRhZflqmxlf2ENsWNEOHwNSwgh4sGIfG1sAsYW7XNfNRXVhO-aRhhvQJiQUVxp4IOtaNFIH_YiZOdUOCEAk1IeCkDkHVHIWtGYUW/s1865/1485_Master%20of%20Edward%20IV,%20Pieta%20and%20Ascension_From%20Speculum%20humanae%20salvationis_Flemish%20(Bruges),%20c.%201485_Paris,%20Bibliotheque%20nationale%20de%20France_MS%20Francais%206275,%20fol.48r%20(2).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXpVTDkXBpovlaT4xbdreIFjw2nVIHlHxshOMomMc48gUC2_ha6N6PyzD_aEDK-H6URoMD2rkHhRTJg7vbQEVQwRhZflqmxlf2ENsWNEOHwNSwgh4sGIfG1sAsYW7XNfNRXVhO-aRhhvQJiQUVxp4IOtaNFIH_YiZOdUOCEAk1IeCkDkHVHIWtGYUW/w640-h556/1485_Master%20of%20Edward%20IV,%20Pieta%20and%20Ascension_From%20Speculum%20humanae%20salvationis_Flemish%20(Bruges),%20c.%201485_Paris,%20Bibliotheque%20nationale%20de%20France_MS%20Francais%206275,%20fol.48r%20(2).jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Master of Edward IV, Pietà</span></div><span style="font-family: helvetica;"><div style="text-align: center;">From the <u><i>Speculum humanae salvationis</i></u></div><div style="text-align: center;">Flemish (Bruges), c. 1485</div><div style="text-align: center;">Paris, Bibliotheque nationale de France</div><div style="text-align: center;">MS Francais 6275, fol. 48r</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a basilica.jpg="" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4myNEgVIOKQ6nhd8C4_GG7daPEu-t3i4XpyNX6S3vS6UpZqOMmDcFvg4MBQLcEj5Py4oVT2Od8moKHT2rDde2RZLg7b1AUXeH1tddmpi2d-Fb1Fxx_bi6Q1-w3CU4Xcs5S8qykYrJL2d6u3PDBd4SnK8TzTXEHDwk7mRJyuYnXg-1_Qrjyg-tcqbl/s1448/1499+Michelangelo%20Buonarroti_Italian,%201499_Vatican,%20St.%20Peter" s="" style="margin-left: auto; margin-right: auto;"><img basilica.jpg="" border="0" s="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4myNEgVIOKQ6nhd8C4_GG7daPEu-t3i4XpyNX6S3vS6UpZqOMmDcFvg4MBQLcEj5Py4oVT2Od8moKHT2rDde2RZLg7b1AUXeH1tddmpi2d-Fb1Fxx_bi6Q1-w3CU4Xcs5S8qykYrJL2d6u3PDBd4SnK8TzTXEHDwk7mRJyuYnXg-1_Qrjyg-tcqbl/w640-h624/1499+Michelangelo%20Buonarroti_Italian,%201499_Vatican,%20St.%20Peter" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Michelangelo Buonarroti, The Pietà</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Italian, 1499</div><div style="text-align: center;">Vatican, St. Peter's Basilica</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /><br /></span></ol><h4><ol style="text-align: left;"><span style="font-family: helvetica;">The Entombment of Jesus</span></ol></h4><ol style="text-align: left;"><span style="font-family: helvetica;"><br /> <br /> <br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4fVZMDmfFtntvyEt5CsomTuPPIfLEXgK78lz7UFOef6hnHoWwf6f4nilJJ0hy1OcsWU2jm3M6LBxTvXy4chvrBpuzQBiovuPuSx69dSB1hafS3gBmf89--0ulz64Dw5BhUnff5dqtM8mdTR14liB9nYSdsJFooK1y5PDGsphxYFy8lJSXKCKOZ_PH/s769/1335_Taddeo%20Gaddi_c1335-40_Florence_Santa%20Croce_Cappella%20di%20Bardi%20di%20Vernio%20(2).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4fVZMDmfFtntvyEt5CsomTuPPIfLEXgK78lz7UFOef6hnHoWwf6f4nilJJ0hy1OcsWU2jm3M6LBxTvXy4chvrBpuzQBiovuPuSx69dSB1hafS3gBmf89--0ulz64Dw5BhUnff5dqtM8mdTR14liB9nYSdsJFooK1y5PDGsphxYFy8lJSXKCKOZ_PH/w596-h640/1335_Taddeo%20Gaddi_c1335-40_Florence_Santa%20Croce_Cappella%20di%20Bardi%20di%20Vernio%20(2).jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Taddeo Gaddi, The Entombment of Jesus</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Italian, c.1335-1340</div><div style="text-align: center;">Florence, Church of Santa Croce, Cappella di Bardi di Vernio</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYb_KAq3_rOcZ_TZDMuirJ4V10iix510euvL0tbcFKLzLkoabTeGcF-Bp1Frwz3t_mIbK0fZUtyEjhitkCsnvqZoeSwL5dAQMkLJ5EigRjfHuE7Bgs7gf_rwQJl6GLNmmxKoRkDO-tyg9AIGjOBdawuekMhXWG7c_LW2az0CdnaDnvVh6107kiGlhn/s1137/1438_Entombment_Italian,%20c.%20138-1440_Munich,%20Alte%20Pinakothek.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYb_KAq3_rOcZ_TZDMuirJ4V10iix510euvL0tbcFKLzLkoabTeGcF-Bp1Frwz3t_mIbK0fZUtyEjhitkCsnvqZoeSwL5dAQMkLJ5EigRjfHuE7Bgs7gf_rwQJl6GLNmmxKoRkDO-tyg9AIGjOBdawuekMhXWG7c_LW2az0CdnaDnvVh6107kiGlhn/w640-h544/1438_Entombment_Italian,%20c.%20138-1440_Munich,%20Alte%20Pinakothek.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Fra Angelico, The Entombment of Christ</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Italian, c. 1438-1440</div><div style="text-align: center;">Munich, Bayerische Stratagemädesammlungen, Alte Pinakothek</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSzsDKqszJKBAoWbxJL8o3eEpzROJqDgqAhWLnIg_dpi5HmoX_HU07dSuqnVfWO6QLTiOEMLviaPFchmlm-3r4jNeIihcOV2fxUC46thX8ssrcETIT4bkzElXLBnUWTO9nm4BepLXGe45pgfEp2_mipMeUWaGJp-wSPLUC8rVVi5aDw2XYNngjQNMi/s1498/1450_Speculum%20humanae%20salvationis_French,%20c.%201450_Paris,%20Bibliotheque%20nationale%20de%20France_MS%20Francais%20188,%20fol.%2051r%20(2).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSzsDKqszJKBAoWbxJL8o3eEpzROJqDgqAhWLnIg_dpi5HmoX_HU07dSuqnVfWO6QLTiOEMLviaPFchmlm-3r4jNeIihcOV2fxUC46thX8ssrcETIT4bkzElXLBnUWTO9nm4BepLXGe45pgfEp2_mipMeUWaGJp-wSPLUC8rVVi5aDw2XYNngjQNMi/w640-h588/1450_Speculum%20humanae%20salvationis_French,%20c.%201450_Paris,%20Bibliotheque%20nationale%20de%20France_MS%20Francais%20188,%20fol.%2051r%20(2).jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Entombment of Jesus</span></div><span style="font-family: helvetica;"><div style="text-align: center;">From the <i><u>Speculum humanae salvationis</u></i></div><div style="text-align: center;">French, c. 1450</div><div style="text-align: center;">Paris, Bibliotheque nationale de France</div><div style="text-align: center;">MS Francais 188, fol. 51r</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5_IhG6sm8X1vpqT4Wf6TckmXfg1whVBzOzaaWoDw-IGa2FYBVKlgDYBvvpmEV2jI6xF56EYXxWbFP4pMBeU4PZl-BHQ-3gAuilc4QHtpx9MevARW1P8OP58FwhHRSvX1MuEc1fz8JEMc43P9QPbUPti5KVRQp9x-eWRIYeopDsfayboWhfFayZJ5M/s5848/1510_Master%20of%20Hoogstraeten,%20Lamen_L5%20of%20Seven%20Sorrows%20Altarpiece_Flemish,%20c.%201510-1520_Antwerp,%20Royal%20Museum%20of%20Fine%20Arts.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5_IhG6sm8X1vpqT4Wf6TckmXfg1whVBzOzaaWoDw-IGa2FYBVKlgDYBvvpmEV2jI6xF56EYXxWbFP4pMBeU4PZl-BHQ-3gAuilc4QHtpx9MevARW1P8OP58FwhHRSvX1MuEc1fz8JEMc43P9QPbUPti5KVRQp9x-eWRIYeopDsfayboWhfFayZJ5M/w448-h640/1510_Master%20of%20Hoogstraeten,%20Lamen_L5%20of%20Seven%20Sorrows%20Altarpiece_Flemish,%20c.%201510-1520_Antwerp,%20Royal%20Museum%20of%20Fine%20Arts.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Master of Hoogstraeten, The Burial and Lamentation of Christ</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Fifth Panel from the Left of the <i>Seven Sorrows Altarpiece</i></div><div style="text-align: center;">Flemish, c. 1510-1520</div><div style="text-align: center;">Antwerp, Royal Museum of Fine Arts</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNZO0WMirdyMVBABPB2yD2IkxcwgZiTddOf6XCIjJ81lUd5GTGQ1TPo7B3oxKJTJfYoYT8tLO-oJ-imWOfQA7CqLCW9UTiKn7KSllr5GNqyYFwEXjz0gVgAtBun7han8z2G6O-L3LoaGaunmNX0WuXPIfaE1YXrogiFqVL4Ls3I1slNMubD0TKFw_r/s709/1512_Master%20of%20the%20Autun%20Triptych_1512-30_Dole_Musee%20des%20B-A.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNZO0WMirdyMVBABPB2yD2IkxcwgZiTddOf6XCIjJ81lUd5GTGQ1TPo7B3oxKJTJfYoYT8tLO-oJ-imWOfQA7CqLCW9UTiKn7KSllr5GNqyYFwEXjz0gVgAtBun7han8z2G6O-L3LoaGaunmNX0WuXPIfaE1YXrogiFqVL4Ls3I1slNMubD0TKFw_r/w640-h300/1512_Master%20of%20the%20Autun%20Triptych_1512-30_Dole_Musee%20des%20B-A.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Master of the Autun Triptych, The Entombment of Christ</span></div><span style="font-family: helvetica;"><div style="text-align: center;">French, c. 1512-1530</div><div style="text-align: center;">Dolem, Musée des Beaux-Arts</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglcTv9jf7zciPUSdDc5wqRQvF6tRaEN33SeX5I7beYKvRCkLrVk-MPVkAvWj4BUBo3h170EhaYHLKLPDwmyS6n2Z9IsViyJaUANIxDCwqP2iunIaTIMJuACF-7JD3UCCWB0TQtCFlRpwEZfNrhxJRhbKJvKd32hoFKqOVoF47eO9MOZtrhID1CPYFT/s3000/1656_Guercino_Chicago_AI.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglcTv9jf7zciPUSdDc5wqRQvF6tRaEN33SeX5I7beYKvRCkLrVk-MPVkAvWj4BUBo3h170EhaYHLKLPDwmyS6n2Z9IsViyJaUANIxDCwqP2iunIaTIMJuACF-7JD3UCCWB0TQtCFlRpwEZfNrhxJRhbKJvKd32hoFKqOVoF47eO9MOZtrhID1CPYFT/w640-h420/1656_Guercino_Chicago_AI.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Guercino, The Entombment of Christ</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Italian, 1656</div><div style="text-align: center;">Chicago, Arts Institute</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br />These are, however, entirely narrative images, and narrative images account for only a small percentage of the images of the Virgin Mary as the woman of sorrow, the Mater Dolorosa. <u><b><span style="color: #2b00fe;">2</span></b></u><br /><br /><br /><br />Art can be used to tell a story, as with narrative images. But, it can also transmit ideas and can do it, frequently, in a more direct and easily grasped form than can be done in words. As the old adage states, “One picture is worth a thousand words”. Consequently, several other modes of depicting the Sorrows of Mary have been used over time.<br /><br /><br /><br /><br /><br /></span></ol><h4><ol style="text-align: left;"><span style="font-family: helvetica;">A Series of Pictures</span></ol></h4><ol style="text-align: left;"><span style="font-family: helvetica;"><br />One of the earliest modes was as a series of pictures, usually in manuscripts of the popular lay text the <u><i>Speculum humanae salvationis</i></u>, which was one of the “best-sellers” of the late medieval world. Through a combination of pictures and texts, lay people were offered a way to understand the Gospels and to meditate on aspects of the faith. These were not the carefully planned and painstakingly executed works that were intended for the clergy or the nobility, such as are found in service books, Gospel books or the numerous Books of Hours. These were quickly, even crudely executed works, that still have a certain ability to tell a story quickly through what amount to sketches. For the illustrations below I have chosen a few samples from different books of the first three of the Sorrows: the prophecy of Simeon, the Flight into Egypt and the Finding of Jesus in the Temple.<br /><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpdCiVk-egv1_3Dyf6ZMPyJWGxfMrFMFZAEKmpqf3YkEVZFziO-8sQTHvK49qPbHYd5PSarf1UL2ecEzttuTmTwJqVhnqZn6fIfhoDeYtoop4plBpBjawm-zceJpysyLqrpNY1IpzekgtszKyxq2n7J8I6qjCGVk3RyKQ6XHoM-6ghQBcUoULPsKbh/s828/1350_Speculum%20humanae%20salvationis_Italian%20(Bologna),%20c.%201350-1400_Paris,%20Bibliotheque%20nationale%20de%20France_MS%20Arsenal%20593,%20fol.%2039v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpdCiVk-egv1_3Dyf6ZMPyJWGxfMrFMFZAEKmpqf3YkEVZFziO-8sQTHvK49qPbHYd5PSarf1UL2ecEzttuTmTwJqVhnqZn6fIfhoDeYtoop4plBpBjawm-zceJpysyLqrpNY1IpzekgtszKyxq2n7J8I6qjCGVk3RyKQ6XHoM-6ghQBcUoULPsKbh/w640-h558/1350_Speculum%20humanae%20salvationis_Italian%20(Bologna),%20c.%201350-1400_Paris,%20Bibliotheque%20nationale%20de%20France_MS%20Arsenal%20593,%20fol.%2039v.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Prophecy of Simeon, Joseph Warned to Flee to Egypt and Jesus Found in the Temple</span></div><span style="font-family: helvetica;"><div style="text-align: center;">From the <u><i>Speculum humanae salvationis</i></u></div><div style="text-align: center;">Italian (Bologna), c. 1350-1400</div><div style="text-align: center;">Paris, Bibliotheque nationale de France</div><div style="text-align: center;">MS Arsenal 593, fol. 39v</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgWWeGetQh4FIJjnjsfOb9mlAPPfjjMxJErOdYrF1ZiNiw2WwkCX6NKaMSyd9qzxTGc0b_ZZSXFXtr8B8wFVCTwy5KNp5aIFQxjrOC-AOCFzmv6aCwt7OKXhSo13S3RjkppCpcjuwhDsQDsRRRnAw1kY1gw2jAA1Y75mm6Asp_N4QwIeTd-hba-kNd/s899/1370_Flight%20into%20Egypt%20&%20Jesus%20Found_From%20Speculum%20humanae%20salvationis_French%20(Alsace),%20c.%201370-1380_Paris,%20BNf_MS%20Latin%20511,%20fol.%2046r.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgWWeGetQh4FIJjnjsfOb9mlAPPfjjMxJErOdYrF1ZiNiw2WwkCX6NKaMSyd9qzxTGc0b_ZZSXFXtr8B8wFVCTwy5KNp5aIFQxjrOC-AOCFzmv6aCwt7OKXhSo13S3RjkppCpcjuwhDsQDsRRRnAw1kY1gw2jAA1Y75mm6Asp_N4QwIeTd-hba-kNd/w640-h414/1370_Flight%20into%20Egypt%20&%20Jesus%20Found_From%20Speculum%20humanae%20salvationis_French%20(Alsace),%20c.%201370-1380_Paris,%20BNf_MS%20Latin%20511,%20fol.%2046r.JPG" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Flight into Egypt and Jesus Found in the Temple</span></div><span style="font-family: helvetica;"><div style="text-align: center;">From the <u><i>Speculum humanae salvationis</i></u></div><div style="text-align: center;">French (Alsace), c. 1370-1380</div><div style="text-align: center;">Paris, Bibliotheque nationale de France</div><div style="text-align: center;">MS Latin 511, fol. 46</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBk4xkBfgn25PqN178w-iSDLtTUXK4YirLUl1bUnIskuZG7d8MbtdKIZqvE8RHTazMJU7UNrPbsYYxCRkrMBxnE5RdNgPHY3N_qBA2fz8CMoBro8Xha-JNSj-sNziPfNmpsKSYpSxW3XQDqAx6VZSlHps1TJw-X86NXDZz34Zv-sZEG4zGGFLezKrF/s3349/1450_Speculum%20humanae%20salvationis_French,%20c.%201450_Paris,%20Bibliotheque%20nationale%20de%20France_MS%20Francais%20188,%20fol.%2050r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBk4xkBfgn25PqN178w-iSDLtTUXK4YirLUl1bUnIskuZG7d8MbtdKIZqvE8RHTazMJU7UNrPbsYYxCRkrMBxnE5RdNgPHY3N_qBA2fz8CMoBro8Xha-JNSj-sNziPfNmpsKSYpSxW3XQDqAx6VZSlHps1TJw-X86NXDZz34Zv-sZEG4zGGFLezKrF/w640-h258/1450_Speculum%20humanae%20salvationis_French,%20c.%201450_Paris,%20Bibliotheque%20nationale%20de%20France_MS%20Francais%20188,%20fol.%2050r.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Flight into Egypt and Jesus Found in the Temple</span></div><span style="font-family: helvetica;"><div style="text-align: center;">From the <u><i>Speculum humanae salvationis</i></u></div><div style="text-align: center;">French, c. 1450</div><div style="text-align: center;">Paris, Bibliotheque nationale de France</div><div style="text-align: center;">MS Francais 188, fol. 50</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSnAQ78Ij8DnfkqCa9Nu4Ltt3f_YQDeztGGjwY2zfF-AhTcIAhvXzEQlWr5E6fABVIRdUXYUKcFMMs2jsHVFeTGi0VrTIEevjkikZz9cZV4_JKf6g5l2pfhVhQtZI2GBHaXd2QoC31YkYH_c_mtCxqE31-wicydPGH4rfFCR-bSgYue13wgjydENER/s4035/1485_Master%20of%20Edward%20IV,%20Flight%20into%20Egypt,%20Searching%20for%20Jesus_From%20Speculum%20humanae%20salvationis_Flemish%20(Bruges),%20c.%201485_Paris,%20Bibliotheque%20nationale%20de%20France_MS%20Francais%206275,%20fol.47r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSnAQ78Ij8DnfkqCa9Nu4Ltt3f_YQDeztGGjwY2zfF-AhTcIAhvXzEQlWr5E6fABVIRdUXYUKcFMMs2jsHVFeTGi0VrTIEevjkikZz9cZV4_JKf6g5l2pfhVhQtZI2GBHaXd2QoC31YkYH_c_mtCxqE31-wicydPGH4rfFCR-bSgYue13wgjydENER/w640-h268/1485_Master%20of%20Edward%20IV,%20Flight%20into%20Egypt,%20Searching%20for%20Jesus_From%20Speculum%20humanae%20salvationis_Flemish%20(Bruges),%20c.%201485_Paris,%20Bibliotheque%20nationale%20de%20France_MS%20Francais%206275,%20fol.47r.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Master of Edward IV, Flight into Egypt and Mary and Joseph Searching for Jesus</span></div><span style="font-family: helvetica;"><div style="text-align: center;">From the <u><i>Speculum humanae salvationis</i></u></div><div style="text-align: center;">Flemish (Bruges), c. 1485</div><div style="text-align: center;">Paris, Bibliotheque nationale de France</div><div style="text-align: center;">MS Francais 6275, fol.47r</div></span><span style="font-family: helvetica;"><div style="text-align: center;"><ol style="font-family: "Times New Roman"; text-align: left;"><span style="font-family: helvetica;">This copy of the <i><u>Speculum</u></i> was obviously executed for a more upscale client than the other works in this section.</span></ol></div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br />Later, as printing replaced illumination painters produced cycles of paintings of the individual sorrows, as well as paintings that contain references to the seven, as I will discuss later.<br /><br /><br /><br /></span></ol><h4><ol style="text-align: left;"><span style="font-family: helvetica;">The Mater Dolorosa</span></ol></h4><ol style="text-align: left;"><span style="font-family: helvetica;"><br />Another early development was to, in effect, extract the image of the sorrowing Virgin Mary from images of the Crucifixion and place her upper body in the center of the picture frame. This gives us the image known as the Mater Dolorosa, the Sorrowing Mother. This image became most popular first in the Low Countries in the fifteenth century and eventually spread throughout Europe with repercussions all the way into the twentieth century. <br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL3d1q_zywu8WF9_EhMpVI53T9PVHTCgdslDyS3IR72Ag_muzJ8U3s9Dvo1Pdty-WgjcHF3hUFEgeOocar1s4t0GyRTtLPS3w5Mbc5P-HlHz_diixm7o6GWOlommhGAxTWAfZOMZkFiodtrnIXOFIeyKj6K5WMb-szMwMw1HsTsn0PLNTw1vnDUhCX/s800/1450_Spanish%20(Valencia),%20c.%201450s_London,%20National%20Gallery.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL3d1q_zywu8WF9_EhMpVI53T9PVHTCgdslDyS3IR72Ag_muzJ8U3s9Dvo1Pdty-WgjcHF3hUFEgeOocar1s4t0GyRTtLPS3w5Mbc5P-HlHz_diixm7o6GWOlommhGAxTWAfZOMZkFiodtrnIXOFIeyKj6K5WMb-szMwMw1HsTsn0PLNTw1vnDUhCX/w458-h640/1450_Spanish%20(Valencia),%20c.%201450s_London,%20National%20Gallery.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Spanish (Valencia), c. 1450s</div><div style="text-align: center;">London, National Gallery</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDed9feWkTxasAnMXNSfNTxLdT9mNKuBJ7G48K_C4cyrIx7xxQ_cn8_s9xudj-ZcnC5sU6NHgcjPeBzQCflU8GfPMRRVCMDzdFQmbe4-Rd5rcxd8tlPCiwIHCZtWQEdEZgREWQCDjmF2loPIpkcjDOsLV2j-gdZlBouN0fAO6xjsOiWuCn6AOXGtQ7/s464/1473_Jean%20Colombe,%20Stabat%20Mater_From%20Hours%20of%20Anne%20of%20France_French%20(Bourges),%201473_New%20York,%20Pierpoont%20Morgan%20Library_MS%20M%20677,%20fol.%2038r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDed9feWkTxasAnMXNSfNTxLdT9mNKuBJ7G48K_C4cyrIx7xxQ_cn8_s9xudj-ZcnC5sU6NHgcjPeBzQCflU8GfPMRRVCMDzdFQmbe4-Rd5rcxd8tlPCiwIHCZtWQEdEZgREWQCDjmF2loPIpkcjDOsLV2j-gdZlBouN0fAO6xjsOiWuCn6AOXGtQ7/w434-h640/1473_Jean%20Colombe,%20Stabat%20Mater_From%20Hours%20of%20Anne%20of%20France_French%20(Bourges),%201473_New%20York,%20Pierpoont%20Morgan%20Library_MS%20M%20677,%20fol.%2038r.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Jean Colombe, The Mater Dolorosa opposite a text of the Stabat Mater</span></div><span style="font-family: helvetica;"><div style="text-align: center;">From the <i><u>Hours of Anne of France</u></i></div><div style="text-align: center;">French (Bourges), 1473</div><div style="text-align: center;">New York, Pierpoont Morgan Library</div><div style="text-align: center;">MS M 677, fol. 38r</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEG_E9gh5EYzWCndHectjv6JKRksXM1RBOFgPjIriNfg6VEYb0g3qpKIpWOffzT7kDeaj0G8mIvIJstJXtT6ssY6H0_sLUXSteToRO8DppeE0F8ByE9pU2gyyub-sB7W3IUkCvBMrClZ8sIcfOKQcB-Bj61rjQSPUqCytHuc_da9hauXtsVMwI44Sc/s1177/1480_Hans%20Memling_German,%20c.%201480-1490_Florence,%20Gallerie%20degli%20Uffizi.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEG_E9gh5EYzWCndHectjv6JKRksXM1RBOFgPjIriNfg6VEYb0g3qpKIpWOffzT7kDeaj0G8mIvIJstJXtT6ssY6H0_sLUXSteToRO8DppeE0F8ByE9pU2gyyub-sB7W3IUkCvBMrClZ8sIcfOKQcB-Bj61rjQSPUqCytHuc_da9hauXtsVMwI44Sc/w392-h640/1480_Hans%20Memling_German,%20c.%201480-1490_Florence,%20Gallerie%20degli%20Uffizi.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Hans Memling, The Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">German, c. 1480-1490</div><div style="text-align: center;">Florence, Gallerie degli Uffizi</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyMjnJqqKbPcY95eNbpgLtM_ZnObsp4wwm3jrpc--UYlj8hkQw0axqoxtDms9Go7Cp9o_fKYcO8rUJcmVl5d39nDcSDwB3iPGfRVufz3cIse9pxkSO1knsXJiAkdE6bgsfQHEMuZsBaX3sxjcVSP47dr7aIeprSWdr0hmRAr7IXxiSb_egVRyh5sCc/s587/1480_Simon%20Marmion_French,%201480_Strasbourg,%20Musee%20des%20Beauz-Arts.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyMjnJqqKbPcY95eNbpgLtM_ZnObsp4wwm3jrpc--UYlj8hkQw0axqoxtDms9Go7Cp9o_fKYcO8rUJcmVl5d39nDcSDwB3iPGfRVufz3cIse9pxkSO1knsXJiAkdE6bgsfQHEMuZsBaX3sxjcVSP47dr7aIeprSWdr0hmRAr7IXxiSb_egVRyh5sCc/w420-h640/1480_Simon%20Marmion_French,%201480_Strasbourg,%20Musee%20des%20Beauz-Arts.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Simon Marmion, The Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">French, 1480</div><div style="text-align: center;">Strasbourg, Musée des Beaux-Arts</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQppbSfUzaJ4_wfCY95TydDbrb8gXcxynQNbuKdZEqplObYPk14sTN53S6T5ptOarPJuWHibmuRQk6WUh6gP7TWsD70806DC-QEhccNKs13byOX-URlwjMWCP4qFz5yadNm2oJqd-07goWP8dDJds3meJv7HKMdiuGVWBgEvwPKo5kgTLneGmguLt4/s3000/1480_Workshop%20of%20Dirk%20Bouts_Dutch,%20c.%201480-1500_Chicago,%20Art%20Institute.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQppbSfUzaJ4_wfCY95TydDbrb8gXcxynQNbuKdZEqplObYPk14sTN53S6T5ptOarPJuWHibmuRQk6WUh6gP7TWsD70806DC-QEhccNKs13byOX-URlwjMWCP4qFz5yadNm2oJqd-07goWP8dDJds3meJv7HKMdiuGVWBgEvwPKo5kgTLneGmguLt4/w484-h640/1480_Workshop%20of%20Dirk%20Bouts_Dutch,%20c.%201480-1500_Chicago,%20Art%20Institute.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Workshop of Dirk Bouts, The Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Dutch, c. 1410-1475</div><div style="text-align: center;">Chicago, Art Institute</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYkhNLyoasCgi6pMa-s672gjr8_4_XpYVGAdtds35pOeOfDCnZVE3SbUXuQcTqyWumwJ39B7SrQN2h1_hFCNJleJUkLf_fWNIVQUvxfZ15tr9oFf5O8r0PfjH8Y6Ecb43-hu4yAEpvEk6M-W-sywq1j3TdOkbZ2gxQixcKDq27jz-X8T9_nSJjBU1w/s1920/1482_Paolo%20de%20San%20Leocadio,%20La%20Dolorosa_Itallilan,%20c.%201482-1484_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYkhNLyoasCgi6pMa-s672gjr8_4_XpYVGAdtds35pOeOfDCnZVE3SbUXuQcTqyWumwJ39B7SrQN2h1_hFCNJleJUkLf_fWNIVQUvxfZ15tr9oFf5O8r0PfjH8Y6Ecb43-hu4yAEpvEk6M-W-sywq1j3TdOkbZ2gxQixcKDq27jz-X8T9_nSJjBU1w/w462-h640/1482_Paolo%20de%20San%20Leocadio,%20La%20Dolorosa_Itallilan,%20c.%201482-1484_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Paolo de San Leocadio, The Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Italian, c. 1482-1484</div><div style="text-align: center;">Madrid, Museo Nacional del Prado</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2igOyq0YrliU8rHuPqki77wZjdUer-SkFLCiefnOXdY2L9lvWcGI_rNuQwNx7Uu0jtqG6uY5j5WTFVMLH13NH950BHgdlC3CU4ZX5kIyH6RgdpRnqujQdg0euhmXTApT1TpRjPHuSCFqyg5Iw5wNXk8o5WQ7FTDJ1pxOw8tkuBgtJTBKus449dbqd/s1920/1554_Titian,%20La%20Dolorosa%20with%20closed%20hands_Italian,%201554_Madrid,%20Museo%20Nacional%20del%20Praod.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2igOyq0YrliU8rHuPqki77wZjdUer-SkFLCiefnOXdY2L9lvWcGI_rNuQwNx7Uu0jtqG6uY5j5WTFVMLH13NH950BHgdlC3CU4ZX5kIyH6RgdpRnqujQdg0euhmXTApT1TpRjPHuSCFqyg5Iw5wNXk8o5WQ7FTDJ1pxOw8tkuBgtJTBKus449dbqd/w492-h640/1554_Titian,%20La%20Dolorosa%20with%20closed%20hands_Italian,%201554_Madrid,%20Museo%20Nacional%20del%20Praod.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Titian, The Mater Dolorosa with Closed Hands</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Italian, 1554</div><div style="text-align: center;">Madrid, Museo Nacional del Prado</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimxCwtIZdTnsOWemdOGXqpbC7h6vZqB4Tv6k-v0OD7sMiPNNZvqq397h40n3exRqJVNyafUZBj7zFPyvxXbBlOID_JDLieSQZm2vwGDd6v42FJL9Y-MfUppvmPv0nAjRqmmpLDfu0_3UxVi13lXOghIDzIzqTMrYaj2F1DXIUxbGpJhQoDC0pvyJwC/s1920/1555_Titian_La%20Dolorosa%20with%20open%20hands_Italian,%201555_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimxCwtIZdTnsOWemdOGXqpbC7h6vZqB4Tv6k-v0OD7sMiPNNZvqq397h40n3exRqJVNyafUZBj7zFPyvxXbBlOID_JDLieSQZm2vwGDd6v42FJL9Y-MfUppvmPv0nAjRqmmpLDfu0_3UxVi13lXOghIDzIzqTMrYaj2F1DXIUxbGpJhQoDC0pvyJwC/w504-h640/1555_Titian_La%20Dolorosa%20with%20open%20hands_Italian,%201555_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Titian, The Mater Dolorosa with Open Hands</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Italian, 1555</div><div style="text-align: center;">Madrid, Museo Nacional del Prado</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGqyvHUu6TSu8aVDE9_3koGoAgS7sRQsQYyKcu_I5MK7oL7s8iXneDtZwZ6WgzlcOhkmSqz2DIEhdTNhTkCt95IcpS2w5zCG6ArhKj7zXaSUXxZHTm60Rk7PvNalNMPqsof4mMP682JXDpqCUVzWuyn1Q9WVlmGe9xaOG_JDu6Yv-7Qb_7TfvwmWNy/s1050/1590_El%20Greco_Greco-Spanish,%20c.%201590s_Strasbourg,%20Musee%20des%20Beaux-Arts.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGqyvHUu6TSu8aVDE9_3koGoAgS7sRQsQYyKcu_I5MK7oL7s8iXneDtZwZ6WgzlcOhkmSqz2DIEhdTNhTkCt95IcpS2w5zCG6ArhKj7zXaSUXxZHTm60Rk7PvNalNMPqsof4mMP682JXDpqCUVzWuyn1Q9WVlmGe9xaOG_JDu6Yv-7Qb_7TfvwmWNy/w458-h640/1590_El%20Greco_Greco-Spanish,%20c.%201590s_Strasbourg,%20Musee%20des%20Beaux-Arts.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">El Greco, The Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Greco-Spanish, c. 1590s</div><div style="text-align: center;">Strasbourg, Musée des Beaux-Arts</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh878FoMauDT-DH7-iebEHaYdX3d6k-hGKQjWVVXezsVfTyGFOEbRWf3ZB3ZGVWdjzfHZAaEcsDh7vH-hW7mt4viEr5-MaCv0FJcoHeAYXotK9kDBW2-UZI1nroaoCfUGcSFVyonEAXrR1EB14b8SMOtB27dodClvyHTGWYJEkIXbX3nJ7E92UvzmwR/s640/1638_Jusepe%20de%20Ribera_Spanish,%201638_Kassel,%20Staatliche%20Museen.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh878FoMauDT-DH7-iebEHaYdX3d6k-hGKQjWVVXezsVfTyGFOEbRWf3ZB3ZGVWdjzfHZAaEcsDh7vH-hW7mt4viEr5-MaCv0FJcoHeAYXotK9kDBW2-UZI1nroaoCfUGcSFVyonEAXrR1EB14b8SMOtB27dodClvyHTGWYJEkIXbX3nJ7E92UvzmwR/w462-h640/1638_Jusepe%20de%20Ribera_Spanish,%201638_Kassel,%20Staatliche%20Museen.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Jusepe de Ribera, The Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Spanish, 1638</div><div style="text-align: center;">Kassel, Staatliche Museen</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihfFLS5cqExgW0f22BohH0lA6TQUwPKu-j7ARowL-WXifDysRdMFJhQYFZcwEZE4LwfiEgsH2DvKfnwZ101O2w8Xy1wSGCvBCaWGZlNTg8Pzu4uHqPM9JRWZNZHR7McX9jwd1bu9jaERQf7a-bmoCTaFxdBvaFsx6rwS-FDa_BoVmIplU87kyYVWJ7/s640/1650_Studio%20of%20Sassoferrato_Italian,%20c.%201650_Oxford%20(UK),%20Ashmolean%20Museum%20of%20Art%20and%20Archeology.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihfFLS5cqExgW0f22BohH0lA6TQUwPKu-j7ARowL-WXifDysRdMFJhQYFZcwEZE4LwfiEgsH2DvKfnwZ101O2w8Xy1wSGCvBCaWGZlNTg8Pzu4uHqPM9JRWZNZHR7McX9jwd1bu9jaERQf7a-bmoCTaFxdBvaFsx6rwS-FDa_BoVmIplU87kyYVWJ7/w504-h640/1650_Studio%20of%20Sassoferrato_Italian,%20c.%201650_Oxford%20(UK),%20Ashmolean%20Museum%20of%20Art%20and%20Archeology.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Studio of Sassoferrato, The Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Italian, c. 1650</div><div style="text-align: center;">Oxford (UK), Ashmolean Museum of Art and Archeology</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br />Over time the focus moved from the face and hands to the entire body of the Virgin Mary and references to the Passion were added but, for the most part, artists still concentrated on a close up view of Mary's mourning.<br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBlOJ1MgriO5fAws8yfz3AJ91cc-k1_RGTuiudfqDErTfvNXZEis_tNjE9CA1uMIIL0OMjsR-2s0WhQDHUGGjTYYcShUg7xZtP3RgHiWvMSxx_ht-eaotr-11OnsKy9JDe6B4bJjwHnb_Z54DuPhFU3_8sW8NQr20-g7ARD7AyIujt9OkwQsB969Sy/s1464/1655_Philippe%20de%20Champaigne,%20Virgin%20of%20Sorrows%20at%20the%20Foot%20of%20the%20Cross_Flemish,%20c.%201655-1660_Paris,%20Musee%20du%20Louvre.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBlOJ1MgriO5fAws8yfz3AJ91cc-k1_RGTuiudfqDErTfvNXZEis_tNjE9CA1uMIIL0OMjsR-2s0WhQDHUGGjTYYcShUg7xZtP3RgHiWvMSxx_ht-eaotr-11OnsKy9JDe6B4bJjwHnb_Z54DuPhFU3_8sW8NQr20-g7ARD7AyIujt9OkwQsB969Sy/w458-h640/1655_Philippe%20de%20Champaigne,%20Virgin%20of%20Sorrows%20at%20the%20Foot%20of%20the%20Cross_Flemish,%20c.%201655-1660_Paris,%20Musee%20du%20Louvre.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Philippe de Champaigne, The Virgin of Sorrows at the Foot of the Cross</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Flemish, c. 1650</div><div style="text-align: center;">Paris, Musée du Louvre</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixRvn7njacaZqZC-DBLYqsi_3-csaz64llccsSKvAy3NcvkIiVH85hFcTkc-vxqZAHtJpdUtnb9eAVcX_dOfihy8tUNNc5EbhDoahbB4BaFE8OCz0HuAjmamXThaqfEvVGJNxnPW5yqLn_GeARDJaQManFDeay3J-4eg-QNs43x7rHj3A01GvtUhlM/s485/1657_Elisabetta%20Sirani_Italian,%201657_Braunschweig,%20Herzog%20Anton%20Ulrich%20Museum.png" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixRvn7njacaZqZC-DBLYqsi_3-csaz64llccsSKvAy3NcvkIiVH85hFcTkc-vxqZAHtJpdUtnb9eAVcX_dOfihy8tUNNc5EbhDoahbB4BaFE8OCz0HuAjmamXThaqfEvVGJNxnPW5yqLn_GeARDJaQManFDeay3J-4eg-QNs43x7rHj3A01GvtUhlM/w476-h640/1657_Elisabetta%20Sirani_Italian,%201657_Braunschweig,%20Herzog%20Anton%20Ulrich%20Museum.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><span style="font-family: helvetica;">Elisabetta Sirani, The Mater Dolorosa<br />Italian, 1657<br />Braunschweig, Herzog Anton Ulrich Museum</span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5s95HEdPk_9L9Y7YXAQfwjnC7XD-3jdSujFWqy6ZX90p6w254ewfxUwdwjU-QmWaOQS0_6alQIWN2RnLkd5PR2yH1oubNSwHEnq3ecAhBtLlLacM2Wx0p95ffMTIIv00CWt6IAPQeyUWn6sYRykbZ1I0RK5ky575pLL3BVf7oIaaVOncTIxT-18HY/s1920/1660_Bartolome%20Esteban%20Murillo,%20La%20Dolorosa_Spanish,%20c.%201660-1670_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5s95HEdPk_9L9Y7YXAQfwjnC7XD-3jdSujFWqy6ZX90p6w254ewfxUwdwjU-QmWaOQS0_6alQIWN2RnLkd5PR2yH1oubNSwHEnq3ecAhBtLlLacM2Wx0p95ffMTIIv00CWt6IAPQeyUWn6sYRykbZ1I0RK5ky575pLL3BVf7oIaaVOncTIxT-18HY/w494-h640/1660_Bartolome%20Esteban%20Murillo,%20La%20Dolorosa_Spanish,%20c.%201660-1670_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><span style="font-family: helvetica;">Bartolome Esteban Murillo, La Dolorosa<br />Spanish, c. 1660-1670<br />Madrid, Museo Nacional del Prado</span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjfZ47o5TASlwYsbBmcFDATeD9b2EB_CTa5HFNkUqcaY27lfMyL3-tm8n_qwSGeHz-EeRbUFDJ1uzS95GWe_PyCe8R-C5uF_IMSowhie6SKfc3ARFvYPN1co0kc2iWIbNrF3148Y_wXXus8QbFrLHYgSu5CVJISi8aQ-NQFx_M6sfTjC_wv4JHqanH/s1000/1723_Francesco%20Solimena_Italian,%20c.%201723_Dresden,%20Staatliche%20Kunstsammlungen,%20Gemaeldegalerie%20Alte%20Meister.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjfZ47o5TASlwYsbBmcFDATeD9b2EB_CTa5HFNkUqcaY27lfMyL3-tm8n_qwSGeHz-EeRbUFDJ1uzS95GWe_PyCe8R-C5uF_IMSowhie6SKfc3ARFvYPN1co0kc2iWIbNrF3148Y_wXXus8QbFrLHYgSu5CVJISi8aQ-NQFx_M6sfTjC_wv4JHqanH/w504-h640/1723_Francesco%20Solimena_Italian,%20c.%201723_Dresden,%20Staatliche%20Kunstsammlungen,%20Gemaeldegalerie%20Alte%20Meister.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Francesco Solimena, The Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Italian, c. 1723</div><div style="text-align: center;">Dresden, Staatliche Kunstsammlungen, Gemäldegalerie Alte Meister</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7FSVBf4UsOnZWZx_rdWkjq9yZFeWSzGO_CBj0UH_soz96UAgUxryjPOogp4YxdeIB5T7d64rNaQ5sEwqh_jvh4FKaC_RJOKgJfGRxtMnf2SKmaDN7LEw0fjDRONED3k9fvfHZejTIoCe51pJGLyvlXADaefhhj79pCatE3Bs57aWPY9OO-ZY9OSyp/s1000/1730_Rosalba%20Carriera_Italian,%20c.%201720-1750_Dresden,%20Gemaeldegalerie%20Alte%20Meister.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7FSVBf4UsOnZWZx_rdWkjq9yZFeWSzGO_CBj0UH_soz96UAgUxryjPOogp4YxdeIB5T7d64rNaQ5sEwqh_jvh4FKaC_RJOKgJfGRxtMnf2SKmaDN7LEw0fjDRONED3k9fvfHZejTIoCe51pJGLyvlXADaefhhj79pCatE3Bs57aWPY9OO-ZY9OSyp/w518-h640/1730_Rosalba%20Carriera_Italian,%20c.%201720-1750_Dresden,%20Gemaeldegalerie%20Alte%20Meister.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Rosalba Carriera, The Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Italian, c. 1720-1750</div><div style="text-align: center;">Dresden, Staatliche Kunstsammlungen, Gemäldegalerie Alte Meister</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZQl9CiYRJHqPbTDwrIwkcjxP_EiZa88OGRzx96nm4CmwFr2ni1xAfYkzob-GpCMws4QYXzt1x-z4tBxRhzSf96EM5t5_6gFWQXyV0TeFcI2gQvmlGckLWL6Nt1ZCfYWy2u_SFfB-OQIyXLvr5-HQI8BgaQ-5qYe19SnxAkxuXQt41lhJQUx1JCSqu/s1439/1780_Christoforo%20Unterperger,%20Virgin%20of%20Sorrows%20Surrounded%20by%20Angels_Italian,%20c.%201780_Paris,%20Musee%20du%20Louvre.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZQl9CiYRJHqPbTDwrIwkcjxP_EiZa88OGRzx96nm4CmwFr2ni1xAfYkzob-GpCMws4QYXzt1x-z4tBxRhzSf96EM5t5_6gFWQXyV0TeFcI2gQvmlGckLWL6Nt1ZCfYWy2u_SFfB-OQIyXLvr5-HQI8BgaQ-5qYe19SnxAkxuXQt41lhJQUx1JCSqu/w520-h640/1780_Christoforo%20Unterperger,%20Virgin%20of%20Sorrows%20Surrounded%20by%20Angels_Italian,%20c.%201780_Paris,%20Musee%20du%20Louvre.JPG" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Christoforo Unterperger, The Virgin of Sorrows Surrounded by Angels</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Italian, c. 1780</div><div style="text-align: center;">Paris, Musée du Louvre</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTUbpVGnjpfTE4JqBBNoGSqgvmrt2bNAYp0K1_GwaxTfrJ51YqOnroCywvAida71zLp8UkIWBUiKJB4TN6pRvdWdqNBgr_HrwGvpkQrv10sD8MAGB5Xe5q8RO3ijttmfOPXgsTQipXw-MGKHBtGfdv8yXGNp1LKKyPLuyTkpIhQDG9k0irKB7rnENQ/s3508/1840_Johann%20Peter%20Krafft_Austrian,%20c.%201840-1850_Vienna,%20Belvedere%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTUbpVGnjpfTE4JqBBNoGSqgvmrt2bNAYp0K1_GwaxTfrJ51YqOnroCywvAida71zLp8UkIWBUiKJB4TN6pRvdWdqNBgr_HrwGvpkQrv10sD8MAGB5Xe5q8RO3ijttmfOPXgsTQipXw-MGKHBtGfdv8yXGNp1LKKyPLuyTkpIhQDG9k0irKB7rnENQ/w476-h640/1840_Johann%20Peter%20Krafft_Austrian,%20c.%201840-1850_Vienna,%20Belvedere%20Museum.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Johann Peter Krafft, The Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Austrian, c. 1840-1850</div><div style="text-align: center;">Vienna, Belvedere Museum</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6NPdmZosTpopdmo-pTp0I0oQ9hMoxiMbDC1FdAKoXF_MqdF0FbpKgnMS-UefKhvBeLNIXHYtWrUmze5q3NKCRf59urqS-hRm2gGn1DVhbdKr3fpVyxqTsjdxLGB1lweZ2_iICgzWFwtf4VQkrurO0Z92u3A-zIG1u-rAfF-kIBWXi1cUqudp_6Soi/s1920/1840_Jose%20Peyret%20Alcanyiz,%20La%20Dolorosa_Spanish.%20c.%201840_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6NPdmZosTpopdmo-pTp0I0oQ9hMoxiMbDC1FdAKoXF_MqdF0FbpKgnMS-UefKhvBeLNIXHYtWrUmze5q3NKCRf59urqS-hRm2gGn1DVhbdKr3fpVyxqTsjdxLGB1lweZ2_iICgzWFwtf4VQkrurO0Z92u3A-zIG1u-rAfF-kIBWXi1cUqudp_6Soi/w500-h640/1840_Jose%20Peyret%20Alcanyiz,%20La%20Dolorosa_Spanish.%20c.%201840_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><span style="font-family: helvetica;">Jose Peyret Alcanyiz, La Dolorosa<br />Spanish. c. 1840<br />Madrid, Museo Nacional del Prado</span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br />In the aftermath of the First World War artists expressed the grief of millions of mothers by referring back to the image of the Mater Dolorosa.<br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj51swpZwQC-ovZL7jMT8h--GJv8s4RJZiSNkvaDB-IfK1DAgn4g9Wo8J1-hIiSAqH0D2oQ2n5Msr_dRqvuLfehKvbzH0LzcCNE92ugGz_R5k6AU34dBO9t6I85tzsQwVic3M8yldptXdNfCLSumnP4bDi-Y0b10WY6a-tRBShJ2fx-GKSIbrREKyhT/s293/1920_Jakob%20Smits_Dutch,%20c.%201920s_Brussels,%20Musees%20royaux%20des%20Beaux-Arts%20de%20Belgique.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj51swpZwQC-ovZL7jMT8h--GJv8s4RJZiSNkvaDB-IfK1DAgn4g9Wo8J1-hIiSAqH0D2oQ2n5Msr_dRqvuLfehKvbzH0LzcCNE92ugGz_R5k6AU34dBO9t6I85tzsQwVic3M8yldptXdNfCLSumnP4bDi-Y0b10WY6a-tRBShJ2fx-GKSIbrREKyhT/w548-h640/1920_Jakob%20Smits_Dutch,%20c.%201920s_Brussels,%20Musees%20royaux%20des%20Beaux-Arts%20de%20Belgique.jpg" width="548" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Jakob Smits, The Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Dutch, c. 1920s</div><div style="text-align: center;">Brussels, Musées royaux des Beaux-Arts de Belgique</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGEwSeCtCq6PFPm5bU-wx9_efW1ufVWXNYO_IQ0mewLye8cbJPFCXB_cnfCPsi4EcrHWc8wytzBYsHv5B02oPK1_q8mLYGaGIVOgC89mi2DnoQuoEDZ4IEnKA0VYUADzW7RTUCJpviNe1zZ6jn-n6AoVZacZkGirM4mJllpJsgbHEvDrqf4XFGTaTr/s2480/1928_Harry%20Clarke,%20The%20Mother%20of%20Sorrows_Window%20Design_Irish,%201926_Dublin,%20National%20Gallery%20of%20Ireland2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGEwSeCtCq6PFPm5bU-wx9_efW1ufVWXNYO_IQ0mewLye8cbJPFCXB_cnfCPsi4EcrHWc8wytzBYsHv5B02oPK1_q8mLYGaGIVOgC89mi2DnoQuoEDZ4IEnKA0VYUADzW7RTUCJpviNe1zZ6jn-n6AoVZacZkGirM4mJllpJsgbHEvDrqf4XFGTaTr/w308-h640/1928_Harry%20Clarke,%20The%20Mother%20of%20Sorrows_Window%20Design_Irish,%201926_Dublin,%20National%20Gallery%20of%20Ireland2.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><span style="font-family: helvetica;">Harry Clarke, The Mother of Sorrows Window<br />Irish, 1926<br />Dublin, National Gallery of Ireland</span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /><br /><br />Although the subject of the Mater Dolorosa is primarily expressed through painting, sculptors also contributed to this iconography, usually with full length statues, but sometimes with bust or half-length images. Like the painted images, this sculptural tradition developed from representations of the Virgin Mary at the Crucifixion.<br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSrVL1dAA-NRU_4YuTh4ZXDN5rI2rWtJZmYQ9HzJvVYV1Nl6Dhy6105sVIGJ3rYqntlgiIWOHmvuvTAHFt1FdE2spApCZzBvSC_9M4rFwP1ITeMgt1pc6tPajr4UKV7xb9DDrCPSHRPeAs914-0dSR3rijhPABfn6nRJNodWqNinXi8-806s1dO4-N/s390/1225_Virgin%20from%20a%20Deposition%20Scene_Italian,%20c.%201225-1250_Paris,%20Musee%20du%20Cluny,%20.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSrVL1dAA-NRU_4YuTh4ZXDN5rI2rWtJZmYQ9HzJvVYV1Nl6Dhy6105sVIGJ3rYqntlgiIWOHmvuvTAHFt1FdE2spApCZzBvSC_9M4rFwP1ITeMgt1pc6tPajr4UKV7xb9DDrCPSHRPeAs914-0dSR3rijhPABfn6nRJNodWqNinXi8-806s1dO4-N/w216-h640/1225_Virgin%20from%20a%20Deposition%20Scene_Italian,%20c.%201225-1250_Paris,%20Musee%20du%20Cluny,%20.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Virgin from a Deposition Scene</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Italian, c. 1225-1250</div><div style="text-align: center;">Paris, Musée du Cluny, Musée nationale du Moyen Age</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv7sAWSVzg57i5Wga5ooMVdBpuOBIsX4ZihyNAobHhc1aRFRn7eFCo4oKLHpVSEfevSgGodnrB6VPCPdR-Yjb3HyICC-FG9TPHc-iqNEGmcCOle5g3KVFAc2CTBsUUn8pVXF_PIY-qo_PXoLztFTewtrqZwajztGkEa91TUa6wqaYiaKbYYdiKV699/s1175/1500+Flemish,%20c.%201500-1520_Paris,%20Musee%20du%20LouvreDepartement%20des%20Sculptures%20du%20Moyen%20Age,%20de%20la%20Renaissance%20et%20des%20temps%20modernes.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv7sAWSVzg57i5Wga5ooMVdBpuOBIsX4ZihyNAobHhc1aRFRn7eFCo4oKLHpVSEfevSgGodnrB6VPCPdR-Yjb3HyICC-FG9TPHc-iqNEGmcCOle5g3KVFAc2CTBsUUn8pVXF_PIY-qo_PXoLztFTewtrqZwajztGkEa91TUa6wqaYiaKbYYdiKV699/w482-h640/1500+Flemish,%20c.%201500-1520_Paris,%20Musee%20du%20LouvreDepartement%20des%20Sculptures%20du%20Moyen%20Age,%20de%20la%20Renaissance%20et%20des%20temps%20modernes.JPG" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Flemish, c. 1500-1520</div><div style="text-align: center;">Paris, Musée du Louvre, Département des Sculptures du Moyen Age, de la Renaissance et des temps modernes</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEXGeOGiV1g8ppExw4FAOGR0XSj9QZGbXMmBd0AzwepU1qx1JWHa3DP8ubNECdw_GnJ31s-Qbld6skneIKrQ74Z8uwBKvnIFfEzvzjDQkicBQ-3IEHNxtYxWKvM4uf9m2cusjpVj5DcwCqwDLzulWB4UUnieR2XI4JUkByUV5bxL7Bl-_7Qeeo35im/s529/1520_Fragment%20of%20an%20Altarpiece_French,%20c.%201520_Paris,%20Musee%20de%20Cluny.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEXGeOGiV1g8ppExw4FAOGR0XSj9QZGbXMmBd0AzwepU1qx1JWHa3DP8ubNECdw_GnJ31s-Qbld6skneIKrQ74Z8uwBKvnIFfEzvzjDQkicBQ-3IEHNxtYxWKvM4uf9m2cusjpVj5DcwCqwDLzulWB4UUnieR2XI4JUkByUV5bxL7Bl-_7Qeeo35im/w640-h484/1520_Fragment%20of%20an%20Altarpiece_French,%20c.%201520_Paris,%20Musee%20de%20Cluny.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Fragment of an Altarpiece</div><div style="text-align: center;">French, c. 1520</div><div style="text-align: center;">Paris, Musée de Cluny, Musée nationale du Moyen Age</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1cFBVvGV9uT2LNsujBn88ym5EiZiBBOfD6uk_SfdZWUnPJOkbtcAWmc6NW_W_8tuFk0rG1GtFljXOTG7uj0LfwTyG-aNxKinnZLPM8cKdcn7GEIcX13d8O4qYbnDvw196PIoVmEjdgEgC8ZeIpJQq4FNOmk7Hq5ikPQhKtbQroAXLkGT_4JuTCj2P/s1472/1586_Germain%20Pilon_French,%20c.%201586_Paris,%20Musee%20du%20Louvre,%20Departement%20des%20Sculptures%20du%20Moyen%20Age,%20de%20la%20Renaissance%20et%20des%20temps%20modernes.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1cFBVvGV9uT2LNsujBn88ym5EiZiBBOfD6uk_SfdZWUnPJOkbtcAWmc6NW_W_8tuFk0rG1GtFljXOTG7uj0LfwTyG-aNxKinnZLPM8cKdcn7GEIcX13d8O4qYbnDvw196PIoVmEjdgEgC8ZeIpJQq4FNOmk7Hq5ikPQhKtbQroAXLkGT_4JuTCj2P/w406-h640/1586_Germain%20Pilon_French,%20c.%201586_Paris,%20Musee%20du%20Louvre,%20Departement%20des%20Sculptures%20du%20Moyen%20Age,%20de%20la%20Renaissance%20et%20des%20temps%20modernes.JPG" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Germain Pilon, The Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">French, c. 1586</div><div style="text-align: center;">Paris, Musée du Louvre, Département des Sculptures du Moyen Age, de la Renaissance et des temps modernes</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIp5WhFeS8SY5MBRVOZqEo6JJmJjVYbG4TPR-QICM5RnVwwrQUzdBoo3LxVxQPsM75-Y2jvn6fG04tsLVwSCBdgtDIx4yqMx-Z7lCf3g4EMFiUYuGaa743JE3E9iNmwosxN3V3a43Ccj6T/s1600/1657_Francois+Girardon_French%252C+1657_Paris%252C+Musee+du+Louvre.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIp5WhFeS8SY5MBRVOZqEo6JJmJjVYbG4TPR-QICM5RnVwwrQUzdBoo3LxVxQPsM75-Y2jvn6fG04tsLVwSCBdgtDIx4yqMx-Z7lCf3g4EMFiUYuGaa743JE3E9iNmwosxN3V3a43Ccj6T/s640/1657_Francois+Girardon_French%252C+1657_Paris%252C+Musee+du+Louvre.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Francois Girardon, The Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">French, 1657</div><div style="text-align: center;">Paris, Musée du Louvre</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW2DdXIaEku7M-SzNrUe8n85J40Ng7RRmhhq8EgQod5jJPq3GSgP6EGu7gK_yV8DtTJVzlFExvarzcElfIa1qVfbNiSX37vijmkCXcvPjtZvxxXp_yYg33eZiSvU5FAZd_CQI_XcNm05pyDFe20l3J2rnIwk2k80qRmQZzHlbUAP1aik_35lLjllel/s5915/1700_Our%20Lady%20of%20Sorrows_American%20(New%20Mexico),%2017th-18th%20Century_Cleveland,%20Museum%20of%20Art.tif" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW2DdXIaEku7M-SzNrUe8n85J40Ng7RRmhhq8EgQod5jJPq3GSgP6EGu7gK_yV8DtTJVzlFExvarzcElfIa1qVfbNiSX37vijmkCXcvPjtZvxxXp_yYg33eZiSvU5FAZd_CQI_XcNm05pyDFe20l3J2rnIwk2k80qRmQZzHlbUAP1aik_35lLjllel/w478-h640/1700_Our%20Lady%20of%20Sorrows_American%20(New%20Mexico),%2017th-18th%20Century_Cleveland,%20Museum%20of%20Art.tif" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Our Lady of Sorrows</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Spanish Colonial (New Mexico), 17th-18th Century</div><div style="text-align: center;">Cleveland, Museum of Art</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span></ol><h4><ol style="text-align: left;"><span style="font-family: helvetica;">The Man of Sorrows and the Mater Dolorosa</span></ol></h4><ol style="text-align: left;"><span style="font-family: helvetica;"><br /><br />A similar image of Mary as the Mater Dolorosa was occasionally paired with the image of Jesus as the Man of Sorrows. This was sometimes done within a single picture (a painting or a print) or it may be accomplished by a diptych, a two-panel hinged format. In seventeenth-century Spain, it frequently took the form of highly realistic, bust or three-quarter figural sculptures.<br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLWfJ7uI_a8JLX5Ky-k1KO4F7egHdYXZkQRmLH48_Fi6TxA9Z_ok30KKbiG9v9rD3tWeoeLHVZihFYKhCP3g3ZEIQHqLQgb_-hjANjnUoYHG5growfPgGgjbQYyVkU-DpLwaA9R6eR-yXeWVe6lAh1-W4dSubVR36tSHnz0HYNCflgRFbffPUwDJ37/s640/1485_Master%20of%20the%20Stories%20of%20Mary%20in%20Aachen_German,%20c.%201485_Aachen,%20Domschatzkammer.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLWfJ7uI_a8JLX5Ky-k1KO4F7egHdYXZkQRmLH48_Fi6TxA9Z_ok30KKbiG9v9rD3tWeoeLHVZihFYKhCP3g3ZEIQHqLQgb_-hjANjnUoYHG5growfPgGgjbQYyVkU-DpLwaA9R6eR-yXeWVe6lAh1-W4dSubVR36tSHnz0HYNCflgRFbffPUwDJ37/w640-h512/1485_Master%20of%20the%20Stories%20of%20Mary%20in%20Aachen_German,%20c.%201485_Aachen,%20Domschatzkammer.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Master of the Stories of Mary in Aachen, The Man of Sorrows and </span></div><div style="text-align: center;"><span style="font-family: helvetica;">the Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">German, c. 1485</div><div style="text-align: center;">Aachen, Domschatzkammer</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn0fno_wcJ3uqDC9VtaerD3SLsIZO1hhPGesdc-vBMj1zicA4k76SHwhQNRVFJ34eKnZ9VMoZg9COgND6IWqQY_mkvNcLhMyoRAT6IR_kJfhoxq3JfJsCiK440De6sBpP1MjsfvAnX2nSUZWAgoLKaXiE7-KZ0TduEjBVfYCqHVbNBzN6ExZngh9it/s615/1500_After%20Lucas%20van%20Leyden_Dutch,%2016th%20Century_Amsterdam,%20Rijksmuseum.png" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn0fno_wcJ3uqDC9VtaerD3SLsIZO1hhPGesdc-vBMj1zicA4k76SHwhQNRVFJ34eKnZ9VMoZg9COgND6IWqQY_mkvNcLhMyoRAT6IR_kJfhoxq3JfJsCiK440De6sBpP1MjsfvAnX2nSUZWAgoLKaXiE7-KZ0TduEjBVfYCqHVbNBzN6ExZngh9it/w640-h400/1500_After%20Lucas%20van%20Leyden_Dutch,%2016th%20Century_Amsterdam,%20Rijksmuseum.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">After Lucas van Leyden, The Man of Sorrows and the Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Dutch, 16th Century</div><div style="text-align: center;">Amsterdam, Rijksmuseum</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAlsKr9CFExLftEmE3zxbrGAFn6WR0I0G8215QrQlKiq7IKo0C34AaoXN4Aw4VPCLDKNGw1PrSLQHEOayLIcbn5DChhUT4PllpT6FSrOwfmoQoAYKNpUd_FeskcurNikPvw-ZZhaOGzdvq/s1600/1512_Wolf+Traut_Man+of+Sorrows+and+Mater+Dolorosa_German%252C+1512_Washington%252C+National+Gallery+of+Art.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAlsKr9CFExLftEmE3zxbrGAFn6WR0I0G8215QrQlKiq7IKo0C34AaoXN4Aw4VPCLDKNGw1PrSLQHEOayLIcbn5DChhUT4PllpT6FSrOwfmoQoAYKNpUd_FeskcurNikPvw-ZZhaOGzdvq/s640/1512_Wolf+Traut_Man+of+Sorrows+and+Mater+Dolorosa_German%252C+1512_Washington%252C+National+Gallery+of+Art.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Wolf Traut, The Man of Sorrows and the Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">German, 1512</div><div style="text-align: center;">Washington, National Gallery of Art</div>The inscription at the bottom of the image reads <i>"Aspice qui transis quia tu mihi causa doloris"</i>, which translates to an admonition to the viewer <i>"Behold, you are the cause of my pain</i>", thus reminding the viewer that Christ suffered for our sins.</span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJhYg2GwaE5I-7qW6MSiJkDrsc6wy6iUbgAA3wew7ut5pQd3ScDg7d0NrcxGchZOlfdEW015bdAIV-w3bfn3ViVqNpBcdWHhjvmh0Scwqab2SyBE3o7TXmldPrnT27lnvB_02Ke-GzAN05TaZAFjX0jpe2xkJudiOQrKr3Jwx9rVSYiUUIAxcAUe4E/s1088/1520_Hans%20Holbein%20the%20Younger_Diptych%20with%20Christ%20and%20the%20Mater%20Dolorosa_German,%20c.%201520_Basel,%20Kunstmuseum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJhYg2GwaE5I-7qW6MSiJkDrsc6wy6iUbgAA3wew7ut5pQd3ScDg7d0NrcxGchZOlfdEW015bdAIV-w3bfn3ViVqNpBcdWHhjvmh0Scwqab2SyBE3o7TXmldPrnT27lnvB_02Ke-GzAN05TaZAFjX0jpe2xkJudiOQrKr3Jwx9rVSYiUUIAxcAUe4E/w640-h452/1520_Hans%20Holbein%20the%20Younger_Diptych%20with%20Christ%20and%20the%20Mater%20Dolorosa_German,%20c.%201520_Basel,%20Kunstmuseum.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Hans Holbein the Younger, Diptych with Christ as the Man of Sorrows and the Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">German, c. 1520</div><div style="text-align: center;">Basel, Kunstmuseum</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhasvPdNDpu_JuyXMcoBqyR6myDTnXUR2ZRkr9TndoQ8aSf34tQ8H2PUW45Oar8lYPs5Blayutgr3A8v5EYgGXqvVUVWkyHBDr6mTC2xW-ExomXOgDlfnPGZw49vhl-kKL-B_36n5kPoczRhqXmuYz2KpHm-swwUpk6EV9lRpshoAzAQ7pF17TpkNUi/s3697/1530_Adriaen%20Isenbrant_Ecce%20Homo%20with%20the%20Mourning%20Virgin_Flemish,%20c.%201530-1540_New%20York,%20Metropolitan%20Museum%20of%20Art.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhasvPdNDpu_JuyXMcoBqyR6myDTnXUR2ZRkr9TndoQ8aSf34tQ8H2PUW45Oar8lYPs5Blayutgr3A8v5EYgGXqvVUVWkyHBDr6mTC2xW-ExomXOgDlfnPGZw49vhl-kKL-B_36n5kPoczRhqXmuYz2KpHm-swwUpk6EV9lRpshoAzAQ7pF17TpkNUi/w562-h640/1530_Adriaen%20Isenbrant_Ecce%20Homo%20with%20the%20Mourning%20Virgin_Flemish,%20c.%201530-1540_New%20York,%20Metropolitan%20Museum%20of%20Art.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Adriaen Isenbrant, Ecce Homo with the Mourning Virgin</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Flemish, c. 1530-1540</div><div style="text-align: center;">New York, Metropolitan Museum of Art</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtkPrUuQ6KCnpzo9x3bDIRwGJuHnSvY0TACFdB3Lz78q0rR0HBz7zKR92cXRfJ76yBaQ2IgZl4VlZGBTI172W503PNSCtQjFFoiXFq04zk-FxSK5CvxJSWUwhwnp0VUvV86EuK-t0rTEw1KD0ay__Il_41eFkaJtd03L-Gd7cWkNmWIQDTvAZaXzvZ/s1191/1670_Bartolome%20Esteban%20Murillo,%20Ecce%20Homo-Mater_c.%201670-1675_Private%20Collection.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtkPrUuQ6KCnpzo9x3bDIRwGJuHnSvY0TACFdB3Lz78q0rR0HBz7zKR92cXRfJ76yBaQ2IgZl4VlZGBTI172W503PNSCtQjFFoiXFq04zk-FxSK5CvxJSWUwhwnp0VUvV86EuK-t0rTEw1KD0ay__Il_41eFkaJtd03L-Gd7cWkNmWIQDTvAZaXzvZ/w640-h446/1670_Bartolome%20Esteban%20Murillo,%20Ecce%20Homo-Mater_c.%201670-1675_Private%20Collection.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Bartolome Esteban Murillo, The Man of Sorrows and the Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Spanish, c. 1670-1675</div><div style="text-align: center;">Private Collection</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQZEF8OFTw0fb94ciOfp-49ezc6p54xcUemJkXvJcT60TPgGOYILOk3RNmT6hjIpWMWn9ietkpTP3gc92Tn6RZMV2sUPIiG5knR8n9Stxr_RdanTMySOuqufmTmx6VSPkrB4pFN4YGNEgg9v6sgRFitcZ1igqgvekrIqic_sNst9Zq-OAgsYODwIQT/s1568/1674_Pedro%20de%20Mena_Combined_Spanish,%20c.%201674-1685%20_New%20York,%20Metropolitan%20Museum%20of%20Art%20(2).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQZEF8OFTw0fb94ciOfp-49ezc6p54xcUemJkXvJcT60TPgGOYILOk3RNmT6hjIpWMWn9ietkpTP3gc92Tn6RZMV2sUPIiG5knR8n9Stxr_RdanTMySOuqufmTmx6VSPkrB4pFN4YGNEgg9v6sgRFitcZ1igqgvekrIqic_sNst9Zq-OAgsYODwIQT/w640-h410/1674_Pedro%20de%20Mena_Combined_Spanish,%20c.%201674-1685%20_New%20York,%20Metropolitan%20Museum%20of%20Art%20(2).jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Pedro de Mena, The Ecce Homo and the Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Spanish, c. 1674-1685</div><div style="text-align: center;">New York, Metropolitan Museum of Art</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span></ol><h4><ol style="text-align: left;"><span style="font-family: helvetica;">The Mater Dolorosa Pierced by a Sword</span></ol></h4><ol style="text-align: left;"><span style="font-family: helvetica;">Another group of images takes the subject of Our Lady of Sorrows in a different, more symbolic direction. This is the group that I call The Sword-Pierced Mater Dolorosa. In these images the Virgin Mary is pierced, or about to be pierced, with swords, numbering anywhere from one to seven. They offer a literal interpretation of the words of Simeon from Saint Luke's Gospel, including images in which the sword approaches her directly from the body of Christ on the Cross. For these, she can be either sitting or standing. <br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBu3eCI9V7KCNyAW96N66ITJItQHuF1SxqdT-WiMV3d2q5-qaGHMq4uNd9jVILZ2vr50H1KOcFg7PI-SNwIT7mwhZJ1yg-4XrZdK1fLn-0Vm5DpXSm0FmO5P7mNV5GDT2MA670NMXM8zuhCd0UDRYPzbV6YFyTYpc_ViEy-_0ylRhaRb9k8H5w5PPC/s1699/1360_Ivory%20pax_South%20German,%20c.%201360-1370_New%20York,%20Metropolitan%20Museum,%20The%20Cloisters.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBu3eCI9V7KCNyAW96N66ITJItQHuF1SxqdT-WiMV3d2q5-qaGHMq4uNd9jVILZ2vr50H1KOcFg7PI-SNwIT7mwhZJ1yg-4XrZdK1fLn-0Vm5DpXSm0FmO5P7mNV5GDT2MA670NMXM8zuhCd0UDRYPzbV6YFyTYpc_ViEy-_0ylRhaRb9k8H5w5PPC/w546-h640/1360_Ivory%20pax_South%20German,%20c.%201360-1370_New%20York,%20Metropolitan%20Museum,%20The%20Cloisters.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Ivory Pax with the Crucifixion, Mary Pierced by a Sword</span></div><span style="font-family: helvetica;"><div style="text-align: center;">South German, c. 1360-1370</div><div style="text-align: center;">New York, Metropolitan Museum, The Cloisters</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br />A pax is an object long out of use in the Catholic liturgy. Paxes were small plaques with scenes from the Passion or scenes with Eucharistic references that were passed among the congregation at Mass following the consecration, where today we give the sign of peace. However, it also sometimes served as a substitute for the Eucharist itself. In the middle ages the laity did not usually receive Holy Communion except at Easter. The pax was a very inadequate substitute for the actual Eucharist, but it did give people a small sense of participation in this part of the liturgy, while allowing them to skip the very strict Eucharistic fast. With the encouragement of frequent Communion for the laity that was ushered in following the reforms of the Council of Trent the pax was mostly abandoned. <u><b><span style="color: #2b00fe;">4</span></b></u><br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBdF_vRkn74fjrHxDWBUSuU_8O-rAKnQvEhGUx9-GS-HWjxDEPWVqYSfIS9HbEfCU66_cVPkXvEqC-X47nFaNlU3d8ZCBLQ_8BcgDA18q5Xfm9tMKw-o8TDD2G5x3Cs_Pzdhr2qAaDm4W_Tn6LpO6T1HR5XQZh6wWZjr8nBhTzfeWB4XAbRCiFBt5t/s832/1400=German,%2015th%20Century_Sendenhorst%20(Kreis%20Warendorf),%20Catholic%20Parish%20Church%20of%20Saint%20Ludgarus.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBdF_vRkn74fjrHxDWBUSuU_8O-rAKnQvEhGUx9-GS-HWjxDEPWVqYSfIS9HbEfCU66_cVPkXvEqC-X47nFaNlU3d8ZCBLQ_8BcgDA18q5Xfm9tMKw-o8TDD2G5x3Cs_Pzdhr2qAaDm4W_Tn6LpO6T1HR5XQZh6wWZjr8nBhTzfeWB4XAbRCiFBt5t/w556-h640/1400=German,%2015th%20Century_Sendenhorst%20(Kreis%20Warendorf),%20Catholic%20Parish%20Church%20of%20Saint%20Ludgarus.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Our Lady of Sorrows Pierced by Swords</span></div><span style="font-family: helvetica;"><div style="text-align: center;">German, 15th Century</div><div style="text-align: center;">Sendenhorst (Kreis Warendorf), Catholic Parish Church of Saint Ludgarus</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6e1MJ-dWJXvYooyoFPCmv5o5T6EpVOT-ININIwSCRA3At4-rkUF3IG_uc5PhNlP0bY-DpRELida8_-LIUugfPhkKZn4ykiOH6mEOgbcnyEIIXNlFygo6roHXfcyFe3I5fO_NgNaviMJqTf8XudU4MYHmxpaZd67FFdogRpn40r9EPGB2XqhpSb0Qg/s1531/1450_Speculum%20humanae%20salvationis_French,%20c.%201450_Paris,%20Bibliotheque%20nationale%20de%20France_MS%20Francais%20188,%20fol.%2050v%20(2).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6e1MJ-dWJXvYooyoFPCmv5o5T6EpVOT-ININIwSCRA3At4-rkUF3IG_uc5PhNlP0bY-DpRELida8_-LIUugfPhkKZn4ykiOH6mEOgbcnyEIIXNlFygo6roHXfcyFe3I5fO_NgNaviMJqTf8XudU4MYHmxpaZd67FFdogRpn40r9EPGB2XqhpSb0Qg/w640-h584/1450_Speculum%20humanae%20salvationis_French,%20c.%201450_Paris,%20Bibliotheque%20nationale%20de%20France_MS%20Francais%20188,%20fol.%2050v%20(2).jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Crucifixion, Mary Pierced by a Sword</span></div><span style="font-family: helvetica;"><div style="text-align: center;">From the <u><i>Speculum humanae salvationis</i></u></div><div style="text-align: center;">French, c. 1450</div><div style="text-align: center;">Paris, Bibliotheque nationale de France</div><div style="text-align: center;">MS Francais 188, fol. 50v</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW6KLKllCRPRcBg_O_4gO-o8nvxTsNZD5fz-akVdJDprwz5jO0z3JJRwFc99I8ewje8CF084p_PJVjkaXWE7UECrHY2CB7SC5ykwK9v3ysSrHGYIjFYGmGTGm-vnBnKOX7y2MSNwx0x22FDmBg8dUo2FfUZKsRRG7qMMpI05tPd6dgBOJW6-Y5Iyfl/s3335/1470_From%20Prayer%20Book%20Probably%20Made%20for%20Vladislav%20II,%20king%20of%20Bohemia%20and%20Hungar_Polish%20(Cracow),%20c.%201470-1480_Oxford,%20University%20of%20Oxford,%20Bodleian%20Libraries_MS%20Rawl.%20liturg.%20d.%206,%20fol.%2042v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW6KLKllCRPRcBg_O_4gO-o8nvxTsNZD5fz-akVdJDprwz5jO0z3JJRwFc99I8ewje8CF084p_PJVjkaXWE7UECrHY2CB7SC5ykwK9v3ysSrHGYIjFYGmGTGm-vnBnKOX7y2MSNwx0x22FDmBg8dUo2FfUZKsRRG7qMMpI05tPd6dgBOJW6-Y5Iyfl/w486-h640/1470_From%20Prayer%20Book%20Probably%20Made%20for%20Vladislav%20II,%20king%20of%20Bohemia%20and%20Hungar_Polish%20(Cracow),%20c.%201470-1480_Oxford,%20University%20of%20Oxford,%20Bodleian%20Libraries_MS%20Rawl.%20liturg.%20d.%206,%20fol.%2042v.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Our Lady of Sorrows Venerated by Vladislav II of Bohemia and Hungary</span></div><span style="font-family: helvetica;"><div style="text-align: center;">From a <u><i>Prayer Book</i></u> Probably Made for Vladislav II, king of Bohemia and Hungary</div><div style="text-align: center;">Polish (Cracow), c. 1470-1480</div><div style="text-align: center;">Oxford, University of Oxford, Bodleian Libraries</div><div style="text-align: center;">MS Rawl. liturg. d. 6, fol. 42v</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfPwLMdOktlxixSChnCX5I3iDEleUZjkYu639jXVDFqYC6Hcn06d6IfQy-oU5NFf7VkchZ1F6GrwtIS3yp3E5uS6tZAJ_YTFlX3miYEzQS0DBJlFI6sBunyNt3KAecMeGXXpxOd8nKu3BjYSRLdfulFXzhUQgLZI5tP2SpvMXymvbSXGnqcw2DrhlR/s535/1500_Anonymous_Netherlandish,%20c.%201500-1525_London,%20Trustees%20of%20the%20British%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfPwLMdOktlxixSChnCX5I3iDEleUZjkYu639jXVDFqYC6Hcn06d6IfQy-oU5NFf7VkchZ1F6GrwtIS3yp3E5uS6tZAJ_YTFlX3miYEzQS0DBJlFI6sBunyNt3KAecMeGXXpxOd8nKu3BjYSRLdfulFXzhUQgLZI5tP2SpvMXymvbSXGnqcw2DrhlR/w640-h614/1500_Anonymous_Netherlandish,%20c.%201500-1525_London,%20Trustees%20of%20the%20British%20Museum.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Anonymous, Mary Pierced by Seven Swords</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Netherlandish, c. 1500-1525</div><div style="text-align: center;">London, Trustees of the British Museum</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9CL_xR_RPgp0cfdIoWzHjmuKURnjRbExk1V4Oy7FkXMqrCAn_lLvx-BqJakDRQn5FBePZ-RqqRhGgFuyGbrgFPa0-zlVODj3JCc69HRwOHnyyagSLmtde9ElqBlpYbzQqN3U0-Mpwkt04UrPnUnMADO8J-skZrmz_fOWZx1l_WAyaU2OIyExfhzAR/s6804/1500_Mater%20Dolorosa_Flemish,%20First%20Half%20of%20the%2016th%20Century_Antwerp,%20Royal%20Museum%20of%20Fine%20Arts%20(2).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9CL_xR_RPgp0cfdIoWzHjmuKURnjRbExk1V4Oy7FkXMqrCAn_lLvx-BqJakDRQn5FBePZ-RqqRhGgFuyGbrgFPa0-zlVODj3JCc69HRwOHnyyagSLmtde9ElqBlpYbzQqN3U0-Mpwkt04UrPnUnMADO8J-skZrmz_fOWZx1l_WAyaU2OIyExfhzAR/w496-h640/1500_Mater%20Dolorosa_Flemish,%20First%20Half%20of%20the%2016th%20Century_Antwerp,%20Royal%20Museum%20of%20Fine%20Arts%20(2).jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Flemish, First Half of the 16th Century</div><div style="text-align: center;">Antwerp, Royal Museum of Fine Arts</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmby7uw_WJISC44jTdhjldOXZkGF9wY02oXVKGKOihm-ojPIIs36Dyrdd9b3DOTc6MN8bojNYUxkasBKzev6OAzTQ5A5qEnsvgioUjlLSsNKasvFBhMssQaSw9r8WYXj-CvJMvEVfILIUxmGX0QLkVRo3mYot8hUo6G8LsvKQPcSldO_B_h5KKzT_A/s616/1500_Our%20Lady%20of%20Sorrows%20with%20Donors_French,%20c.%201500-1525_Champlitte,%20Parish%20Church%20of%20Saint%20Christopher.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmby7uw_WJISC44jTdhjldOXZkGF9wY02oXVKGKOihm-ojPIIs36Dyrdd9b3DOTc6MN8bojNYUxkasBKzev6OAzTQ5A5qEnsvgioUjlLSsNKasvFBhMssQaSw9r8WYXj-CvJMvEVfILIUxmGX0QLkVRo3mYot8hUo6G8LsvKQPcSldO_B_h5KKzT_A/w462-h640/1500_Our%20Lady%20of%20Sorrows%20with%20Donors_French,%20c.%201500-1525_Champlitte,%20Parish%20Church%20of%20Saint%20Christopher.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Our Lady of Sorrows with Donors</span></div><span style="font-family: helvetica;"><div style="text-align: center;">French, c. 1500-1525</div><div style="text-align: center;">Champlitte, Parish Church of Saint Christopher</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga3C16nq6K6iblaxQlrlUclUfSW5ML7olBLcI-bqdyaXhTCIZeo87ySA9IRCQsRpALXjFqQnAVCxdNgFgifHJcgepkn05lQyM1gGg-y6s-8nMHHTu6Wa0GQDjNDBdyFw7MsvjalB2cOC1Z8wtnI5m86q7zJBfaq-SPLscEY05GvfGxdtMaTsVG62F8/s380/1501_Master%20of%20the%20Goslar%20Sibyls_Chapel%20of%20the%20Trinity_German,%201501-1515_Goslar,%20Rathaus,%20Reception%20Hall%20(2).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga3C16nq6K6iblaxQlrlUclUfSW5ML7olBLcI-bqdyaXhTCIZeo87ySA9IRCQsRpALXjFqQnAVCxdNgFgifHJcgepkn05lQyM1gGg-y6s-8nMHHTu6Wa0GQDjNDBdyFw7MsvjalB2cOC1Z8wtnI5m86q7zJBfaq-SPLscEY05GvfGxdtMaTsVG62F8/w640-h424/1501_Master%20of%20the%20Goslar%20Sibyls_Chapel%20of%20the%20Trinity_German,%201501-1515_Goslar,%20Rathaus,%20Reception%20Hall%20(2).jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Master of the Goslar Sibyls, The Man of Sorrows and the Mater Dolorosa Pierced by Swords</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Chapel of the Trinity</div><div style="text-align: center;">German, c. 1501-1515</div><div style="text-align: center;">Goslar, Rathaus, Reception Hall</div><br /><br /><br />This rather unusual use of the images of the Man of Sorrows and the Mater Dolorosa places the images on the doors of a chapel.</span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHxKTURlN_4xpS5a821cIW55_FzazRW6_MYiFy4Hg_ecy-yqGytDqv02kx36ed_fdSVvGkJTTQd8p49rVu7gHMo0QR4YVDExHNXvmH2-6O_iFeCYCanQLeedPp62YV3uY2OSRz1qevpuSOZRP-bNxLz5mvR8johKy-PE-5WXIptBcedGfKEaW28sYv/s541/1501_Master%20of%20the%20Goslar%20Sibyls_combined_German,%201501-1515_Goslar,%20Rathaus,%20Reception%20Hall.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHxKTURlN_4xpS5a821cIW55_FzazRW6_MYiFy4Hg_ecy-yqGytDqv02kx36ed_fdSVvGkJTTQd8p49rVu7gHMo0QR4YVDExHNXvmH2-6O_iFeCYCanQLeedPp62YV3uY2OSRz1qevpuSOZRP-bNxLz5mvR8johKy-PE-5WXIptBcedGfKEaW28sYv/w640-h452/1501_Master%20of%20the%20Goslar%20Sibyls_combined_German,%201501-1515_Goslar,%20Rathaus,%20Reception%20Hall.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Master of the Goslar Sibyls, The Man of Sorrows and the Mater Dolorosa (close up view)</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Chapel of the Trinity</div><div style="text-align: center;">German, c. 1501-1515</div><div style="text-align: center;">Goslar, Rathaus, Reception Hall</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_8fmXBz3I7iNpY_qSssGDIGKwukDHrMPORq7BYLX0_SDsjsPKOybbgXEmAfK9edYEAcuuCPC_1lhFc1cggeTqoPZxZCqMh6FVWzAUHryvHsBYzEbpJ3wzX9c7N0FiounhDQMPO3DHfC0J_pYGrysgI4flYdhkfQDEjDuGF9AbbN4lqFranj3HswxZ/s1076/1510_German,%20c.%201510-1520_Euskirchen,%20Elsig,%20Catholic%20Parish%20Church%20of%20the%20Holy%20Cross%20.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_8fmXBz3I7iNpY_qSssGDIGKwukDHrMPORq7BYLX0_SDsjsPKOybbgXEmAfK9edYEAcuuCPC_1lhFc1cggeTqoPZxZCqMh6FVWzAUHryvHsBYzEbpJ3wzX9c7N0FiounhDQMPO3DHfC0J_pYGrysgI4flYdhkfQDEjDuGF9AbbN4lqFranj3HswxZ/w476-h640/1510_German,%20c.%201510-1520_Euskirchen,%20Elsig,%20Catholic%20Parish%20Church%20of%20the%20Holy%20Cross%20.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Mary Pierced by Seven Swords</span></div><span style="font-family: helvetica;"><div style="text-align: center;">German, c. 1510-1520</div><div style="text-align: center;">Euskirchen, Elsig, Catholic Parish Church of the Holy Cross</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcF9L0xQjg5l8LsU_GYsiCTP3CyrRXSL3s0ii-Mt99IL1B6T4B1pBAx_gzNCo7blxV4MDRmIllXz75OhyFDHs7kI_ocGNuH98rjEzSPtA44oZF8BtQTEN51o6ZLbWuv2YViYeupVHJI2NToMhK95RpWxz_t2BpwLXA10V3cxJ3rMHkI2OR1fFOVjrx/s6384/1510_Master%20of%20Hoogstraeten,%20Dolorosa_L6%20of%20Seven%20Sorrows%20Altarpiece_Flemish,%20c.%201510-1520_Antwerp,%20Royal%20Museum%20of%20Fine%20Arts.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcF9L0xQjg5l8LsU_GYsiCTP3CyrRXSL3s0ii-Mt99IL1B6T4B1pBAx_gzNCo7blxV4MDRmIllXz75OhyFDHs7kI_ocGNuH98rjEzSPtA44oZF8BtQTEN51o6ZLbWuv2YViYeupVHJI2NToMhK95RpWxz_t2BpwLXA10V3cxJ3rMHkI2OR1fFOVjrx/w208-h640/1510_Master%20of%20Hoogstraeten,%20Dolorosa_L6%20of%20Seven%20Sorrows%20Altarpiece_Flemish,%20c.%201510-1520_Antwerp,%20Royal%20Museum%20of%20Fine%20Arts.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Master of Hoogstraeten, Mary Pierced by a Sword</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Sixth Panel from the Left of the <i>Seven Sorrows Altarpiece</i></div><div style="text-align: center;">Flemish, c. 1510-1520</div><div style="text-align: center;">Antwerp, Royal Museum of Fine Arts</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgCX2iZWydHIjtKnt8Gwpy1AW4CpyKn7tfEM2LyQ6L8ntJj1i4JNybwDz2GjHEekgk1rknTOzZGAtWvHHAVQcNSoeIDUiYrJ5rKvtUWFHcgDbMPvMW80h-WX0oJlQwaYzrRuR0H-zEIy4QHfMBUhEsoIjU9KWH1LVB9JzSwnje5uH3JmBA8P8TmpW1/s1000/1518_Hans%20Springinklee,%20Our%20Lady%20of%20Sorrows%20as%20the%20Garden%20of%20the%20Soul_German,%201518_Dresden,%20Staatliche%20Kunstsammlungen,%20Kupferstich-Kabinett.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgCX2iZWydHIjtKnt8Gwpy1AW4CpyKn7tfEM2LyQ6L8ntJj1i4JNybwDz2GjHEekgk1rknTOzZGAtWvHHAVQcNSoeIDUiYrJ5rKvtUWFHcgDbMPvMW80h-WX0oJlQwaYzrRuR0H-zEIy4QHfMBUhEsoIjU9KWH1LVB9JzSwnje5uH3JmBA8P8TmpW1/w436-h640/1518_Hans%20Springinklee,%20Our%20Lady%20of%20Sorrows%20as%20the%20Garden%20of%20the%20Soul_German,%201518_Dresden,%20Staatliche%20Kunstsammlungen,%20Kupferstich-Kabinett.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Hans Springinklee, Our Lady of Sorrows as the Garden of the Soul</span></div><span style="font-family: helvetica;"><div style="text-align: center;">German, 1518</div><div style="text-align: center;">Dresden, Staatliche Kunstsammlungen, Kupferstich-Kabinett</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSsQ4SMIofeH0SkPyPj4lVy3fskrwXgzii7sRMdBmsheEz45wMd7RJz23HX2ivOSh4zbe74cAbG5k9LDVcVsr37etdMCJpvXHvb_w7g1CwC-DmJFlWehwH4Pmh-Y8GYD_I-u7Ze5wZqgJPDFJ55NaBNIqpfh4rqbcRG5UxD-DGqRnB0e8HubAmA4s0/s640/1520_Jacob%20Conneliszoon_Page%2045%20of%20Die%20Kleine%20Passion_Dutch,%20c.%201520-1521_Dresden,%20Kupferstich-Kabinett.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSsQ4SMIofeH0SkPyPj4lVy3fskrwXgzii7sRMdBmsheEz45wMd7RJz23HX2ivOSh4zbe74cAbG5k9LDVcVsr37etdMCJpvXHvb_w7g1CwC-DmJFlWehwH4Pmh-Y8GYD_I-u7Ze5wZqgJPDFJ55NaBNIqpfh4rqbcRG5UxD-DGqRnB0e8HubAmA4s0/w470-h640/1520_Jacob%20Conneliszoon_Page%2045%20of%20Die%20Kleine%20Passion_Dutch,%20c.%201520-1521_Dresden,%20Kupferstich-Kabinett.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Jacob Conneliszoon, Our Lady of Sorrows</span></div><span style="font-family: helvetica;"><div style="text-align: center;">From <i>Die Kleine Passion</i></div><div style="text-align: center;">Dutch, c. 1520-1521</div><div style="text-align: center;">Dresden, Kupferstich-Kabinett</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqpabrgPCExJiIvIY4xVb8GSxrZz-eAEfVIln5_Mpy3G6wuxp0e-D-jPV1JzTBRNneMdg6UDVNLFgMHm3opXSjvClrNom2qlViQp78cc-7oFnQ_fRlKq3qW7i7So3U0GKPH3jgLbsrvjSzrHZlkjWsTyhlyd4bAFYDnYT3yX7iBmNSmlKLejuKXp_w/s640/1525_Prayer%20Book_Flemish%20(Antwerp),%20c.%201525_The%20Hague,%20Museum%20Meermano_MS%20MMW%2010%20E%204-078r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqpabrgPCExJiIvIY4xVb8GSxrZz-eAEfVIln5_Mpy3G6wuxp0e-D-jPV1JzTBRNneMdg6UDVNLFgMHm3opXSjvClrNom2qlViQp78cc-7oFnQ_fRlKq3qW7i7So3U0GKPH3jgLbsrvjSzrHZlkjWsTyhlyd4bAFYDnYT3yX7iBmNSmlKLejuKXp_w/w478-h640/1525_Prayer%20Book_Flemish%20(Antwerp),%20c.%201525_The%20Hague,%20Museum%20Meermano_MS%20MMW%2010%20E%204-078r.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Mary Pierced by the Sword at the Foot of the Cross</span></div><span style="font-family: helvetica;"><div style="text-align: center;">From a<u><i> Prayer Book</i></u></div><div style="text-align: center;">Flemish (Antwerp), c. 1525</div><div style="text-align: center;">The Hague, Museum Meermano</div><div style="text-align: center;">MS MMW 10 E 4-078r</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifg-u3QbGxUPLwLEqSHc0DeH5pw2-bfS03d4Ot7NGvZV_Fhtnnz6oHmdjv05UTvps55yP37cDiJUF1wKt_SRN87QMVgdfuPgG1xEGRchBZosOR_dbu-p5Y-Ypxn7oxjFkSa1jGC9rfxVGjVOUYXwLITt6Gu1EPSJkL1asDv2O7za9KGW8lHhaGD0wB/s393/1525_Wrks%20of%20Master%20of%20the%20David%20Scenes%20in%20the%20Grimani%20Breviary,%20Stabat%20Mat_Fr%20Book%20of%20Hours_Flem(Bruges),%20c.%201525-1530_NY,%20Pierpont%20Morgan%20Library_MS%20M%201175,%20fol.%20215r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifg-u3QbGxUPLwLEqSHc0DeH5pw2-bfS03d4Ot7NGvZV_Fhtnnz6oHmdjv05UTvps55yP37cDiJUF1wKt_SRN87QMVgdfuPgG1xEGRchBZosOR_dbu-p5Y-Ypxn7oxjFkSa1jGC9rfxVGjVOUYXwLITt6Gu1EPSJkL1asDv2O7za9KGW8lHhaGD0wB/w498-h640/1525_Wrks%20of%20Master%20of%20the%20David%20Scenes%20in%20the%20Grimani%20Breviary,%20Stabat%20Mat_Fr%20Book%20of%20Hours_Flem(Bruges),%20c.%201525-1530_NY,%20Pierpont%20Morgan%20Library_MS%20M%201175,%20fol.%20215r.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Workshop of the Master of the David Scenes in the Grimani Breviary, Stabat Mater Illustration</span></div><span style="font-family: helvetica;"><div style="text-align: center;">From a <u><i>Book of Hours</i></u></div><div style="text-align: center;">Flemish (Bruges), c. 1525-1530</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS M 1175, fol. 215r</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3RlTnu0Rl98-y02DpxRmP3VDKQfJXQThx8iTd4R4Nwju-bUXBH4DogL0ogH6MQfFIlmnkJHpq2brK1rWa0gqRELIfZM3OMCWys2CYOCCataBeasnhpTAtWCEBkLPJ5nBXdgmp9WWuTuKSV87dFXWmH31a-nukdehWwK_-hJPSL--qLyBa4Z6Y46vO/s640/1588+Johann%20Sadeler%20after%20Christoph%20Schwarz_German,%20c.%201588%20-1595,%20Amsterdam,%20Rijksmuseum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3RlTnu0Rl98-y02DpxRmP3VDKQfJXQThx8iTd4R4Nwju-bUXBH4DogL0ogH6MQfFIlmnkJHpq2brK1rWa0gqRELIfZM3OMCWys2CYOCCataBeasnhpTAtWCEBkLPJ5nBXdgmp9WWuTuKSV87dFXWmH31a-nukdehWwK_-hJPSL--qLyBa4Z6Y46vO/w444-h640/1588+Johann%20Sadeler%20after%20Christoph%20Schwarz_German,%20c.%201588%20-1595,%20Amsterdam,%20Rijksmuseum.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Johann Sadeler after Christoph Schwarz, Mary Pierced by the Sword</span></div><span style="font-family: helvetica;"><div style="text-align: center;">German, c. 1588 -1595</div><div style="text-align: center;">Amsterdam, Rijksmuseum</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ2CNOErUcuhlOFuoJSwJHglf8Sq8BXm6NigZfcEGwqWrfkntV31V_hl1QS7PSXUKzH3ReWgKhC_4P119Xmo8He7Ka8HkHflVK1qVoTzGpEWRE7MkOmhAh4Xux8FSEibzmDHg9DS3dj_HLomCEWCE_U9jcohrtyEotIPS079fiM_EfBaUZy5MoS5OE/s595/1600_bronze%20Morse%20(cope%20clasp__Spanish,%2017th%20Century_Ecouen,%20Musee%20national%20de%20la%20Renaissance.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ2CNOErUcuhlOFuoJSwJHglf8Sq8BXm6NigZfcEGwqWrfkntV31V_hl1QS7PSXUKzH3ReWgKhC_4P119Xmo8He7Ka8HkHflVK1qVoTzGpEWRE7MkOmhAh4Xux8FSEibzmDHg9DS3dj_HLomCEWCE_U9jcohrtyEotIPS079fiM_EfBaUZy5MoS5OE/w580-h640/1600_bronze%20Morse%20(cope%20clasp__Spanish,%2017th%20Century_Ecouen,%20Musee%20national%20de%20la%20Renaissance.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Bronze Morse (clasp for a cope), Mary Pierced by Seven Swords with Two Saints</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Spanish, 17th Century</div><div style="text-align: center;">Ecouen, Musée national de la Renaissance</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxjYEKuojzurY0R278JjyuT5UopffYmG9QqjWAJM_JMfZKLd0GbA6hpijLLK4lI-XuEBWlzeVdl8QPELZCkteP6Xguma3FtUQrI3lVSkzzIVmj2ak47MrViuBa1G7y8kKxoRcMd-GaI5Z5sDgAFSp8oh2PplG_pwnTwUNmOFbSoI_0Er93bQf5-4PT/s536/1600_Detail%20of%20Altarpiece_French,%2017th%20Century_Figeac,%20Chapelle%20Notre-Dame-du-Pitie.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxjYEKuojzurY0R278JjyuT5UopffYmG9QqjWAJM_JMfZKLd0GbA6hpijLLK4lI-XuEBWlzeVdl8QPELZCkteP6Xguma3FtUQrI3lVSkzzIVmj2ak47MrViuBa1G7y8kKxoRcMd-GaI5Z5sDgAFSp8oh2PplG_pwnTwUNmOFbSoI_0Er93bQf5-4PT/w640-h614/1600_Detail%20of%20Altarpiece_French,%2017th%20Century_Figeac,%20Chapelle%20Notre-Dame-du-Pitie.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Our Lady of Sorrows (Notre Dame du Pitie)</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Detail of an Altarpiece</div><div style="text-align: center;">French, 17th Century</div><div style="text-align: center;">Figeac, Chapelle Notre-Dame-du-Pitie</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPIXJmRDNgjTH9SieJ_QF9kGRQs0OgqQXkcUkDF83qIXNnLreKv3sxTmwnIjH9aX7RU3rZ8D9Pe44rLwgv9eAyDjHmu5StiiL-NDtRN2AjTmesK4luAuWuXfZuns9Kzw7r9OgmIsHlJcA0_SHpy7iR4z30wgPm8UfA6wJ__fODLbo-4cQiGbZoNlVn/s768/1600_French,%2017th%20Century_Laon,%20Church%20of%20Notre-Dame.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPIXJmRDNgjTH9SieJ_QF9kGRQs0OgqQXkcUkDF83qIXNnLreKv3sxTmwnIjH9aX7RU3rZ8D9Pe44rLwgv9eAyDjHmu5StiiL-NDtRN2AjTmesK4luAuWuXfZuns9Kzw7r9OgmIsHlJcA0_SHpy7iR4z30wgPm8UfA6wJ__fODLbo-4cQiGbZoNlVn/w436-h640/1600_French,%2017th%20Century_Laon,%20Church%20of%20Notre-Dame.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Our Lady of Sorrows</span></div><span style="font-family: helvetica;"><div style="text-align: center;">French, 17th Century</div><div style="text-align: center;">Laon, Church of Notre-Dame</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidRIBTe7Th1_HVNZ4DxLpW51hhHYFHjjOzHzsATSD3pb0snADR0c9WGFwNc2ej768oQZZPEcAr46kFh6oBEVy-qe-j_5EJGzzp0KLFEwaUnPnbyx-Z4YhkXoAu4O_HfeOHMpy0EJ_TrCnlw0_mn_GV0P4gkWcQqa9HUm6ztECSIngfyosYlZgR6CkT/s2500/1600_German,%2017th%20Century_London,%20Victoria%20and%20Albert%20Museum%20(2).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidRIBTe7Th1_HVNZ4DxLpW51hhHYFHjjOzHzsATSD3pb0snADR0c9WGFwNc2ej768oQZZPEcAr46kFh6oBEVy-qe-j_5EJGzzp0KLFEwaUnPnbyx-Z4YhkXoAu4O_HfeOHMpy0EJ_TrCnlw0_mn_GV0P4gkWcQqa9HUm6ztECSIngfyosYlZgR6CkT/w640-h640/1600_German,%2017th%20Century_London,%20Victoria%20and%20Albert%20Museum%20(2).jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Our Lady of Sorrows as the Pietà</span></div><span style="font-family: helvetica;"><div style="text-align: center;">German, 17th Century</div><div style="text-align: center;">London, Victoria and Albert Museum</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD308WgAyqZAchcdXMhfPb5PRZFTgjJodY8WvczfPU8ZKg_bvgCdEGgRpe5Ym-u5AG8v9i-9ohC5FKiuOO-ISBhQJ_8aoJojcnD4fzQkZd4cjgbfx1oklU4eOICzBEuRG8XmuxDKJN5BpNW3Q13so_QFwG5rVOZn7rBldEQDkUWxMm4OZl7KEN8vei/s4952/1600_Pierre%20FIrens,%20Seven%20Sorrows%20of%20Mary_Franco-Flemish,%20c.%201600-1639_Amsterdam,%20Rijksmuseum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD308WgAyqZAchcdXMhfPb5PRZFTgjJodY8WvczfPU8ZKg_bvgCdEGgRpe5Ym-u5AG8v9i-9ohC5FKiuOO-ISBhQJ_8aoJojcnD4fzQkZd4cjgbfx1oklU4eOICzBEuRG8XmuxDKJN5BpNW3Q13so_QFwG5rVOZn7rBldEQDkUWxMm4OZl7KEN8vei/w430-h640/1600_Pierre%20FIrens,%20Seven%20Sorrows%20of%20Mary_Franco-Flemish,%20c.%201600-1639_Amsterdam,%20Rijksmuseum.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Pierre Firens, The Seven Sorrows of Mary</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Franco-Flemish, c. 1600-1639</div><div style="text-align: center;">Amsterdam, Rijksmuseum</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a age="" art="" de="" des="" du="" et="" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNzD1SfEGisSZpPQFBgOieOEOR7GIIjQZKFleeA3krNdu-t1A_K9Tc_6kqaqdMrcBhbFW6szbJKrPBlxJOSRXLk8A4Jr6w5VR4rV0Kvr357QZzjTFOyfh5FXlGN29zBPB0sTAP8EvX_aIr8-Lsweux8XouVheBSOwRLqJGDKmn_zZhU6fRMJRvz6xc/s1435/1600+Poss%20Peeter%20van%20Baelen,%20Virgin%20of%20the%20Seven%20Sorrows_Fl,%20c.%201600-1635_Paris,%20Musee%20du%20Louvre,%20Departement%20des%20Objets%20d" la="" modernes.jpg="" moyen="" renaissance="" style="margin-left: auto; margin-right: auto;" temps=""><img age="" art="" border="0" de="" des="" du="" et="" la="" modernes.jpg="" moyen="" renaissance="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNzD1SfEGisSZpPQFBgOieOEOR7GIIjQZKFleeA3krNdu-t1A_K9Tc_6kqaqdMrcBhbFW6szbJKrPBlxJOSRXLk8A4Jr6w5VR4rV0Kvr357QZzjTFOyfh5FXlGN29zBPB0sTAP8EvX_aIr8-Lsweux8XouVheBSOwRLqJGDKmn_zZhU6fRMJRvz6xc/w570-h640/1600+Poss%20Peeter%20van%20Baelen,%20Virgin%20of%20the%20Seven%20Sorrows_Fl,%20c.%201600-1635_Paris,%20Musee%20du%20Louvre,%20Departement%20des%20Objets%20d" temps="" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Possibly Peeter van Baelen, Virgin of the Seven Sorrows</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Flemish, c. 1600-1635</div><div style="text-align: center;">Paris, Musée du Louvre, Département des Objets d'art du Moyen Age, de la Renaissance et des temps modernes</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlBUAMOA_zJ4EwPl64tpMQBDW_h3mvg167Xjq7mlW_z8McSATaSFFRlCbzTSnwkW1JdR0Cptk77WIOGHD_Bv9qtrIKFrzSFLG17FPr7rYg8vsUfbrbNubGWrtSpO4ddsxuC9Znez8vySFkxqnuXZ8KU90PRfr4GmuEGmkRqoHuKVDjfH_3HmpwLUaA/s480/1601_Peter%20Overadt_German,%20c.%201601_Wolfenb%C3%BCttel,%20Herzog%20August%20Bibliothek,.png" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlBUAMOA_zJ4EwPl64tpMQBDW_h3mvg167Xjq7mlW_z8McSATaSFFRlCbzTSnwkW1JdR0Cptk77WIOGHD_Bv9qtrIKFrzSFLG17FPr7rYg8vsUfbrbNubGWrtSpO4ddsxuC9Znez8vySFkxqnuXZ8KU90PRfr4GmuEGmkRqoHuKVDjfH_3HmpwLUaA/w370-h640/1601_Peter%20Overadt_German,%20c.%201601_Wolfenb%C3%BCttel,%20Herzog%20August%20Bibliothek,.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Peter Overadt, Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">German, c. 1601</div><div style="text-align: center;">Wolfenbüttel, Herzog August Bibliothek</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKElzDM9luBBYavkD_b1iSPB2nEA2Iv6rGv0CfkSkXpTgxKjRsZ1w41QCItTlFjxjCBBCbYVUvWPSvOzeDvIkqOsfXqaquI_muGzOK-EjD6KOK723kmHagwp6K6vYe503srTfBEQX_M7baxwmqIGYLsGiqqQmM8Xgj0U3KYFgthsd8eMFMJ6-1PxxO/s5445/1612_Schelte%20Adamszoon%20Bolswert,%20After%20Abraham%20Bloemaert_Dutch,%20c.%201612-1615_Amsterdam,%20Rijksmuseum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKElzDM9luBBYavkD_b1iSPB2nEA2Iv6rGv0CfkSkXpTgxKjRsZ1w41QCItTlFjxjCBBCbYVUvWPSvOzeDvIkqOsfXqaquI_muGzOK-EjD6KOK723kmHagwp6K6vYe503srTfBEQX_M7baxwmqIGYLsGiqqQmM8Xgj0U3KYFgthsd8eMFMJ6-1PxxO/w478-h640/1612_Schelte%20Adamszoon%20Bolswert,%20After%20Abraham%20Bloemaert_Dutch,%20c.%201612-1615_Amsterdam,%20Rijksmuseum.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Schelte Adamszoon Bolswert, After Abraham Bloemaert, Mary Pierced by Seven Swords</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Dutch, c. 1612-1615</div><div style="text-align: center;">Amsterdam, Rijksmuseum</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4lJbg-oc9gvnMm0VjKVYHNtDRG4NEo-uwskcwA0Fn59qDf9Xzc1rKvFAw9FcLuHImZ70IdsaHimGFxJjJgZK9u8ccAQT_w_6n42xtcGNGUxY6l69U5yIU6VrdPzPeyjeOXB66rwmRIrY3NMx7qCY4bl-90AIjKzj8lYNPcV9oHiyMUrDrAFlguh2z/s6890/1620_Cornelis%20de%20Vos,%20Mater%20Dolorosa_Flemish,%201620_Antwerp,%20Royal%20Museum%20of%20Fine%20Arts.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4lJbg-oc9gvnMm0VjKVYHNtDRG4NEo-uwskcwA0Fn59qDf9Xzc1rKvFAw9FcLuHImZ70IdsaHimGFxJjJgZK9u8ccAQT_w_6n42xtcGNGUxY6l69U5yIU6VrdPzPeyjeOXB66rwmRIrY3NMx7qCY4bl-90AIjKzj8lYNPcV9oHiyMUrDrAFlguh2z/w394-h640/1620_Cornelis%20de%20Vos,%20Mater%20Dolorosa_Flemish,%201620_Antwerp,%20Royal%20Museum%20of%20Fine%20Arts.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Cornelis de Vos, Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Flemish, 1620</div><div style="text-align: center;">Antwerp, Royal Museum of Fine Arts</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsAzhX04azWhlsv-gMKahltNnXS9rEgVb2mPE_XH73YatI56JUWk5tZr7EILvnYy0pHOsQG2OBn79nGXiu-SiQFkWwiY3o6BlJQsoutQ2bgst5kc9IM02eDslhgxT9Kafyf8zVzEPxbquvLOGUBiJuN-ggIpNplA19SM1SR5a9EClmTsqZA3C6Rkcb/s1100/1626_Antoon%20Paydherbe,%20Our%20Lady%20of%20Seven%20Sorrows_Flemish,%201626_Mechelen,%20Onze-Lieve-Vrouw-over-de-Dijlekerk.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsAzhX04azWhlsv-gMKahltNnXS9rEgVb2mPE_XH73YatI56JUWk5tZr7EILvnYy0pHOsQG2OBn79nGXiu-SiQFkWwiY3o6BlJQsoutQ2bgst5kc9IM02eDslhgxT9Kafyf8zVzEPxbquvLOGUBiJuN-ggIpNplA19SM1SR5a9EClmTsqZA3C6Rkcb/w470-h640/1626_Antoon%20Paydherbe,%20Our%20Lady%20of%20Seven%20Sorrows_Flemish,%201626_Mechelen,%20Onze-Lieve-Vrouw-over-de-Dijlekerk.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Antoon Paydherbe, Our Lady of the Seven Sorrows</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Flemish, 1626</div><div style="text-align: center;">Mechelen, Onze-Lieve-Vrouw-over-de-Dijlekerk</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><ol style="text-align: left;"><span style="font-family: helvetica;"><br /></span></ol><ol style="text-align: left;"><span style="font-family: helvetica;"><br /></span></ol><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5XDtvjopRaNIbmHfQsuw14-a6FT_zDfla33RbfQ1SCO7sXqnvouNIMj1TwIoCMaEP_jNV4au3-9W3aS4nMBEc9yQRU_thWuCUU4zOHxRIhWVOr2Sn-faNjBumFMNvzotHVsOonCPNmGq2hFmKbZx-KWlB3lb0vRI3Imkvs5rgZjlilAYcGQ6WFGL9ooU/s839/1647_Frederic%20Brentel_From%20Hours%20de%20Guillaume%20de%20Bade_French,%201647_Paris,%20BNF_MS%20Latin%2010567,%20p.%20256_det.jpeg" style="font-family: "Times New Roman"; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="839" data-original-width="808" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5XDtvjopRaNIbmHfQsuw14-a6FT_zDfla33RbfQ1SCO7sXqnvouNIMj1TwIoCMaEP_jNV4au3-9W3aS4nMBEc9yQRU_thWuCUU4zOHxRIhWVOr2Sn-faNjBumFMNvzotHVsOonCPNmGq2hFmKbZx-KWlB3lb0vRI3Imkvs5rgZjlilAYcGQ6WFGL9ooU/w616-h640/1647_Frederic%20Brentel_From%20Hours%20de%20Guillaume%20de%20Bade_French,%201647_Paris,%20BNF_MS%20Latin%2010567,%20p.%20256_det.jpeg" width="616" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Oxygen;">Frederic Brentel, The Mater Dolorosa<br />From the <i><u>Hours of Guillaume de Bade</u></i><br />French, 1647<br />Paris, Bibliotheque nationale de France<br />MS Latin 10567, p. 256</span></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_2xavll2e514XW_O1cKVtpwd8ZlUL6TcSiccgdrDPWkJXgEvlIQLnsN1BF7jDEdZpdYKUsxNdHlicX0jzBlw8MhpC1CDcANMyPAYWYXCdGOapCk3rzybLwQs4msWWNtpt6_3e18S3LRJgdQrnbz8L4jwOZuSaqSDWZxRMUygFiy5MupVwI-1oeCLx/s800/1630_Cornelis%20Galle%20After%20Anthony%20van%20Dyck_Flemish,%20Before%201650_San%20Francisco,%20Fine%20Arts%20Museums%20of%20San%20Francisco.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_2xavll2e514XW_O1cKVtpwd8ZlUL6TcSiccgdrDPWkJXgEvlIQLnsN1BF7jDEdZpdYKUsxNdHlicX0jzBlw8MhpC1CDcANMyPAYWYXCdGOapCk3rzybLwQs4msWWNtpt6_3e18S3LRJgdQrnbz8L4jwOZuSaqSDWZxRMUygFiy5MupVwI-1oeCLx/w320-h640/1630_Cornelis%20Galle%20After%20Anthony%20van%20Dyck_Flemish,%20Before%201650_San%20Francisco,%20Fine%20Arts%20Museums%20of%20San%20Francisco.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Cornelis Galle After Anthony van Dyck, The Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Flemish, Before 1650</div><div style="text-align: center;">San Francisco, Fine Arts Museums of San Francisco</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirHTCdiYhcwdnjndbHsouu9nqNfQGbGgu3GR7FttX37ttp185B2Vq7PdFXRMy3btDiAQQf2AVDODcd5tCbC9wNptVJiRugN09evnZX7uEaMcBDahzRghiP06TrlvpJE0kLuiahvnaZTNACNzby12SJkKyC5lymzA18bFJfr-mPFSoVobtQ62oUyi6g/s1200/1630_Cornelis%20Van%20Poelenburg,%20Mater%20Dolorosa_Dutch,%20c.%201630-1665_Munich,%20Bayerische%20Staatsgemaeldesammlungen,%20Alte%20Pinakothek.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirHTCdiYhcwdnjndbHsouu9nqNfQGbGgu3GR7FttX37ttp185B2Vq7PdFXRMy3btDiAQQf2AVDODcd5tCbC9wNptVJiRugN09evnZX7uEaMcBDahzRghiP06TrlvpJE0kLuiahvnaZTNACNzby12SJkKyC5lymzA18bFJfr-mPFSoVobtQ62oUyi6g/w528-h640/1630_Cornelis%20Van%20Poelenburg,%20Mater%20Dolorosa_Dutch,%20c.%201630-1665_Munich,%20Bayerische%20Staatsgemaeldesammlungen,%20Alte%20Pinakothek.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Cornelis Van Poelenburg, The Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Dutch, c. 1630-1665</div><div style="text-align: center;">Munich, Bayerische Staatsgemäldesammlungen, Alte Pinakothek</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5dwmSU-PqyWvBmitEAr4yd5rYiu0J9YVGLy2OuDQW904hftEtSgoLrBf7QdN2JiUmnb6KsSrOwS-rU5o971xO6ZF-DnGYRaJqOgEULB0xrRTAGLXbirDyVSpMVkYTZIPtDLbgBvanUkjo1rnlh0YgpOE0NTi796-HZhqq1NeAR4jT64mC4belfNQE/s2030/1639_Paolo%20Naldini_Italian,%20c.%201639_Rome,%20San%20Marcello%20al%20Corso,%20Capella%20della%20Madonna%20dei%20Sette%20Dolori_Page_1%20(2).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5dwmSU-PqyWvBmitEAr4yd5rYiu0J9YVGLy2OuDQW904hftEtSgoLrBf7QdN2JiUmnb6KsSrOwS-rU5o971xO6ZF-DnGYRaJqOgEULB0xrRTAGLXbirDyVSpMVkYTZIPtDLbgBvanUkjo1rnlh0YgpOE0NTi796-HZhqq1NeAR4jT64mC4belfNQE/w380-h640/1639_Paolo%20Naldini_Italian,%20c.%201639_Rome,%20San%20Marcello%20al%20Corso,%20Capella%20della%20Madonna%20dei%20Sette%20Dolori_Page_1%20(2).jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Paolo Naldini, Our Lady of Sorrows</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Italian, c. 1639</div><div style="text-align: center;">Rome, Church of San Marcello al Corso, Capella della Madonna dei Sette Dolori</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit_7AujdZNR_IDJWVhMKhW2xiNN4uxeF9WU-XcSGvtuS9Xi08rH0PUNKKqcWo9v14ecBbdKCJpDEtDcmyylvNa7q8BFlEjX-lFgqjuj0WYvYYLamXmPeFPBhQEikIwK_tBWKI5cd2eTBAxVZuFUOe_9LKpRRfPigbPYW4-dEw5F2PCJReMRTFibIPn/s511/1650_A~1.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit_7AujdZNR_IDJWVhMKhW2xiNN4uxeF9WU-XcSGvtuS9Xi08rH0PUNKKqcWo9v14ecBbdKCJpDEtDcmyylvNa7q8BFlEjX-lFgqjuj0WYvYYLamXmPeFPBhQEikIwK_tBWKI5cd2eTBAxVZuFUOe_9LKpRRfPigbPYW4-dEw5F2PCJReMRTFibIPn/w440-h640/1650_A~1.JPG" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Attributed to Marc Antonio de Santis, Saints Augustine and Philip Binizzi (member of the Order of Servites) Interceding before Our Lady of Sorrows for the Souls in Purgatory</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Italian, c. 1650-1681</div><div style="text-align: center;">Ortiporio (Corsica), Parish Church</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5445Bi64ybWDVzFAJ0SAVQ02IQS3kh40lPbRYCuJPuQe5fBLLzXblHPEw7CLzjBidxupfZALzRDSuEvZX2wCVmTjU_MtwGSsJlewR5skCFjUSIMlptzbP2Ozi-Jpvd_gc0yJV44sJiKCTRvJuxZZ91xZ66L8KJy8r7sc0rCJPNjx0FWC8M5RdDSVN/s640/1650_Giovanni%20Battista%20Gaulli,%20Called%20Baciccio,%20Our%20Lady%20of%20Sorrows%20with%20Saints%20Augustine%20&%20Nic%20of%20Tolentine_Italian,%20c.%201650-1709_Paris,%20Musee%20du%20Louvre,%20Departement%20des%20Arts%20graphiq.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5445Bi64ybWDVzFAJ0SAVQ02IQS3kh40lPbRYCuJPuQe5fBLLzXblHPEw7CLzjBidxupfZALzRDSuEvZX2wCVmTjU_MtwGSsJlewR5skCFjUSIMlptzbP2Ozi-Jpvd_gc0yJV44sJiKCTRvJuxZZ91xZ66L8KJy8r7sc0rCJPNjx0FWC8M5RdDSVN/w580-h640/1650_Giovanni%20Battista%20Gaulli,%20Called%20Baciccio,%20Our%20Lady%20of%20Sorrows%20with%20Saints%20Augustine%20&%20Nic%20of%20Tolentine_Italian,%20c.%201650-1709_Paris,%20Musee%20du%20Louvre,%20Departement%20des%20Arts%20graphiq.JPG" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Giovanni Battista Gaulli Called Baciccio, Our Lady of Sorrows with Saints Augustine and Nicholas of Tolentine</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Italian, c. 1650-1709</div><div style="text-align: center;">Paris, Musée du Louvre, Département des Arts graphique</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxKW-LX-zGsgQ2FaGkD7Rocz_0t7oOUGroqw94YxUvTrEWpOjQOhL264nQIqEubRplaStc-ShRcNAFMxbkj7202XIKVxyeGjnbqLPUEH0Zqdxaeh6gd0DC4SuOE4tVQR_GCr8XpXLvv3V3TjCHSszmkC2fedj0cD37n8-8fuBNt3rPzU1p0OBEvYx7/s6043/1660_Willem%20van%20der%20Leeuw%20After%20Peter%20Paul%20Rubens,%20Mater%20dolorosa_Flemish,%20Before%201665_Antwerp,%20Royal%20Museum%20of%20Fine%20Arts.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxKW-LX-zGsgQ2FaGkD7Rocz_0t7oOUGroqw94YxUvTrEWpOjQOhL264nQIqEubRplaStc-ShRcNAFMxbkj7202XIKVxyeGjnbqLPUEH0Zqdxaeh6gd0DC4SuOE4tVQR_GCr8XpXLvv3V3TjCHSszmkC2fedj0cD37n8-8fuBNt3rPzU1p0OBEvYx7/w442-h640/1660_Willem%20van%20der%20Leeuw%20After%20Peter%20Paul%20Rubens,%20Mater%20dolorosa_Flemish,%20Before%201665_Antwerp,%20Royal%20Museum%20of%20Fine%20Arts.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Willem van der Leeuw After Peter Paul Rubens, The Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Flemish, Before 1665</div><div style="text-align: center;">Antwerp, Royal Museum of Fine Arts</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm3nRXzteKL-SROjiXvr-zeYiI-5Y22FWf0vq6wUHCUq7uFvRQFJ2rBq3KsG0ns4QgB0FFROWEUP5gVLcVpF7htxjs4QNv6WL47O9gF_5vuZ71Q-vY2ROWDLFcNOh2kmG0tumh1uKL9s3F/s1600/1700_Follower+of+Frencesco+Trevisani_Italian%252C+c.+1700_Private+Collection_Page_1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm3nRXzteKL-SROjiXvr-zeYiI-5Y22FWf0vq6wUHCUq7uFvRQFJ2rBq3KsG0ns4QgB0FFROWEUP5gVLcVpF7htxjs4QNv6WL47O9gF_5vuZ71Q-vY2ROWDLFcNOh2kmG0tumh1uKL9s3F/s640/1700_Follower+of+Frencesco+Trevisani_Italian%252C+c.+1700_Private+Collection_Page_1.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><span style="font-family: helvetica;">Follower of Frencesco Trevisani, Mary Pierced by the Sword<br />Italian, c. 1700<br />Private Collection</span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a hotel="" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSxLsQCXUH55kRxGRRV-kKrURSb-g0eaYjKITLB4CVR4mLJPXlJavbnLSVeTGFEPklUpfTtWgV-nIkaL3oRgI6Sfq7doVHg5QnTCkQC-LNrsHRMVTpQ6CffBAZUNr_NAd70jaX2ywBKHlNn_jaMsXKUqy30cqPNJejiIubVBK-6TDU5MO84EzjCpvA/s505/1700_Holy%20Water%20Font_Italian,%2018th%20Century_Saint-Omer,%20Musee%20de%20l" sandelin.jpg="" style="margin-left: auto; margin-right: auto;"><img border="0" hotel="" sandelin.jpg="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSxLsQCXUH55kRxGRRV-kKrURSb-g0eaYjKITLB4CVR4mLJPXlJavbnLSVeTGFEPklUpfTtWgV-nIkaL3oRgI6Sfq7doVHg5QnTCkQC-LNrsHRMVTpQ6CffBAZUNr_NAd70jaX2ywBKHlNn_jaMsXKUqy30cqPNJejiIubVBK-6TDU5MO84EzjCpvA/w410-h640/1700_Holy%20Water%20Font_Italian,%2018th%20Century_Saint-Omer,%20Musee%20de%20l" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Holy Water Font with Our Lady of Sorrows</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Italian, 18th Century</div><div style="text-align: center;">Saint-Omer, Musée de l'hôtel Sandelin</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizdKien-mzBkKmdQLZ-oRPdE4QyBPhzehI-mYKEqLJ2RWXelTvlxsFGEaOyk2o0vtlfvjEJ9OAbI1UEZhSjBt5fGHIiT0aFoyf03z1Q2DIAyUx0UXgv9L_3P1O55NmDBpgDpdSmK3ged_8h-mFlzMYfwie5uAgjpvnxXibxIey4IW0ZJDCdX_tvORb/s3560/1700_Virgin%20of%20Sorrows_Spanish%20Colonial%20(Possibly%20Mexican),%2018the%20Century_New%20York,%20Metropolitan%20Museum%20of%20Art%20(2).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizdKien-mzBkKmdQLZ-oRPdE4QyBPhzehI-mYKEqLJ2RWXelTvlxsFGEaOyk2o0vtlfvjEJ9OAbI1UEZhSjBt5fGHIiT0aFoyf03z1Q2DIAyUx0UXgv9L_3P1O55NmDBpgDpdSmK3ged_8h-mFlzMYfwie5uAgjpvnxXibxIey4IW0ZJDCdX_tvORb/w496-h640/1700_Virgin%20of%20Sorrows_Spanish%20Colonial%20(Possibly%20Mexican),%2018the%20Century_New%20York,%20Metropolitan%20Museum%20of%20Art%20(2).jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Virgin of Sorrows</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Spanish Colonial (Possibly Mexican), 18th Century</div><div style="text-align: center;">New York, Metropolitan Museum of Art</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu9PMAoec-g_-Ehsw1EiWjijWAECt0OocultlI326M0YZt49NVqIka6W7SjQvnj6lKbHMgA1WhuEMmsPZpkNXBs9AMwrfWRDSbORTtOcDoEMl9URN66YFD187I77uizhk3QIoqaR5vYwQg2ETmknryaWrZw72Qviey4MZZkdwjTP5CeLq3KqfooSzt/s3072/1750_Nicolas%20Enriquez%20de%20Vargas_Mexican,%20c.%201750_Philadelphia,%20Museum%20of%20Art.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu9PMAoec-g_-Ehsw1EiWjijWAECt0OocultlI326M0YZt49NVqIka6W7SjQvnj6lKbHMgA1WhuEMmsPZpkNXBs9AMwrfWRDSbORTtOcDoEMl9URN66YFD187I77uizhk3QIoqaR5vYwQg2ETmknryaWrZw72Qviey4MZZkdwjTP5CeLq3KqfooSzt/w506-h640/1750_Nicolas%20Enriquez%20de%20Vargas_Mexican,%20c.%201750_Philadelphia,%20Museum%20of%20Art.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Virgin of Sorrows</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Spanish Colonial (Possibly Mexican), 18th Century</div><div style="text-align: center;">New York, Metropolitan Museum of Art</div></span></ol></td></tr></tbody></table><ol style="text-align: center;"><br /></ol><span style="font-family: helvetica;"><br /><ol style="font-family: "Times New Roman";"><br /></ol><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a adolorata_italian="" annunziata.png="" church="" florence="" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL8kOFvB05E_MLERc9T-vxQt4vN4HBFVMEEVCBtMEKqVukseJgaFRLL9YMVBaPAnAQYMVFdVXoRgfjeGRYZPGCKAGLoETbHvedTeJppvf24vr7b3d-SY9E39NEhZ2i_zddEoa0BVFU7fabEFVUWAZclPNbXYuB8qHasHKs_jWHrNXhudHx0z0WptOv/s398/1754_Domenico%20Noferi,%20Madonna%20dell" of="" santissima="" style="margin-left: auto; margin-right: auto;"><img adolorata_italian="" annunziata.png="" border="0" church="" florence="" of="" santissima="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL8kOFvB05E_MLERc9T-vxQt4vN4HBFVMEEVCBtMEKqVukseJgaFRLL9YMVBaPAnAQYMVFdVXoRgfjeGRYZPGCKAGLoETbHvedTeJppvf24vr7b3d-SY9E39NEhZ2i_zddEoa0BVFU7fabEFVUWAZclPNbXYuB8qHasHKs_jWHrNXhudHx0z0WptOv/w640-h616/1754_Domenico%20Noferi,%20Madonna%20dell" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Domenico Noferi, Madonna dell'Adolorata</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Italian, 1754</div><div style="text-align: center;">Florence, Church of Santissima Annunziata</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm5zkOkud8NHQqa0NCyuIMfdcyiaSByfopLTmxRAzkZR1kRKPQHhuDOz0UN_uAnjC6CT3mN3zfVFBEJBKVtgSFwwXCONDPK-5Bqk6bOAQ1VjX7oqlTpmEFnv4q0vdQ0NWwbItJx0VLQekIycRfU3UpgZVu1OYKP4mHq66cO4OlMYmM_7zmDQwMx6x6/s640/1760_Miguel%20Cabrera_Mexican,%20c.%201760_location%20unknown.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm5zkOkud8NHQqa0NCyuIMfdcyiaSByfopLTmxRAzkZR1kRKPQHhuDOz0UN_uAnjC6CT3mN3zfVFBEJBKVtgSFwwXCONDPK-5Bqk6bOAQ1VjX7oqlTpmEFnv4q0vdQ0NWwbItJx0VLQekIycRfU3UpgZVu1OYKP4mHq66cO4OlMYmM_7zmDQwMx6x6/w482-h640/1760_Miguel%20Cabrera_Mexican,%20c.%201760_location%20unknown.JPG" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Miguel Cabrera, Our Lady of Sorrows Surrounded by the Trinity, Various Saints and the Souls in Purgatory</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Mexican, c. 1760</div><div style="text-align: center;">Location Unknown</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij6WCkLTT9kp3V4u-Nhv6ECIfpxLoTvJHvlmL9aGOuq87BJ-ymZQD92Rok-zIoUWNlVwXARa6VTQr4YNcMhUebYOmTrBhaugicb66Y2ARy8HHnkaxZdATnk4AN0aYZImf15zFq6szAK1uwUOeT8WskSySXoWKj7Fd37ij_Ht0gmR2MsvL1QXZcW_aP/s1920/1785_Jose%20Camaron%20Bonanat,%20La%20Dolorosa_Spanish,%20c.%201785-1790_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij6WCkLTT9kp3V4u-Nhv6ECIfpxLoTvJHvlmL9aGOuq87BJ-ymZQD92Rok-zIoUWNlVwXARa6VTQr4YNcMhUebYOmTrBhaugicb66Y2ARy8HHnkaxZdATnk4AN0aYZImf15zFq6szAK1uwUOeT8WskSySXoWKj7Fd37ij_Ht0gmR2MsvL1QXZcW_aP/w456-h640/1785_Jose%20Camaron%20Bonanat,%20La%20Dolorosa_Spanish,%20c.%201785-1790_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Jose Camaron Bonanat, La Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Spanish, c. 1785-1790</div><div style="text-align: center;">Madrid, Museo Nacional del Prado</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiry5PoV5ukRHDMPJ-UAthX8aA-RkN4OZzEf82NQfWe0KgHGJyqZ0VuShsoUCwhHLtE6oRVjVXvkr-dumPKrNfOwesVl5Z9k1pX1woM9rRrqS2snwG32H5ravuokkPqg7Rtl-ALp6gPgCU6AsVnjdaYW6KzhyChJWkjWpp1crmsFbYQTpyqzLA7Blzq/s591/1800_French,%20c.%201800-1850,%20Brehan,%20Church%20of%20Notre-Dame.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiry5PoV5ukRHDMPJ-UAthX8aA-RkN4OZzEf82NQfWe0KgHGJyqZ0VuShsoUCwhHLtE6oRVjVXvkr-dumPKrNfOwesVl5Z9k1pX1woM9rRrqS2snwG32H5ravuokkPqg7Rtl-ALp6gPgCU6AsVnjdaYW6KzhyChJWkjWpp1crmsFbYQTpyqzLA7Blzq/w296-h640/1800_French,%20c.%201800-1850,%20Brehan,%20Church%20of%20Notre-Dame.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Our Lady of Sorrows</span></div><span style="font-family: helvetica;"><div style="text-align: center;">French, c. 1800-1850</div><div style="text-align: center;">Brehan, Church of Notre-Dame</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim5fjMPwX4MAt9uV6rwNjkekmxzrYDvMnT2PS9Wex_diNr6PEG9HMBIfA0zEtWYnwj2cIvq4Gjd5BlH0OG-XOekzQhmmxqtCrTYvxAkc2OgqKEK6zQhEuUbttksC7OHeb0x3iuNU1js_JAmaFhkV9_8MITDL5AJCDf3mg6Pi618X0oUiNHw9t92rDF/s1400/1800_Ring_Italian,%20c.%201800-1850_London,%20Victoria%20and%20Albert%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim5fjMPwX4MAt9uV6rwNjkekmxzrYDvMnT2PS9Wex_diNr6PEG9HMBIfA0zEtWYnwj2cIvq4Gjd5BlH0OG-XOekzQhmmxqtCrTYvxAkc2OgqKEK6zQhEuUbttksC7OHeb0x3iuNU1js_JAmaFhkV9_8MITDL5AJCDf3mg6Pi618X0oUiNHw9t92rDF/w574-h640/1800_Ring_Italian,%20c.%201800-1850_London,%20Victoria%20and%20Albert%20Museum.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Our Lady of Sorrows Ring</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Italian, c. 1800-1850</div><div style="text-align: center;">London, Victoria and Albert Museum</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhe_M0XsbD2MAHOCfTIha30drRBS7Fprja-eUlYt9Uu2Rx8HUZ07EA2gnll9SedNMBT2TO8801xoYENNsctW-IUdWjIhq9GPyzJHfGvZwsrnhmvdOMuyrZod6UhUHdyDgjO5fQxcEn1mG1bNQlvFCpbZ0O8Wx6mZllORtJCn5cACi0ac_OKhWsUubp/s2152/1830_Louis%20Stanislas%20Marin-Lavigne%20After%20Murillo,%20Mater%20Dolorosa_French,%20c.%201830-1860_Edinburgh,%20National%20Galleries%20of%20Scotland,%20Scottish%20National%20Gallery%20of%20Modern%20Art.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhe_M0XsbD2MAHOCfTIha30drRBS7Fprja-eUlYt9Uu2Rx8HUZ07EA2gnll9SedNMBT2TO8801xoYENNsctW-IUdWjIhq9GPyzJHfGvZwsrnhmvdOMuyrZod6UhUHdyDgjO5fQxcEn1mG1bNQlvFCpbZ0O8Wx6mZllORtJCn5cACi0ac_OKhWsUubp/w496-h640/1830_Louis%20Stanislas%20Marin-Lavigne%20After%20Murillo,%20Mater%20Dolorosa_French,%20c.%201830-1860_Edinburgh,%20National%20Galleries%20of%20Scotland,%20Scottish%20National%20Gallery%20of%20Modern%20Art.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Louis Stanislas Marin-Lavigne After Murillo, Mater Dolorosa</span></div><span style="font-family: helvetica;"><div style="text-align: center;">French, c. 1830-1860</div><div style="text-align: center;">Edinburgh, National Galleries of Scotland, Scottish National</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoBQ8vLdNfokbUmv4zFd0NMI0TQolerxIyZ4djT-SG_OsH9PN0nIUOIsipu3J5NatEIUgXrn315k7DvX9P47IkZwdsJz0tn16V79fia7dThAH3AV6kU9Q2N5D5wRQX1rpkfbMMfJvbITpJZv5jyUjej5b5uL7O0SkiJxv-hy0cRfAlXg2LSSs_LXNF/s512/1875_Notre-Dame%20des%20Sept%20Douleurs_French,%20c.%201875-1900_Epinal,%20Musee%20de%20l" image.jpg="" style="margin-left: auto; margin-right: auto;"><img border="0" image.jpg="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoBQ8vLdNfokbUmv4zFd0NMI0TQolerxIyZ4djT-SG_OsH9PN0nIUOIsipu3J5NatEIUgXrn315k7DvX9P47IkZwdsJz0tn16V79fia7dThAH3AV6kU9Q2N5D5wRQX1rpkfbMMfJvbITpJZv5jyUjej5b5uL7O0SkiJxv-hy0cRfAlXg2LSSs_LXNF/w462-h640/1875_Notre-Dame%20des%20Sept%20Douleurs_French,%20c.%201875-1900_Epinal,%20Musee%20de%20l" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Notre-Dame des Sept Douleurs lithograph</span></div><span style="font-family: helvetica;"><div style="text-align: center;">French, c. 1875-1900</div><div style="text-align: center;">Epinal, Musée de l'image</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqFfOv36n7hqmzwPcgTIJWRVrbIrzFZOfGto7otQxQv1aW8aHpSKfKlXrixX_v3L0eHCtjptZDqNuwYiU1SdfxFgL3KRWW6IJBobvHCC618kr0Klatgr7ffvIDLoPVZiE2BF299VbjcP7lWPhtI8Lebohs2BxyRwGCE7BnHFTwMC5-8n0rTn4dgA_T/s465/1879_D.%20Darquet%20Stained%20Glass_French,%201879_Villers-Bocage,%20Parish%20Church%20of%20Saint%20Georges.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqFfOv36n7hqmzwPcgTIJWRVrbIrzFZOfGto7otQxQv1aW8aHpSKfKlXrixX_v3L0eHCtjptZDqNuwYiU1SdfxFgL3KRWW6IJBobvHCC618kr0Klatgr7ffvIDLoPVZiE2BF299VbjcP7lWPhtI8Lebohs2BxyRwGCE7BnHFTwMC5-8n0rTn4dgA_T/w342-h640/1879_D.%20Darquet%20Stained%20Glass_French,%201879_Villers-Bocage,%20Parish%20Church%20of%20Saint%20Georges.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">D. Darquet, Stained Glass</span></div><span style="font-family: helvetica;"><div style="text-align: center;">French, 1879</div><div style="text-align: center;">Villers-Bocage, Parish Church of Saint Georges</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-P180zQajeiRQGmPbJen8wKtSlx2xV9kE70cMmtB9OJ4Gse_iR7u15dFUoOACQeQI8FqcfsKTXxriQyT6nh_2eXuA368QmAcoo6y9NUaFFQB7GekCYWXfETf0vZPWenMrAshEpXz9JQPE/s1600/1880_Vicente+Aznar_Spanish%252C+19th+Century_Madrid%252C+Biblioteca+Nacional+de+Espana.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-P180zQajeiRQGmPbJen8wKtSlx2xV9kE70cMmtB9OJ4Gse_iR7u15dFUoOACQeQI8FqcfsKTXxriQyT6nh_2eXuA368QmAcoo6y9NUaFFQB7GekCYWXfETf0vZPWenMrAshEpXz9JQPE/s640/1880_Vicente+Aznar_Spanish%252C+19th+Century_Madrid%252C+Biblioteca+Nacional+de+Espana.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Vicente Aznar, Our Lady of Sorrows</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Spanish, 19th Century</div><div style="text-align: center;">Madrid, Biblioteca Nacional de Espaňa</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /> <br /> <br /> </span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5AH08-9ixc6gqxYJ__4KowIWS4QmSKU4K5s5MDS2ODveWZ9T5d4ps5LPF9zlR2pDbc9GVWbVdWZvwCb6thDJCxSTuuJlsq_oHZtyc-5-SZODUeaHkMzAaCaTIU3XH18BhEO4XTnzDrqw5_uJ4WPD6psDHkC0_VNl39ISt5OVIi8qtu42sVIXlnHQu/s546/1890_John%20Singer%20Sargent,%20Sorrowful%20Mysteries%20of%20the%20Rosary_American,%20c.%201890-1916_Boston,%20Boston%20Public%20Library.png" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5AH08-9ixc6gqxYJ__4KowIWS4QmSKU4K5s5MDS2ODveWZ9T5d4ps5LPF9zlR2pDbc9GVWbVdWZvwCb6thDJCxSTuuJlsq_oHZtyc-5-SZODUeaHkMzAaCaTIU3XH18BhEO4XTnzDrqw5_uJ4WPD6psDHkC0_VNl39ISt5OVIi8qtu42sVIXlnHQu/w238-h640/1890_John%20Singer%20Sargent,%20Sorrowful%20Mysteries%20of%20the%20Rosary_American,%20c.%201890-1916_Boston,%20Boston%20Public%20Library.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">John Singer Sargent, The Sorrowful Mysteries of the Rosary</span></div><span style="font-family: helvetica;"><div style="text-align: center;">American, c. 1890-1916</div><div style="text-align: center;">Boston, Boston Public Library</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /> <br /> </span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQGmf2rFgDg5nkU1W2-yZWSa1LMc6kqNtejGOpT0vsBGdpPh5aK-_XMestY0NKbyoqSOyDKshfwUWFWzE-QQlp3AI_VTrOH3IIU-qCLklsubSujFF4WYFzddtovIuogJ_pfWFx0Dwfv79H_V64gsAuJPhqNquzu46_bZTOzakBVjJQy5uoNr13EWUw/s1016/1895_Statue%20of%20Our%20Lady%20of%20Sorrows_French_c.%201895_Thorame-Bass,%20Parish%20Church.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQGmf2rFgDg5nkU1W2-yZWSa1LMc6kqNtejGOpT0vsBGdpPh5aK-_XMestY0NKbyoqSOyDKshfwUWFWzE-QQlp3AI_VTrOH3IIU-qCLklsubSujFF4WYFzddtovIuogJ_pfWFx0Dwfv79H_V64gsAuJPhqNquzu46_bZTOzakBVjJQy5uoNr13EWUw/w282-h640/1895_Statue%20of%20Our%20Lady%20of%20Sorrows_French_c.%201895_Thorame-Bass,%20Parish%20Church.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Statue of Our Lady of Sorrows</span></div><span style="font-family: helvetica;"><div style="text-align: center;">French, c. 1895</div><div style="text-align: center;">Thorame-Bass, Parish Church</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYw9mIMAtc3tb5giBANYRa6adssZsL_iavno73xzKFEzrMuRscIQMQn65jZKQ3oaE8grcAsEljqFhgYI3oMMvOuAN9KQE_BX-vb5AYb9QQWCT1g5VlHEGDAcsEm2P3D1kEC9mzkU523YA1/s1600/All+sizes+_+Dolorosa+_+Flickr+-+Photo+Sharing%2521_Page_1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYw9mIMAtc3tb5giBANYRa6adssZsL_iavno73xzKFEzrMuRscIQMQn65jZKQ3oaE8grcAsEljqFhgYI3oMMvOuAN9KQE_BX-vb5AYb9QQWCT1g5VlHEGDAcsEm2P3D1kEC9mzkU523YA1/s640/All+sizes+_+Dolorosa+_+Flickr+-+Photo+Sharing%2521_Page_1.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><span style="font-family: helvetica;">Processional Figure of Our Lady of Sorrows<br />Spanish, Contemporary</span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /> <br /><br /><br /></span></ol><h4><ol style="text-align: left;"><span style="font-family: helvetica;">The Seven Sorrows</span></ol></h4><ol style="text-align: left;"><span style="font-family: helvetica;"><br />The final category consists of paintings that attempt to show the image of Mary, either the Sorrowing Mother or the Sword-Pierced Woman, surrounded by depictions of the Seven Sorrows themselves. This image seems to have been popular from about the beginning of the fifteenth century to about the middle of the sixteenth century, with some late appearing outriders. It exists in all media, miniature painting, panel painting, enamels, drawings and prints, nearly all of them hailing from northern Europe. No doubt there are (or were) images in the medium of sculpture as well. We must bear in mind that there was a great deal of destruction wrought on images in northern Europe during the Reformation and its aftermath. The media mentioned above are easier to transport and to hide than all but the smallest items of sculpture. So, there has likely been disproportionate damage to sculpture in those countries where this particular image has been most prevalent. <br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmDOzxjlH2WRud_d3GX835sS1BldmL1-CIsPz0sD-m2iPRWCs-9LBkR1VqZ92DuuLrkrSZpHu-OEH1Q9vOVrvTvAt91_WvTRUxrXTC55wolIakxUNU50OpFD7HPPSJDkQg4La9aCNJDDz_OImztFum8GTn251QzIP25iCSYkDBbDVpG1ZohWLQeFJT/s1181/1425_Jean%20le%20Tavernier_From%20a%20Book%20of%20Hours_Flemish%20(Ghent),%20c.%201425-1450_London,%20British%20Library_MS%20Additional%2019416,%20fol.%208v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmDOzxjlH2WRud_d3GX835sS1BldmL1-CIsPz0sD-m2iPRWCs-9LBkR1VqZ92DuuLrkrSZpHu-OEH1Q9vOVrvTvAt91_WvTRUxrXTC55wolIakxUNU50OpFD7HPPSJDkQg4La9aCNJDDz_OImztFum8GTn251QzIP25iCSYkDBbDVpG1ZohWLQeFJT/w446-h640/1425_Jean%20le%20Tavernier_From%20a%20Book%20of%20Hours_Flemish%20(Ghent),%20c.%201425-1450_London,%20British%20Library_MS%20Additional%2019416,%20fol.%208v.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Jean le Tavernier, The Seven Sorrows of Mary</span></div><span style="font-family: helvetica;"><div style="text-align: center;">From a <u><i>Book of Hours</i></u></div><div style="text-align: center;">Flemish (Ghent), c. 1425-1450</div><div style="text-align: center;">London, British Library</div><div style="text-align: center;">MS Additional 19416, fol. 8v</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /> <br /> </span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7CW8Z2X2mFIBiWcmapolb9mi2QHztZxpO4fJ0SbfVxIr_ytxZG11daFbd28XIdLJLMxsiPdFhY1FvWreDLqts_zRCbGwVh6TVacNheT2fw_KeFaNn9SHifuMo7P5sgqwQX5vax-u4rTQ/s1600/1460_Master+of+Isabella+di+Chiaromonte_Book+of+Hours_Dutch_Delft_1460-1520_Morgan_m71.012va.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7CW8Z2X2mFIBiWcmapolb9mi2QHztZxpO4fJ0SbfVxIr_ytxZG11daFbd28XIdLJLMxsiPdFhY1FvWreDLqts_zRCbGwVh6TVacNheT2fw_KeFaNn9SHifuMo7P5sgqwQX5vax-u4rTQ/s640/1460_Master+of+Isabella+di+Chiaromonte_Book+of+Hours_Dutch_Delft_1460-1520_Morgan_m71.012va.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Master of Isabella di Chiaromonte, The Seven Sorrows of Mary</span></div><span style="font-family: helvetica;"><div style="text-align: center;">From a <u><i>Book of Hours</i></u></div><div style="text-align: center;">Dutch (Delft), 1460-1520</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS M 71, fol.12v</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg4T3NtLRTAkWwsJHpZ1KHDHvX6iHFOmwuXypPmmIDdPjxJX1bW8gd3V96FhrN0xNCBeF5ZOcJJZ7FXo68xH5KMc-x2cNrNSIBeqjdYedKCILcXucKHlFF-kCDJG1ftUPdvGFt7cFAAolAoVsXnvBUR5ovdmGkEJdG70DNhzCyjCfLJF4Uzy6r7070/s552/1489_Master%20of%20Cornelis%20Croesinck_Croesinck%20Hours_Dutch_1489-1499_Morgan_m1078.104va.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg4T3NtLRTAkWwsJHpZ1KHDHvX6iHFOmwuXypPmmIDdPjxJX1bW8gd3V96FhrN0xNCBeF5ZOcJJZ7FXo68xH5KMc-x2cNrNSIBeqjdYedKCILcXucKHlFF-kCDJG1ftUPdvGFt7cFAAolAoVsXnvBUR5ovdmGkEJdG70DNhzCyjCfLJF4Uzy6r7070/w474-h640/1489_Master%20of%20Cornelis%20Croesinck_Croesinck%20Hours_Dutch_1489-1499_Morgan_m1078.104va.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Master of Cornelis Croesinck, The Seven Sorrows of Mary</span></div><span style="font-family: helvetica;"><div style="text-align: center;">From the <u><i>Croesinck Hours</i></u></div><div style="text-align: center;">Dutch, 1489-1499</div><div style="text-align: center;">New York, Pierpont Morgan Museum</div><div style="text-align: center;">MS M 1078, fol.104v</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /> <br /> <br /> </span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl181qeRA1Z2BJ8aAdnyu1jA77vV8Ea1-4iec9iGrSRoYv6VdTHWswsqGk5dxiKmqoL6l1BlzY71oYt1vHsqy-HiqT3iE6ux4AIjPX0heyc4_61TNeauFzVRj4b63nxKJWTnE6aHJkuLxlJATSpXYkucXr4vhDlQwhWoFloL5XCZsdKHlKS357HyS1/s640/1496_Albrecht%20Durer_Seven%20sorrows_c.1496_Munich_Alte%20Pinakothek.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl181qeRA1Z2BJ8aAdnyu1jA77vV8Ea1-4iec9iGrSRoYv6VdTHWswsqGk5dxiKmqoL6l1BlzY71oYt1vHsqy-HiqT3iE6ux4AIjPX0heyc4_61TNeauFzVRj4b63nxKJWTnE6aHJkuLxlJATSpXYkucXr4vhDlQwhWoFloL5XCZsdKHlKS357HyS1/w448-h640/1496_Albrecht%20Durer_Seven%20sorrows_c.1496_Munich_Alte%20Pinakothek.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Albrecht Durer, The Seven Sorrows of Mary</span></div><span style="font-family: helvetica;"><div style="text-align: center;">German, c.1496</div><div style="text-align: center;">Munich, Bayerische Staatsgemäldesammlungen, Alte Pinakothek</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /> <br /><br /> <br /> </span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipKg6CBHx40eH7JlfDinc1tgzRx6MWw6pI_Rm02RcH-srdCEdNF7cr_QunR1c-OB5GvvXBb_RFDIq6SqzUa7LOp3FOTik-6Y3yrRK_vZrzWJWPgiLFP9Q7hVNvEWnl4Xp_DfwNQf0epL1FEXFOcusRRTETl04dwigT5RIVd8Eq8THD60sQ0qN3JGYl/s513/1500_Master%20S,%20_Flemish,%20c.%201600_Dresden,%20S%C3%A4chsische%20Landesbibliothek.png" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipKg6CBHx40eH7JlfDinc1tgzRx6MWw6pI_Rm02RcH-srdCEdNF7cr_QunR1c-OB5GvvXBb_RFDIq6SqzUa7LOp3FOTik-6Y3yrRK_vZrzWJWPgiLFP9Q7hVNvEWnl4Xp_DfwNQf0epL1FEXFOcusRRTETl04dwigT5RIVd8Eq8THD60sQ0qN3JGYl/w476-h640/1500_Master%20S,%20_Flemish,%20c.%201600_Dresden,%20S%C3%A4chsische%20Landesbibliothek.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Master S, The Seven Sorrows of Mary</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Flemish, c. 1600</div><div style="text-align: center;">Dresden, Sächsische Landesbibliothek</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /> <br /> </span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQDRq1LljDd3UECrcVvITi2AXzLn6Gk5SQI7ax8kBilTILB1PrlwfI_RkM3shF0pINvzvZ59HYyj-Y4QkGbgdAaQEvvw6ZzWBa0z59DTlZiWJPjXMGmoM08dBrQdQHMRvBYV40gvF4650pyfBJT671xg1BmXaMD05P0YUh7nAcSSsofAWkSD2MCcmk/s1345/1500_Master%20S,%20Seven%20Sorrows_Flemish,%20c.%201500-1525_London,%20Trustees%20of%20the%20British%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQDRq1LljDd3UECrcVvITi2AXzLn6Gk5SQI7ax8kBilTILB1PrlwfI_RkM3shF0pINvzvZ59HYyj-Y4QkGbgdAaQEvvw6ZzWBa0z59DTlZiWJPjXMGmoM08dBrQdQHMRvBYV40gvF4650pyfBJT671xg1BmXaMD05P0YUh7nAcSSsofAWkSD2MCcmk/w506-h640/1500_Master%20S,%20Seven%20Sorrows_Flemish,%20c.%201500-1525_London,%20Trustees%20of%20the%20British%20Museum.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Master S, The Seven Sorrows of Mary</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Flemish, c. 1500-1525</div><div style="text-align: center;">London, Trustees of the British Museum</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /> <br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeXvndWVUt9Jx9a7BlZfbNicnSByzHR0EhLCblJZHE4SToXSA-KqARty8_ZIg-SjYjqcDTFi0SwCSpFs6PAj2a1feFW8gOngqqPhZoHcgoQcfWy6vqE8npkNs4EGhZgjjBoE0ebDcVciiG4VNyQZqDj7W_Q0Zvo5_zUN-fW8h987I2XQRnOQpwArK6/s481/1510_Simon%20Bening_Da%20Costa%20Hours_Belgian_Bruges_1510-1520_Morgan_m399.092v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeXvndWVUt9Jx9a7BlZfbNicnSByzHR0EhLCblJZHE4SToXSA-KqARty8_ZIg-SjYjqcDTFi0SwCSpFs6PAj2a1feFW8gOngqqPhZoHcgoQcfWy6vqE8npkNs4EGhZgjjBoE0ebDcVciiG4VNyQZqDj7W_Q0Zvo5_zUN-fW8h987I2XQRnOQpwArK6/w440-h640/1510_Simon%20Bening_Da%20Costa%20Hours_Belgian_Bruges_1510-1520_Morgan_m399.092v.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Simon Bening, The Seven Sorrows of Mary</span></div><span style="font-family: helvetica;"><div style="text-align: center;">From the <u><i>Da Costa Hours</i></u></div><div style="text-align: center;">Belgian (Bruges), 1510-1520</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS M 399, fol. 92v</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /> </span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmisr-axKNlYaLe3e86JQ-jXbgIhZMjQxImS_V6uy07iIn6dDDSTOmbMyoz8reUluwNtMUxNlCk5sFSmhf4qRNnFAINriwjjpEJB2GRv4mZPAJbwWA2dVhVAXNHsiX7WDJ7fCsQBKNXOztGcYXQzcDW2c5QRoHzao0E-H1TflkgTMSH1Jl3qkSCo3Q/s974/1516_Adriaen_Isenbrant_-_Our_Lady_of_the_Seven_Sorrows_1518-1535_Bruges,%20Chruch%20of%20our%20Lady-_WGA11877.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmisr-axKNlYaLe3e86JQ-jXbgIhZMjQxImS_V6uy07iIn6dDDSTOmbMyoz8reUluwNtMUxNlCk5sFSmhf4qRNnFAINriwjjpEJB2GRv4mZPAJbwWA2dVhVAXNHsiX7WDJ7fCsQBKNXOztGcYXQzcDW2c5QRoHzao0E-H1TflkgTMSH1Jl3qkSCo3Q/w618-h640/1516_Adriaen_Isenbrant_-_Our_Lady_of_the_Seven_Sorrows_1518-1535_Bruges,%20Chruch%20of%20our%20Lady-_WGA11877.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Adriaen Isenbrandt, The Seven Sorrows of Mary</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Flemish, 1518-1535</div><div style="text-align: center;">Bruges, Church of Our Lady</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /> <br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4ieJnSB8VzjL-natbpA_KaL1BDziWMIkDLqMi_mcsKidJorqxnu-4uY9qjf4TiYYf9IV__qcWsm_Klhdtn9KqNM8RqNOh8pDYQlCoJ951qV0CkwAj_9XhrMRlRSbxAFurIcVJrQQ_1Ma83DkEslQBJztmUXHzFD2ngKhNeRGAR7IFXHsZP7ln27yA/s640/1516_Monogrammist%20S_Dutch,%20c.%201516-1545_Amsterdam,%20Rijksmuseum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4ieJnSB8VzjL-natbpA_KaL1BDziWMIkDLqMi_mcsKidJorqxnu-4uY9qjf4TiYYf9IV__qcWsm_Klhdtn9KqNM8RqNOh8pDYQlCoJ951qV0CkwAj_9XhrMRlRSbxAFurIcVJrQQ_1Ma83DkEslQBJztmUXHzFD2ngKhNeRGAR7IFXHsZP7ln27yA/w452-h640/1516_Monogrammist%20S_Dutch,%20c.%201516-1545_Amsterdam,%20Rijksmuseum.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Monogrammist S, The Seven Sorrows of Mary</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Dutch, c. 1516-1545</div><div style="text-align: center;">Amsterdam, Rijksmuseum</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /> <br /> <br /> </span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0XkA6ozcY9ya4Fk2bZE4rprGQ_gknJPV7A04HuoKEq3ZaMY_7LlAdABwXf3wUX_Yf4miVz_IrfV0WKWDomaBbaVKcouYO0cWhtWnMvhQCRu9y1Uxsjt3MGz73TVE3EpPrVMPwU4e7ou_-8TBdctSiHgP3LfnKFZnFcDN1rfcu0wq2Y0J3WtR74GIZ/s881/1518+Herik%20Douverman,%20Altar%20of%20the%20Seven%20Joys%20and%20the%20Seven%20Sorrows%20+Dutch,%20c.%201518-1522_Kalkar%20Kreis%20Kleve,%20Catholic%20Parish%20Church%20of%20Saint%20Nicholas.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0XkA6ozcY9ya4Fk2bZE4rprGQ_gknJPV7A04HuoKEq3ZaMY_7LlAdABwXf3wUX_Yf4miVz_IrfV0WKWDomaBbaVKcouYO0cWhtWnMvhQCRu9y1Uxsjt3MGz73TVE3EpPrVMPwU4e7ou_-8TBdctSiHgP3LfnKFZnFcDN1rfcu0wq2Y0J3WtR74GIZ/w526-h640/1518+Herik%20Douverman,%20Altar%20of%20the%20Seven%20Joys%20and%20the%20Seven%20Sorrows%20+Dutch,%20c.%201518-1522_Kalkar%20Kreis%20Kleve,%20Catholic%20Parish%20Church%20of%20Saint%20Nicholas.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Herik Douverman, Altar of the Seven Joys and the Seven Sorrows</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Dutch, c. 1518-1522</div><div style="text-align: center;">Kalkar Kreis Kleve, Catholic Parish Church of Saint Nicholas</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimPGLVpFJug4lKtKXJushS7xRIBzgzF5D3sJRjPLjNNOUjZfZCPbAFHLosikjFgqSP_SEiSEqkzZ7Q_GvbRKTjrWyCvEHpIoWlNvtETMllo2e7mmXM2h7lTDaw2eVGc8vEB-uyN7QKEM4irYKLsApg1GeGbTjZQA35KX8ehWxeBRAif0FmM5ZMKKus/s1200/1519_Master%20of%20the%20Magdalen%20Legend_The%20Ashwellthorpe%20Triptych_Flemish,%20c.%201515-1525_Norfolk%20(UK),%20Norfolk%20Castle%20Museum%20and%20Art%20Gallery%202%20(2).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimPGLVpFJug4lKtKXJushS7xRIBzgzF5D3sJRjPLjNNOUjZfZCPbAFHLosikjFgqSP_SEiSEqkzZ7Q_GvbRKTjrWyCvEHpIoWlNvtETMllo2e7mmXM2h7lTDaw2eVGc8vEB-uyN7QKEM4irYKLsApg1GeGbTjZQA35KX8ehWxeBRAif0FmM5ZMKKus/w640-h446/1519_Master%20of%20the%20Magdalen%20Legend_The%20Ashwellthorpe%20Triptych_Flemish,%20c.%201515-1525_Norfolk%20(UK),%20Norfolk%20Castle%20Museum%20and%20Art%20Gallery%202%20(2).jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Master of the Magdalen Legend, The Seven Sorrows of Mary with Donors and Their Patrons, Saints Christopher and Catherine of Alexandria</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Called<i> The Ashwellthorpe Triptych</i></div><div style="text-align: center;">Flemish, c. 1515-1525</div><div style="text-align: center;">Norfolk (UK), Norfolk Castle Museum and Art Gallery</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a archeologie.jpg="" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfqSIhEglkirep7xl58X5NphK140V1MWcti1LxwFz50AuEJBoaPzihu2GrPq6q_cXy7Vf6vyS1cZIysKfNrdbOva55PSWzsONkRvdtVth-_jrUaCl8BTJbQgjPElER47WeGlheqYIZ6Xa2KIgqWD1bi5e6ouzVn4lzkQK2jhm6_oXYMqr8lfeNK3T5/s593/1520_Barend%20van%20Orley_Center%20Panel%20of%20Triptych%20of%20Our%20Lady%20of%20Seven%20Sorrows_1520-35_Besancon_Musee%20des%20Beaux-Arts%20et%20d" style="margin-left: auto; margin-right: auto;"><img archeologie.jpg="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfqSIhEglkirep7xl58X5NphK140V1MWcti1LxwFz50AuEJBoaPzihu2GrPq6q_cXy7Vf6vyS1cZIysKfNrdbOva55PSWzsONkRvdtVth-_jrUaCl8BTJbQgjPElER47WeGlheqYIZ6Xa2KIgqWD1bi5e6ouzVn4lzkQK2jhm6_oXYMqr8lfeNK3T5/w484-h640/1520_Barend%20van%20Orley_Center%20Panel%20of%20Triptych%20of%20Our%20Lady%20of%20Seven%20Sorrows_1520-35_Besancon_Musee%20des%20Beaux-Arts%20et%20d" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Bernard van Orley, Center Panel of the Triptych of Our Lady of Seven Sorrows</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Flemish, c. 1520-1535</div><div style="text-align: center;">Besancon, Musée des Beaux-Arts et d'Archeologie</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /> </span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9vw3SoBNXfRjNffnWm-ECtv6OW5KatfZ4bViSb8T_GjAxZBeI5nKvTGrcE9kuqguMbmmwDC7NxPRoRhr6SKMQP_uLqhP9ZY1UDsrvVifRQVz-bwr5PkTM07UNkb1k2Qbu-98VZOe7EVc/s1600/1521_Adriaen+Isenbrandt_Virgin+of+the+Seven+Sorrows_1521_Brussels_Royal+Museum+of+Fine+Arts+of+Belgium.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9vw3SoBNXfRjNffnWm-ECtv6OW5KatfZ4bViSb8T_GjAxZBeI5nKvTGrcE9kuqguMbmmwDC7NxPRoRhr6SKMQP_uLqhP9ZY1UDsrvVifRQVz-bwr5PkTM07UNkb1k2Qbu-98VZOe7EVc/s640/1521_Adriaen+Isenbrandt_Virgin+of+the+Seven+Sorrows_1521_Brussels_Royal+Museum+of+Fine+Arts+of+Belgium.JPG" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Adriaen Ysenbrandt, The Virgin of the Seven Sorrows</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Flemish, 1521</div><div style="text-align: center;">Brussels, Royal Museum of Fine Arts of Belgium</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /> </span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZzzbBSbkXo8Ulil0PFQUS4QEUmrHz_Toerbz-jyyBO5EotI1_Ak5OUvRMYD_hLABDiHaXNEu56dVL93ipW0pRUBDqILD4wmIAjraK8opNFz4z-rLkg8hn_ABO8zLKiboXwVIRo0cOebyDR3Y_hS3Boz5yAUw36SaoiWbE6osc6DYY5lDVXVDEiby2/s5244/1526_Bernard%20van%20Orley,%20The%20Seven%20Sorrows%20of%20Mary_Flemish,%201526_Antwerp,%20Royal%20Museum%20of%20Fine%20Arts.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZzzbBSbkXo8Ulil0PFQUS4QEUmrHz_Toerbz-jyyBO5EotI1_Ak5OUvRMYD_hLABDiHaXNEu56dVL93ipW0pRUBDqILD4wmIAjraK8opNFz4z-rLkg8hn_ABO8zLKiboXwVIRo0cOebyDR3Y_hS3Boz5yAUw36SaoiWbE6osc6DYY5lDVXVDEiby2/w626-h640/1526_Bernard%20van%20Orley,%20The%20Seven%20Sorrows%20of%20Mary_Flemish,%201526_Antwerp,%20Royal%20Museum%20of%20Fine%20Arts.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Bernard van Orley, The Seven Sorrows of Mary</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Flemish, 1526</div><div style="text-align: center;">Antwerp, Royal Museum of Fine Arts</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLwH9DjCjXquojTCX7HFsa2vOB8JNN7sDkMVFQKV6fb1Bad0MuQjFKzz6HWMllj31S_neYGzDTyBPqihzdDiIzjd1_dUfQi2wec4rlugJ4KxhUdeKPQIwemSDtPXN7yaIz1DdQLCtfscDrxUn9pdQcrhyOc3GqOimJWZ_sbWoJBiQX9aVkMQHN00vS/s1115/1528_Jan%20Baegert,%20Seven%20Sorrows_German,%20c.%201528-1530_Cologne,%20Kunstmuseum%20des%20Erzbistums%20K%C3%B6ln.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLwH9DjCjXquojTCX7HFsa2vOB8JNN7sDkMVFQKV6fb1Bad0MuQjFKzz6HWMllj31S_neYGzDTyBPqihzdDiIzjd1_dUfQi2wec4rlugJ4KxhUdeKPQIwemSDtPXN7yaIz1DdQLCtfscDrxUn9pdQcrhyOc3GqOimJWZ_sbWoJBiQX9aVkMQHN00vS/w378-h640/1528_Jan%20Baegert,%20Seven%20Sorrows_German,%20c.%201528-1530_Cologne,%20Kunstmuseum%20des%20Erzbistums%20K%C3%B6ln.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Jan Baegert, The Seven Sorrows of Mary</span></div><span style="font-family: helvetica;"><div style="text-align: center;">German, c. 1528-1530</div><div style="text-align: center;">Cologne, Kunstmuseum des Erzbistums Köln</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /> </span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvoETKMCsqVIX3B_zSKydtyhChZ2g5RVFUzsTUPUePsG2ecVIPAgxoSgSAKyovnFX3ZafXUw5L2b6XEJDJxDMbELDWL2NXWw3hHEKEyFXJJQLoVQAQQL3_qu6nj2rav033XrE0bx4QoJ1KSY9z_FYFnGPT7lktywLW3aOEPAVOiSYI2jAILtjESoQK/s521/1533+Workshop%20of%20Pierre%20Reymond_France,%201533_New%20York,%20The%20Frick%20Collection.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvoETKMCsqVIX3B_zSKydtyhChZ2g5RVFUzsTUPUePsG2ecVIPAgxoSgSAKyovnFX3ZafXUw5L2b6XEJDJxDMbELDWL2NXWw3hHEKEyFXJJQLoVQAQQL3_qu6nj2rav033XrE0bx4QoJ1KSY9z_FYFnGPT7lktywLW3aOEPAVOiSYI2jAILtjESoQK/w534-h640/1533+Workshop%20of%20Pierre%20Reymond_France,%201533_New%20York,%20The%20Frick%20Collection.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Workshop of Pierre Reymond, Enamel Plaque with the Seven Sorrows of Mary and Two Donors</span></div><span style="font-family: helvetica;"><div style="text-align: center;">France, 1533</div><div style="text-align: center;">New York, The Frick Collection</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGH3I-8_PHbPfuOFrMVPGgDtG2IFtkPm_tR9fZshyphenhyphen6wUIJqOT_6Z_GPzJtq3SjbOhK-uzFx-oU_hJXZC3jsh6glv1AdePMSO71MZUKTGQXCgHF8ThbF8iBhLxd9q6iQ4b-d0iY9ThDqWFU/s1600/1575_Giorgio+Ghisi_Italian%252C+c.+1575_Philadelphia%252C+Museum+of+Art.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGH3I-8_PHbPfuOFrMVPGgDtG2IFtkPm_tR9fZshyphenhyphen6wUIJqOT_6Z_GPzJtq3SjbOhK-uzFx-oU_hJXZC3jsh6glv1AdePMSO71MZUKTGQXCgHF8ThbF8iBhLxd9q6iQ4b-d0iY9ThDqWFU/s640/1575_Giorgio+Ghisi_Italian%252C+c.+1575_Philadelphia%252C+Museum+of+Art.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Giorgio Ghisi, The Mater Dolorosa Surrounded by the Seven Sorrows</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Italian, c. 1575</div><div style="text-align: center;">Philadelphia, Museum of Art</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /> <br /> <br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a art="" catalunya.jpg="" de="" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnKrMnioJ_2F63yc35n_xS5JBH0GlDpU0W0NN1Wye5KYxp96d9aMRoqzFT0TR3ecuF30jNONa6PikFJ6c9Omkwd6yTYBQ8lVyuCoCWjrtz7Fz_uc8fP_n8Ke58TBuucVTyD5rHphTFXSy6vw0yUNwwAE_CYjXbd-8pA9TrLGDa6HZY1nmFyn9ivfVN/s640/1575_Master_of_the_Half_Lengths_-_Virgin_of_the_Seven_Sorrows_late%2016th%20c-Barcelona,%20Museu%20Nacional%20d" style="margin-left: auto; margin-right: auto;"><img art="" border="0" catalunya.jpg="" de="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnKrMnioJ_2F63yc35n_xS5JBH0GlDpU0W0NN1Wye5KYxp96d9aMRoqzFT0TR3ecuF30jNONa6PikFJ6c9Omkwd6yTYBQ8lVyuCoCWjrtz7Fz_uc8fP_n8Ke58TBuucVTyD5rHphTFXSy6vw0yUNwwAE_CYjXbd-8pA9TrLGDa6HZY1nmFyn9ivfVN/w474-h640/1575_Master_of_the_Half_Lengths_-_Virgin_of_the_Seven_Sorrows_late%2016th%20c-Barcelona,%20Museu%20Nacional%20d" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">The Master of the Half-Lengths, The Virgin of the Seven Sorrows</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Flemish, Late 16th Century</div><div style="text-align: center;">Barcelona, Museu Nacional d'Art de Cataluňa</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOwmg2TFmzSfJeLNXmklChTL1Oc0_Fv0DOnyXYhBQ7IQwFIslzhlobubhS8xTcZv9DTlGbug83WrMgsd9diU-mAj7XP_ahAd16Id-uex-xAkTQ_3howTYEURHnY6RnCMp4SCxIwGcVvc34mAc7eyuwjMn5sbbEEHVPzk2VAS4N3Cs-Ms44auEHCe3E/s4096/1581_Hieronymous%20Wierix_Flemish,%201581_Philadelphia,%20Museum%20of%20Art.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOwmg2TFmzSfJeLNXmklChTL1Oc0_Fv0DOnyXYhBQ7IQwFIslzhlobubhS8xTcZv9DTlGbug83WrMgsd9diU-mAj7XP_ahAd16Id-uex-xAkTQ_3howTYEURHnY6RnCMp4SCxIwGcVvc34mAc7eyuwjMn5sbbEEHVPzk2VAS4N3Cs-Ms44auEHCe3E/w500-h640/1581_Hieronymous%20Wierix_Flemish,%201581_Philadelphia,%20Museum%20of%20Art.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Hieronymous Wierix after Jan Luyken, Our Lady of Sorrows</span></div><span style="font-family: helvetica;"><div style="text-align: center;">Flemish, 1581</div><div style="text-align: center;">Philadelphia, Museum of Art</div>The inscription reads "Behold, he is set here for the fall and for the resurrection of many in Israel, and as a sign to whom he will be contradicted: and a sword will pierce your soul above, so that the thoughts of many hearts may be revealed." These are the words of the prophet Simeon, related in the Gospel account of Saint Luke (Luke 2:32-35).</span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1zzO0FYpG4c2IkF5xZ-4yLQ82lhTt3bIbRjHPCNnjs-O_0dxteNHl-H8KKGaPw7u7kizYwuZMf4VE3a_R-ws0IHm1F0WpSALPXJS-4DDJAL5cHiXqZ2Mzdltm7u_LKPwrLrGBAQsmZhl2xm6V7zjRuuAaWeuz82uqGAtKFg0O6MxFgZmbzOLNZ1sb/s512/1600_French,%2017th%20Century.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1zzO0FYpG4c2IkF5xZ-4yLQ82lhTt3bIbRjHPCNnjs-O_0dxteNHl-H8KKGaPw7u7kizYwuZMf4VE3a_R-ws0IHm1F0WpSALPXJS-4DDJAL5cHiXqZ2Mzdltm7u_LKPwrLrGBAQsmZhl2xm6V7zjRuuAaWeuz82uqGAtKFg0O6MxFgZmbzOLNZ1sb/w418-h640/1600_French,%2017th%20Century.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Our Lady of the Seven Sorrows</span></div><span style="font-family: helvetica;"><div style="text-align: center;">French, 17th Century</div><div style="text-align: center;">Bourg-en-Bresse, Church of Saint-Nicolas-de-Tolentin</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9y7qP55oqKZ3eSonKBQbkVxO9Xsxqw6HIb1U4FV-vd0wWix3Fzu-M2BBxpUMkpyAb-pizbydFAFuz1MzANTvfEm-polxEhLd61gti6EbeFR_r_FXspQ5-_y5K8B52u6dLxF7AnaU6gdtuK492f7T3F0llB23fP4cHCytcpXkBkfOln4KRk3gzOzYc/s2116/1615_Workshop%20of%20Penicaud_Enamel%20Plaque_French,%20c.%201615_London,%20Trustees%20of%20the%20British%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9y7qP55oqKZ3eSonKBQbkVxO9Xsxqw6HIb1U4FV-vd0wWix3Fzu-M2BBxpUMkpyAb-pizbydFAFuz1MzANTvfEm-polxEhLd61gti6EbeFR_r_FXspQ5-_y5K8B52u6dLxF7AnaU6gdtuK492f7T3F0llB23fP4cHCytcpXkBkfOln4KRk3gzOzYc/w494-h640/1615_Workshop%20of%20Penicaud_Enamel%20Plaque_French,%20c.%201615_London,%20Trustees%20of%20the%20British%20Museum.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Workshop of Penicaud, Enamel Plaque of Our Lady of the Seven Sorrows</span></div><span style="font-family: helvetica;"><div style="text-align: center;">French, c. 1615</div><div style="text-align: center;">London, Trustees of the British Museum</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkXH0dMgI5Yw5tr20Prvw44cJZVQlm9JtUcID2w2TqFnwWXoSTHbxmigbRFJAozsht6oeBihL4eWjmGFWAqkL1-Ltrvk0-1LoVCnBYnlO7PJBfnNVVlWA3JNa_vs1_UyxDUkjxtEvLKy0eR1iu6ewj5fXtEHqWymH7ve5MDL_UnyMLgiFry68AvW9S/s475/1626_Paul%20Fuerst_German,%201626_Wolfenb%C3%BCttel,%20Herzog%20August%20Bibliothek.png" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkXH0dMgI5Yw5tr20Prvw44cJZVQlm9JtUcID2w2TqFnwWXoSTHbxmigbRFJAozsht6oeBihL4eWjmGFWAqkL1-Ltrvk0-1LoVCnBYnlO7PJBfnNVVlWA3JNa_vs1_UyxDUkjxtEvLKy0eR1iu6ewj5fXtEHqWymH7ve5MDL_UnyMLgiFry68AvW9S/w506-h640/1626_Paul%20Fuerst_German,%201626_Wolfenb%C3%BCttel,%20Herzog%20August%20Bibliothek.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Paul Fürst, The Seven Sorows of Mary</span></div><span style="font-family: helvetica;"><div style="text-align: center;">German, 1626</div><div style="text-align: center;">Wolfenbüttel, Herzog August Bibliothek</div></span></ol></td></tr></tbody></table><div style="text-align: center;"><br /></div><span style="font-family: helvetica;"><br /><br /><br /><br /><br /></span></ol><h4><ol style="text-align: left;"><span style="font-family: helvetica;">Devotion to Our Lady of Sorrows</span></ol></h4><ol style="text-align: left;"><span style="font-family: helvetica;"><br />Devotion to Mary under the title of Our Lady of Sorrows was initially associated with the religious Order of the Servants of Mary, called the Servites. They were founded in 1233 by a group of seven pious laymen who were Florentine wool merchants. They had belonged to a lay confraternity with a devotion to Mary. However, like their contemporary Saint Francis, they gave up their prosperous careers and retreated to a village outside Florence where they established a religious community. Eventually they made their way to a nearby mountain and laid the foundations for a religious order of men. It was given approval by the bishop of Florence at some point in the mid-1240s as the Order of Friars Servants of Mary. <br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0s8j8lDrS-ib64eaPswJJi6p3c1NFELFlRzBHSbx_64vUnH2E7CV_GQVGvl9LT3wRJJHcoVcSQcybDuigaH0OzyZrWu_vlyxCSCqgBlOfQ4Jz34UOLo8SJdx94jFr1tFMjIIQ2lfsOavC/s1600/1751_German%252C+c.+1750-1800_Motten+%2528DE%2529%252C+Parish+Church+of+St.+Matthew_Page_1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0s8j8lDrS-ib64eaPswJJi6p3c1NFELFlRzBHSbx_64vUnH2E7CV_GQVGvl9LT3wRJJHcoVcSQcybDuigaH0OzyZrWu_vlyxCSCqgBlOfQ4Jz34UOLo8SJdx94jFr1tFMjIIQ2lfsOavC/s640/1751_German%252C+c.+1750-1800_Motten+%2528DE%2529%252C+Parish+Church+of+St.+Matthew_Page_1.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><ol style="text-align: left;"><div style="text-align: center;"><span style="font-family: helvetica;">Our Lady of Sorrows</span></div><span style="font-family: helvetica;"><div style="text-align: center;">German, c. 1750-1800</div><div style="text-align: center;">Motten. Parish Church of St. Matthew</div></span></ol></td></tr></tbody></table><br /><span style="font-family: helvetica;"><br /><br />One of the primary factors in the spirituality of the Servites over the centuries has been devotion to Mary as Our Lady of Sorrows, as the Mater Dolorosa. Their black habit was established as a reminder or Mary’s dress as a widow. In 1692 Our Lady of Sorrows was officially declared to be the patroness of the order.<b><u><span style="color: #2b00fe;">3 </span></u></b><br /> <br /> <br /> <br /> © M. Duffy, 2017, Revised with addition of material and new images, 2022.<br /> <br /> ______________________________________________________ <br /> * “Now, Master, you may let your servant go in peace, according to your word,<br /> for my eyes have seen your salvation,<br /> which you prepared in sight of all the peoples,<br /> a light for revelation to the Gentiles,<br /> and glory for your people Israel.” (Luke 2:29-32) <br /> <br /> <br /> 1. This neat listing of the sorrows with their accompanying text references comes from <a href="https://www.catholicculture.org/culture/liturgicalyear/calendar/day.cfm?date=2017-09-15">https://www.catholicculture.org/culture/liturgicalyear/calendar/day.cfm?date=2017-09-15</a> <br />2. Mary, as the Mater Dolorosa, has also been described in poetry, specifically the poem called the Stabat Mater, usually attributed to the Franciscan </span><span style="font-family: helvetica;">Jac</span><span style="font-family: helvetica;">opone da Todi toward the end of the thirteenth century, which imagines the scene at the foot of the Cross, imagines Mary’s reaction to what is happening and prays to be united with her in her sufferings. It has been set to music by many composers, including Palestrina, Vivaldi, Pergolesi, Haydn, Rossini, Poulenc and Arvo Part, to name just the ones I’m personally familiar with. A chant version (with an English translation) is probably familiar to many since it is often used during communal celebration of the Stations of the Cross. It is also one of the few surviving sequences (hymns that precede the reading of the Gospel on feast days), being an optional sequence for the feast of Our Lady of Sorrows. See </span><a href="https://www.stabatmater.info/" style="font-family: helvetica;">https://www.stabatmater.info/</a><span style="font-family: helvetica;"> A sampling of various settings of the words can be found at </span><a href="https://www.youtube.com/results?search_query=stabat+mater" style="font-family: helvetica;">https://www.youtube.com/results?search_query=stabat+mater</a></ol></div></div></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div style="text-align: left;" trbidi="on"><div class="MsoNormal"><div class="MsoNormal"><span style="font-family: helvetica;">3. For information about the Order of Servites see <a href="http://www.servite.org/">http://www.servite.org/</a></span></div></div></div><div style="text-align: left;" trbidi="on"><div class="MsoNormal"><div class="MsoNormal"><span style="font-family: helvetica;">Meehan, Andrew. "Pax." The Catholic Encyclopedia. Vol. 11. New York: Robert Appleton Company, 1911. <a href="http://www.newadvent.org/cathen/11594b.htm">http://www.newadvent.org/cathen/11594b.htm</a></span></div></div></div></blockquote><div dir="ltr" style="text-align: left;" trbidi="on"><div class="MsoNormal"><div class="MsoNormal"><span style="font-family: helvetica;"><br /> <br /> <br /> <br /> Scripture texts in this work are taken from the New American Bible, revised edition © 2010, 1991, 1986, 1970 Confraternity of Christian Doctrine, Washington, D.C. and are used by permission of the copyright owner. All Rights Reserved. No part of the New American Bible may be reproduced in any form without permission in writing from the copyright owner. <br /> <br /> <br /></span> <br />
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<div class="blogger-post-footer">Copyright Margaret Duffy, 2008-2017</div>Margaret Duffyhttp://www.blogger.com/profile/03821836487895782384noreply@blogger.com1tag:blogger.com,1999:blog-415269867796810849.post-7696701698423282172023-08-22T01:26:00.001-04:002023-08-22T01:36:39.747-04:00Ave Regina Caelorum –The Coronation of the Virgin<p><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr1eCmoxCZLS3zhGAfrxqCS9IlbxWLM3ouqRzZx3D16YWhFQMizIEjR4P01RBF98czBaYS7-QR2PO8DOAbqwfPDzpoCzz6cmRVASksrmcwB31IYpoPewtFi5v3EXhnjzVbqPU9Cqo_9DMaINUoKr_I8VY6H88q1mD0NKcPCMMI_rRVsbqBVcE9SkhJ/s1147/1467_Filippo%20Lippi_Coronation%20of%20the%20Virgin_Spoleto,%20Duomo_1467-69.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="1147" height="446" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr1eCmoxCZLS3zhGAfrxqCS9IlbxWLM3ouqRzZx3D16YWhFQMizIEjR4P01RBF98czBaYS7-QR2PO8DOAbqwfPDzpoCzz6cmRVASksrmcwB31IYpoPewtFi5v3EXhnjzVbqPU9Cqo_9DMaINUoKr_I8VY6H88q1mD0NKcPCMMI_rRVsbqBVcE9SkhJ/w640-h446/1467_Filippo%20Lippi_Coronation%20of%20the%20Virgin_Spoleto,%20Duomo_1467-69.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Filippo Lippi, The Coronation of the Virgin</div><div style="text-align: center;">Italian, c. 1467-1469</div><div style="text-align: center;">Spoleto, Cathedral</div></td></tr></tbody></table><span style="background-color: white; font-family: Cantarell; font-size: 15.84px;"><span style="color: red;">The theme of coronation has been much in mind this year of 2023. In May we saw, for the firts time in seventy years, the only surviving coronation of a monarch that resembles the blend of religion and politics that attended such events in the European past. Coronations like that of King Charles III were once fairly common in Western Europe and these were mirrored in the spiritual realm by the subject of the coronation of the Virgin Mary as Queen of Heaven. </span></span><div><span style="background-color: white; font-family: Cantarell; font-size: 15.84px;"><span style="color: red;"><br /></span></span></div><div><span style="background-color: white; font-family: Cantarell; font-size: 15.84px;"><span style="color: red;">This idea of Mary as Queen originated with the meditations of the early Church on Mary's position as the Second Eve, as part of a divine pairing with her son, Jesus Christ, the Second Adam. This is as old as the second century, just after the deaths of the first apostles. But, as the mediations of theologians and the faithful progressed another equation between Mother and Son developed. If Christ is the King of the Universe, then Mary is Queen Mother. Therefore, she reigns with Him in heaven as its queen. Every queen has a crown and, if she has a crown, she also must have had a coronation. Imagining such a coronation has resulted in a great deal of poetry and art, which I examine below.</span></span></div><div><span style="background-color: white; font-family: Cantarell; font-size: 15.84px;"><span style="color: red;"><br /></span></span></div><div><span style="background-color: white; font-family: Cantarell; font-size: 15.84px;"><span style="color: red;">As a tribute to this year of coronation I have decided to repost this article from last year.<br /></span><br /></span><div><br /></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;">Although the memorial of the Queenship of Mary was instituted in 1954 by Pope Pius XII in the encyclical “</span><em style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;">Ad Caeli Reginam</em><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;">”</span><span style="background-color: white; color: blue; font-family: Cantarell; font-size: x-small;"><u><strong>1</strong></u></span><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"> the idea of Mary’s Queenship of Heaven is a very old one. Its antiquity is testified by the number of medieval images (following a visual tradition that goes back even further as demonstrated below) and by the several well-known medieval hymns that present it, the </span><em style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><a href="http://en.wikipedia.org/wiki/Salve_Regina" style="color: #114499; text-decoration-line: none;">Salve Regina</a></em><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;">, </span><em style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><a href="http://en.wikipedia.org/wiki/Ave_Regina_Caelorum" style="color: #114499; text-decoration-line: none;">Ave Regina Caelorum</a></em><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"> and </span><em style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><a href="http://en.wikipedia.org/wiki/Regina_Coeli" style="color: #114499; text-decoration-line: none;">Regina Caeli</a></em><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"> among them, and, of course, the final decade of the </span><a href="http://www.ewtn.com/devotionals/prayers/rosary/" style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px; text-decoration-line: none;">Rosary</a><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;">, which has been prayed for centuries, is the Coronation of the Blessed Virgin Mary.</span><p></p><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;">There is clearly a close relationship between the </span><a href="http://imaginemdei.blogspot.com/2011/08/assumpta-est-maria-in-coelum-mary-is.html" style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px; text-decoration-line: none;">Assumption of Mary</a><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"> and her Queenship. It is, therefore, appropriate that the memorial of the Queenship of Mary, which was originally placed on May 31 by Pius XII, was moved by Pope Paul VI in 1969 to August 22, the octave of the Assumption, replacing the memorial of the Sacred Heart of Mary. </span><span style="background-color: white; color: blue; font-family: Cantarell; font-size: x-small;"><u><strong>2</strong></u></span><br style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;" /><br style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;" /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;">In the visual arts the image of Mary as Queen exists in two types: the </span><em style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;">Coronation of the Virgin</em><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"> and </span><em style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;">Mary as Queen of Heaven. </em><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;">The image of the Queen of Heaven is older than that of the Coronation. However, although the Coronation is the newer theme chronologically, it is a logical development from the image of Mary as Queen of Heaven for, if Mary is a crowned queen, there must have been a moment of coronation, and therefore, this is the subject of this discussion.</span><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><em style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><strong>The Coronation of the Virgin</strong></em></div><div><em style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><strong><br /></strong></em></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;">The images of the </span><em style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;">Coronation of the Virgin</em><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"> tend to fall into several distinct groupings, based on from whom Mary receives her crown. </span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;">She may receive it:</span></div><div><ul style="text-align: left;"><li><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;">from the hands of Jesus, when only the two of them are present</span></li><li><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;">from the hands of Jesus and attended by angels</span></li><li><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;">from the hands of angels in the presence of Jesus</span></li><li><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;">surrounded by music making angels</span></li><li><span style="color: #114499; font-family: Cantarell;"><span style="background-color: white; font-size: 15.84px;">from God the Father</span></span></li><li><span style="color: #114499; font-family: Cantarell;"><span style="background-color: white; font-size: 15.84px;">from God the Father and Jesus</span></span></li><li><span style="color: #114499; font-family: Cantarell;"><span style="background-color: white; font-size: 15.84px;">from Jesus accompanied by the Holy Spirit (I have only found one image of this type, but there may be more)</span></span></li><li><span style="color: #114499; font-family: Cantarell;"><span style="background-color: white; font-size: 15.84px;">from the entire Holy Trinity of God the Father, God the Son and God the Holy Spirit (who is usually, but not always present in the form of a dove)</span></span></li><li><span style="color: #114499; font-family: Cantarell;"><span style="background-color: white; font-size: 15.84px;">in front of the entire Court of Heaven, composed of angels and saints</span></span></li></ul><div><span style="color: #114499; font-family: Cantarell;"><span style="font-size: 15.84px;">There is also a group of images that present the Coronation as part of the entire story of Mary's death and Assumption into Heaven.</span></span></div></div><div><span style="color: #114499; font-family: Cantarell;"><span style="font-size: 15.84px;"><br /></span></span></div><div><span style="color: #114499; font-family: Cantarell;"><span style="font-size: 15.84px;"><br /></span></span></div><h3 style="text-align: left;"><span style="color: #114499; font-family: Cantarell;"><span style="font-size: 15.84px;">Medieval Images: 1100-1500</span></span></h3><div><span style="color: #114499; font-family: Cantarell;"><span style="font-size: 15.84px;">Although there are images of Mary as Queen of Heaven prior to 1100, I have not found images of the subject of her <i><b>Coronation </b></i>as Queen of Heaven before the middle of the twelfth century. This is not to say that they may not have existed and still may exist, just that to date I have not found them.</span></span></div><div><span style="color: #114499; font-family: Cantarell;"><span style="font-size: 15.84px;"><br /></span></span></div><div><span style="color: #114499; font-family: Cantarell;"><span style="font-size: 15.84px;"><br /></span></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><h4 style="margin: 0px; position: relative;">Crowning By Jesus Alone</h4><div><br /></div>The earliest images concentrate on the simplest form of the story, on the figures of Mary and Christ. Further, although less favored in the later middle ages and beyond, this form of simple storytelling was never entirely abandoned. It recurs frequently, if not in great quantity.<br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqqcRXBRP4sGRk8cYv798iCZ2C2unyu29dqoFKGYVQnzVGDTTpvvpGj-vTwmvzsURksM9YEg_xHRKyb5SFsSVrIkxsttfJZbT6cPDFM7OgxiY6gzkgWFz0c7T741I82BCbgI58d94IiUcUd-mwi2cYpdHgI3Qthqix2mfP_fgEEkBV4MLORAaiDYVj/s573/1170_From%20Miniatures%20of%20the%20Life%20of%20Christ_French,%20c.%201170-1180_New%20York,%20Pierpont_MS%20M44,%20fol.016r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="573" data-original-width="419" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqqcRXBRP4sGRk8cYv798iCZ2C2unyu29dqoFKGYVQnzVGDTTpvvpGj-vTwmvzsURksM9YEg_xHRKyb5SFsSVrIkxsttfJZbT6cPDFM7OgxiY6gzkgWFz0c7T741I82BCbgI58d94IiUcUd-mwi2cYpdHgI3Qthqix2mfP_fgEEkBV4MLORAaiDYVj/w468-h640/1170_From%20Miniatures%20of%20the%20Life%20of%20Christ_French,%20c.%201170-1180_New%20York,%20Pierpont_MS%20M44,%20fol.016r.jpg" width="468" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">The Coronation of the Virgin</div><div style="text-align: center;">From <i><u>Miniatures of the Life of Christ</u></i></div><div style="text-align: center;">French, c. 1170-1180</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS M 44, fol. 16r</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikyhR3kX2msxB5hOrLdISA2M_tBAPNBao3zEiWVQRMt8FYaa0fQZ9Sm-6KGgdcxacNKM8GGMUVl-Y1X6Crx4SVy3G-9VTMoubzfPf_FSWJSSzHxgiwiNNTe0apVT-fy8xdBhqDe3f_lIH2AJ2R5AeJvmR-hI3JvfKGIHVaItZSgFQLkXFxNvY2gG8N/s341/1225_Hainricus%20the%20Sacristan_From%20a%20Gradual,%20German%20(Weingarten),%20c.%201225-1250_New%20York,%20Pierpont_MS%20M%20711,%20fol.%2053r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="341" data-original-width="234" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikyhR3kX2msxB5hOrLdISA2M_tBAPNBao3zEiWVQRMt8FYaa0fQZ9Sm-6KGgdcxacNKM8GGMUVl-Y1X6Crx4SVy3G-9VTMoubzfPf_FSWJSSzHxgiwiNNTe0apVT-fy8xdBhqDe3f_lIH2AJ2R5AeJvmR-hI3JvfKGIHVaItZSgFQLkXFxNvY2gG8N/w440-h640/1225_Hainricus%20the%20Sacristan_From%20a%20Gradual,%20German%20(Weingarten),%20c.%201225-1250_New%20York,%20Pierpont_MS%20M%20711,%20fol.%2053r.jpg" width="440" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Hainricus the Sacristan, The Coronation of the Virgin<br />From a <i><u>Gradual</u></i><br />German (Weingarten), c. 1225-1250<br />New York, Pierpont Morgan Library<br />MS M 711, fol. 53r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizmNshADuWFp9_yOoUnk3Cz6lA_aGMlSA33di16XVjhR8oTWrfmAll5Xvf7JKbkJ4fNv_PKTA60xbJRItwlypjgXdUmKqjKJM1kz8WQdTPHZfl13V7E1Ll48YzRm6rsW_S-W3QPJN1OhF93qSPOzoNdzEL48kv2woIZhwvZ4HW2zpgfR0vRhq6_V_X/s995/1296_Giacomo%20Torriti_Coronation_S.%20Maria%20Maggiore_%20(2).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="544" data-original-width="995" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizmNshADuWFp9_yOoUnk3Cz6lA_aGMlSA33di16XVjhR8oTWrfmAll5Xvf7JKbkJ4fNv_PKTA60xbJRItwlypjgXdUmKqjKJM1kz8WQdTPHZfl13V7E1Ll48YzRm6rsW_S-W3QPJN1OhF93qSPOzoNdzEL48kv2woIZhwvZ4HW2zpgfR0vRhq6_V_X/w640-h350/1296_Giacomo%20Torriti_Coronation_S.%20Maria%20Maggiore_%20(2).jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Giacomo Torriti, The Coronation of the Virgin</div><div style="text-align: center;">Italian, Mosaic, 1296</div><div style="text-align: center;">Rome, Santa Maria Maggiore</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKwsMk-0QGVDrqcaqBud4aHiBhcsa8FKNqGIxxv3Wrpc1mjDsWOScnx-ZeIzxFaFP6wJGSoArJ6eQJHqnPExBjush4-rHlG0q5Ub1gsXB3onSsL2So6Ibk4Iju1zsv1ZvZnt1ibuFgth3RljeVdhUxtcmrk9Iyb0h2alaLiVEvHKDAnPOllEI4_kzQ/s1522/1300_From%20a%20Book%20of%20Hours_French,%2014th%20Century_Paris,%20BNF_MS%20Nouvelle%20acquisition%20latine%20560,%20fol.%20128r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1469" data-original-width="1522" height="618" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKwsMk-0QGVDrqcaqBud4aHiBhcsa8FKNqGIxxv3Wrpc1mjDsWOScnx-ZeIzxFaFP6wJGSoArJ6eQJHqnPExBjush4-rHlG0q5Ub1gsXB3onSsL2So6Ibk4Iju1zsv1ZvZnt1ibuFgth3RljeVdhUxtcmrk9Iyb0h2alaLiVEvHKDAnPOllEI4_kzQ/w640-h618/1300_From%20a%20Book%20of%20Hours_French,%2014th%20Century_Paris,%20BNF_MS%20Nouvelle%20acquisition%20latine%20560,%20fol.%20128r.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />French, 14th Century<br />Paris, Bibliotheque nationale de France<br />MS Nouvelle acquisition latine 560, fol. 128r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA_tCWI9yGf6q5hP0ZJ9-HlQ6I0V4AcPpg8bCJaDHhQLh6M8RXoJvOZJ_LgWPGmUOFxPPDx0W_8E9eULtjhPwsWqadNIM65rh5VRr0SY9MWEW8XWjwCJ5ip4sdiMRtyp9V7PlGuc5hNy61n3AgZkEnHSCprpMZK7uCazFaC0NuDpVTFRTprA06OvoW/s2045/1320_Painted%20Ivory_French%20(Paris),%20c.%201320_London,%20Victoria%20and%20Albert%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2045" data-original-width="1734" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA_tCWI9yGf6q5hP0ZJ9-HlQ6I0V4AcPpg8bCJaDHhQLh6M8RXoJvOZJ_LgWPGmUOFxPPDx0W_8E9eULtjhPwsWqadNIM65rh5VRr0SY9MWEW8XWjwCJ5ip4sdiMRtyp9V7PlGuc5hNy61n3AgZkEnHSCprpMZK7uCazFaC0NuDpVTFRTprA06OvoW/w542-h640/1320_Painted%20Ivory_French%20(Paris),%20c.%201320_London,%20Victoria%20and%20Albert%20Museum.jpg" width="542" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">The Coronation of the Virgin</div><div style="text-align: center;">French (Paris), c. 1320</div><div style="text-align: center;">London, Victoria and Albert Museum</div></td></tr></tbody></table><br /><div><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPAiA6v-Norx-S-DuueoAGPPoDSa3yl0h8CETSKB_9P9SbDLaxuo1vLNdhNOwR1rp7gTyRKbk6YSO1xEwgcnItROpE0iwQxSV87fm1m3U83t5K7HoNgsfQovskbL09oPqzp0Vdlxm3IYea83Mp0d_WZ4KPzg-c-QxibmZ0jYGGwJKq8Bg6-tmEr3ns/s2500/1340_Nardo%20di%20Cione_Italian,%20c.%201340-1360_London,%20Victoria%20and%20Albert%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2500" data-original-width="1672" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPAiA6v-Norx-S-DuueoAGPPoDSa3yl0h8CETSKB_9P9SbDLaxuo1vLNdhNOwR1rp7gTyRKbk6YSO1xEwgcnItROpE0iwQxSV87fm1m3U83t5K7HoNgsfQovskbL09oPqzp0Vdlxm3IYea83Mp0d_WZ4KPzg-c-QxibmZ0jYGGwJKq8Bg6-tmEr3ns/w428-h640/1340_Nardo%20di%20Cione_Italian,%20c.%201340-1360_London,%20Victoria%20and%20Albert%20Museum.jpg" width="428" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Nardo di Cione. The Coronation of the Virgin</div><div style="text-align: center;">Italian, c. 1340-1360</div><div style="text-align: center;">London, Victoria and Albert Museum</div></td></tr></tbody></table><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEichhAHiAINTtjVCbnpLU77ABpF1dnM9De3rdtE-vsDm-m4O0gxSDeNaCM5AD4xxa7YOSJYlHYJYHEHY2D_wDX1xYyRJXMtfVk42G6hGM5FUapCWmVNxj1jNgRd3MYDqYF1HMe0GLGsobL6O9LerGFc7acI10kwTynmXFg5eKZrSUL6bBrG7aPruejE/s532/1370_From%20Speculum%20humanae%20salvationis_French%20(Alsace),%20c.%201370-1380_Paris,%20BNF_MS%20Latin%20511,%20fol.%2049r.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="532" data-original-width="439" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEichhAHiAINTtjVCbnpLU77ABpF1dnM9De3rdtE-vsDm-m4O0gxSDeNaCM5AD4xxa7YOSJYlHYJYHEHY2D_wDX1xYyRJXMtfVk42G6hGM5FUapCWmVNxj1jNgRd3MYDqYF1HMe0GLGsobL6O9LerGFc7acI10kwTynmXFg5eKZrSUL6bBrG7aPruejE/w528-h640/1370_From%20Speculum%20humanae%20salvationis_French%20(Alsace),%20c.%201370-1380_Paris,%20BNF_MS%20Latin%20511,%20fol.%2049r.jpeg" width="528" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />From <u><i>Speculum humanae salvationis</i></u><br />French (Alsace), c. 1370-1380<br />Paris, Bibliotheque nationale de France<br />MS Latin 511, fol. 49r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBzJ2hbzXtFu3vQR-5m9jdqsuY7vSKSPPUXSLU-QKjwSoW_Yp1u4uvVWW5y9bUyRTtL5eqsL394m-QGz87_N3ip5VOwY6LIBYI0TQNM-ySIHeg7sZhECB3hsc1z7l2cOI2WAQksfA8FbX8_lLRjp2dTbaOu0krvtevuG1ZoyqR9k90WzJCncTpDNhF/s442/1380_Workshop%20of%20Petrus%20Parmensis_From%20a%20Book%20of%20Hours_Italian%20(Rome),%20c.%201380-1420_New%20York,%20Pierpont_MS%20M%203,%20fol.%2040v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="429" data-original-width="442" height="622" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBzJ2hbzXtFu3vQR-5m9jdqsuY7vSKSPPUXSLU-QKjwSoW_Yp1u4uvVWW5y9bUyRTtL5eqsL394m-QGz87_N3ip5VOwY6LIBYI0TQNM-ySIHeg7sZhECB3hsc1z7l2cOI2WAQksfA8FbX8_lLRjp2dTbaOu0krvtevuG1ZoyqR9k90WzJCncTpDNhF/w640-h622/1380_Workshop%20of%20Petrus%20Parmensis_From%20a%20Book%20of%20Hours_Italian%20(Rome),%20c.%201380-1420_New%20York,%20Pierpont_MS%20M%203,%20fol.%2040v.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Workshop of Petrus Parmensis, The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />Italian (Rome), c. 1380-1420<br />New York, Pierpont Morgan Library<br />MS M 3, fol. 40v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCWfZ2NfSdFS577mmCZ7OCLO5D3MVJI7PJd3_lsaLjQIoS8GoHdJSKsKJQdejAGjsrVT0OIlVo_mX81uw7RewWE0ZSptsGEhizadBNHbPw-3u9Zj8ZVbPU_vIYflKFoGz6PRTgKjQMZKGUHN5z5jDuyeD3avRt0Bw8giVFIrnLxGM9zmpFzl15BRoL/s2422/1400_Alabaster-English,%2015th%20Century_London,%20Victoria%20and%20Albert%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2422" data-original-width="1668" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCWfZ2NfSdFS577mmCZ7OCLO5D3MVJI7PJd3_lsaLjQIoS8GoHdJSKsKJQdejAGjsrVT0OIlVo_mX81uw7RewWE0ZSptsGEhizadBNHbPw-3u9Zj8ZVbPU_vIYflKFoGz6PRTgKjQMZKGUHN5z5jDuyeD3avRt0Bw8giVFIrnLxGM9zmpFzl15BRoL/w440-h640/1400_Alabaster-English,%2015th%20Century_London,%20Victoria%20and%20Albert%20Museum.jpg" width="440" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin in Alabaster<br />English, 15th Century<br />London, Victoria and Albert Museum</td></tr></tbody></table><br /><div><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw-NslUrZysE4BHa2phI8J_WYTTwiG7tRDDS1vxBZgRFDZCGEG9BKQ8j3gSx_31-qn2GpsMntYsWR546V7LQUrK7wPhgOtr2xBND_dFu8MbdlrBgrQp4hqyEL_i8QFyrHlJ6dgkHCgvELu7pOwpN33CgbZRgRlZ7FbSeXiYqdCl6awTYYe3809LXMv/s477/1465_Jean%20Colombe%20and%20Workshop_From%20a%20Book%20of%20Hours_French%20(Bourges),%20c.%201465-1470_New%20York,%20Pierpolnt%20Morgan%20Library_MS%20M%20248,%20fol.%2060r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="477" data-original-width="294" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw-NslUrZysE4BHa2phI8J_WYTTwiG7tRDDS1vxBZgRFDZCGEG9BKQ8j3gSx_31-qn2GpsMntYsWR546V7LQUrK7wPhgOtr2xBND_dFu8MbdlrBgrQp4hqyEL_i8QFyrHlJ6dgkHCgvELu7pOwpN33CgbZRgRlZ7FbSeXiYqdCl6awTYYe3809LXMv/w394-h640/1465_Jean%20Colombe%20and%20Workshop_From%20a%20Book%20of%20Hours_French%20(Bourges),%20c.%201465-1470_New%20York,%20Pierpolnt%20Morgan%20Library_MS%20M%20248,%20fol.%2060r.jpg" width="394" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jean Colombe and Workshop, The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />French (Bourges), c. 1465-1470<br />New York, Pierpont Morgan Library<br />MS M 248, fol. 60r<br /><div style="text-align: left;">Jean Colombe (the painter who completed the pages of the famous <u><i>Tres Riches Heures of the Duc de Berry</i></u> left unfinished at the death of the last of the Limbourg Brothers) seems to have really liked this particular composition. He repeated it at least two more times.</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj19YyzzycDwedWLLll8WPeu3MLwJJhcofPLWP51pvuiCHe0bPEMA48Z9P2ZZ6wBBNaCmjqBRa6shmANrt5Wl_H5ViG70TZRyRmezs_l5HJztge9TRFQ1Lwqh3EnKpqRFzUfIistr4pAB6CGZkXFtPXj6aQSVxLCMFPfEKP_X6Htq_4rMaDRuRgaWFz/s475/1473+Jean%20Colombe_From%20Hours%20of%20Anne%20of%20France_French%20(Bourges),%201473_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20677,%20fol.%20165r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="475" data-original-width="324" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj19YyzzycDwedWLLll8WPeu3MLwJJhcofPLWP51pvuiCHe0bPEMA48Z9P2ZZ6wBBNaCmjqBRa6shmANrt5Wl_H5ViG70TZRyRmezs_l5HJztge9TRFQ1Lwqh3EnKpqRFzUfIistr4pAB6CGZkXFtPXj6aQSVxLCMFPfEKP_X6Htq_4rMaDRuRgaWFz/w436-h640/1473+Jean%20Colombe_From%20Hours%20of%20Anne%20of%20France_French%20(Bourges),%201473_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20677,%20fol.%20165r.jpg" width="436" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jean Colombe, The Coronation of the Virgin<br />From <i><u>Hours of Anne of France</u></i><br />French (Bourges), 1473<br />New York, Pierpont Morgan Library<br />MS M 677, fol. 165r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3ciI2-FKhgyFH6AMLttd85N36aXQGclPqYHhQjrOHamHSVQgDgzjkhqhmnFxLITPTRmAjOFUFmSlpJy9tXkBqAvXEEFcknX8lAds27OQLQMANFJhGcNIwuCy24xFoiochjbPexVUt2O5kow7oSBCNgtYvdLrOh4UQVSyI0dGql7QmTe-ecCyaQWa6/s532/1475_Jean%20Colombe%20and%20Workshop_From%20a%20Book%20of%20Hours_French%20(Bourges),%20c.%201475-1485+New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20330,%20fol.%2054r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="532" data-original-width="333" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3ciI2-FKhgyFH6AMLttd85N36aXQGclPqYHhQjrOHamHSVQgDgzjkhqhmnFxLITPTRmAjOFUFmSlpJy9tXkBqAvXEEFcknX8lAds27OQLQMANFJhGcNIwuCy24xFoiochjbPexVUt2O5kow7oSBCNgtYvdLrOh4UQVSyI0dGql7QmTe-ecCyaQWa6/w400-h640/1475_Jean%20Colombe%20and%20Workshop_From%20a%20Book%20of%20Hours_French%20(Bourges),%20c.%201475-1485+New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20330,%20fol.%2054r.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jean Colombe and Workshop, The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />French (Bourges), c. 1475-1485<br />New York, Pierpont Morgan Library<br />MS M 330, fol. 54r</td></tr></tbody></table></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><br /><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMZ0DcwHHQxvcdS8DCY1TumDiWR-W-HwSLHnOIF9jFedhnyQpndgr3-cXmt5YUAN7Bo6UqpSqaGuSixB_taWQo5zkWjx9J0ADX0nPWFoji34I8Tk_U3z_1q_EwtnnN64SD3mwHXCYnUqC7KbeWiltaoFcyvf14sAA_geVSoYmtokblMdHhYqyFkigJ/s1217/1518=Jean%20Pichore_From%20Chants%20royaux%20du%20puy%20Notre-Dame%20d'Amiens_FRench%20(Paris),%201518_Paris,%20BNF_MS%20Francais%20145,%20fol.%2018v.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1217" data-original-width="783" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMZ0DcwHHQxvcdS8DCY1TumDiWR-W-HwSLHnOIF9jFedhnyQpndgr3-cXmt5YUAN7Bo6UqpSqaGuSixB_taWQo5zkWjx9J0ADX0nPWFoji34I8Tk_U3z_1q_EwtnnN64SD3mwHXCYnUqC7KbeWiltaoFcyvf14sAA_geVSoYmtokblMdHhYqyFkigJ/w412-h640/1518=Jean%20Pichore_From%20Chants%20royaux%20du%20puy%20Notre-Dame%20d'Amiens_FRench%20(Paris),%201518_Paris,%20BNF_MS%20Francais%20145,%20fol.%2018v.jpeg" width="412" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jean Pichore, Coronation of a Queen and Coronation of the Virgin<br />From <u><i>Chants royaux du puy Notre-Dame d'Amiens</i></u><br />French (Paris), 1518<br />Paris, Bibliotheque nationale de France<br />MS Francais 145, fol. 18v<br /><div style="text-align: left;">This illustration comes from a rather peculiar book. It is made up of poems in praise of the Virgin Mary by several poets. The scenes are often very unusual as is this image in which Mary's coronation is done not by the adult Jesus but by the Infant Jesus whom she holds in her arms. She may be imagined as a statue, one of the "Beautiful Madonnas" surrounded by the activities of worldly royalty.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;">This type of image was largely replaced during the Renaissance through early Baroque periods, but returned later in the history of art. </div><br /></td></tr></tbody></table></div><div><br /></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><h4 style="color: black; font-family: "Times New Roman"; font-size: medium;"><span style="color: #114499; font-family: Cantarell; font-size: 15.84px;">Adding the Presence of Angels</span></h4><div style="color: black; font-family: "Times New Roman"; font-size: medium;"><span style="color: #114499; font-family: Cantarell; font-size: 15.84px;">Pretty soon it didn't seem enough to present just the figures of Mary and Jesus, so artists added angels, at first just one or two, but later entire choirs of angels participated as onlookers.</span></div></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_f3Kex9CCK4gAmqzMNGCz4W1WDWedrETmmQs7cW4Z2ETVSF2tdmgjhV6N0wlA96YBeUzo4QX8Yr7HAB1G3Qc2Yq5RJDZZQJwZO-P0hpNaTTGN09Q4VV1pBnhcSZ2rQO4FroO-1IZ98uHiq1fYROcXMgz6d7ni5B_HTiUJ5MV3eB8zNp6taOmP1RQK/s528/1230_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201230-1340_Paris,%20BNF_MS%20M%2092,%20fol.%2014r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="528" data-original-width="403" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_f3Kex9CCK4gAmqzMNGCz4W1WDWedrETmmQs7cW4Z2ETVSF2tdmgjhV6N0wlA96YBeUzo4QX8Yr7HAB1G3Qc2Yq5RJDZZQJwZO-P0hpNaTTGN09Q4VV1pBnhcSZ2rQO4FroO-1IZ98uHiq1fYROcXMgz6d7ni5B_HTiUJ5MV3eB8zNp6taOmP1RQK/w488-h640/1230_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201230-1340_Paris,%20BNF_MS%20M%2092,%20fol.%2014r.jpg" width="488" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">The Coronation of the Virgin</div><div style="text-align: center;">From a <i><u>Book of Hours</u></i></div><div style="text-align: center;">French (Paris), c. 1230-1240</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS M 92, fol. 14r</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOqWN4ouFiqQfdrzcGX0nhI5i63qVByqIlFiZvtpTzI7J5TM_l8AdeoJuGwN4u0vzRR8b-DFK8YEHQBc1YGEuLlhjXFmf9YbhA9tjHuBm2ct4ZAqMYq5pQgA_vAueJjLP-nenHitsfhI4Yob3AqaV0aGz8EpmRbpopv6a7K0JBhcLKypPWpjIBoHEt/s879/1250_Coronation%20of%20Virgin_Strasbourg_1250.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="580" data-original-width="879" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOqWN4ouFiqQfdrzcGX0nhI5i63qVByqIlFiZvtpTzI7J5TM_l8AdeoJuGwN4u0vzRR8b-DFK8YEHQBc1YGEuLlhjXFmf9YbhA9tjHuBm2ct4ZAqMYq5pQgA_vAueJjLP-nenHitsfhI4Yob3AqaV0aGz8EpmRbpopv6a7K0JBhcLKypPWpjIBoHEt/w640-h422/1250_Coronation%20of%20Virgin_Strasbourg_1250.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">The Coronation of the Virgin</div><div style="text-align: center;">Gothic, ca. 1250</div><div style="text-align: center;">Strasbourg, Cathedral</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXZbYFLhd_jB4P18uGUKQQxqH_H8NnBRqAwqK--Q1fgPpkLnZMFd0D7fT5Jevwl8ZTyYK86YUBbyRflXb70CvN2FKybZ_SFNQpImvr0p1Wd7Tiz2FZc9jco2fEYrfQlYRcKg4ozjhNSFCYcleqP784B_EeKUbEzAqaqPpe7OwtgbQoKHfKWBZTZkvu/s1500/1250_Ivory_1250-60_Louvre.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="909" data-original-width="1500" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXZbYFLhd_jB4P18uGUKQQxqH_H8NnBRqAwqK--Q1fgPpkLnZMFd0D7fT5Jevwl8ZTyYK86YUBbyRflXb70CvN2FKybZ_SFNQpImvr0p1Wd7Tiz2FZc9jco2fEYrfQlYRcKg4ozjhNSFCYcleqP784B_EeKUbEzAqaqPpe7OwtgbQoKHfKWBZTZkvu/w640-h388/1250_Ivory_1250-60_Louvre.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">The Coronation of the Virgin</div><div style="text-align: center;">French, 1250-1260</div><div style="text-align: center;">Paris, Musée du Louvre</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibbMoU3CQjzTCvJi_oi0xp3PnpiRl8RrzUmokCco71xGVSOCDzVyfe34gaqdpjGKIWzoYLlJW2FxONSWnT5yBqanRXh8Z2LlAYcaYgoMEt1JCxr9tvDcsiQcyxIbYcC2l9mWvMmkigB8AT-5J5axsuWzaFvEgggMPBKjxeYhwrPkLxH2B4WdVTHaXQ/s313/1280_From%20Psalter-Hours%20of%20Yolande%20de%20Soissons_French,%20c.%201280-1300_New%20York,%20Pierpont%20Morgan%20Library+MS%20M%20729,%20fol.%20405r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="313" data-original-width="283" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibbMoU3CQjzTCvJi_oi0xp3PnpiRl8RrzUmokCco71xGVSOCDzVyfe34gaqdpjGKIWzoYLlJW2FxONSWnT5yBqanRXh8Z2LlAYcaYgoMEt1JCxr9tvDcsiQcyxIbYcC2l9mWvMmkigB8AT-5J5axsuWzaFvEgggMPBKjxeYhwrPkLxH2B4WdVTHaXQ/w579-h640/1280_From%20Psalter-Hours%20of%20Yolande%20de%20Soissons_French,%20c.%201280-1300_New%20York,%20Pierpont%20Morgan%20Library+MS%20M%20729,%20fol.%20405r.jpg" width="579" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />From <i><u>Psalter-Hours of Yolande de Soissons</u></i><br />French, c. 1280-1300<br />New York, Pierpont Morgan Library<br />MS M 729, fol. 405r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCrnLn-Ky6MoFtu-rMrf5_DpoPoGARBRRXNBhC6IejVOLFop5Gm3_dOqaTCOdyc3pmu4S6BdpfbvtiE3oEz3zvL5rrAxg6U9OMHR0BbzmKFX62cUIk2-KYoB0aQPtbP8ufyMBng0HBkjPwJaGO_MwmXCSx3CEwbvyXnj7mo9aCAbOQkUXCzJpRr0pD/s1476/1300_School_of%20Simone%20del%20Crocifissi_Italian,%2014th%20Century-Paris,%20Musee%20du%20Louvre.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1010" data-original-width="1476" height="438" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCrnLn-Ky6MoFtu-rMrf5_DpoPoGARBRRXNBhC6IejVOLFop5Gm3_dOqaTCOdyc3pmu4S6BdpfbvtiE3oEz3zvL5rrAxg6U9OMHR0BbzmKFX62cUIk2-KYoB0aQPtbP8ufyMBng0HBkjPwJaGO_MwmXCSx3CEwbvyXnj7mo9aCAbOQkUXCzJpRr0pD/w640-h438/1300_School_of%20Simone%20del%20Crocifissi_Italian,%2014th%20Century-Paris,%20Musee%20du%20Louvre.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">School of Simone del Crocifissi, The Coronation of the Virgin<br />Italian, 14th Century<br />Paris, Musée du Louvre</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYVllm4Mh5P_P7rj8dc8ABQPHhrqU3tNFe37bcQlvwnqb-56QfZhGa5yGIzJFNJRZVtbYXuoMz4Xa1o963feLvQgDbgxF6R8dgI6j1Ulb92nsDSUj_8heVrReHnN3uqNBluKUhbxIlbn201qV_fqbCjkOdZI4UQapcBh3dLiMA1ByZuBM9cpabiOxc/s817/1323_Jean%20Pucelle_From%20the%20Breviary%20of%20Belleville_French%20(Paris),%20c.%201323-1326_Paris,%20BNF_MS%20Latin%2010484,%20fol.%20290v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="700" data-original-width="817" height="548" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYVllm4Mh5P_P7rj8dc8ABQPHhrqU3tNFe37bcQlvwnqb-56QfZhGa5yGIzJFNJRZVtbYXuoMz4Xa1o963feLvQgDbgxF6R8dgI6j1Ulb92nsDSUj_8heVrReHnN3uqNBluKUhbxIlbn201qV_fqbCjkOdZI4UQapcBh3dLiMA1ByZuBM9cpabiOxc/w640-h548/1323_Jean%20Pucelle_From%20the%20Breviary%20of%20Belleville_French%20(Paris),%20c.%201323-1326_Paris,%20BNF_MS%20Latin%2010484,%20fol.%20290v.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jean Pucelle, The Coronation of the Virgin<br />From the <u><i>Breviary of Belleville</i></u><br />French (Paris), c. 1323-1326<br />Paris, Bibliotheque nationale de France<br />MS Latin 10484, fol. 290v<br /><div style="text-align: left;">Occasionally, in illuminated manuscripts such as this, one finds that the faces of the holy figures have been eradicated. This may have happened as a deliberate effort during the Reformation to eliminate what might have been thought of as a "graven image". Alternately, it might have happened from centuries of devout fingers rubbing the faces of the Virgin and Christ. It can be hard to tell which scenario the current state of the manuscript reflects. You will note that the faces of the angels are completely legible.</div><br /></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1z7oAQBl49u6NXTLz1MKm2uUOLce024GKatR8QaEPmDEY47B_rmrgzaMrUvSEYENmFmj5eZx0oiIDot5ze-6CDEHf3J78qO4VIpmK7ekUd6Bp4yoatzATCVWATsw1IX2y2MgBEnNy3b9wfUYz8fl7a_RpqIbSYbhqMrayUX5pbOjRGMQOPHqjsHr4/s1500/1350_Tommaso%20del%20Mazza_Italian,%20c.%201350-1375_Paris,%20Musee%20du%20Louvre.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="910" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1z7oAQBl49u6NXTLz1MKm2uUOLce024GKatR8QaEPmDEY47B_rmrgzaMrUvSEYENmFmj5eZx0oiIDot5ze-6CDEHf3J78qO4VIpmK7ekUd6Bp4yoatzATCVWATsw1IX2y2MgBEnNy3b9wfUYz8fl7a_RpqIbSYbhqMrayUX5pbOjRGMQOPHqjsHr4/w388-h640/1350_Tommaso%20del%20Mazza_Italian,%20c.%201350-1375_Paris,%20Musee%20du%20Louvre.JPG" width="388" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Tommaso del Mazza, The Coronation of the Virgin<br />Italian, c. 1350-1375<br />Paris, Musée du Louvre</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7VZ4x1N8JMcB9EEjYGAV_3w4DqWLBy2s9MTPZKVv0phoiUfaym71CstTzlbaN1qyNCU_iid7AOJ1SPiya3-tGR_PRQakkXDAeysLusG4GaXv2chnoUIdmFkefI6cWYbMlFOLYOV7PK0NVc0MkzHQyYG4Pxbbx6Vfq82Kz0kergcMJ3YTuCo6XCjxp/s542/1435_From%20the%20Egmont%20Breviary_Dutch%20(Utrecht),%20c.%201435-1445_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%2087,%20fol.%20404v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="542" data-original-width="217" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7VZ4x1N8JMcB9EEjYGAV_3w4DqWLBy2s9MTPZKVv0phoiUfaym71CstTzlbaN1qyNCU_iid7AOJ1SPiya3-tGR_PRQakkXDAeysLusG4GaXv2chnoUIdmFkefI6cWYbMlFOLYOV7PK0NVc0MkzHQyYG4Pxbbx6Vfq82Kz0kergcMJ3YTuCo6XCjxp/w256-h640/1435_From%20the%20Egmont%20Breviary_Dutch%20(Utrecht),%20c.%201435-1445_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%2087,%20fol.%20404v.jpg" width="256" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />From the <i><u>Egmont Breviary</u></i><br />Dutch (Utrecht), c. 1435-1445<br />New York, Pierpont Morgan Library<br />MS M 87, fol. 404v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYUUV5DceBfvLgcyGsKiOD4DYMYsLlcCuW4vuxfWkIg1tUsdwoaczfD2YKD4HN0RenKrVOXPx5fWsmzVsXoQwrML_JBGB0yHFbgaC0TLN22RmApgmGbLiyOp-mF6MKWkyRKf_mMLSQP39jWIO_mWPwU11WGipmkPQpaZpdi9cFHkhh8HllfMTvgC9b/s464/1460_Jean%20Colombe_From%20Hours%20of%20Jean%20Robertet_French%20(Bourges),%20c.%201460-1475_New%20York,%20Pierpont_MS%20M834,%20fol.076v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="464" data-original-width="310" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYUUV5DceBfvLgcyGsKiOD4DYMYsLlcCuW4vuxfWkIg1tUsdwoaczfD2YKD4HN0RenKrVOXPx5fWsmzVsXoQwrML_JBGB0yHFbgaC0TLN22RmApgmGbLiyOp-mF6MKWkyRKf_mMLSQP39jWIO_mWPwU11WGipmkPQpaZpdi9cFHkhh8HllfMTvgC9b/w428-h640/1460_Jean%20Colombe_From%20Hours%20of%20Jean%20Robertet_French%20(Bourges),%20c.%201460-1475_New%20York,%20Pierpont_MS%20M834,%20fol.076v.jpg" width="428" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Jean Colombe, The Coronation of the Virgin</div><div style="text-align: center;">From <i><u>Hours of Jean Robertet</u></i></div><div style="text-align: center;">French (Bourges), c. 1460-1475</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS M 834, fol. 76v</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlSbyLuVMG-ih8imT4ZRJ_wA9tkpV4El6xic8hVOBV1aPWCBHT7dVU-wcm9w-wKWmU4Y2E4f7yKA4TtxSLPipaLfnRTqwkXHZUfFLIjkQhvLD5J_W9wBhD1UL2d4Zgb9e2sgMtujLUaZHP2e4OZBaJK01a-5C3qvzsieLALmRATYZKTuA8yrK23o0w/s806/1475_Workshop%20of%20Jean%20Pichore_From%20a%20Book%20of%20Hours_French%20(Paris),%20Late%2015th%20Century_Paris,%20BNF_MS%20Latin%20823,%20fol.%2050r.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="806" data-original-width="608" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlSbyLuVMG-ih8imT4ZRJ_wA9tkpV4El6xic8hVOBV1aPWCBHT7dVU-wcm9w-wKWmU4Y2E4f7yKA4TtxSLPipaLfnRTqwkXHZUfFLIjkQhvLD5J_W9wBhD1UL2d4Zgb9e2sgMtujLUaZHP2e4OZBaJK01a-5C3qvzsieLALmRATYZKTuA8yrK23o0w/w482-h640/1475_Workshop%20of%20Jean%20Pichore_From%20a%20Book%20of%20Hours_French%20(Paris),%20Late%2015th%20Century_Paris,%20BNF_MS%20Latin%20823,%20fol.%2050r.jpeg" width="482" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Workshop of Jean Pichore, The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />French (Paris), Late 15th Century<br />Paris, Bibliotheque nationale de France<br />MS Latin 823, fol. 50r<br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPDRvuIgxsFv9xy8PS9NU2WJymrnYXnEzGB_1ienmjOuJmL5xMi-i9ixuEFLT0n558qRuRtVdYqEW9jSSJg6VyLdtjqwU7iz3LdXWO0dSQuYxcnlZbgP5fDB1i1ZbdqDPTJzXxANS60JTj9x_ocFnV1uT30ET8BH0A1ybmSVebkNh_npXGkX5N2eCW/s545/1500_Master%20of%20Petrarch's%20Triumphs_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201500-1515_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20618,%20fol.%2045v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="545" data-original-width="316" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPDRvuIgxsFv9xy8PS9NU2WJymrnYXnEzGB_1ienmjOuJmL5xMi-i9ixuEFLT0n558qRuRtVdYqEW9jSSJg6VyLdtjqwU7iz3LdXWO0dSQuYxcnlZbgP5fDB1i1ZbdqDPTJzXxANS60JTj9x_ocFnV1uT30ET8BH0A1ybmSVebkNh_npXGkX5N2eCW/w372-h640/1500_Master%20of%20Petrarch's%20Triumphs_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201500-1515_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20618,%20fol.%2045v.jpg" width="372" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Petrarch's Triumphs, The Coronation of the Virgin<br />From a <i><u>Book of Hours</u></i><br />French (Paris), c. 1500-1515<br />New York, Pierpont Morgan Library<br />MS M 618, fol. 45v</td></tr></tbody></table><br /><div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><h4><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;">Using Angels to Crown the Virgin</span></h4><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;">From about the middle of the fourteenth century the task of actually placing the crown on Mary's head was often given to angels. They may hold the crown suspended above her head, actually place it gently on her head, or appear to be dive bombing her. All of this is done in the presence of Jesus who imparts a blessing to his mother.</span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj58CPy5WUKkSyuqIuGtFvjToW_e2J0zBDe3heSZWLI3zWL2xf5REKGDb3eJap-9pGxF9XFwOP1GweyLNQ0CHNKJjrfJB2pbfrQtIukLRUSRxbZ1WRc-WpSw7yyldELZL2wuSNA_JADjrjAg11ByP1PEuTawdReKIdXvd-vmpCNKKwYwy-_XMg3qVd6/s648/1336_From%20the%20Hours%20of%20Jeanne%20de%20Navarre_French%20(Paris),%20c.%201336-1340_Paris,%20BNF_MS%20Nouvelle%20acquisition%20latine%203145,%20fol.%2054v%20(2).jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="648" data-original-width="602" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj58CPy5WUKkSyuqIuGtFvjToW_e2J0zBDe3heSZWLI3zWL2xf5REKGDb3eJap-9pGxF9XFwOP1GweyLNQ0CHNKJjrfJB2pbfrQtIukLRUSRxbZ1WRc-WpSw7yyldELZL2wuSNA_JADjrjAg11ByP1PEuTawdReKIdXvd-vmpCNKKwYwy-_XMg3qVd6/w594-h640/1336_From%20the%20Hours%20of%20Jeanne%20de%20Navarre_French%20(Paris),%20c.%201336-1340_Paris,%20BNF_MS%20Nouvelle%20acquisition%20latine%203145,%20fol.%2054v%20(2).jpeg" width="594" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />From the <i><u>Hours of Jeanne de Navarre</u></i><br />French (Paris), c. 1336-1340<br />Paris, Bibliotheque nationale de France<br />MS Nouvelle acquisition latine 3145, fol. 54v </td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyrDvtTu2UmZkkyKnAxqDQYHwgDFWXDzTV6iYrhCvmgGD6rsT1GfIsjrbviubi58RGp3JJNffQ8_IutmaLZn3JXyIW4akUvSOUuI_Q3Vu5tAe45zR3uhSL6pBhBbH8ihdhWCxpRF0I9yRoqMss71ZM0XgrHwgPWH1YwJ-sAWNbfccjji43f7I0njiY/s381/1375_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201375-1400_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20229,%20fol.%20200r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="381" data-original-width="328" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyrDvtTu2UmZkkyKnAxqDQYHwgDFWXDzTV6iYrhCvmgGD6rsT1GfIsjrbviubi58RGp3JJNffQ8_IutmaLZn3JXyIW4akUvSOUuI_Q3Vu5tAe45zR3uhSL6pBhBbH8ihdhWCxpRF0I9yRoqMss71ZM0XgrHwgPWH1YwJ-sAWNbfccjji43f7I0njiY/w550-h640/1375_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201375-1400_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20229,%20fol.%20200r.jpg" width="550" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />French (Paris), c. 1375-1400<br />New York, Pierpont Morgan Library<br />MS M 229, fol. 200r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoCX8QHy7dzSg3yhNpufYuO-tfQ6cYOTTHvsKaMPKMxK-OfXP0KHyOIlWy1L_V4zGupQ5022_7zt73PbSm28iTAhParmbj2mbfLjvpvEAN0ZJeY0X2fYZjOIoKXJu9ICCidOFWaAIbJeuYZZN_W-H-walXTTV0XvCFUWz6Ir0KmUjYdtu3nFlpzz5r/s1232/1400+The%20Boucicaut%20Master_From%20Hours%20of%20Jeanne%20Bessonnelle_French%20(Paris),%20c.%201400-1425_Paris,%20BNF_MS%20Latin%201161,%20fol.%2091r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1232" data-original-width="1146" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoCX8QHy7dzSg3yhNpufYuO-tfQ6cYOTTHvsKaMPKMxK-OfXP0KHyOIlWy1L_V4zGupQ5022_7zt73PbSm28iTAhParmbj2mbfLjvpvEAN0ZJeY0X2fYZjOIoKXJu9ICCidOFWaAIbJeuYZZN_W-H-walXTTV0XvCFUWz6Ir0KmUjYdtu3nFlpzz5r/w596-h640/1400+The%20Boucicaut%20Master_From%20Hours%20of%20Jeanne%20Bessonnelle_French%20(Paris),%20c.%201400-1425_Paris,%20BNF_MS%20Latin%201161,%20fol.%2091r.jpg" width="596" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Boucicaut Master, The Coronation of the Virgin<br />From <u><i>Hours of Jeanne Bessonnelle</i></u><br />French (Paris), c. 1400-1425<br />Paris, BNF<br />MS Latin 1161, fol. 91r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjSVZSrEFmO2-PikhfKWN95Ijq4whJIv7rh4BcKEABizS7cZYMhA6K7cGnRcAB7fGszewe_E2ffiR2XNDqXkkgz2qjN0nBxriKUIXwdp7T9w2Be6Gv6hGNh-vwtBysoZTiGo13oTE4Be_HVopfAAt4xxhNgVelUfpB-hmcV61rzmkpAdeg44aMMqkU/s458/1415_Master%20of%20Morgan%20453_From%20Hours%20of%20Charlotte%20of%20Savoy_French%20(Paris),%20c.%201415-1430_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%201004,%20fol.%2058v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="458" data-original-width="415" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjSVZSrEFmO2-PikhfKWN95Ijq4whJIv7rh4BcKEABizS7cZYMhA6K7cGnRcAB7fGszewe_E2ffiR2XNDqXkkgz2qjN0nBxriKUIXwdp7T9w2Be6Gv6hGNh-vwtBysoZTiGo13oTE4Be_HVopfAAt4xxhNgVelUfpB-hmcV61rzmkpAdeg44aMMqkU/w580-h640/1415_Master%20of%20Morgan%20453_From%20Hours%20of%20Charlotte%20of%20Savoy_French%20(Paris),%20c.%201415-1430_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%201004,%20fol.%2058v.jpg" width="580" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Morgan 453, The Coronation of the Virgin<br />From <u><i>Hours of Charlotte of Savoy</i></u><br />French (Paris), c. 1415-1430<br />New York, Pierpont Morgan Library<br />MS M 1004, fol. 58v<br /><div style="text-align: left;">It is around this time that God, represented by either the Father or the Son (as here) begins to be shown wearing a crown with three levels. This kind of image, referencing the three Persons in the Holy Trinity, was the image behind the Papal Tiara, a real object with three stacked crowns. The last time the Papal Tiara was used was at the inauguration of Pope Paul VI in June 1963. Although the triple tiara remains a papal symbol, it has not been worn by any recent pope.</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA-N-yfjKFeX-BmgI6nVlEkL7nf09XFDMqBrXrPFaKGFhLyVdi8gpDi3IG7pjFQwuQ24MQqN2Qmxi1BicEyM-7C2hkPiXg_4oh3JJmXKy0_XZfGAWhYU7ototmSnxzsWSMkyBcU0yDJkj7Z0R_RPGYEgnieDIuSKgnRSJpn4C-_XK2tMAnEMaRAGra/s1498/1415_Master%20of%20the%20Hours%20of%20Troyes_From%20Hours%20of%20Michel%20and%20Catherine%20Berthier_Franch%20(Troyes),%20c.%201415-1420_Paris,%20BNF_MS%20Latin%20924,%20fol.%20109r%20.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1498" data-original-width="1235" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA-N-yfjKFeX-BmgI6nVlEkL7nf09XFDMqBrXrPFaKGFhLyVdi8gpDi3IG7pjFQwuQ24MQqN2Qmxi1BicEyM-7C2hkPiXg_4oh3JJmXKy0_XZfGAWhYU7ototmSnxzsWSMkyBcU0yDJkj7Z0R_RPGYEgnieDIuSKgnRSJpn4C-_XK2tMAnEMaRAGra/w528-h640/1415_Master%20of%20the%20Hours%20of%20Troyes_From%20Hours%20of%20Michel%20and%20Catherine%20Berthier_Franch%20(Troyes),%20c.%201415-1420_Paris,%20BNF_MS%20Latin%20924,%20fol.%20109r%20.jpg" width="528" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of the Hours of Troyes, The Coronation of the Virgin<br />From <u><i>Hours of Michel and Catherine Berthier</i></u><br />Franch (Troyes), c. 1415-1420<br />Paris, Bibliotheque nationale de France<br />MS Latin 924, fol. 109r </td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaiCiX4Gi5NubQf5jDhY0_o4G606wjap_CK3Rp2cmvAE1tukjmwzwLTr4LCLlxG6qrQ8ndtYB5C6m4_-G3lY-Abxy4q5SmAexhfTVKWq90AjkXsVt9By33vEz47VHxsq1Zv1W6ngLnWqkd5QBaJYLlVA3npDo3KLX6yQo928vZBg-S-wqH6s31pqBp/s511/1419_The%20Bedford%20Master%20and%20Workshop_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201419-1437_New%20York,%20Pierpont%20Morgan_MS%20M%20359,%20fol.%2069r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="511" data-original-width="433" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaiCiX4Gi5NubQf5jDhY0_o4G606wjap_CK3Rp2cmvAE1tukjmwzwLTr4LCLlxG6qrQ8ndtYB5C6m4_-G3lY-Abxy4q5SmAexhfTVKWq90AjkXsVt9By33vEz47VHxsq1Zv1W6ngLnWqkd5QBaJYLlVA3npDo3KLX6yQo928vZBg-S-wqH6s31pqBp/w542-h640/1419_The%20Bedford%20Master%20and%20Workshop_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201419-1437_New%20York,%20Pierpont%20Morgan_MS%20M%20359,%20fol.%2069r.jpg" width="542" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Bedford Master and Workshop, The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />French (Paris), c. 1419-1437<br />New York, Pierpont Morgan Library<br />MS M 359, fol. 69r</td></tr></tbody></table><br /><div><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie2_6JKFQhNb7TMtso7cpB6mOKzMlhwah6gDItYrJxfyun-vdEDxsrWNpaEh-yjc8N6ipY5gcnJxamYcquWrilLNG-6StAuzDEHzzsjHkTFVuM4wzZee16oZsz3eSeAgdVFwhjQQI4yEkTzaeNAnbq1g01PtQX0uRsgbVsu-DqE1Yrg4YSsRGzm8Ge/s427/1420_Master%20of%20Morgan%20453_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201420-1435_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20453,%20fol.%2090v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="427" data-original-width="306" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie2_6JKFQhNb7TMtso7cpB6mOKzMlhwah6gDItYrJxfyun-vdEDxsrWNpaEh-yjc8N6ipY5gcnJxamYcquWrilLNG-6StAuzDEHzzsjHkTFVuM4wzZee16oZsz3eSeAgdVFwhjQQI4yEkTzaeNAnbq1g01PtQX0uRsgbVsu-DqE1Yrg4YSsRGzm8Ge/w458-h640/1420_Master%20of%20Morgan%20453_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201420-1435_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20453,%20fol.%2090v.jpg" width="458" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Morgan 453, The Coronation of the Virgin<br />From a<u><i> Book of Hours</i></u><br />French (Paris), c. 1420-1435<br />New York, Pierpont Morgan Library<br />MS M 453, fol. 90v</td></tr></tbody></table><br /><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5w65-nRfgZe9crttuvphc9AD1wOBtMteNGJ4b5wvxg00e-tFsP357cZJo56stQJtAL5AYk8aPiLvGjYcpoCxdq4qkXMIi0V6juc2HY0_EeQIAvz8XKU5C6hgxrEMt_bZPeWp9PKdzKLW9QfLcMoxRs4V1ymSaed2VJYV9wKP4aEwidLvlLie_NB6o/s465/1425_From%20a%20Book%20of%20Hours_French%20(Rennes),%20c.%201425-1435_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20173,%20fol.68r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="465" data-original-width="332" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5w65-nRfgZe9crttuvphc9AD1wOBtMteNGJ4b5wvxg00e-tFsP357cZJo56stQJtAL5AYk8aPiLvGjYcpoCxdq4qkXMIi0V6juc2HY0_EeQIAvz8XKU5C6hgxrEMt_bZPeWp9PKdzKLW9QfLcMoxRs4V1ymSaed2VJYV9wKP4aEwidLvlLie_NB6o/w456-h640/1425_From%20a%20Book%20of%20Hours_French%20(Rennes),%20c.%201425-1435_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20173,%20fol.68r.jpg" width="456" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />French (Rennes), c. 1425-1435<br />New York, Pierpont Morgan Library<br />MS M 173, fol.68r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH2sd6JSszz5qs7D8CmggYsJXEQEnWbZuocNNSehzWCDUrWyuh1nvgJTTWX9jcRHGWkwMb7MTdrMWpCjPnJImfzXo_FSqSykAAh_q4KjZOBhnUdREB6t51O_OYnBcl6q_YeYKRDf-fN3lgUyQTIsGJA3WhZYSJ3tUHD7ze-3kWB2raCeHgx0vS5jS0/s1364/1425+From%20Pelerinage%20de%20Jesus%20Christ%20by%20Guillaume%20de%20Digulleville_French%20(Rennes),%20c.%201425-1450_Paris,%20BNF_MS%20Francais%20376,%20fol.%20232r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1127" data-original-width="1364" height="528" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH2sd6JSszz5qs7D8CmggYsJXEQEnWbZuocNNSehzWCDUrWyuh1nvgJTTWX9jcRHGWkwMb7MTdrMWpCjPnJImfzXo_FSqSykAAh_q4KjZOBhnUdREB6t51O_OYnBcl6q_YeYKRDf-fN3lgUyQTIsGJA3WhZYSJ3tUHD7ze-3kWB2raCeHgx0vS5jS0/w640-h528/1425+From%20Pelerinage%20de%20Jesus%20Christ%20by%20Guillaume%20de%20Digulleville_French%20(Rennes),%20c.%201425-1450_Paris,%20BNF_MS%20Francais%20376,%20fol.%20232r.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />From <i><u>Pelerinage de Jesus Christ</u></i> by Guillaume de Digulleville<br />French (Rennes), c. 1425-1450<br />Paris, Bibliotheque nationale de France<br />MS Francais 376, fol. 232r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5wI6guTkUKyKq06vs4mREYCwlAtM2bgvLwxciWRKJ0c5GReQtoGHHvYZ7lhTz0sAISY9Y2VxDoVRZOkMhhTy4JMSTVboWFHS5c6XPriLPwY04nZqAqybw7Vt-KzAwIHe7-1n_Q6VdBo_EGS6MYttJkIPt8g7UPs5HdfIr4z7OhOoVoQeDzRODfVuO/s2190/1430_Master%20of%20Marguerite%20d'Orleans_From%20Hours%20of%20Marguerite%20d'Orleans_French%20(Rennes),%20c.%201430_Paris,%20BNF_MS%20Latin%201156%20B,%20fol.%20114r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2190" data-original-width="1418" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5wI6guTkUKyKq06vs4mREYCwlAtM2bgvLwxciWRKJ0c5GReQtoGHHvYZ7lhTz0sAISY9Y2VxDoVRZOkMhhTy4JMSTVboWFHS5c6XPriLPwY04nZqAqybw7Vt-KzAwIHe7-1n_Q6VdBo_EGS6MYttJkIPt8g7UPs5HdfIr4z7OhOoVoQeDzRODfVuO/w414-h640/1430_Master%20of%20Marguerite%20d'Orleans_From%20Hours%20of%20Marguerite%20d'Orleans_French%20(Rennes),%20c.%201430_Paris,%20BNF_MS%20Latin%201156%20B,%20fol.%20114r.jpg" width="414" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Marguerite d'Orleans, The Coronation of the Virgin<br />From <i><u>Hours of Marguerite d'Orleans</u></i><br />French (Rennes), c. 1430<br />Paris, Bibliotheque nationale de France<br />MS Latin 1156 B, fol. 114r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCfMZHFauZu0Q_2zX2LT2kO95QX2tzC5hKNA1O2-hxeMNg2oKfyZvZJ-LiRJ8tbMBwqBqz4KNmcBz12KArnG7TV0z831WP-bWUoJKYAmgcNR2GgkjYtJtdu0hY5jXNrFu2k6BH5kr2Ggr10Z6t8xk34P-fIGS--Cj81KZapWoUAxkRD_ovc2voEZjD/s390/1435_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201435-1445_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20303,%20fol.%2062r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="390" data-original-width="303" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCfMZHFauZu0Q_2zX2LT2kO95QX2tzC5hKNA1O2-hxeMNg2oKfyZvZJ-LiRJ8tbMBwqBqz4KNmcBz12KArnG7TV0z831WP-bWUoJKYAmgcNR2GgkjYtJtdu0hY5jXNrFu2k6BH5kr2Ggr10Z6t8xk34P-fIGS--Cj81KZapWoUAxkRD_ovc2voEZjD/w498-h640/1435_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201435-1445_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20303,%20fol.%2062r.jpg" width="498" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />French (Paris), c. 1435-1445<br />New York, Pierpont Morgan Library<br />MS M 303, fol. 62r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBNyqkIkJ1VgAAnRhIX9C_MgIK-cKBfufeaZxARq0gqoJBaakjkUqogs62GEq3I_768bMWf6iCK_R-kP4vkZSOtSJZej7RGv1FEnj25to0sPCHxJXtSjOdxydtB4c_bTmaepiXCa9wPdtYY0wkaLaY_nsBoTVstSFCK0cwwFj_Kj2Fo0mQ8A57TgWn/s465/1435_Master%20of%20Jeanne%20de%20Laval_From%20a%20Book%20of%20Hours_French%20(Nantes),%20c.%201435-1445_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%2063,%20fol.%2055r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="465" data-original-width="346" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBNyqkIkJ1VgAAnRhIX9C_MgIK-cKBfufeaZxARq0gqoJBaakjkUqogs62GEq3I_768bMWf6iCK_R-kP4vkZSOtSJZej7RGv1FEnj25to0sPCHxJXtSjOdxydtB4c_bTmaepiXCa9wPdtYY0wkaLaY_nsBoTVstSFCK0cwwFj_Kj2Fo0mQ8A57TgWn/w476-h640/1435_Master%20of%20Jeanne%20de%20Laval_From%20a%20Book%20of%20Hours_French%20(Nantes),%20c.%201435-1445_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%2063,%20fol.%2055r.jpg" width="476" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Jeanne de Laval, The Coronation of the Virgin<br />From a <i><u>Book of Hours</u></i><br />French (Nantes), c. 1435-1445<br />New York, Pierpont Morgan Library<br />MS M 63, fol. 55r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwLc7umziHGv1XD6YTGf9wnYYmTQrJFEZ0uxrqtvoxsTsGQNqmCSqMJM__R3GPVp2N3uOacu5RvEnBp_TYmUZzM2tyG7HkVYi_ITU-mKUAl-LWclExs4U_V2OhjHe0iWZR4uf1lnjVXoNpmfdeaYk2SmDxl95em9SsZXIXYt7Y1w3tAeMfFpewMWA1/s486/1445_From%20a%20Book%20of%20Hours_French%20(Lyons),%20c.%201445-1465_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%201066,%20fol.%2082v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="486" data-original-width="318" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwLc7umziHGv1XD6YTGf9wnYYmTQrJFEZ0uxrqtvoxsTsGQNqmCSqMJM__R3GPVp2N3uOacu5RvEnBp_TYmUZzM2tyG7HkVYi_ITU-mKUAl-LWclExs4U_V2OhjHe0iWZR4uf1lnjVXoNpmfdeaYk2SmDxl95em9SsZXIXYt7Y1w3tAeMfFpewMWA1/w418-h640/1445_From%20a%20Book%20of%20Hours_French%20(Lyons),%20c.%201445-1465_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%201066,%20fol.%2082v.jpg" width="418" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />French (Lyons), c. 1445-1465<br />New York, Pierpont Morgan Library<br />MS M 1066, fol. 82v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2PHYXKXzh3oJhha8t23J4hRFxyoQd57d-j63SEmhWAZiUFTsOMg8S5K2Xud2GrHwgdIqQv2KhTsMvUZrTOgwsCr4Th2AUJ-cmVBZo4cYPr03at9bITK4nqisp3m-iBbZffxkoa2_4JrheVn6oTQUq8B7z4DdcFkCHLBoU3BEbswChuzdif_6JyBSZ/s428/1450_Master%20of%20Peter%20Danielssoen_From%20Spiegel%20van%20den%20laven%20ons%20Heren%20and%20other%20works_Flemish%20(Brabant),%20c.%201450-1460_New%20York,%20Pierpont_MS%20M868,%20fol.%2064v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="428" data-original-width="297" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2PHYXKXzh3oJhha8t23J4hRFxyoQd57d-j63SEmhWAZiUFTsOMg8S5K2Xud2GrHwgdIqQv2KhTsMvUZrTOgwsCr4Th2AUJ-cmVBZo4cYPr03at9bITK4nqisp3m-iBbZffxkoa2_4JrheVn6oTQUq8B7z4DdcFkCHLBoU3BEbswChuzdif_6JyBSZ/w444-h640/1450_Master%20of%20Peter%20Danielssoen_From%20Spiegel%20van%20den%20laven%20ons%20Heren%20and%20other%20works_Flemish%20(Brabant),%20c.%201450-1460_New%20York,%20Pierpont_MS%20M868,%20fol.%2064v.jpg" width="444" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Peter Danielssoen, The Coronation of the Virgin<br />From <u><i>Spiegel van den laven ons Heren and other works</i></u><br />Flemish (Brabant), c. 1450-1460<br />New York, Pierpont Morgan Library<br />MS M 868, fol. 64v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqFsF8J0z2A20g019dhA8xIULnUVy1NcJUdsF2n8E1_IN77xSbo-QFzkQYU1PT2IpChCNC94V4O7N0HAZId2AT3EOBcoK-cEYIv3hXIKbcOCQgT8lhVFCzzxIWglqYMhG6j_eruuvnJWtNQMyl4QTenY21DVvm8xI-ioH2h4-OST3x1vUxtcv4NrMF/s1455/1460_From%20a%20Book%20of%20Hours_French%20(Lyon),%20c.%201460_Paris,%20BNF_MS%20Nouvelle%20acquisition%20latine%203213,%20fol.%2074r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1455" data-original-width="1182" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqFsF8J0z2A20g019dhA8xIULnUVy1NcJUdsF2n8E1_IN77xSbo-QFzkQYU1PT2IpChCNC94V4O7N0HAZId2AT3EOBcoK-cEYIv3hXIKbcOCQgT8lhVFCzzxIWglqYMhG6j_eruuvnJWtNQMyl4QTenY21DVvm8xI-ioH2h4-OST3x1vUxtcv4NrMF/w520-h640/1460_From%20a%20Book%20of%20Hours_French%20(Lyon),%20c.%201460_Paris,%20BNF_MS%20Nouvelle%20acquisition%20latine%203213,%20fol.%2074r.jpg" width="520" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />French (Lyon), c. 1460<br />Paris, Bibliotheque nationale de France<br />MS Nouvelle acquisition latine 3213, fol. 74r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXNu1h4j3TghqlG55uI756jWkXqSJOMBJ1wRUs8HZmwgWOS_5eYGDTwbokLzW-LoLl9eGOOKHdfp9tvsY42GMQuL9pqmPmS5KZWVBm-O95AC-DjpHsfskVHsIqC4lk_93wME9Z0o4v8MLvcdnQQ4kKbX12UsyOiKeC7wW-qhRS5DOuUbQDoZkncNcV/s483/1465_Master%20of%20the%20Rouen%20Echevinage_From%20a%20Book%20of%20Hours_French%20(Rouen),%20c.%201465-1475_New%20York,%20Pierpont_MS%20M%201093,%20fol.%2073r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="483" data-original-width="303" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXNu1h4j3TghqlG55uI756jWkXqSJOMBJ1wRUs8HZmwgWOS_5eYGDTwbokLzW-LoLl9eGOOKHdfp9tvsY42GMQuL9pqmPmS5KZWVBm-O95AC-DjpHsfskVHsIqC4lk_93wME9Z0o4v8MLvcdnQQ4kKbX12UsyOiKeC7wW-qhRS5DOuUbQDoZkncNcV/w402-h640/1465_Master%20of%20the%20Rouen%20Echevinage_From%20a%20Book%20of%20Hours_French%20(Rouen),%20c.%201465-1475_New%20York,%20Pierpont_MS%20M%201093,%20fol.%2073r.jpg" width="402" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of the Rouen Echevinage, The Coronation of the Virgin<br />From a<u><i> Book of Hours</i></u><br />French (Rouen), c. 1465-1475<br />New York, Pierpont Morgan Library<br />MS M 1093, fol. 73r<br /><br /></td></tr></tbody></table><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiexWPDCRNRwR99Tne-RHzBRGABBTbU0ByzYFEut963kYzEUYcqPe3CwtjJi3Qhefkq_ofrpV6ku0r6UDQSipsP7tCksx_5-y09xdnWTcwH-XAO2PDwxTK3zYHbaZ8wj_ofRDXPiWLLJfdqJNNPSE9ko9x7mzbZ8nPKuR4auu0ohQtNXrmNFSn9RY3U/s495/1480_Georges%20Trubert_From%20a%20Book%20of%20Hours_French%20(Avignon),%20c.%201480-1490_New%20York,%20Pierpont_MS%20M348,%20fol.106r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="495" data-original-width="342" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiexWPDCRNRwR99Tne-RHzBRGABBTbU0ByzYFEut963kYzEUYcqPe3CwtjJi3Qhefkq_ofrpV6ku0r6UDQSipsP7tCksx_5-y09xdnWTcwH-XAO2PDwxTK3zYHbaZ8wj_ofRDXPiWLLJfdqJNNPSE9ko9x7mzbZ8nPKuR4auu0ohQtNXrmNFSn9RY3U/w442-h640/1480_Georges%20Trubert_From%20a%20Book%20of%20Hours_French%20(Avignon),%20c.%201480-1490_New%20York,%20Pierpont_MS%20M348,%20fol.106r.jpg" width="442" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Georges Trubert, The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />French (Avignon), c. 1480-1490<br />New York, Pierpont Morgan Library<br />MS M 348, fol.106r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><h4 style="color: black; font-family: "Times New Roman"; font-size: medium;"><span style="color: #114499; font-family: Cantarell; font-size: 15.84px;">Angels Making Music</span></h4><div style="color: black; font-family: "Times New Roman"; font-size: medium;"><span style="color: #114499; font-family: Cantarell; font-size: 15.84px;">Such a momentous moment seems to deserve music, as the mention of the great medieval hymns in the opening paragraph of this essay indicates. And at about the time those hymns were being composed and sung for the first time, music making angels appeared in the images of the Coronation of the Virgin. We can see them playing harps, trumpets, and other musical instruments as Mary receives her celestial crown.</span></div></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqRvUeq5cpX3HScjZwj3A3zr6SuKwFzjOMeuYDfr-S1oq1PLRuCnmdzYJngEb2sbmkplNr922B6zgAjcMI2lFbAJUz5hMP17URWkKB-s5NWGwDfOlDlm8lodP-smkk1RZY9tW9sYh9xibTyjeIpn-Q0RgmmGxrpiPwWxEBTefWgoBwmtBfizVqENm9/s1228/1350_Puccio%20di%20Simone_Italian,%20c.%201350_Ghent,%20Museum%20voor%20Schone%20Kunsten%20(2).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1228" data-original-width="556" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqRvUeq5cpX3HScjZwj3A3zr6SuKwFzjOMeuYDfr-S1oq1PLRuCnmdzYJngEb2sbmkplNr922B6zgAjcMI2lFbAJUz5hMP17URWkKB-s5NWGwDfOlDlm8lodP-smkk1RZY9tW9sYh9xibTyjeIpn-Q0RgmmGxrpiPwWxEBTefWgoBwmtBfizVqENm9/w290-h640/1350_Puccio%20di%20Simone_Italian,%20c.%201350_Ghent,%20Museum%20voor%20Schone%20Kunsten%20(2).jpg" width="290" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Puccio di Simone, The Coronation of the Virgin</div><div style="text-align: center;">Italian, c. 1350</div><div style="text-align: center;">Ghent, Museum voor Schone Kunsten</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiELoyjfYw4w3u_DwXmu-uoWynroAHOqkUqzSI57AGltF4X3-cKwVfMhUGdBnYZjnADuKswkh-cmjTBkuSMVeUF-f2D4A4o-0DVKEEj23TeqW82sHadANUbdIvPoyK6mg7wMl7wOX_aLjFbvXh0VPUGkUZgKaRwAnL4_ujmyBMbFvjtH2lLVb7slQrh/s1500/1354_Puccio%20di%20Simone_Italian,%20c.%201354-1357_Avignon,%20Musee%20du%20Petit%20Palais.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="855" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiELoyjfYw4w3u_DwXmu-uoWynroAHOqkUqzSI57AGltF4X3-cKwVfMhUGdBnYZjnADuKswkh-cmjTBkuSMVeUF-f2D4A4o-0DVKEEj23TeqW82sHadANUbdIvPoyK6mg7wMl7wOX_aLjFbvXh0VPUGkUZgKaRwAnL4_ujmyBMbFvjtH2lLVb7slQrh/w364-h640/1354_Puccio%20di%20Simone_Italian,%20c.%201354-1357_Avignon,%20Musee%20du%20Petit%20Palais.jpg" width="364" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Puccio di Simone, The Coronation of the Virgin<br />Italian, c. 1354-1357<br />Avignon, Musée du Petit Palais</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQMK104rAihrLrALzJhHGLgj-8daRCLpwguy0qoONjagDXCoyZSpLqMHyrZj2oYbCf8_nSObXUU-mxHXXLoOogZLeJgbcx4_u06Y8wal2eEHJk8fZhgFXUy-4fN-4PF0CVJCK2VYavqzyf7J5DfXNBM5x64k7H7-m1paDP1vz5DS45kuOkCvL8QHKc/s572/1358_Paolo%20and%20Giovanni%20Veneziano_Italian,%201358_New%20York,%20Frick%20Collection%20(2).png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="572" data-original-width="427" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQMK104rAihrLrALzJhHGLgj-8daRCLpwguy0qoONjagDXCoyZSpLqMHyrZj2oYbCf8_nSObXUU-mxHXXLoOogZLeJgbcx4_u06Y8wal2eEHJk8fZhgFXUy-4fN-4PF0CVJCK2VYavqzyf7J5DfXNBM5x64k7H7-m1paDP1vz5DS45kuOkCvL8QHKc/w478-h640/1358_Paolo%20and%20Giovanni%20Veneziano_Italian,%201358_New%20York,%20Frick%20Collection%20(2).png" width="478" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Paolo and Giovanni Veneziano, The Coronation of the Virgin</div><div style="text-align: center;">Italian, 1358</div><div style="text-align: center;">New York, Frick Collection</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdzv4JTmdga6suxNhuFcB1vMxxQcJ_-OOIYAyfgvsrfihs-vVYPdd3B01kc8MA9adxWvdRJ382izOawJUSyVt95CY7POoRC9Li4Mqe4v0n1SJDiOxdT7bg5dDcg7aalr7TVl861vjVJKld4dCSJr-dAZzd_LZ1BoQwhQy6ROah80CvBvhh1Nt7916a/s640/1360_Italian,%20c.%201360-1370_London,%20Victoria%20and%20Albert%20Museum%20(3).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="460" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdzv4JTmdga6suxNhuFcB1vMxxQcJ_-OOIYAyfgvsrfihs-vVYPdd3B01kc8MA9adxWvdRJ382izOawJUSyVt95CY7POoRC9Li4Mqe4v0n1SJDiOxdT7bg5dDcg7aalr7TVl861vjVJKld4dCSJr-dAZzd_LZ1BoQwhQy6ROah80CvBvhh1Nt7916a/w460-h640/1360_Italian,%20c.%201360-1370_London,%20Victoria%20and%20Albert%20Museum%20(3).jpg" width="460" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />Italian, c. 1360-1370<br />London, Victoria and Albert Museum</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglepy25BctUuFkXesexDqFYPblg0sHJwHYN9GMPQbJUDwIj1NEPRng35rRv26-96fXQw5rJ9_hMV0ieWHD2l3nOEuBsw-G3N-mvYrYV4ntlPens_eQNV68UhX0-oByzQ7Web-0TMoZRkmYPJDy2Ek74rbPrZRGd8bSKyeWhXfPUiXi2iW42Gwat6xT/s640/1375_Italian,%20Late%2014th%20Century_New%20York,%20Metropolitan%20Museum%20of%20Art,%20The%20Cloisters%20Collection.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="472" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglepy25BctUuFkXesexDqFYPblg0sHJwHYN9GMPQbJUDwIj1NEPRng35rRv26-96fXQw5rJ9_hMV0ieWHD2l3nOEuBsw-G3N-mvYrYV4ntlPens_eQNV68UhX0-oByzQ7Web-0TMoZRkmYPJDy2Ek74rbPrZRGd8bSKyeWhXfPUiXi2iW42Gwat6xT/w472-h640/1375_Italian,%20Late%2014th%20Century_New%20York,%20Metropolitan%20Museum%20of%20Art,%20The%20Cloisters%20Collection.jpg" width="472" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />Italian, Late 14th Century<br />New York, Metropolitan Museum of Art, The Cloisters Collection</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNdWvrm1aHurWR22jNc5fvZdobom62CZhScWFl-vEWVWu2WXq0WRrIF2jtCJegSzZwovsE02tUXhxDsnV9zWIDGSzaPAwsDmiHsQm_izR8Pz799xzn-viNl1NIYDMSPgP7TyEtphwwSUURTJRqen1Pl10bsd_A-Kh7g9jDmYWjFi-dBR2x_kDb7OFi/s3532/1380_Niccolo%20di%20Buonaccorso_Italian,%20c.%201380_New%20York,%20Metropolitan%20Museum%20of%20Art,%20Robert%20Lehman%20Collection.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3532" data-original-width="2226" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNdWvrm1aHurWR22jNc5fvZdobom62CZhScWFl-vEWVWu2WXq0WRrIF2jtCJegSzZwovsE02tUXhxDsnV9zWIDGSzaPAwsDmiHsQm_izR8Pz799xzn-viNl1NIYDMSPgP7TyEtphwwSUURTJRqen1Pl10bsd_A-Kh7g9jDmYWjFi-dBR2x_kDb7OFi/w404-h640/1380_Niccolo%20di%20Buonaccorso_Italian,%20c.%201380_New%20York,%20Metropolitan%20Museum%20of%20Art,%20Robert%20Lehman%20Collection.jpg" width="404" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Niccolo di Buonaccorso, The Coronation of the Virgin<br />Italian, c. 1380<br />New York, Metropolitan Museum of Art, Robert Lehman Collection</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKKe4LX1CJ40QE2wHZLwYVD9_TT10fVwZQdO5_CXhCDX-pYh_YEdAhgkOF7Hh64PnEzQDt8g8uMTtDdi2pgtoy573sHx2rBCJsUgEL2ljilZkXOwRKjDMfEx-YoPbA5vkj3XyM86K6VCgaTgZCJZZDucGYZoa733SVO9Ph0icxFJpk7pEf1gW4qOJE/s1505/1385_Master%20of%20the%20Trinity_From%20Petites%20heures%20de%20Jean%20de%20Berry_French%20(Bourges),%20c.%201385-1390_Paris,%20BNF_MS%20Latin%2018014,%20fol.%2048v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1505" data-original-width="1225" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKKe4LX1CJ40QE2wHZLwYVD9_TT10fVwZQdO5_CXhCDX-pYh_YEdAhgkOF7Hh64PnEzQDt8g8uMTtDdi2pgtoy573sHx2rBCJsUgEL2ljilZkXOwRKjDMfEx-YoPbA5vkj3XyM86K6VCgaTgZCJZZDucGYZoa733SVO9Ph0icxFJpk7pEf1gW4qOJE/w520-h640/1385_Master%20of%20the%20Trinity_From%20Petites%20heures%20de%20Jean%20de%20Berry_French%20(Bourges),%20c.%201385-1390_Paris,%20BNF_MS%20Latin%2018014,%20fol.%2048v.jpg" width="520" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of the Trinity, The Coronation of the Virgin<br />From <i><u>Petites heures de Jean de Berry</u></i><br />French (Bourges), c. 1385-1390<br />Paris, Bibliotheque nationale de France<br />MS Latin 18014, fol. 48v</td></tr></tbody></table><br /><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgKKWpfQBns5ki5QoXc6NAPt5048ebnxJX6JL0RRHxTaexUe4czU9hpzEIrn4Dg9mgU7oxaHNwtD4vE_U300u85I5UcY34_ZUD9gKvHBkRjUhZbUyIYJsTx2rgL-QcE1HE8yy7w_M0wRxGB4Gn-35uF_UpLPT1TSxJoVxp7UIcmyivEraBl5bYUMBN/s537/1415_Workshop%20of%20the%20Boucicaut%20Master_Froma%20Book%20of%20Hours_French%20(Paris),%20c.%201415-1425_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%201000,%20fol.%20102r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="537" data-original-width="366" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgKKWpfQBns5ki5QoXc6NAPt5048ebnxJX6JL0RRHxTaexUe4czU9hpzEIrn4Dg9mgU7oxaHNwtD4vE_U300u85I5UcY34_ZUD9gKvHBkRjUhZbUyIYJsTx2rgL-QcE1HE8yy7w_M0wRxGB4Gn-35uF_UpLPT1TSxJoVxp7UIcmyivEraBl5bYUMBN/w436-h640/1415_Workshop%20of%20the%20Boucicaut%20Master_Froma%20Book%20of%20Hours_French%20(Paris),%20c.%201415-1425_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%201000,%20fol.%20102r.jpg" width="436" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Workshop of the Boucicaut Master, The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />French (Paris), c. 1415-1425<br />New York, Pierpont Morgan Library<br />MS M 1000, fol. 102r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO6Jn1Ir1pIkVyLVp5OJzsTvOGiS1CT2JuMEicnKg_ZyBG_PYMlTF2AV7NcTczpbSQgzcITP99hM5SmzBorJTlZ6YCSAGG8B9QSTD8ZN1MnbQ8VMfXFAm4Ciyd77JQF0vTdGs7FHlofGJ678aMNodRukmhivJ1TIQUaHFKa0Q_-fiT52Gi2IRg8PYq/s524/1450_Master%20of%20Morgan%2078_From%20a%20Book%20of%20Hours_Flemish%20(Tournai),%20c.%201450-1460_New%20York,%20Pierpont_MS%20M78,%20fol.093v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="524" data-original-width="328" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO6Jn1Ir1pIkVyLVp5OJzsTvOGiS1CT2JuMEicnKg_ZyBG_PYMlTF2AV7NcTczpbSQgzcITP99hM5SmzBorJTlZ6YCSAGG8B9QSTD8ZN1MnbQ8VMfXFAm4Ciyd77JQF0vTdGs7FHlofGJ678aMNodRukmhivJ1TIQUaHFKa0Q_-fiT52Gi2IRg8PYq/w400-h640/1450_Master%20of%20Morgan%2078_From%20a%20Book%20of%20Hours_Flemish%20(Tournai),%20c.%201450-1460_New%20York,%20Pierpont_MS%20M78,%20fol.093v.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Morgan 78, The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />Flemish (Tournai), c. 1450-1460<br />New York, Pierpont Morgan Library<br />MS M 78, fol.093v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJlYgRSk5kYfCDHMdK2rhbb_IMOH9K_s_aIV16rFPfLgryRnqB73t8B90qPgGKJJbIyVm9Nb7sOD9E3JSzycYz9rrCrLG02zFgwNSQx51nWhywcqwnp22wAXokAmknYiws3RQd7nhaBOiztZK67VK1Di1igmxMRcpVRoD21VSwsOGzqP0wmUOW2Gcp/s3722/1455_Giovanni%20di%20Paolo_Italian,%20c.%201455-New%20York,%20Metropolitan%20Museum%20of%20Art,%20Robert%20Lehman%20Collection.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3722" data-original-width="2748" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJlYgRSk5kYfCDHMdK2rhbb_IMOH9K_s_aIV16rFPfLgryRnqB73t8B90qPgGKJJbIyVm9Nb7sOD9E3JSzycYz9rrCrLG02zFgwNSQx51nWhywcqwnp22wAXokAmknYiws3RQd7nhaBOiztZK67VK1Di1igmxMRcpVRoD21VSwsOGzqP0wmUOW2Gcp/w472-h640/1455_Giovanni%20di%20Paolo_Italian,%20c.%201455-New%20York,%20Metropolitan%20Museum%20of%20Art,%20Robert%20Lehman%20Collection.jpg" width="472" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Giovanni di Paolo, The Coronation of the Virgin<br />Italian, c. 1455<br />New York, Metropolitan Museum of Art, Robert Lehman Collection</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyVVbxTYBdD-68YG74dypnMUaAaiLckPbN5at8r545hNaIIQi1UYnXk_AvFpIwe5o9Ut2ruLs3_J9DT-DkIhiCNO6alHRHUJT1PjlTZ8D0bcQ3nqYrefPVDZxo5GTKcwY0zJTUZYrZJcBsk_0WTvsTnO8mAoGiBizLEMTQ8GW8r4wPzsVma4ldUCdD/s460/1475_Workshop%20of%20the%20Master%20of%20the%20Rouen%20Echevinage_From%20a%20Book%20of%20Hours_French%20(Rouen),%20c.%201475-1485_New%20York,%20Pierpont_MS%20M131,%20fol.063r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="460" data-original-width="319" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyVVbxTYBdD-68YG74dypnMUaAaiLckPbN5at8r545hNaIIQi1UYnXk_AvFpIwe5o9Ut2ruLs3_J9DT-DkIhiCNO6alHRHUJT1PjlTZ8D0bcQ3nqYrefPVDZxo5GTKcwY0zJTUZYrZJcBsk_0WTvsTnO8mAoGiBizLEMTQ8GW8r4wPzsVma4ldUCdD/w444-h640/1475_Workshop%20of%20the%20Master%20of%20the%20Rouen%20Echevinage_From%20a%20Book%20of%20Hours_French%20(Rouen),%20c.%201475-1485_New%20York,%20Pierpont_MS%20M131,%20fol.063r.jpg" width="444" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Workshop of the Master of the Rouen Echevinage, The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />French (Rouen), c. 1475-1485<br />New York, Pierpont Morgan Library<br />MS M 131, fol.063r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVrT-_x8MRjb3iwmcXj_94SYO1UHAoC3XuySp2sBE3atDhUXb_7ZJf4Wdx3TCtxMk6HkMgsQuVPybxwhuMlsFt5QpfOjZEPxfQjb6UKYf9g6uVul7Lv0XZnS4tM2A5tUdkLv5oz2Q_kaR3zZU4ZAIvjYm8Mrzk1mtECFiVeP8myTJT6o6XL8koQSzH/s1424/1515_Master%20of%20the%20Ango%20Hours_From%20the%20Ango%20Hours_FRench%20(Rouen),%20c.%201515_Paris,%20BNF_MS%20Nouvelle%20acquisition%20latine%20392,%20fol.%2076r.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1424" data-original-width="707" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVrT-_x8MRjb3iwmcXj_94SYO1UHAoC3XuySp2sBE3atDhUXb_7ZJf4Wdx3TCtxMk6HkMgsQuVPybxwhuMlsFt5QpfOjZEPxfQjb6UKYf9g6uVul7Lv0XZnS4tM2A5tUdkLv5oz2Q_kaR3zZU4ZAIvjYm8Mrzk1mtECFiVeP8myTJT6o6XL8koQSzH/w318-h640/1515_Master%20of%20the%20Ango%20Hours_From%20the%20Ango%20Hours_FRench%20(Rouen),%20c.%201515_Paris,%20BNF_MS%20Nouvelle%20acquisition%20latine%20392,%20fol.%2076r.jpeg" width="318" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of the Ango Hours, The Coronation of the Virgin<br />From the<u><i> Ango Hours</i></u><br />FRench (Rouen), c. 1515<br />Paris, Bibliotheque nationale de France<br />MS Nouvelle acquisition latine 392, fol. 76r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><h4 style="color: black; font-family: "Times New Roman"; font-size: medium;"><span style="color: #114499; font-family: Cantarell;"><span style="font-size: 15.84px;">Crowning by the Trinity</span></span></h4><div style="color: black; font-family: "Times New Roman"; font-size: medium;"><span style="color: #114499; font-family: Cantarell; font-size: 15.84px;">Frequently, from the later part of the middle ages come images of Mary receiving her crown from the hands of the Holy Trinity. These images seem to appear around the year 1400 and continue for centuries thereafter. They reflect a more theological, less sentimental reflection on the idea of Mary as Queen of Heaven, for though she is only the human mother of the Second Person of the Trinity, she is placed in a way no other human ever was or ever will be in relation to the Trinity. Thus, it is appropriate for the Persons of the Trinity to crown her and not her Son alone.</span></div><div style="color: black; font-family: "Times New Roman"; font-size: medium;"><span style="color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div style="color: black; font-family: "Times New Roman"; font-size: medium;"><span style="color: #114499; font-family: Cantarell; font-size: 15.84px;">This relationship is expressed by artists in several ways.</span></div><div style="color: black; font-family: "Times New Roman"; font-size: medium;"><span style="color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><h4 style="color: black; font-family: "Times New Roman"; font-size: medium;"><span style="color: #114499; font-family: Cantarell; font-size: 15.84px;"><i>Father and Son Crown Mary</i></span></h4></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk-ELmCVCnk1qQ80TvWBFdycP6WwlfX8-6sgB8keThKIOIwkYzYHeDmLvqsMLie0v7rNQyQnTs01YuzfYUaU8eyg4XnxQSpXOf6bb0dRPRUqnrOj1gFnnsgPlciJFPiaonztxvHdrb5lDUQT4PG_tMTQOJkcplrYTNGAiMz9BFxLEgAuvLESL_53SH/s3541/1400_Austrian,%2015th%20Century-New%20York,%20Metropolitan%20Museum%20of%20Art,%20The%20Cloisters%20Collection.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3541" data-original-width="2394" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk-ELmCVCnk1qQ80TvWBFdycP6WwlfX8-6sgB8keThKIOIwkYzYHeDmLvqsMLie0v7rNQyQnTs01YuzfYUaU8eyg4XnxQSpXOf6bb0dRPRUqnrOj1gFnnsgPlciJFPiaonztxvHdrb5lDUQT4PG_tMTQOJkcplrYTNGAiMz9BFxLEgAuvLESL_53SH/w432-h640/1400_Austrian,%2015th%20Century-New%20York,%20Metropolitan%20Museum%20of%20Art,%20The%20Cloisters%20Collection.jpg" width="432" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />Austrian, 15th Century<br />New York, Metropolitan Museum of Art, The Cloisters Collection</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSGz_F0cZeLBpJvtP_UhN7azJDebykiejEtb-gyPYMj81GoTrZylmYieqIJIY8yVnE8oopvrlJXuSvyJnr4mLfhz3dLufgjcG5HADPsKQ_pyjiLeEYONOl1edn_619M6d2fUx7RoGwCOe9H_mB61wqno4SjnCB8ZGQhMHYqfcqbAAwf6uDgDtEM_AF/s811/1436_Giovanni%20di%20Nicolo%20Bellini,%20Coronation%20of%20the%20Virgin_Italian,%20c.%201436-1440_Ferrara,%20Pinacoteca%20Nazionale%20di%20Ferrara.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="811" data-original-width="624" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSGz_F0cZeLBpJvtP_UhN7azJDebykiejEtb-gyPYMj81GoTrZylmYieqIJIY8yVnE8oopvrlJXuSvyJnr4mLfhz3dLufgjcG5HADPsKQ_pyjiLeEYONOl1edn_619M6d2fUx7RoGwCOe9H_mB61wqno4SjnCB8ZGQhMHYqfcqbAAwf6uDgDtEM_AF/w492-h640/1436_Giovanni%20di%20Nicolo%20Bellini,%20Coronation%20of%20the%20Virgin_Italian,%20c.%201436-1440_Ferrara,%20Pinacoteca%20Nazionale%20di%20Ferrara.png" width="492" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Giovanni di Nicolo Bellini, The Coronation of the Virgin<br />Italian, c. 1436-1440<br />Ferrara, Pinacoteca Nazionale di Ferrara</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjryEhM2QW28iYgLwye0f6vjo6n-AjaNe7cAz0E2yqqSAx3yIjW8LfCWVGdPL6nkIptN7awKBpLAauUbxSiE4fo36gpCfROhRBXGmhWT2bbbNHUaNJx3ecxFk72XfRcKOx56WZE3JfZhxM55pjrbAluzVd06xIY6N2VWsh_aH82aotqdS_FnUIbZkIE/s2285/1445_Hours%20of%20Louis%20of%20Savoy_French(Savoy)_1445-60_BNF_Latin%209473_64v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2285" data-original-width="1524" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjryEhM2QW28iYgLwye0f6vjo6n-AjaNe7cAz0E2yqqSAx3yIjW8LfCWVGdPL6nkIptN7awKBpLAauUbxSiE4fo36gpCfROhRBXGmhWT2bbbNHUaNJx3ecxFk72XfRcKOx56WZE3JfZhxM55pjrbAluzVd06xIY6N2VWsh_aH82aotqdS_FnUIbZkIE/w426-h640/1445_Hours%20of%20Louis%20of%20Savoy_French(Savoy)_1445-60_BNF_Latin%209473_64v.jpg" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />From the <u><i>Hours of Louis of Savoy</i></u><br />French (Savoy), c. 1445-1460<br />Paris, Bnibliotheque nationale de France<br />MS Latin 9473, fol. 64v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidtd-FBkNE84AFHp__VXqYcCFAeen-fWHDov2K2Ypa0D1pbdqlegRlwZzqD49QUkEtK45nr56uBLttUudMObl3--AkUtH1S2a5O_-_L6z4jvEMU3mfPKaTPNmF9IKbLQrnrm967X4W9sB4mc9mX0i6AUkgpljCOlJgwmJVx-XK7rocyB4cQH20-a4g/s488/1465_Follower%20of%20Antoine%20de%20Lonhy_From%20a%20Book%20of%20Hours_French%20(Besancon),%20c.%201465-1475_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20196,%20fol.%2060v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="488" data-original-width="330" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidtd-FBkNE84AFHp__VXqYcCFAeen-fWHDov2K2Ypa0D1pbdqlegRlwZzqD49QUkEtK45nr56uBLttUudMObl3--AkUtH1S2a5O_-_L6z4jvEMU3mfPKaTPNmF9IKbLQrnrm967X4W9sB4mc9mX0i6AUkgpljCOlJgwmJVx-XK7rocyB4cQH20-a4g/w432-h640/1465_Follower%20of%20Antoine%20de%20Lonhy_From%20a%20Book%20of%20Hours_French%20(Besancon),%20c.%201465-1475_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20196,%20fol.%2060v.jpg" width="432" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Follower of Antoine de Lonhy, The Coronation of the Virgin<br />From a <i><u>Book of Hours</u></i><br />French (Besancon), c. 1465-1475<br />New York, Pierpont Morgan Library<br />MS M 196, fol. 60v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiwVIlAqHd9BZMcfFVlpEijr2310vgCgxqbszfIJUY6zEiNQ7XX_LfYjg4AjgSmwNMKjJATvXaDLQL6snyCDS2G8RD4Nr-w9bL5mvSpFkEwmeO7nclsw8XRaZGRBIehel6mLolEt7zf9B0RORMpJmUTPv2FQ4wmSj10Plau9uLvzV2BCBtxPsVyVVE/s572/1480_Workshop%20of%20the%20Master%20of%20Edward%20IV_From%20a%20Book%20of%20Hours_DETAIL_Flemish%20(Ghent),%20c.%201480-1490_New%20York,%20Pierpont_MS%20M278,%20fol.100v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="572" data-original-width="358" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiwVIlAqHd9BZMcfFVlpEijr2310vgCgxqbszfIJUY6zEiNQ7XX_LfYjg4AjgSmwNMKjJATvXaDLQL6snyCDS2G8RD4Nr-w9bL5mvSpFkEwmeO7nclsw8XRaZGRBIehel6mLolEt7zf9B0RORMpJmUTPv2FQ4wmSj10Plau9uLvzV2BCBtxPsVyVVE/w400-h640/1480_Workshop%20of%20the%20Master%20of%20Edward%20IV_From%20a%20Book%20of%20Hours_DETAIL_Flemish%20(Ghent),%20c.%201480-1490_New%20York,%20Pierpont_MS%20M278,%20fol.100v.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Workshop of the Master of Edward IV, The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />Flemish (Ghent), c. 1480-1490<br />New York, Pierpont Morgan Library<br />MS M 278, fol.100v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><br /></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><h4 style="color: black; font-family: "Times New Roman"; font-size: medium;"><span style="color: #114499; font-family: Cantarell; font-size: 15.84px;"><i>God the Father Alone Crowns Mary</i></span></h4></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLU4nw5M4d4SvKFpelaj3xakifGknJHmcGEwEp-S4AnAlodGiAObuqVe0_l7CTPPJW52zL2i7jCXpdVh61_BXWywKn4E35DOoZvJmPUWnEZcAJVc5UKqPllTQEFWRtHo29SVSKQOiWfIWySGczmnpB4PS8TVGWpu-l9W_gJKiSHA2oV_wxKvulyYQH/s546/1316+Coronation%20of%20Virgin_De%20Lisle%20Hours_England,%20possibly%20York_1316-1331_Morgan_G50,%20fol.163r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="546" data-original-width="334" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLU4nw5M4d4SvKFpelaj3xakifGknJHmcGEwEp-S4AnAlodGiAObuqVe0_l7CTPPJW52zL2i7jCXpdVh61_BXWywKn4E35DOoZvJmPUWnEZcAJVc5UKqPllTQEFWRtHo29SVSKQOiWfIWySGczmnpB4PS8TVGWpu-l9W_gJKiSHA2oV_wxKvulyYQH/w392-h640/1316+Coronation%20of%20Virgin_De%20Lisle%20Hours_England,%20possibly%20York_1316-1331_Morgan_G50,%20fol.163r.jpg" width="392" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">The Coronation of the Virgin</div><div style="text-align: center;">From the <u><i>De Lisle Hours</i></u></div><div style="text-align: center;">England (possibly York), c. 1316-1331</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS G 50, fol. 163r</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvF6Uh3B_OE3wkWeJbqNTqt8pdt-9FG-562XYRa8P5vLLapD9oMz8teGh4kMomZbhsmzAOsoESPwJjnfh_k2R-F6lVj5hjVMNcFwvgsAeccQLlifiRxEszEYk06qc8Q4miSSKw6AzvTOzDpAd-RWI6ch7c5tZJWM8ccGeHwUIN1dSx5K02GXld1up-/s419/1395-Associate%20of%20the%20Lucon%20Master_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201395-1405_New%20York,%20Pierpont_MS%20S9,%20fol.091r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="419" data-original-width="338" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvF6Uh3B_OE3wkWeJbqNTqt8pdt-9FG-562XYRa8P5vLLapD9oMz8teGh4kMomZbhsmzAOsoESPwJjnfh_k2R-F6lVj5hjVMNcFwvgsAeccQLlifiRxEszEYk06qc8Q4miSSKw6AzvTOzDpAd-RWI6ch7c5tZJWM8ccGeHwUIN1dSx5K02GXld1up-/w516-h640/1395-Associate%20of%20the%20Lucon%20Master_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201395-1405_New%20York,%20Pierpont_MS%20S9,%20fol.091r.jpg" width="516" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Associate of the Lucon Master, The Coronation of the Virgin</div><div style="text-align: center;">From a <u><i>Book of Hours</i></u></div><div style="text-align: center;">French (Paris), c. 1395-1405</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS S 9, fol. 91r</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaYCXr2OkNU2bCA08Rs7zdI9s4JC2r9o2vKRAN2Rt7O1B-RT3YsfuY4Uw37FoksiMMXzrzG0cXoSlwQMk3Epu91TAXvQikoo_rkuv68JU6Ve3A3TV_N9X5zdmqgYt9d09PWAmQ2M5hwH8dWMtpH9zka5MkJ0lNvaVTkFO1AnUdaC6RgAlIkjKlgpMv/s860/1400_From%20a%20Book%20of%20Hours_French%20(Paris),%2015th%20Century_Paris,%20BNF_MS%20Nouvelle%20acquisition%20latine%203115,%20fol.89r%20.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="860" data-original-width="628" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaYCXr2OkNU2bCA08Rs7zdI9s4JC2r9o2vKRAN2Rt7O1B-RT3YsfuY4Uw37FoksiMMXzrzG0cXoSlwQMk3Epu91TAXvQikoo_rkuv68JU6Ve3A3TV_N9X5zdmqgYt9d09PWAmQ2M5hwH8dWMtpH9zka5MkJ0lNvaVTkFO1AnUdaC6RgAlIkjKlgpMv/w468-h640/1400_From%20a%20Book%20of%20Hours_French%20(Paris),%2015th%20Century_Paris,%20BNF_MS%20Nouvelle%20acquisition%20latine%203115,%20fol.89r%20.jpg" width="468" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />From a <u><i>Book of Hour</i></u>s<br />French (Paris), 15th Century<br />Paris, Bibliotheque nationale de France<br />MS Nouvelle acquisition latine 3115, fol.89r </td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMsLccrN9x3Ix4Ot-XzwSyDocF_Y_6ShT3aY3Q19r8djNN-iTjjZAyxeJi28VnQPnJU1n5_nmpPbmoMApc25tDBVcaC-AzJ9U1WL0_85LnZJSWFNSn_8PU5QCM_SS2xHyjUYNR_7bIsn2_Ng1ehoil8TBi9S981C7-jINBYR5aHvdZfG6p2IeXtsVF/s408/1420_From%20a%20Book%20of%20Hours_French%20(Brittany),%20c.%201420-1430_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20865,%20fol.%2089v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="408" data-original-width="280" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMsLccrN9x3Ix4Ot-XzwSyDocF_Y_6ShT3aY3Q19r8djNN-iTjjZAyxeJi28VnQPnJU1n5_nmpPbmoMApc25tDBVcaC-AzJ9U1WL0_85LnZJSWFNSn_8PU5QCM_SS2xHyjUYNR_7bIsn2_Ng1ehoil8TBi9S981C7-jINBYR5aHvdZfG6p2IeXtsVF/w440-h640/1420_From%20a%20Book%20of%20Hours_French%20(Brittany),%20c.%201420-1430_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20865,%20fol.%2089v.jpg" width="440" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">From a Book of Hours, The Coronation of the Virgin<br />French (Brittany), c. 1420-1430<br />New York, Pierpont Morgan Library<br />MS M 865, fol. 89v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjswgDACLTXicdizeZ6Uj4nrACUctQb6ypKUuXrti7myGnR_DkOxtIEatCbLa7AYwJ_1Itb6sfwnTE7r4Gp3V7XjXnjALwIUnlzLj5Myi8QULgM7iWE9eRMrI9HdomjkY_JiZQm19HkbEN8IJJmHnFlRrtnm0zIrq7jl0TKpDtXaCMLaKpgcCpD2X1j/s1425/1445+Dunois%20Master_From%20the%20Hours%20of%20Guillaume%20Jouvenel%20des%20Ursins_French%20(Paris),%20c.%201445-1450_Paris,%20BNF_MS%20Nouvelle%20acqusition%20latine%203226,%20fol.%2032v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1425" data-original-width="980" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjswgDACLTXicdizeZ6Uj4nrACUctQb6ypKUuXrti7myGnR_DkOxtIEatCbLa7AYwJ_1Itb6sfwnTE7r4Gp3V7XjXnjALwIUnlzLj5Myi8QULgM7iWE9eRMrI9HdomjkY_JiZQm19HkbEN8IJJmHnFlRrtnm0zIrq7jl0TKpDtXaCMLaKpgcCpD2X1j/w440-h640/1445+Dunois%20Master_From%20the%20Hours%20of%20Guillaume%20Jouvenel%20des%20Ursins_French%20(Paris),%20c.%201445-1450_Paris,%20BNF_MS%20Nouvelle%20acqusition%20latine%203226,%20fol.%2032v.jpg" width="440" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Dunois Master, The Coronation of the Virgin<br />From the <u><i>Hours of Guillaume Jouvenel des Ursins</i></u><br />French (Paris), c. 1445-1450<br />Paris, Bibliotheque nationale de France<br />MS Nouvelle acqusition latine 3226, fol. 32v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdkFv_gPWbJN3vnOpqPXg6VludQKRtE-HgQqFHy_iDgQ261o43-y0qvRpOxgzWc42PfAeb67f086q8hzGBSVlv2ZFoHiRdR6Q_6J8zDPAEVBu6PxVCHHuoa6VtCkBQlqpjARzYM28LRcAuVbH6wbkbUKVVMgGDpnxEmO3maASfCwAO7Qf5GA4ZQiHj/s775/1450+From%20a%20Book%20of%20Hours_French,%20c.%201450-1475_Paris,%20BNF_MS%20Latin%201175,%20fol.%2064r.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="775" data-original-width="520" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdkFv_gPWbJN3vnOpqPXg6VludQKRtE-HgQqFHy_iDgQ261o43-y0qvRpOxgzWc42PfAeb67f086q8hzGBSVlv2ZFoHiRdR6Q_6J8zDPAEVBu6PxVCHHuoa6VtCkBQlqpjARzYM28LRcAuVbH6wbkbUKVVMgGDpnxEmO3maASfCwAO7Qf5GA4ZQiHj/w430-h640/1450+From%20a%20Book%20of%20Hours_French,%20c.%201450-1475_Paris,%20BNF_MS%20Latin%201175,%20fol.%2064r.jpeg" width="430" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />French, c. 1450-1475<br />Paris, Bibliotheque nationale de France<br />MS Latin 1175, fol. 64r</td></tr></tbody></table><br /><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXBz4cVNjzS_5Sppkj-ZGfSJovE61ffkOx1aCc4_3REOd1o7789yq0KJamGl988MOAZ5NEwg2o6mo3DyTvsexY1Z12YLjID7S7ahUMV--3G9FLmDeucpnsR7K7XKk8huTD0aQZtoi8vscEThYfJjUixat0NLMivbqMfTRoHvZSnNfjARCj6rDNO884/s458/1455_Follower%20of%20the%20Master%20of%20Jean%20Rolin_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201455-1465_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20282,%20fol.%2088v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="458" data-original-width="303" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXBz4cVNjzS_5Sppkj-ZGfSJovE61ffkOx1aCc4_3REOd1o7789yq0KJamGl988MOAZ5NEwg2o6mo3DyTvsexY1Z12YLjID7S7ahUMV--3G9FLmDeucpnsR7K7XKk8huTD0aQZtoi8vscEThYfJjUixat0NLMivbqMfTRoHvZSnNfjARCj6rDNO884/w424-h640/1455_Follower%20of%20the%20Master%20of%20Jean%20Rolin_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201455-1465_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20282,%20fol.%2088v.jpg" width="424" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Follower of the Master of Jean Rolin, The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />French (Paris), c. 1455-1465<br />New York, Pierpont Morgan Library<br />MS M 282, fol. 88v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ9T7RzaDS3aR0zhqE9e-0b7dsdAwF1Ct4XH24km8HwFE4Ks_9nT9hLQLvc_Omd6HZQD-83sTqi67isH6BaIYC7fsNGPcFIC08HL51r-AzG_nHYgOp7uepjpmoHoJSzbwvE_Hvs3r-GEtvO6lbjLWOFa9qZkJeS7Tc1SrUpbg_rU2cfhfrlFmPz9O0/s427/1455_Workshop%20of%20the%20Master%20of%20the%20Rouen%20Echevinage_From%20a%20Book%20of%20Hours_French%20(Rouen),%20c.%20145-1475_New%20York,%20Pierpont_MS%20M%201160,%20fol.%2074v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="427" data-original-width="302" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ9T7RzaDS3aR0zhqE9e-0b7dsdAwF1Ct4XH24km8HwFE4Ks_9nT9hLQLvc_Omd6HZQD-83sTqi67isH6BaIYC7fsNGPcFIC08HL51r-AzG_nHYgOp7uepjpmoHoJSzbwvE_Hvs3r-GEtvO6lbjLWOFa9qZkJeS7Tc1SrUpbg_rU2cfhfrlFmPz9O0/w452-h640/1455_Workshop%20of%20the%20Master%20of%20the%20Rouen%20Echevinage_From%20a%20Book%20of%20Hours_French%20(Rouen),%20c.%20145-1475_New%20York,%20Pierpont_MS%20M%201160,%20fol.%2074v.jpg" width="452" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Workshop of the Master of the Rouen Echevinage, The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />French (Rouen), c. 1450-1475<br />New York, Pierpont Morgan Library<br />MS M 1160, fol. 74v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEint8bfg-ke88-qj7v44_FN6WY1CujyfQ-hvB1QaU7hPSL4K5ntBY4qKfrDWBuOH_zMldKN0A18fYKZ_XTOYt373SMSzyJt8hWWEMN1bt9yhORdHkhi6nsm_e1QXMND5feb4c6abKnjs9NeAhXBPIZZ49Y3tCHst91OCiJMQbo8M_wM7muKgzH4L-1r/s428/1460_A%20Follower%20of%20the%20Coetivy%20Master_From%20a%20Book%20of%20Hours_French%20(Rouen),%20c.%201460-1480+New%20York,%20Pierpont_MS%20M%201055,%20fol.%2061v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="428" data-original-width="310" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEint8bfg-ke88-qj7v44_FN6WY1CujyfQ-hvB1QaU7hPSL4K5ntBY4qKfrDWBuOH_zMldKN0A18fYKZ_XTOYt373SMSzyJt8hWWEMN1bt9yhORdHkhi6nsm_e1QXMND5feb4c6abKnjs9NeAhXBPIZZ49Y3tCHst91OCiJMQbo8M_wM7muKgzH4L-1r/w464-h640/1460_A%20Follower%20of%20the%20Coetivy%20Master_From%20a%20Book%20of%20Hours_French%20(Rouen),%20c.%201460-1480+New%20York,%20Pierpont_MS%20M%201055,%20fol.%2061v.jpg" width="464" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">A Follower of the Coetivy Master, The Coronation of the Virgin<br />From a <i><u>Book of Hours</u></i><br />French (Rouen), c. 1460-1480<br />New York, Pierpont Morgan Library<br />MS M 1055, fol. 61v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXP9gLCvs-20FAZ6R0NpoMQuv88oiCJH9MrbgDwdKF2sBSJanc1_zo_VxuFYrCeNUwU19Zc9S6bHcSis29GqkxuGRjLTb7a1BRH5bhb8FLVeMxsLWCd2GWfaxgtQ1r9T1ddrAPGAevLL8_7XmWC428trtUogG6bmX8r4sOdQIpkuoEenmMheQFw1ww/s486/1460_From%20a%20Book%20of%20Hours_French%20(Tours),%20c.%201460-1470_New%20York,%20Pierpont_MS%20M161,%20fol.072ra.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="486" data-original-width="344" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXP9gLCvs-20FAZ6R0NpoMQuv88oiCJH9MrbgDwdKF2sBSJanc1_zo_VxuFYrCeNUwU19Zc9S6bHcSis29GqkxuGRjLTb7a1BRH5bhb8FLVeMxsLWCd2GWfaxgtQ1r9T1ddrAPGAevLL8_7XmWC428trtUogG6bmX8r4sOdQIpkuoEenmMheQFw1ww/w454-h640/1460_From%20a%20Book%20of%20Hours_French%20(Tours),%20c.%201460-1470_New%20York,%20Pierpont_MS%20M161,%20fol.072ra.jpg" width="454" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">The Coronation of the Virgin</div><div style="text-align: center;">From a <i><u>Book of Hours</u></i></div><div style="text-align: center;">French (Tours), c. 1460-1470</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS M 161, fol. 72r</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaylcp9hc90Ij56J1M_kWAoAWqa89g9LbYi7_4rnwpzNLYwCk2G0PQ2ylr2SS_7VU5Jb6ck1fd-FwClksMsKofVl-nxsOHFPxX1pB3_GrrTM5hfSGXzHPhlyQwnGyE-Uqo5PDz0onxwS9kGpBIzyXxlissSGPKZ3HRUjcXdkPbIlopATdsVfBGUAyE/s464/1460_Master%20of%20Jean%20Rolin%20II_Bk%20Hrs_French_Ile-de-France_1460-70_Morgan_M1027,%20fol.115r%20det.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="464" data-original-width="309" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaylcp9hc90Ij56J1M_kWAoAWqa89g9LbYi7_4rnwpzNLYwCk2G0PQ2ylr2SS_7VU5Jb6ck1fd-FwClksMsKofVl-nxsOHFPxX1pB3_GrrTM5hfSGXzHPhlyQwnGyE-Uqo5PDz0onxwS9kGpBIzyXxlissSGPKZ3HRUjcXdkPbIlopATdsVfBGUAyE/w426-h640/1460_Master%20of%20Jean%20Rolin%20II_Bk%20Hrs_French_Ile-de-France_1460-70_Morgan_M1027,%20fol.115r%20det.jpg" width="426" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Master of Jean Rolin II, The Coronation of the Virgin</div><div style="text-align: center;">From a <u><i>Book of Hours</i></u></div><div style="text-align: center;">French (Paris), c. 1460-1470</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS M 1027, fol.115r</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6LukZfHcBqmSoSYuqBiu5XzpAxjQCtGMjZne61mctWmBoiEglGVM6SzBDnEmkRpACGgCexW9yFdbEazfcss3D4z1UTcmQa6WPvZrMOfkFom-cBGgWAOrhljsiVmlrvsy2rtqnoqaHq-bpBAwJFeJrhOwORvKgnIYFTtJQ14NFzIEU_o5gfHoumB7u/s729/1465_From%20a%20Book%20of%20Hours_Flemish%20(Bruges),%20c.%201465-1475_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%2059,%20fol.%2098v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="729" data-original-width="448" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6LukZfHcBqmSoSYuqBiu5XzpAxjQCtGMjZne61mctWmBoiEglGVM6SzBDnEmkRpACGgCexW9yFdbEazfcss3D4z1UTcmQa6WPvZrMOfkFom-cBGgWAOrhljsiVmlrvsy2rtqnoqaHq-bpBAwJFeJrhOwORvKgnIYFTtJQ14NFzIEU_o5gfHoumB7u/w394-h640/1465_From%20a%20Book%20of%20Hours_Flemish%20(Bruges),%20c.%201465-1475_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%2059,%20fol.%2098v.jpg" width="394" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />Flemish (Bruges), c. 1465-1475<br />New York, Pierpont Morgan Library<br />MS M 59, fol. 98v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3S_3zk7bi3LvsKd14AeuypR7ulHCOtjiGYqCHsl6oahFRQkH00J6KKV0BJMpstEDkNbUqLg4WUepHMgnLkO9CivcFPYIEEoa8OHafnPd4wUhec1LnQGbYcTJYSD5Bfzt18VHD_jI-yZGARjAHM7AaA5RKZQ1KI8dZ3gF61gUQpPGACp9opAzABSJN/s478/1470_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201470-1480_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20239,%20fol.%2048r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="478" data-original-width="371" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3S_3zk7bi3LvsKd14AeuypR7ulHCOtjiGYqCHsl6oahFRQkH00J6KKV0BJMpstEDkNbUqLg4WUepHMgnLkO9CivcFPYIEEoa8OHafnPd4wUhec1LnQGbYcTJYSD5Bfzt18VHD_jI-yZGARjAHM7AaA5RKZQ1KI8dZ3gF61gUQpPGACp9opAzABSJN/w496-h640/1470_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201470-1480_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20239,%20fol.%2048r.jpg" width="496" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />From a <i><u>Book of Hours</u></i><br />French (Paris), c. 1470-1480<br />New York, Pierpont Morgan Library<br />MS M 239, fol. 48r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSgiapGJMaJv2gDk07YOJv-glIy2UB77lv-d1ytzhqpG4wlim4TqJFfMvWUTgHJRMiEqKiaimkxre8kAgn83nmQTYZVK8KHdNUAJvZNIlXJWItDDeKpVAy4-dC3npzuKKSw1eJVMr5gik4VCHWHOwwn8DpMuZsxStStjNbpwRXuI-4vX94k5qM1r4a/s561/1475_Follower%20of%20Guillaume%20Vrelant_From%20a%20Book%20of%20Hours_Flemish%20(Bruges),%20c.%201475-1485_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20493,%20fol.%2072v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="561" data-original-width="303" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSgiapGJMaJv2gDk07YOJv-glIy2UB77lv-d1ytzhqpG4wlim4TqJFfMvWUTgHJRMiEqKiaimkxre8kAgn83nmQTYZVK8KHdNUAJvZNIlXJWItDDeKpVAy4-dC3npzuKKSw1eJVMr5gik4VCHWHOwwn8DpMuZsxStStjNbpwRXuI-4vX94k5qM1r4a/w346-h640/1475_Follower%20of%20Guillaume%20Vrelant_From%20a%20Book%20of%20Hours_Flemish%20(Bruges),%20c.%201475-1485_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20493,%20fol.%2072v.jpg" width="346" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Follower of Guillaume Vrelant, The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />Flemish (Bruges), c. 1475-1485<br />New York, Pierpont Morgan Library<br />MS M 493, fol. 72v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnL9YV3bSoAyizfyqB0OTGum17SPbEisvi8mXGai6UrJVcHwHNLJq_nKfV56HoWdW-HW4hiTFZ47_WRWhkh626OIhwhB42ugU0bc0R6Tsvhr9_6Q7ahpArgxgjdlTkC9QCGgcSnJCQlNOgYyUSx2A6soAyB3dUOGTaHfUuSqBULYPjqUMRSs7g-2k6/s507/1485_From%20a%20Book%20of%20Hours_French%20(Rouen),%20c.%201485-1495_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20144,%20fol.%2048r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="507" data-original-width="305" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnL9YV3bSoAyizfyqB0OTGum17SPbEisvi8mXGai6UrJVcHwHNLJq_nKfV56HoWdW-HW4hiTFZ47_WRWhkh626OIhwhB42ugU0bc0R6Tsvhr9_6Q7ahpArgxgjdlTkC9QCGgcSnJCQlNOgYyUSx2A6soAyB3dUOGTaHfUuSqBULYPjqUMRSs7g-2k6/w386-h640/1485_From%20a%20Book%20of%20Hours_French%20(Rouen),%20c.%201485-1495_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20144,%20fol.%2048r.jpg" width="386" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />French (Rouen), c. 1485-1495<br />New York, Pierpont Morgan Library<br />MS M 144, fol. 48r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih4_T0HnnpPyXtV9FAKnPugKcR4gFtkTWOBUDvXQIKwEMtX5_S90HLwey79DxbPVq0ol7ipGZoDSV-tIVrdaPydc7Bfw_WZS9Ab22TUX3uhyqh_cr8dPHcnV96mzPlU1ZnL0inIoO-xnsB-MFNU9tkuUI2EqZWm6hziq9wOldC63CUfKLhUwhskFXL/s1273/1490_From%20a%20Book%20Of%20Hours_French%20(Paris),%20c.%201490-1500_The%20Hague,%20KB_MS%20KB%2076%20F%2014,%20fol.%2052r%20(2).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1273" data-original-width="840" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih4_T0HnnpPyXtV9FAKnPugKcR4gFtkTWOBUDvXQIKwEMtX5_S90HLwey79DxbPVq0ol7ipGZoDSV-tIVrdaPydc7Bfw_WZS9Ab22TUX3uhyqh_cr8dPHcnV96mzPlU1ZnL0inIoO-xnsB-MFNU9tkuUI2EqZWm6hziq9wOldC63CUfKLhUwhskFXL/w422-h640/1490_From%20a%20Book%20Of%20Hours_French%20(Paris),%20c.%201490-1500_The%20Hague,%20KB_MS%20KB%2076%20F%2014,%20fol.%2052r%20(2).jpg" width="422" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />From a <u><i>Book Of Hours</i></u><br />French (Paris), c. 1490-1500<br />The Hague, Koninklijk Bibliotheek<br />MS KB 76 F 14, fol. 52r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU8zeJqQHiu7x21D-3wWG4lxxj6f-WiylPDTNOqQwQRgl7YWco72ttO5YMSQM-iFg8n-17_gFl-mM149bhRtooWipehBrLp2ooUMdJRsHQ93CoBVXlHffORarBD9udrm2Vzm8ZZPzh5eR8m0mN6J38Rf2U7LMu50qY84Vb4h-jrSTbPcmfq8gT_ORp/s450/1500_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201533-1510+New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20160,%20fol.%2034r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="450" data-original-width="330" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU8zeJqQHiu7x21D-3wWG4lxxj6f-WiylPDTNOqQwQRgl7YWco72ttO5YMSQM-iFg8n-17_gFl-mM149bhRtooWipehBrLp2ooUMdJRsHQ93CoBVXlHffORarBD9udrm2Vzm8ZZPzh5eR8m0mN6J38Rf2U7LMu50qY84Vb4h-jrSTbPcmfq8gT_ORp/w470-h640/1500_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201533-1510+New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20160,%20fol.%2034r.jpg" width="470" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />French (Paris), c. 1500-1510<br />New York, Pierpont Morgan Library<br />MS M 160, fol. 34r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx9Ygfl3BiLQK1V047IO9_-xcRsa1VsX9A7PKo_TXfAzyglHY75_G_lI42bMvmZM_WiDxaCeswbLQbSdBZlBsDWcnIjepJJRwwZbRjrY9GVTU3nOQWCjcm4_TMqFYquRSfRIIbgMMFTjGVHxuVd3gziAMV2ulkKJ_I0q6ZiUA062dWjsedO8RZE-cW/s304/1515_Follower%20of%20Jean%20Poyer_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201515-1525_New%20York,%20Pierpont_MS%20M290,%20fol.043v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="304" data-original-width="184" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx9Ygfl3BiLQK1V047IO9_-xcRsa1VsX9A7PKo_TXfAzyglHY75_G_lI42bMvmZM_WiDxaCeswbLQbSdBZlBsDWcnIjepJJRwwZbRjrY9GVTU3nOQWCjcm4_TMqFYquRSfRIIbgMMFTjGVHxuVd3gziAMV2ulkKJ_I0q6ZiUA062dWjsedO8RZE-cW/w387-h640/1515_Follower%20of%20Jean%20Poyer_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201515-1525_New%20York,%20Pierpont_MS%20M290,%20fol.043v.jpg" width="387" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Follower of Jean Poyer, The Coronation of the Virgin<br />From a <i><u>Book of Hours</u></i><br />French (Paris), c. 1515-1525<br />New York, Pierpont Morgan Library<br />MS M 290, fol.043v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><h4 style="color: black; font-family: "Times New Roman"; font-size: medium;"><span style="color: #114499; font-family: Cantarell; font-size: 15.84px;"><i>Jesus and the Holy Spirit Crown Mary</i></span></h4><div style="color: black; font-family: "Times New Roman"; font-size: medium;"><span style="color: #114499; font-family: Cantarell; font-size: 15.84px;">This is a rare image. So far I have only found one example.</span></div><div><span style="color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju3e55gSl8nkw-a-ZJAB_IQthhpBH67Yozla-nbM8Zc_mVaEYWL8vp71COpGBISmYrTA0Zj0lqaNycB8jwQdwQlIFWnZ-ar0-FwH0rzso7eBOY-O2Bvq4HciLG6m8UZXEGk3fUPo1ljZY7BWyg2OxTuYK7SZ5coROkJr9LwSG-PzTLJb0VVcSoUH4r/s482/1500_From%20a%20Book%20of%20Hours_French%20(Tours),%20c.%201500-1525_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%2031,%20fol.98r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="482" data-original-width="385" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju3e55gSl8nkw-a-ZJAB_IQthhpBH67Yozla-nbM8Zc_mVaEYWL8vp71COpGBISmYrTA0Zj0lqaNycB8jwQdwQlIFWnZ-ar0-FwH0rzso7eBOY-O2Bvq4HciLG6m8UZXEGk3fUPo1ljZY7BWyg2OxTuYK7SZ5coROkJr9LwSG-PzTLJb0VVcSoUH4r/w512-h640/1500_From%20a%20Book%20of%20Hours_French%20(Tours),%20c.%201500-1525_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%2031,%20fol.98r.jpg" width="512" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />French (Tours), c. 1500-1525<br />New York, Pierpont Morgan Library<br />MS M 31, fol.98r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><h4><span style="color: #114499; font-family: Cantarell;"><i>The Entire Trinity Crowns Mary as Queen</i></span></h4><div>From its introduction in the early fifteenth century this image of the Virgin Mary crowned by all the Persons of the Trinity became by far the most popular. How the Trinity was depicted differed from time to time. At most times the Trinity if represented as an older man (God the Father), a young man (God the Son) and a white dove (God the Holy Spirit). At other times Father and Son may look like identical twins. At still others all three Persons may have human form, and may even look like triplets. </div><div><br /></div><div>Sometimes, the Second Person of the Trinity, Jesus will appear in the guise of the Man of Sorrows. Up to the beginning of the fifteenth century, Jesus had always been represented as a kingly figure, fully clothed and frequently wearing a crown. However, from the early fifteenth century on the figure of Jesus may be represented in the form of the <a href="https://imaginemdei.blogspot.com/search?q=man+of+sorrows" style="color: #114499; text-decoration-line: none;" target="_blank">Man of Sorrows</a>. This image, which was an extremely popular one in the later Middle Ages and Renaissance, depicts Jesus with a bare torso, showing the wounds of the Crucifixion and often wearing the crown of thorns and/or carrying a cross. This alludes to the salvific act which was made possible through Mary when she accepted the words of the Angel Gabriel and formed his human body.</div><div><span style="color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe4MEDFmZ038Cedqn53QI_2jumqEQRxrxXOs3NfYrQu2oJT7MRWUUY90L5ZV5yW8uEOP6LCvo6I4D-FxgAHrOSiRudvy1Y-lEQILEy-HQtHWc6Zs-3xOkMnExkwpGON--dH1iLLq4lfCwwJrk440FeDZ1A6ftzXp2oFoj1SFu9oWGaYYtUkkKdl1Rv/s2358/1400_Alabaster%20%232-English,%2015th%20Century_London,%20Victoria%20and%20Albert%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2358" data-original-width="1551" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe4MEDFmZ038Cedqn53QI_2jumqEQRxrxXOs3NfYrQu2oJT7MRWUUY90L5ZV5yW8uEOP6LCvo6I4D-FxgAHrOSiRudvy1Y-lEQILEy-HQtHWc6Zs-3xOkMnExkwpGON--dH1iLLq4lfCwwJrk440FeDZ1A6ftzXp2oFoj1SFu9oWGaYYtUkkKdl1Rv/w420-h640/1400_Alabaster%20%232-English,%2015th%20Century_London,%20Victoria%20and%20Albert%20Museum.jpg" width="420" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />English Alabaster, 15th Century<br />London, Victoria and Albert Museum</td></tr></tbody></table><br /><div><br /></div></span></div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDSTSm_tr8haq2iyskN4JHl-SZLneLU5uSw2sENO-JbNuEnASvHBqgxbsgFaaspePVcPsnX2KPK2h_P00PIdrxucV_i0M6IOFld11KRoUYoAUMMm7p2K9X9-SAUbP1VtrUQf-DtPMku73lpCBVzbnGzwrct4de3VWkBhFVPtjK4uIVT6bvm2lvCqfy/s2438/1400_English%20Alabaster_ca.%201450-1500_London,%20Victoria%20and%20Albert%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2438" data-original-width="1608" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDSTSm_tr8haq2iyskN4JHl-SZLneLU5uSw2sENO-JbNuEnASvHBqgxbsgFaaspePVcPsnX2KPK2h_P00PIdrxucV_i0M6IOFld11KRoUYoAUMMm7p2K9X9-SAUbP1VtrUQf-DtPMku73lpCBVzbnGzwrct4de3VWkBhFVPtjK4uIVT6bvm2lvCqfy/w422-h640/1400_English%20Alabaster_ca.%201450-1500_London,%20Victoria%20and%20Albert%20Museum.jpg" width="422" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; font-family: Cantarell;">The Coronation of the Virgin</span><br style="background-color: white; font-family: Cantarell;" /><span style="background-color: white; font-family: Cantarell;">English Alabaster, 15th Century</span><br style="background-color: white; font-family: Cantarell;" /><span style="background-color: white; font-family: Cantarell;">London, Victoria and Albert Museum</span></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVizPrq8VLpCNcBO65ze46vDYwy3B8PSUsM0t7vOB-CBa6IwyjcBCUMpFMy7CIkE2roifj83xIzRKpALHFJZqihMdY7ObBhiPd_9LC6sqDhzNFVZAzD2TKpmRQpg7Ndqo-Eng8e-buwyM2RXjJgYRLiyRMyWlCoRJVloO6IAboPOyUKApD_hmW2YBQ/s1337/1400_Maitre%20de%20la%20Mazarine_From%20Hours%20of%20Philippe%20the%20Good%20known%20as%20the%20Hours%20of%20Joseph%20Bonaparte_French%20(Paris),%20c.%201400-1425_Paris,%20BNF_MS%20Latin%2010538,%20fol.%2091r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1337" data-original-width="959" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVizPrq8VLpCNcBO65ze46vDYwy3B8PSUsM0t7vOB-CBa6IwyjcBCUMpFMy7CIkE2roifj83xIzRKpALHFJZqihMdY7ObBhiPd_9LC6sqDhzNFVZAzD2TKpmRQpg7Ndqo-Eng8e-buwyM2RXjJgYRLiyRMyWlCoRJVloO6IAboPOyUKApD_hmW2YBQ/w460-h640/1400_Maitre%20de%20la%20Mazarine_From%20Hours%20of%20Philippe%20the%20Good%20known%20as%20the%20Hours%20of%20Joseph%20Bonaparte_French%20(Paris),%20c.%201400-1425_Paris,%20BNF_MS%20Latin%2010538,%20fol.%2091r.jpg" width="460" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Maitre de la Mazarine, The Coronation of the Virgin<br />From <u><i>Hours of Philippe the Good known as the Hours of Joseph Bonaparte</i></u><br />French (Paris), c. 1400-1425<br />Paris, Bibliotheque nationale de France<br />MS Latin 10538, fol. 91r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvyYVJPiQ_VtByg3xt4HTeVMsrhVVAjCZEnu35KSc7IPv1-bfD2suPZY0hp2GC2rYQsSufXh-wPkJkyrAMhzzQW4iuosCXDE61bepHqDl1PqEwDaPqHxo-uBh36LAXJPK0Kgwrd5NRDp4JJ280oplUu16lbRTaE_3LV0EosQvOJNZWkiVKqDTy0uVs/s6478/1400_Master%20of%20Rubielos%20de%20Mora_Spanish,%20Early%2015th%20Century-Cleveland,%20Museum%20of%20Art.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="6478" data-original-width="3941" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvyYVJPiQ_VtByg3xt4HTeVMsrhVVAjCZEnu35KSc7IPv1-bfD2suPZY0hp2GC2rYQsSufXh-wPkJkyrAMhzzQW4iuosCXDE61bepHqDl1PqEwDaPqHxo-uBh36LAXJPK0Kgwrd5NRDp4JJ280oplUu16lbRTaE_3LV0EosQvOJNZWkiVKqDTy0uVs/w390-h640/1400_Master%20of%20Rubielos%20de%20Mora_Spanish,%20Early%2015th%20Century-Cleveland,%20Museum%20of%20Art.jpg" width="390" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Master of Rubielos de Mora, The Coronation of the Virgin</div><div style="text-align: center;">Spanish, Early 15th Century</div><div style="text-align: center;">Cleveland, Museum of Art</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEInaUlO3hb3xdmFVYGJiMzaUarfGFuJOf5tu6QSJy7q3R7j3uXAyNZDSpMflU6Oe5frNKlxi1BTH87FucVp4a2OzVmZBJZEtApfsDZcFg_4xvYF4mxK5-wyK17rzOz8Fj59_Xc96nto0MRFKMA2PeEHlGYRqdDGfPUFKQ2KijPxLd14b6_lHLYLUf/s578/1420_From%20a%20Book%20of%20Hours_Italian%20(Venice),%201420-1455_New%20York,%20Pierpont_MS%20M1089,%20fol.089v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="578" data-original-width="404" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEInaUlO3hb3xdmFVYGJiMzaUarfGFuJOf5tu6QSJy7q3R7j3uXAyNZDSpMflU6Oe5frNKlxi1BTH87FucVp4a2OzVmZBJZEtApfsDZcFg_4xvYF4mxK5-wyK17rzOz8Fj59_Xc96nto0MRFKMA2PeEHlGYRqdDGfPUFKQ2KijPxLd14b6_lHLYLUf/w448-h640/1420_From%20a%20Book%20of%20Hours_Italian%20(Venice),%201420-1455_New%20York,%20Pierpont_MS%20M1089,%20fol.089v.jpg" width="448" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">The Coronation of the Virgin</div><div style="text-align: center;">From a <u><i>Book of Hours</i></u></div><div style="text-align: center;">Italian (Venice), 1420-1455</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS M 1089, fol. 89v</div></td></tr></tbody></table><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji5gC6j_UixM14OdlYi-932syMNNVXITMH4vuglKaXUkx-z1qC-Uzk-ewVaVCoKMULRa-4ARN5hfxxPs__2AGj3__ShVHvHX-yhXTmml0fNAmOuU3s9HCWXZ2vAHNS4zBJcnw4pcTITQ9mY58kaJQcdhotsYxqFWyC1XqRLhOmWfCFbmLBASFNzBY1/s456/1440_From%20a%20Book%20of%20Hours_French%20(Anjou),%201440_New%20York,%20Pierpont_MS%20M%20157,%20fol.081v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="456" data-original-width="307" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji5gC6j_UixM14OdlYi-932syMNNVXITMH4vuglKaXUkx-z1qC-Uzk-ewVaVCoKMULRa-4ARN5hfxxPs__2AGj3__ShVHvHX-yhXTmml0fNAmOuU3s9HCWXZ2vAHNS4zBJcnw4pcTITQ9mY58kaJQcdhotsYxqFWyC1XqRLhOmWfCFbmLBASFNzBY1/w430-h640/1440_From%20a%20Book%20of%20Hours_French%20(Anjou),%201440_New%20York,%20Pierpont_MS%20M%20157,%20fol.081v.jpg" width="430" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />French (Anjou), 1440<br />New York, Pierpont Morgan Library<br />MS M 157, fol. 81v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGdcdYmd9u7DQzLZGj8xEerveSUiMLfH4f6N5DJBiciih-oNiiAHEDb-MR4ZzjDEwqAcTsJw9UZh5Q3Yw7SGISx0MH1XAU048kBA7Eu8a7CcaflA_d2qmxPHmBAc9M4LEwSm5C5gL_23YHSjY9PSl8Bm1VW_VK-fM4_HScjAUCeZoJjikaKrMj6RMV/s509/1445_Follower%20of%20Master%20of%20Guillebert%20de%20Mets_From%20a%20Book%20of%20Hours_French,%20c.%201445-1455_New%20York,%20Pierpont_MS%20287,%20fol.081r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="509" data-original-width="361" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGdcdYmd9u7DQzLZGj8xEerveSUiMLfH4f6N5DJBiciih-oNiiAHEDb-MR4ZzjDEwqAcTsJw9UZh5Q3Yw7SGISx0MH1XAU048kBA7Eu8a7CcaflA_d2qmxPHmBAc9M4LEwSm5C5gL_23YHSjY9PSl8Bm1VW_VK-fM4_HScjAUCeZoJjikaKrMj6RMV/w454-h640/1445_Follower%20of%20Master%20of%20Guillebert%20de%20Mets_From%20a%20Book%20of%20Hours_French,%20c.%201445-1455_New%20York,%20Pierpont_MS%20287,%20fol.081r.jpg" width="454" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Follower of Master of Guillebert de Mets, The Coronation of the Virgin</div><div style="text-align: center;">From a <u><i>Book of Hours</i></u></div><div style="text-align: center;">French, c. 1445-1455</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS M 287, fol. 81r</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghp_oSvXxkZX6JiyOQ3F_XFiV3zMHa1-WU_emHclg6FPCgFscLjSbHsc48Y1CR1FzBeED0s_Wi5CRE9ntQS16QatPsKwgNYsZBFoSQzTrNnsGVblqxmvBUOq86i9g5g84i0stde3cnjCzI9szRogAWdtjHyDuSY7F2qAlP34MLtDPekfLikqFiUhwP/s2259/1450_English%20Alabaster_ca.%201450-1500_V&A.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2259" data-original-width="1639" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghp_oSvXxkZX6JiyOQ3F_XFiV3zMHa1-WU_emHclg6FPCgFscLjSbHsc48Y1CR1FzBeED0s_Wi5CRE9ntQS16QatPsKwgNYsZBFoSQzTrNnsGVblqxmvBUOq86i9g5g84i0stde3cnjCzI9szRogAWdtjHyDuSY7F2qAlP34MLtDPekfLikqFiUhwP/w464-h640/1450_English%20Alabaster_ca.%201450-1500_V&A.JPG" width="464" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">The Coronation of the Virgin</div><div style="text-align: center;">English, c. 1450-1500</div><div style="text-align: center;">London, Victoria and Albert Museum</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4fNyR6n6O6-RlqpfzhjRMlkFDRK2y3EnIOWK7y3-S9-if8P5G5q7S-sR30pJuzKfDN-YMIAILBJToTMWXnhG3MqhpY9q81GBpJT3gtfUxHXilw6uYVwLGK14amWjzvO1hTtyamIL5RoPpOMmG3EloodFVVXsbwXTx05qyA_sYCgA_UM7owarT7rLg/s470/1450_Jean%20Fouquet_Coronation%20of%20Virgin_Hrs%20of%20Etienne%20Chevalier_c.1450_Chantilly_Musee%20Conde_MS%2071_f087.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="470" data-original-width="340" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4fNyR6n6O6-RlqpfzhjRMlkFDRK2y3EnIOWK7y3-S9-if8P5G5q7S-sR30pJuzKfDN-YMIAILBJToTMWXnhG3MqhpY9q81GBpJT3gtfUxHXilw6uYVwLGK14amWjzvO1hTtyamIL5RoPpOMmG3EloodFVVXsbwXTx05qyA_sYCgA_UM7owarT7rLg/w462-h640/1450_Jean%20Fouquet_Coronation%20of%20Virgin_Hrs%20of%20Etienne%20Chevalier_c.1450_Chantilly_Musee%20Conde_MS%2071_f087.jpg" width="462" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Jean Fouquet, The Coronation of the Virgin</div><div style="text-align: center;">From the <u><i>Hours of Etienne Chevalier</i></u></div><div style="text-align: center;">French (Tours), c.1450</div><div style="text-align: center;">Chantilly, Musée Condé</div><div style="text-align: center;">MS 71, fol. 87</div><div style="text-align: left;">This is a superb example of images of the Trinity as three identical figures. One may presume that God the Son is bestowing the crown on his earthly mother, God the Father sits on the central throne and God the Holy Spirit is shown holding an orb and making a gesture of blessing. However, in other images the orb and blessing gesture pertain to God the Father.</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWwYUOc9BSJGcifUy5muOeFhcma7OZcwtmciMf6JLEg5suF2aTQDn1snf9wyNzvdFEZJXZDCLeY3dOU_gYhXXoOLnH7X5HDGb37eVgJbfNtYWjwpO3EUW66WzujCAfDs8TG7Vv6MKy1DZtPLWXxodhSgZHN_8EeoATjq14O6MN-C-W6tKTDhJ7tAma/s570/1465_Antoine%20de%20Lonhy_From%20a%20Book%20of%20Hours_Italian%20(Piedmont),%20c.%201465-1475_New%20York,%20Pierpont_MS%20M57,%20fol.074v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="570" data-original-width="406" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWwYUOc9BSJGcifUy5muOeFhcma7OZcwtmciMf6JLEg5suF2aTQDn1snf9wyNzvdFEZJXZDCLeY3dOU_gYhXXoOLnH7X5HDGb37eVgJbfNtYWjwpO3EUW66WzujCAfDs8TG7Vv6MKy1DZtPLWXxodhSgZHN_8EeoATjq14O6MN-C-W6tKTDhJ7tAma/w456-h640/1465_Antoine%20de%20Lonhy_From%20a%20Book%20of%20Hours_Italian%20(Piedmont),%20c.%201465-1475_New%20York,%20Pierpont_MS%20M57,%20fol.074v.jpg" width="456" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Antoine de Lonhy, The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />Italian (Piedmont), c. 1465-1475<br />New York, Pierpont Morgan Library<br />MS M 57, fol. 74v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6vvHmZqIlBVwWMYTRI2EmwdkzFR5qmBjoMB7OYcMSXvMd4kxBvkjCnl4bzIUHBIlfkyCz-jhIh0ojvnSz-ETE3Sw1DGjRp4zM2mSUdapGXJnLSUwZhALznc5N_J_hMG_x-jNFyqA2zNylMwTjlDqfTdNqEsbh_uIhAAe3qVP_UH2xSm5wwoaSbzVG/s539/1465_Master%20of%20Edward%20IV_From%20a%20Book%20of%20Hours_Flemish%20(Bruges),%20c.%201465-1480_New%20York,%20Pierpont%20Morgan%20Library_MS%20W%2031,%20fol.%2094v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="539" data-original-width="327" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6vvHmZqIlBVwWMYTRI2EmwdkzFR5qmBjoMB7OYcMSXvMd4kxBvkjCnl4bzIUHBIlfkyCz-jhIh0ojvnSz-ETE3Sw1DGjRp4zM2mSUdapGXJnLSUwZhALznc5N_J_hMG_x-jNFyqA2zNylMwTjlDqfTdNqEsbh_uIhAAe3qVP_UH2xSm5wwoaSbzVG/w388-h640/1465_Master%20of%20Edward%20IV_From%20a%20Book%20of%20Hours_Flemish%20(Bruges),%20c.%201465-1480_New%20York,%20Pierpont%20Morgan%20Library_MS%20W%2031,%20fol.%2094v.jpg" width="388" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Edward IV, The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />Flemish (Bruges), c. 1465-1480<br />New York, Pierpont Morgan Library<br />MS W 31, fol. 94v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3PhFyoogEx6A7IP0nD0h9K6FbLMaemgURuxZTXR3-keEdAY87mWpRyoErH_yJiSoflFWCKXe20FD6KauzaPEjxPlhCHU3DRwRcCRSKZvshw6z2vSRGv_KxUuHdCyPvJKZYzC_B-sudKemOxE3aH44HLc--CEQPrOlorlKaWEQwhDtX5KqtT8On_Ta/s429/1465_Master%20of%20Morgan%20366_From%20a%20Book%20of%20Hours_French%20(Tours),%20c.%201465-1475_New%20York,%20Pierpont_MS%20M366,%20fol.074r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="429" data-original-width="279" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3PhFyoogEx6A7IP0nD0h9K6FbLMaemgURuxZTXR3-keEdAY87mWpRyoErH_yJiSoflFWCKXe20FD6KauzaPEjxPlhCHU3DRwRcCRSKZvshw6z2vSRGv_KxUuHdCyPvJKZYzC_B-sudKemOxE3aH44HLc--CEQPrOlorlKaWEQwhDtX5KqtT8On_Ta/w416-h640/1465_Master%20of%20Morgan%20366_From%20a%20Book%20of%20Hours_French%20(Tours),%20c.%201465-1475_New%20York,%20Pierpont_MS%20M366,%20fol.074r.jpg" width="416" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Morgan 366, The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />French (Tours), c. 1465-1475<br />New York, Pierpont Morgan Library<br />MS M 366, fol. 74r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoKM7QgipbKoNjQpJVSnFT-FvKxyj6TjDsE-lhYeRmuMhWMvgskOcAIrhFxq-hjzJAM5_bp6Suzn3s8FeLN-WpQB1z6gVKw9xmQ-MNd7WFv8FhqhaxGGW6_56v3DQBpXnYzkkEfUgHs0GU8DcxWZ5T2mXG0U8Zj1zPJ8MJW1okOoBjBGj7p35WHM9R/s1200/1470_Michael%20Pacher_German,%20c.%201470-1480_Munich,%20Bayerische%20Staatsgemaeldesammlungen,%20Alte%20Pinakothek.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="758" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoKM7QgipbKoNjQpJVSnFT-FvKxyj6TjDsE-lhYeRmuMhWMvgskOcAIrhFxq-hjzJAM5_bp6Suzn3s8FeLN-WpQB1z6gVKw9xmQ-MNd7WFv8FhqhaxGGW6_56v3DQBpXnYzkkEfUgHs0GU8DcxWZ5T2mXG0U8Zj1zPJ8MJW1okOoBjBGj7p35WHM9R/w404-h640/1470_Michael%20Pacher_German,%20c.%201470-1480_Munich,%20Bayerische%20Staatsgemaeldesammlungen,%20Alte%20Pinakothek.jpg" width="404" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: left;">Michael Pacher, The Coronation of the Virgin</span><br style="text-align: left;" /><span style="text-align: left;">German, c. 1470-1480</span><br style="text-align: left;" /><span style="text-align: left;">Munich, Bayerische Staatsgemäldesammlungen, Alte Pinakothek</span><br style="text-align: left;" /></td></tr></tbody></table><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzhwpq8WsWzUhcHRBEOPzYr1ajQ4unArLU-sX76fwG0WcBpDNZrL84jKZai6_nXd5yBIC7i2utnhCS6V3CgQK1EamcdoVu8swxlL6NaOsiOVXe5fcKWuNDfecwiM1F_aHIYaoLqOmQSZmCELBC7J2Vyf_kyLGQWWBWzRxdkyUvDJSwNo58cBjWFzAm/s584/1489_Master%20of%20Cornelis%20Croesinck_Detail%20From%20the%20Croesinck%20Hours_Dutch,%20c.%201489-1499_New%20York,%20Pierpont_MS%20M1078,%20fol.117v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="584" data-original-width="380" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzhwpq8WsWzUhcHRBEOPzYr1ajQ4unArLU-sX76fwG0WcBpDNZrL84jKZai6_nXd5yBIC7i2utnhCS6V3CgQK1EamcdoVu8swxlL6NaOsiOVXe5fcKWuNDfecwiM1F_aHIYaoLqOmQSZmCELBC7J2Vyf_kyLGQWWBWzRxdkyUvDJSwNo58cBjWFzAm/w416-h640/1489_Master%20of%20Cornelis%20Croesinck_Detail%20From%20the%20Croesinck%20Hours_Dutch,%20c.%201489-1499_New%20York,%20Pierpont_MS%20M1078,%20fol.117v.jpg" width="416" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Master of Cornelis Croesinck, The Coronation of the Virgin</div><div style="text-align: center;">From the <u><i>Croesinck Hours</i></u></div><div style="text-align: center;">Dutch, c. 1489-1499</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS M 1078, fol. 117v</div></td></tr></tbody></table></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1BQTndlH1Ka9DbSc43R_-zSeXfJiHmiKvvWsaWIOvABZuPckRLzV1BEethVdCJp8znfeY-T46JLiHTvavcxNQSHUJGmzsV62EVddW1caL1-36PtWi6JKGjXrTTYCnCqgT-hmzc-Vmw3Rem9Pdi5cIHjBiUApNNvtVn9OATN9_ukLbm7OWx7A3lIJ5/s1989/1490_Masters%20of%20the%20Dark%20Eyes,%20Coronation_From%20a%20Book%20of%20Hours_Dutch,%20c.%201490_The%20Hague,%20KB_MS%20KB%2076%20G%2016,%20fol.%20124v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1989" data-original-width="1175" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1BQTndlH1Ka9DbSc43R_-zSeXfJiHmiKvvWsaWIOvABZuPckRLzV1BEethVdCJp8znfeY-T46JLiHTvavcxNQSHUJGmzsV62EVddW1caL1-36PtWi6JKGjXrTTYCnCqgT-hmzc-Vmw3Rem9Pdi5cIHjBiUApNNvtVn9OATN9_ukLbm7OWx7A3lIJ5/w378-h640/1490_Masters%20of%20the%20Dark%20Eyes,%20Coronation_From%20a%20Book%20of%20Hours_Dutch,%20c.%201490_The%20Hague,%20KB_MS%20KB%2076%20G%2016,%20fol.%20124v.jpg" width="378" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Masters of the Dark Eyes, The Coronation of the Virgin<br />From a <i><u>Book of Hours</u></i><br />Dutch, c. 1490<br />The Hague, Koninklijk Bibliotheek<br />MS KB 76 G 16, fol. 124v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUId8PfgTwKS4UKUIsSecj1m3voy1XzsMaj3g1Peb1aBdzGdl2vKzNsQZpAm4J0xHs3apJZUkDIQvowzzdUBLLIf-R8xFO2mlAuuDIKas529YCaKTrUZ5A9ydHOA-8nPF_qDXIQ9wAAGUUhUtGxTS__wvXkUzbuqFpWWcxsBgkCCTh51BWQ_34w_9p/s374/1490_Workshopt%20of%20the%20Master%20of%20Antoine%20Roln,=From%20a%20Book%20of%20Hours_Flemish%20(Cambrai),%20c.%201490-1500_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20116,%20fol.%20167r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="374" data-original-width="350" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUId8PfgTwKS4UKUIsSecj1m3voy1XzsMaj3g1Peb1aBdzGdl2vKzNsQZpAm4J0xHs3apJZUkDIQvowzzdUBLLIf-R8xFO2mlAuuDIKas529YCaKTrUZ5A9ydHOA-8nPF_qDXIQ9wAAGUUhUtGxTS__wvXkUzbuqFpWWcxsBgkCCTh51BWQ_34w_9p/w599-h640/1490_Workshopt%20of%20the%20Master%20of%20Antoine%20Roln,=From%20a%20Book%20of%20Hours_Flemish%20(Cambrai),%20c.%201490-1500_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20116,%20fol.%20167r.jpg" width="599" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Workshop of the Master of Antoine Rolin, The Coronation of the Virgin<br />From a <i><u>Book of Hours</u></i><br />Flemish (Cambrai), c. 1490-1500<br />New York, Pierpont Morgan Library<br />MS M 116, fol. 167r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO2_T5udDNOKw2uNNScxvqknklVVxXuJ8j8XGOpuwdEZZ1J9MgEF1CZkDVz3l59XxApFXXABZkvx6KpKiHd33l3WUm5TwCu6yUEA9Qgx8Lz6PYkl4RcKN8-yisWkpCs0PzkxZjuO_2ZFwsbq8ZobXn7J8_AlSsNsq2LATd8dxvFeneHOThcSlgdyU9/s481/1495_Robert%20Boyvin_From%20a%20Book%20of%20Hours_French%20(Rouen),%20c.%201495-1505_New%20York,%20Pierpont_MS%20M261,%20fol.057r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="481" data-original-width="328" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO2_T5udDNOKw2uNNScxvqknklVVxXuJ8j8XGOpuwdEZZ1J9MgEF1CZkDVz3l59XxApFXXABZkvx6KpKiHd33l3WUm5TwCu6yUEA9Qgx8Lz6PYkl4RcKN8-yisWkpCs0PzkxZjuO_2ZFwsbq8ZobXn7J8_AlSsNsq2LATd8dxvFeneHOThcSlgdyU9/w436-h640/1495_Robert%20Boyvin_From%20a%20Book%20of%20Hours_French%20(Rouen),%20c.%201495-1505_New%20York,%20Pierpont_MS%20M261,%20fol.057r.jpg" width="436" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Robert Boyvin, The Coronation of the Virgin</div><div style="text-align: center;">From a <u><i>Book of Hours</i></u></div><div style="text-align: center;">French (Rouen), c. 1495-1505</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS M 261, fol. 57r</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0x6lGojhGKwAyAVJ0Kq6_U_8Vrhzh-WbMiZe4ANEqo2tjdiQuYruEiP2N53yRsGeb5WgeGWJNz5TANgJd3O84udw6w-tOsO7BOeeHEe25Nax1q2qFZ3dvp6-hC3vbsLqh48msxUH04ppBio-vyQ-DlOIP_oozcVupH8lpOx_5GbC7I3fwIL_OxX5f/s539/1495-Late%20Follower%20of%20the%20Master%20of%20the%20Rouen%20Echevinage_From%20a%20Book%20of%20Hours_French%20(Rouen),%20c.%201495-1505_New%20York,%20Pierpont_MS%20M151,%20fol.044r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="539" data-original-width="361" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0x6lGojhGKwAyAVJ0Kq6_U_8Vrhzh-WbMiZe4ANEqo2tjdiQuYruEiP2N53yRsGeb5WgeGWJNz5TANgJd3O84udw6w-tOsO7BOeeHEe25Nax1q2qFZ3dvp6-hC3vbsLqh48msxUH04ppBio-vyQ-DlOIP_oozcVupH8lpOx_5GbC7I3fwIL_OxX5f/w428-h640/1495-Late%20Follower%20of%20the%20Master%20of%20the%20Rouen%20Echevinage_From%20a%20Book%20of%20Hours_French%20(Rouen),%20c.%201495-1505_New%20York,%20Pierpont_MS%20M151,%20fol.044r.jpg" width="428" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Late Follower of the Master of the Rouen Echevinage, The Coronation of the Virgin<br />From a <i><u>Book of Hours</u></i><br />French (Rouen), c. 1495-1505<br />New York, Pierpont Morgan Library<br />MS M 151, fol. 44r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7Igc4hfXNtWqyVoHAIiFy3aPcJKL2sG73z2yRDI_ubh7TsvSmc64YOwPmkQ_NufxPI9Uy8qRn3yNAZrImbdUHT_GpH_F522CYd8fzf6mGSfTDZXHnUAkoGV7hYpCWIVJJo0jicxDrKxIcGdQBNbA1kiNqADnhtdMSCCJSEUyL3e1Dxtudrgesor55/s1115/1500_From%20a%20Book%20of%20Hours_Flemish%20(Liege),%20c.%201500_The%20Hague,%20KB_MS%20KB%20133%20D%2011,%20fol.%2061v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1115" data-original-width="731" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7Igc4hfXNtWqyVoHAIiFy3aPcJKL2sG73z2yRDI_ubh7TsvSmc64YOwPmkQ_NufxPI9Uy8qRn3yNAZrImbdUHT_GpH_F522CYd8fzf6mGSfTDZXHnUAkoGV7hYpCWIVJJo0jicxDrKxIcGdQBNbA1kiNqADnhtdMSCCJSEUyL3e1Dxtudrgesor55/w420-h640/1500_From%20a%20Book%20of%20Hours_Flemish%20(Liege),%20c.%201500_The%20Hague,%20KB_MS%20KB%20133%20D%2011,%20fol.%2061v.jpg" width="420" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">The Coronation of the Virgin</div><div style="text-align: center;">From a <u><i>Book of Hours</i></u></div><div style="text-align: center;">Flemish (Liege), c. 1500</div><div style="text-align: center;">The Hague, Koninklijke Bibliotheek</div><div style="text-align: center;">MS KB 133 D 11, fol. 61v</div></td></tr></tbody></table><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRylA9U3azf3FWnpuh_sfEZ92XBQ7jF9n97w5arUKzmobhwKb9Wp6cdaeFsesfjKBoz0GOawqyj60THIvOdfQkVwiFsybAgsVt7hC6BYMsD14-dlGAEJ2Vhi3WRy8ZKm7VJz_sw6synj-mqTbpU89uTxjE4kJ6pO2-8T_BBEVMa4xzg7jO9jCrdt0m/s588/1500_Master%20of%20the%20Oberschoenenfelder%20Altar_German,%20c.%201500_Munich,%20Bayerische%20Staatsgemaeldegalerie%20,%20Alte%20Pinakothek%20(4).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="588" data-original-width="522" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRylA9U3azf3FWnpuh_sfEZ92XBQ7jF9n97w5arUKzmobhwKb9Wp6cdaeFsesfjKBoz0GOawqyj60THIvOdfQkVwiFsybAgsVt7hC6BYMsD14-dlGAEJ2Vhi3WRy8ZKm7VJz_sw6synj-mqTbpU89uTxjE4kJ6pO2-8T_BBEVMa4xzg7jO9jCrdt0m/w568-h640/1500_Master%20of%20the%20Oberschoenenfelder%20Altar_German,%20c.%201500_Munich,%20Bayerische%20Staatsgemaeldegalerie%20,%20Alte%20Pinakothek%20(4).jpg" width="568" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of the Oberschoenenfelder Altar, The Coronation of the Virgin<br />German, c. 1500<br />Munich, Bayerische <span style="text-align: left;">Staatsgemäldesammlungen</span>, Alte Pinakothek</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrYtvoQlk85XhPz4ZNTQor34i7JKZdSPFCLD8i2OouWKNX3ZZvRNbc38ySouOQuIrj7loKVBFfHsjK68TJOC-WtSuXQ0boIC5K_z2EKcfx5O7S_jD44PpyNYGxK6L-VQ9KleQv6-HJ_eiXcFMMc5a5bqROcnt8_x30hPeARMP3_N5NHXMh0AMltMx4/s1500/1500_Michael%20Sittow_c.1500_Louvre.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="1135" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrYtvoQlk85XhPz4ZNTQor34i7JKZdSPFCLD8i2OouWKNX3ZZvRNbc38ySouOQuIrj7loKVBFfHsjK68TJOC-WtSuXQ0boIC5K_z2EKcfx5O7S_jD44PpyNYGxK6L-VQ9KleQv6-HJ_eiXcFMMc5a5bqROcnt8_x30hPeARMP3_N5NHXMh0AMltMx4/w484-h640/1500_Michael%20Sittow_c.1500_Louvre.jpg" width="484" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Michael Sittow, The Coronation of the Virgin</div><div style="text-align: center;">Estonian, c.1500</div><div style="text-align: center;">Paris, Musée du Louvre</div></td></tr></tbody></table><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW1jGiLE-mhLgTVmc0nOuEyDUrHSQJu75vZGtbQk_DX6HCfnxuSPr_-tkt5RFgNbrHDaeV6w2eN91-xTH4U-7JSPjFYCZ_Y2vIJuJqbnaHUla_X6_xnbV4SG_6WguyyK_vn2fRpRYUelRBz_Jv_XTtvre2pe_aXm7petOWwzTHLeM0hqBXR9_F0izt/s578/1505_From%20a%20Book%20of%20Hours_French%20(Tours),%20c.%201505-1515_New%20York,%20Pierpont_MS%20M250,%20fol..062v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="578" data-original-width="345" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW1jGiLE-mhLgTVmc0nOuEyDUrHSQJu75vZGtbQk_DX6HCfnxuSPr_-tkt5RFgNbrHDaeV6w2eN91-xTH4U-7JSPjFYCZ_Y2vIJuJqbnaHUla_X6_xnbV4SG_6WguyyK_vn2fRpRYUelRBz_Jv_XTtvre2pe_aXm7petOWwzTHLeM0hqBXR9_F0izt/w382-h640/1505_From%20a%20Book%20of%20Hours_French%20(Tours),%20c.%201505-1515_New%20York,%20Pierpont_MS%20M250,%20fol..062v.jpg" width="382" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">The Coronation of the Virgin</div><div style="text-align: center;">From a <u><i>Book of Hours</i></u></div><div style="text-align: center;">French (Tours), c. 1505-1515</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS M 250, fol..62v</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj80HyLQ8b21Hqms6UM64xXnB4MxIaF70OGaZb92V0qFdoIyvOb5CGZbUh9DwOvOmCXKN3fcKgsR8BD11TWdu-_-hUNzfcnxjgWNYyD2vlIoIK1DyfJu9YsHW4T40UeBCnLup1aFcXVZ8__-C5A_hgRg4LwUBjjh0A_rO0Y4qcYFdF2uwEKKyv25ORM/s526/1505+Jean%20Pichore,%20From%20a%20Book%20of%20Hours_French%20(Paris),%20co.%201505-1525_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%2085,%20fol.%2061v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="526" data-original-width="307" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj80HyLQ8b21Hqms6UM64xXnB4MxIaF70OGaZb92V0qFdoIyvOb5CGZbUh9DwOvOmCXKN3fcKgsR8BD11TWdu-_-hUNzfcnxjgWNYyD2vlIoIK1DyfJu9YsHW4T40UeBCnLup1aFcXVZ8__-C5A_hgRg4LwUBjjh0A_rO0Y4qcYFdF2uwEKKyv25ORM/w374-h640/1505+Jean%20Pichore,%20From%20a%20Book%20of%20Hours_French%20(Paris),%20co.%201505-1525_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%2085,%20fol.%2061v.jpg" width="374" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jean Pichore, The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />French (Paris), c. 1505-1525<br />New York, Pierpont<br />MS M 85, fol. 61v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja3U_lmEfey_3wMkONjJfufshpnjG6PA7rJYD2UShilDIa1yvwO1uDlNn9uKyllAg_fYsGONePLD0hs-eNa0j-Nfekti11yZVe68BpPt8xGkCXrEiyWonEmDUudTLn6Z9SLopatioF8MLp5iXDcjTApHlXYTG8sxSfrFNatnQDJr2XRmxz1VjTHPKJ/s458/1510_Simon%20Bening_From%20the%20Da%20Costa%20Hours_Flemish%20(Bruges),%20c.%201510-1520_New%20York,%20Pierpont_MS%20M399,%20fol.176v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="458" data-original-width="323" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja3U_lmEfey_3wMkONjJfufshpnjG6PA7rJYD2UShilDIa1yvwO1uDlNn9uKyllAg_fYsGONePLD0hs-eNa0j-Nfekti11yZVe68BpPt8xGkCXrEiyWonEmDUudTLn6Z9SLopatioF8MLp5iXDcjTApHlXYTG8sxSfrFNatnQDJr2XRmxz1VjTHPKJ/w452-h640/1510_Simon%20Bening_From%20the%20Da%20Costa%20Hours_Flemish%20(Bruges),%20c.%201510-1520_New%20York,%20Pierpont_MS%20M399,%20fol.176v.jpg" width="452" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Simon Bening, The Coronation of the Virgin</div><div style="text-align: center;">From the <u><i>Da Costa Hours</i></u></div><div style="text-align: center;">Flemish (Bruges), c. 1510-1520</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS M 399, fol. 176v</div></td></tr></tbody></table></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><br /></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><h4 style="color: black; font-family: "Times New Roman"; font-size: medium;"><span style="color: #114499; font-family: Cantarell; font-size: 15.84px;"><i>Mary is Crowned Before the Entire Court of Heaven</i></span></h4><div style="color: black; font-family: "Times New Roman"; font-size: medium;"><span style="color: #114499; font-family: Cantarell; font-size: 15.84px;">Most of the images we have seen so far present an intimate view of the Coronation of Mary. However, simultaneously there have also been representations that present the event on a more cosmic scale so that it is seen against the entire panoply of heaven, before crowds of angels and saints.</span></div><div><span style="color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV7EHwa6m82nQ8BSA4l6i_79rXRV3xYWBh6en2NFRDpCUHXShe3xExaVy0-cQkDZ_xw8_zg9OmoeeoIuICITr5cGCOb6YWu2jcrpje47eVKNDmDfu5vG8qwLMm615LwxzgQCDlNW6OBXFf7CxYol7l7l3kSi9IBMAnjiEFx815Vi6HtSsse5NZD_gc/s1078/1385-Giovanni%20di%20Benedetto%20&%20Workshop_Italian,%20c.%201385-1390_Paris,%20BNF_MS%20Latin%20757,%20fol.%20245v.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1078" data-original-width="706" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV7EHwa6m82nQ8BSA4l6i_79rXRV3xYWBh6en2NFRDpCUHXShe3xExaVy0-cQkDZ_xw8_zg9OmoeeoIuICITr5cGCOb6YWu2jcrpje47eVKNDmDfu5vG8qwLMm615LwxzgQCDlNW6OBXFf7CxYol7l7l3kSi9IBMAnjiEFx815Vi6HtSsse5NZD_gc/w420-h640/1385-Giovanni%20di%20Benedetto%20&%20Workshop_Italian,%20c.%201385-1390_Paris,%20BNF_MS%20Latin%20757,%20fol.%20245v.jpeg" width="420" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Giovanni di Benedetto & Workshop, The Coronation of the Virgin<br />From a <i><u>Book of Hours</u></i><br />Italian, c. 1385-1390<br />Paris, Bibliotheque nationale de France<br />MS Latin 757, fol. 245v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8h-uWEgyVboMJUAytTibyKqC4eDjcAjrpNrzVwCJiSPDhbDWaLAzMwU0y65RcwkG2fd9Kx5tYi8o3nrgOUNLcewk_w-QvDomPYa8lugcg9i6ziP-SaWVWLjlL-JS0mH7fUMZ6XfG24pupZzkEsoOnUuG8UJygnBvGM90V9pmsUacC2FRwdu7ZSpGi/s687/1400_From%20Legenda%20aurea%20by%20Jacobus%20de%20Voraine_French%20(Paris),%20c.%201400_Paris,%20BNF_MS%20Francais%20242,%20fol.%20Ar.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="590" data-original-width="687" height="550" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8h-uWEgyVboMJUAytTibyKqC4eDjcAjrpNrzVwCJiSPDhbDWaLAzMwU0y65RcwkG2fd9Kx5tYi8o3nrgOUNLcewk_w-QvDomPYa8lugcg9i6ziP-SaWVWLjlL-JS0mH7fUMZ6XfG24pupZzkEsoOnUuG8UJygnBvGM90V9pmsUacC2FRwdu7ZSpGi/w640-h550/1400_From%20Legenda%20aurea%20by%20Jacobus%20de%20Voraine_French%20(Paris),%20c.%201400_Paris,%20BNF_MS%20Francais%20242,%20fol.%20Ar.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />From <u><i>Legenda aurea</i></u> by Jacobus de Voragine<br />French (Paris), c. 1400<br />Paris, Bibliotheque nationale de France<br />MS Francais 242, fol. Ar</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_TWJxJ6aeCY8BhlodKkc3u51tryQuRb_bdp5lpbcV3o6Ceik554TwelVg7Lm75xpObM6nCxQxwrUmOBvkr-fJWXV_RHwGUSzyEkKoFV0ny6S_7WwkFCacmIB1waFypJTQddDCuKw3_uloFsmHuqS_3hCAoKjuDEwZs7OYjXVvvGBMu2rUIXwB1wjv/s1603/1400+From%20City%20of%20God%20by%20Saint%20Augutstine%20of%20Hippo_French%20(Paris),%20c.%201400_Paris,%20BNF_MS%20Francais%2024,%20fol.%20262v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1534" data-original-width="1603" height="612" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_TWJxJ6aeCY8BhlodKkc3u51tryQuRb_bdp5lpbcV3o6Ceik554TwelVg7Lm75xpObM6nCxQxwrUmOBvkr-fJWXV_RHwGUSzyEkKoFV0ny6S_7WwkFCacmIB1waFypJTQddDCuKw3_uloFsmHuqS_3hCAoKjuDEwZs7OYjXVvvGBMu2rUIXwB1wjv/w640-h612/1400+From%20City%20of%20God%20by%20Saint%20Augutstine%20of%20Hippo_French%20(Paris),%20c.%201400_Paris,%20BNF_MS%20Francais%2024,%20fol.%20262v.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />From <u><i>The City of God </i></u>by Saint Augustine of Hippo<br />French (Paris), c. 1400<br />Paris, Bibliotheque nationale de France<br />MS Francais 24, fol. 262v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8dW8Bg5P0HgVxf3YRq5QtaifTAXpGvtAg9sZ-eGW9ia0uBJXHT4gi2MyXfc67gl40Rad9VZfsrlZKF40u5AA0k3MBEbU84MuhFNjg_dDvimxZHwLPr5X7sn96ZTq-cj9Mn8BA7CPtP4BKb06HIcDC4EWmnOB2EVYYEQhUPKnsnlpEGhoyCattRh0w/s1888/1410_Limbourg%20Bros_Tres%20Riches%20Heures_S.%20Netherlandis_c.1410-1416_Chantilly_Musee%20Conde_MS%2065,%20fol.%2060v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1888" data-original-width="1406" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8dW8Bg5P0HgVxf3YRq5QtaifTAXpGvtAg9sZ-eGW9ia0uBJXHT4gi2MyXfc67gl40Rad9VZfsrlZKF40u5AA0k3MBEbU84MuhFNjg_dDvimxZHwLPr5X7sn96ZTq-cj9Mn8BA7CPtP4BKb06HIcDC4EWmnOB2EVYYEQhUPKnsnlpEGhoyCattRh0w/w476-h640/1410_Limbourg%20Bros_Tres%20Riches%20Heures_S.%20Netherlandis_c.1410-1416_Chantilly_Musee%20Conde_MS%2065,%20fol.%2060v.jpg" width="476" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">The Limbourg Brothers, The Coronation of the Virgin</div><div style="text-align: center;">From the <u><i>Tres Riches Heures of the Duc of Berry</i></u></div><div style="text-align: center;">Flemish, c.1410</div><div style="text-align: center;">Chantilly, Musée Condé</div><div style="text-align: center;">MS 65, fol. 60v</div></td></tr></tbody></table><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijrseC0DQZeRIpr2-0U0HuKloYSYvsaon9aIn_lzGiNlwfOpz9-DrsjBwIHRp34dSK3F7bRdgD_ySfpPCZSYt2zSHlESbrTyy5xE5yaesy60UA3JDbi469IelSwBYuNMSw2TzagPMY7kHfgQpBcacwC12Fm7SEN46ujW_ZTTqFim0Q7URnx1mrxGJQ/s784/1414_Lorenzo%20Monaco_Italian,%201414_Florence,%20Gallerie%20degli%20Uffizi.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="784" data-original-width="691" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijrseC0DQZeRIpr2-0U0HuKloYSYvsaon9aIn_lzGiNlwfOpz9-DrsjBwIHRp34dSK3F7bRdgD_ySfpPCZSYt2zSHlESbrTyy5xE5yaesy60UA3JDbi469IelSwBYuNMSw2TzagPMY7kHfgQpBcacwC12Fm7SEN46ujW_ZTTqFim0Q7URnx1mrxGJQ/w564-h640/1414_Lorenzo%20Monaco_Italian,%201414_Florence,%20Gallerie%20degli%20Uffizi.jpg" width="564" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Lorenzo Monaco, The Coronation of the Virgin<br />Italian, 1414<br />Florence, Gallerie degli Uffizi</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvXCQFJcAavRyOpAZdFExBSbhY7kz4k0h6OCJK1IDn9wQ013Oh7mIbdP9RuzBdwbngz-XbTQo0bvf_gq3i1-5reh_Gv1Q0zKjZBe8Ro6-6EjkodOybHnfu4aIHMxnrQ0GKWC8Vbt7rC_xC5omiZyRSx_E6-NpM_UbJMeKZT6ixn1YLo6jH1R3PKtsB/s1500/1434_Fra%20Angelico_Coronation%20of%20the%20Virgin_Louvre_1434-35_Louvre.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="1496" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvXCQFJcAavRyOpAZdFExBSbhY7kz4k0h6OCJK1IDn9wQ013Oh7mIbdP9RuzBdwbngz-XbTQo0bvf_gq3i1-5reh_Gv1Q0zKjZBe8Ro6-6EjkodOybHnfu4aIHMxnrQ0GKWC8Vbt7rC_xC5omiZyRSx_E6-NpM_UbJMeKZT6ixn1YLo6jH1R3PKtsB/w638-h640/1434_Fra%20Angelico_Coronation%20of%20the%20Virgin_Louvre_1434-35_Louvre.jpg" width="638" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Fra Angelico, The Coronation of the Virgin<br />Italian, c. 1434-1435<br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td class="tr-caption"><div style="text-align: center;">Paris, Musée du Louvre</div></td></tr></tbody></table><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br style="text-align: left;" /></span></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDWjONcwkY3HcdW7hrLhXnaTIZlGBUbFGZT3VSDrP9svcll4Q6OHCoy9tk9M-9VSG1Wu2eexrsjdqZgz2er00E0NLb7sy3hiuyBBiwYlWqn8qPoS3w4wtM9mTXtIbgHoT_C8bJXahjaRtTVGBxolrAKRiTrWCVI2_OW1TH36qpfD4YXo2qgeVv0leF/s903/1434_Fra%20Angelico_Italian,%20c.%201434-1435_Florence,%20Galleria%20degli%20Uffizi.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="903" data-original-width="900" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDWjONcwkY3HcdW7hrLhXnaTIZlGBUbFGZT3VSDrP9svcll4Q6OHCoy9tk9M-9VSG1Wu2eexrsjdqZgz2er00E0NLb7sy3hiuyBBiwYlWqn8qPoS3w4wtM9mTXtIbgHoT_C8bJXahjaRtTVGBxolrAKRiTrWCVI2_OW1TH36qpfD4YXo2qgeVv0leF/w638-h640/1434_Fra%20Angelico_Italian,%20c.%201434-1435_Florence,%20Galleria%20degli%20Uffizi.jpg" width="638" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Fra Angelico, The Coronation of the Virgin<br />Italian, c. 1434-1435<br />Florence, Galleria degli Uffizi</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj98efiBTqeuakSUl2NADiXD5t4nyxU2gBzOzTtIqfsj_9_vYRaZV9vLHOsGcBj7DyVxlmwdT6SEkWbKSkW95DLL5oJhCZpd19N3dQVxQ7BGIfVlKpadkBjGzoPBywFuq3Liy93bXw3ZKaZD2RmtrUYotJJ7_THNZX2kneRqOttk5zQ_gaMyflLKMOi/s546/1435_Gold%20Scrolls%20Group_From%20Typologische%20taferelen%20uit%20het%20leven%20van%20Jezus_Flemish%20(Bruges),%20c.%201435-1445_New%20York,%20Pierpont_MS%20M%20649.%20fol.%207v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="399" data-original-width="546" height="468" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj98efiBTqeuakSUl2NADiXD5t4nyxU2gBzOzTtIqfsj_9_vYRaZV9vLHOsGcBj7DyVxlmwdT6SEkWbKSkW95DLL5oJhCZpd19N3dQVxQ7BGIfVlKpadkBjGzoPBywFuq3Liy93bXw3ZKaZD2RmtrUYotJJ7_THNZX2kneRqOttk5zQ_gaMyflLKMOi/w640-h468/1435_Gold%20Scrolls%20Group_From%20Typologische%20taferelen%20uit%20het%20leven%20van%20Jezus_Flemish%20(Bruges),%20c.%201435-1445_New%20York,%20Pierpont_MS%20M%20649.%20fol.%207v.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Member of the Gold Scrolls Group, The Coronation of the Virgin<br />From <u><i>Typologische taferelen uit het leven van Jezus</i></u><br />Flemish (Bruges), c. 1435-1445<br />New York, Pierpont Morgan Library<br />MS M 649. fol. 7v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZSHpDZGCRcIwgIiPTE-w4GdH_2uukzkO1BNbVVlf_0AvNHQPEuqiJQcUAuvZnMgo34Lq-fW3ZAjxJ2Lznw8DhlswZNnWXEfFvp-Zf-LAs1DU0tYBPuUK92z0_9xU0RCpudswncfr0mtZGYcYH4HI-aCr_echPvCCCF-BFmzqxPYaQs7xXyAaMxOz4/s1271/1452_Master%20of%20Jouvenel%20des%20Ursins%20and%20Workshop_From%20Hours%20of%20Jeanne%20de%20France_French%20(Angers),%20c.%201452_Paris,%20BNF_MS%20Nouvelle%20acquisition%20latine%203244,%20fol.%20118r.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1271" data-original-width="930" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZSHpDZGCRcIwgIiPTE-w4GdH_2uukzkO1BNbVVlf_0AvNHQPEuqiJQcUAuvZnMgo34Lq-fW3ZAjxJ2Lznw8DhlswZNnWXEfFvp-Zf-LAs1DU0tYBPuUK92z0_9xU0RCpudswncfr0mtZGYcYH4HI-aCr_echPvCCCF-BFmzqxPYaQs7xXyAaMxOz4/w468-h640/1452_Master%20of%20Jouvenel%20des%20Ursins%20and%20Workshop_From%20Hours%20of%20Jeanne%20de%20France_French%20(Angers),%20c.%201452_Paris,%20BNF_MS%20Nouvelle%20acquisition%20latine%203244,%20fol.%20118r.jpeg" width="468" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Jouvenel des Ursins and Workshop, The Coronation of the Virgin<br />From <u><i>Hours of Jeanne de France</i></u><br />French (Angers), c. 1452<br />Paris, Bibliotheque nationale de France<br />MS Nouvelle acquisition latine 3244, fol. 118r</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyZBKFHeoU4VrUtxjRClKXwvEd7x9P7V-xbGy1e8tQMbP1xvZu_R84lpB9R91pmn14Nr_f3AkKam_jDwI3_p-cDqzxTjuc6l5vMOwf-UlZ51HYmbBWo_m1f2c0IkPF-4uTebUOqXAD6qvWqvFiGZtIzGvf_NRs80YOYnWMil3BsX5iB9dfoWWNgBiv/s2196/1454_Enguerrand%20Charenton_Coronation%20of%20Virgin_Villeneuve-les-Avignon,%20Hospice_1454.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1893" data-original-width="2196" height="552" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyZBKFHeoU4VrUtxjRClKXwvEd7x9P7V-xbGy1e8tQMbP1xvZu_R84lpB9R91pmn14Nr_f3AkKam_jDwI3_p-cDqzxTjuc6l5vMOwf-UlZ51HYmbBWo_m1f2c0IkPF-4uTebUOqXAD6qvWqvFiGZtIzGvf_NRs80YOYnWMil3BsX5iB9dfoWWNgBiv/w640-h552/1454_Enguerrand%20Charenton_Coronation%20of%20Virgin_Villeneuve-les-Avignon,%20Hospice_1454.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Enguerrand Charenton, The Coronation of the Virgin</div><div style="text-align: center;">French, 1454</div><div style="text-align: center;">Villeneuve-les-Avignon, <span style="text-align: left;">Musée Pierre-de-Luxembourg</span></div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSe9y9zYEUXbNp99fopV3HSjcuPeVRs1foejpugvRhM-T1T3T78VhRrj-as-uLQLtjpubDpWe4xkM_E-qGI4z-9gdyikDYjmsnlzZgGkPcx43tKVOReSF-rXQnYxOA0a3VyzSulR-qbKXdWO53jmpPkDeTBRx0jHkmwMGMs6j8ycqjBnPwStezey0V/s520/1455_Workshop%20of%20Guillaume%20Vrelant_From%20a%20Book%20of%20Hours_Flemish%20(Bruges),%20c.%201455-1465_New%20York,%20Pierpont_MS%20M387,%20fol.127v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="520" data-original-width="284" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSe9y9zYEUXbNp99fopV3HSjcuPeVRs1foejpugvRhM-T1T3T78VhRrj-as-uLQLtjpubDpWe4xkM_E-qGI4z-9gdyikDYjmsnlzZgGkPcx43tKVOReSF-rXQnYxOA0a3VyzSulR-qbKXdWO53jmpPkDeTBRx0jHkmwMGMs6j8ycqjBnPwStezey0V/w350-h640/1455_Workshop%20of%20Guillaume%20Vrelant_From%20a%20Book%20of%20Hours_Flemish%20(Bruges),%20c.%201455-1465_New%20York,%20Pierpont_MS%20M387,%20fol.127v.jpg" width="350" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Workshop of Guillaume Vrelant, The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />Flemish (Bruges), c. 1455-1465<br />New York, Pierpont Morgan Library<br />MS M 387, fol.127v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAt1XbLvkF0qjjjOEsUbApPbcp7P_A5e5Jdt-pGFkka2gONVFbxVIuYNWnVvyLnpJIVt77JOa2zwwWpQcIX_ADczXhj3Q95fkoQS_z0huLF63izLzRon8NuH9fM3sgDkO0Wv_WOxxd9emT7iJPnQVJSUVR_UMvEI2XKo0Oq3VQVbe9J6nLkUZYn1Ue/s1500/1463_Neri%20di%20Bicci_Italian,%201463_Paris,%20Musee%20du%20Louvre.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1397" data-original-width="1500" height="596" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAt1XbLvkF0qjjjOEsUbApPbcp7P_A5e5Jdt-pGFkka2gONVFbxVIuYNWnVvyLnpJIVt77JOa2zwwWpQcIX_ADczXhj3Q95fkoQS_z0huLF63izLzRon8NuH9fM3sgDkO0Wv_WOxxd9emT7iJPnQVJSUVR_UMvEI2XKo0Oq3VQVbe9J6nLkUZYn1Ue/w640-h596/1463_Neri%20di%20Bicci_Italian,%201463_Paris,%20Musee%20du%20Louvre.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Neri di Bicci. The Coronation of the Virgin<br />Italian, 1463<br />Paris, Musée du Louvre</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiANP9odtq37ZPB9p438H-tn051rMIk9MB9TZWugskbSulit4ZE0pxWF8kqmr37Z7PfHhETbvVNfp-LcJxXxA6bWLpFKzLAIWkKklUp3cGdZVmtPaC7fZaS0QakxpjSxpuG5POURXALtXvA4M2SyTno00gpdyiOM6ttxP9OwP1_dEAijB05I5SkZBz/s476/1465_Jean%20Colombe%20and%20Workshop_From%20a%20Book%20of%20Hours_French%20(Bourges),%20c.%201465-1470_New%20Yok,%20Pierpont_MS%20M248,%20fol.60r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="476" data-original-width="304" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiANP9odtq37ZPB9p438H-tn051rMIk9MB9TZWugskbSulit4ZE0pxWF8kqmr37Z7PfHhETbvVNfp-LcJxXxA6bWLpFKzLAIWkKklUp3cGdZVmtPaC7fZaS0QakxpjSxpuG5POURXALtXvA4M2SyTno00gpdyiOM6ttxP9OwP1_dEAijB05I5SkZBz/w408-h640/1465_Jean%20Colombe%20and%20Workshop_From%20a%20Book%20of%20Hours_French%20(Bourges),%20c.%201465-1470_New%20Yok,%20Pierpont_MS%20M248,%20fol.60r.jpg" width="408" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jean Colombe and Workshop, The Coronation of the Virgin<br />From a <i><u>Book of Hours</u></i><br />French (Bourges), c. 1465-1470<br />New Yok, Pierpont Morgan Library<br />MS M 248, fol.60r<br /><div style="text-align: left;">All the saints have turned to face the Throne of God and the Coronation. Thus we see them from behind and the pattern of their haloes gives the effect of golden scales.</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3SqzVEFiIYcdbQL0fHMwyPaGaPyw77GHzGtmA2AosXDuUieYvgHZ7HVIuk9L_XsmkE69oAulJnt-2ryZP5NXa_pS5vfJ38Pzi-SENdTokImLHvIF18r3iVxohwS8EHKZ1-BNKLkrutkyGN40B4GqOpLe4Wp_ONrTUBFhCVQuqh_A8JP_zky20j2nS/s612/1475_Master%20of%20the%20Exrivainage%20and%20collabs_City%20of%20God_French_Paris_1475-1500_BNF_Francais%2028,%20fol.273v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="612" data-original-width="441" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3SqzVEFiIYcdbQL0fHMwyPaGaPyw77GHzGtmA2AosXDuUieYvgHZ7HVIuk9L_XsmkE69oAulJnt-2ryZP5NXa_pS5vfJ38Pzi-SENdTokImLHvIF18r3iVxohwS8EHKZ1-BNKLkrutkyGN40B4GqOpLe4Wp_ONrTUBFhCVQuqh_A8JP_zky20j2nS/w462-h640/1475_Master%20of%20the%20Exrivainage%20and%20collabs_City%20of%20God_French_Paris_1475-1500_BNF_Francais%2028,%20fol.273v.jpg" width="462" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Master of the Exrivainage and Workshop, The Coronation of the Virgin</div><div style="text-align: center;">From <i><u>The City of God</u> </i>by Saint Augustine of Hippo</div><div style="text-align: center;">French (Paris), c. 1475-1500</div><div style="text-align: center;">Paris, Bibliotheque nationale de France</div><div style="text-align: center;">MS Francais 28, fol. 273v</div></td></tr></tbody></table><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNGUTFI3iKTB_Af8j3LROmR_KzFI6jM88LsntrWFtEn_pM1msKjAfx_8ag4fIN0aeGGlkE2rCi8SedPCOJPkP_uPQShatnNgbpuwZHr8bv_iM9c44pIzX4JouR8EMBEbNHdNYvm9oFctbICoyZzUz_Ibdr0qTEVpcjApiKVuBOqr9ruJJfu15S3x3m/s514/1475-Simon%20Marmion_From%20a%20Book%20of%20Hours_Flemish,%20c.%201475-1485_New%20York,%20Pierpont_MS%20M6,%20fol.057v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="514" data-original-width="433" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNGUTFI3iKTB_Af8j3LROmR_KzFI6jM88LsntrWFtEn_pM1msKjAfx_8ag4fIN0aeGGlkE2rCi8SedPCOJPkP_uPQShatnNgbpuwZHr8bv_iM9c44pIzX4JouR8EMBEbNHdNYvm9oFctbICoyZzUz_Ibdr0qTEVpcjApiKVuBOqr9ruJJfu15S3x3m/w540-h640/1475-Simon%20Marmion_From%20a%20Book%20of%20Hours_Flemish,%20c.%201475-1485_New%20York,%20Pierpont_MS%20M6,%20fol.057v.jpg" width="540" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Simon Marmion, The Coronation of the Virgin</div><div style="text-align: center;">From a <u><i>Book of Hours</i></u></div><div style="text-align: center;">Flemish, c. 1475-1485</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS M 6, fol. 57v</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgX8l--lDLJ28-mwMDBGjvTCtByrpRTjEDLww4KTUXO54QAiR7WCpHnX433Ghgij5sRkF92u7b_Cdi0-hKKza-tWlSCETZ02iQQrPY9MJpy2GDIehobFUwzI0qwFdcvhJfJe9ErvVFwbj013JZyLHpE3IcAIn3FBw2wpgdaZJ1BUW0MO1ed7WtfDCT/s897/1479_Michael%20Pacher_German_1479-81_St.%20Wolfgang,%20Parish%20Church.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="897" data-original-width="750" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgX8l--lDLJ28-mwMDBGjvTCtByrpRTjEDLww4KTUXO54QAiR7WCpHnX433Ghgij5sRkF92u7b_Cdi0-hKKza-tWlSCETZ02iQQrPY9MJpy2GDIehobFUwzI0qwFdcvhJfJe9ErvVFwbj013JZyLHpE3IcAIn3FBw2wpgdaZJ1BUW0MO1ed7WtfDCT/w536-h640/1479_Michael%20Pacher_German_1479-81_St.%20Wolfgang,%20Parish%20Church.jpg" width="536" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Michael Pacher, The Coronation of the Virgin</div><div style="text-align: center;">German, c. 1479-1481</div><div style="text-align: center;">Sankt Wolfgang im Salzkammergut (Austria), Parish Church</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_M5FylTJO9M5QhuvxSJefSB1RGrbAD0Vi8bIoNmrY3VoWRxVSHOkzGDO6rgXq8w4U1HbF-q_DzgbrH7MF8j4uoyGYwaT5NrlFlGr4zcsdPwX8eEM6_6arfX5uDYZBUCtJ2rNo9qzmjMrw7phzpur7jVtttz634g-a9CmSs7HCuAIF7vVpTYuTKVh-/s1920/1490_Maestro%20de%20las%20Once%20Mil%20Virgenes_Spanish,%20c.%201490_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1920" data-original-width="1367" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_M5FylTJO9M5QhuvxSJefSB1RGrbAD0Vi8bIoNmrY3VoWRxVSHOkzGDO6rgXq8w4U1HbF-q_DzgbrH7MF8j4uoyGYwaT5NrlFlGr4zcsdPwX8eEM6_6arfX5uDYZBUCtJ2rNo9qzmjMrw7phzpur7jVtttz634g-a9CmSs7HCuAIF7vVpTYuTKVh-/w456-h640/1490_Maestro%20de%20las%20Once%20Mil%20Virgenes_Spanish,%20c.%201490_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="456" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Maestro de las Once Mil Virgenes, The Coronation of the Virgin<br />Spanish, c. 1490<br />Madrid, Museo Nacional del Prado</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-qogSdItDPYH5WzSsY5mUX1bM38d8_9NOplrYZPpKugn5snrBJcfXCd5jzgGrkCeh0b6OtdiqR3Qpo0P6-GFoT63Fs01db95en9x3a-PwEfDq0RG-YAmhlfM_ap3hi619bE66UUOZj0uKkzQ4wGIU6d-1DuoVoiV76iSqCvR8JEf9rR-pM1lIGZny/s640/1521_Vicente%20Macip_Spanish,%20After%201521_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="546" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-qogSdItDPYH5WzSsY5mUX1bM38d8_9NOplrYZPpKugn5snrBJcfXCd5jzgGrkCeh0b6OtdiqR3Qpo0P6-GFoT63Fs01db95en9x3a-PwEfDq0RG-YAmhlfM_ap3hi619bE66UUOZj0uKkzQ4wGIU6d-1DuoVoiV76iSqCvR8JEf9rR-pM1lIGZny/w546-h640/1521_Vicente%20Macip_Spanish,%20After%201521_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="546" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Vicente Macip, The Coronation of the Virgin in Paradise<br />Spanish, After 1521<br />Madrid, Museo Nacional del Prado</td></tr></tbody></table></div><br /><br /><br /><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><h4 style="margin: 0px; position: relative;">Images Incorporating Mary's Death and Assumption</h4>Sometimes the scene is shown in direct relationship to images of the <a href="https://imaginemdei.blogspot.com/2011/08/vigil-of-feast-of-assumption-dormition.html" style="color: #114499; text-decoration-line: none;" target="_blank">Dormition </a>and <a href="https://imaginemdei.blogspot.com/2011/08/assumpta-est-maria-in-caelum-mary-is.html" style="color: #114499; text-decoration-line: none;" target="_blank">Assumption of Mary</a>, as it is in the images below. Although the majority of these are found in manuscript illumination, it is also used infrequently by painters on panel and canvas.</span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMhxv2_CJ_MAI3J3cfCOyCTq5z3silDO_sKwE9JfXfbVw-DYC9Kh4C0EmQNNcYrWp_VlBzOS-GEWsBQ0W4XikpemFoR9tErWMWqO1leGEv8lf0FTjaK82YdS3hBNIMEtnTiBMCyKcKqndnH54SmvEMA-HRROU99HZIkqqbu8CxZYMAsKHW3Lhxa_rr/s1158/1210+From%20a%20Psalter_French%20(Troyes),%20c.%201210_Paris,%20BNF_MS%20Latin%20238,%20fol.%2061v.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1158" data-original-width="743" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMhxv2_CJ_MAI3J3cfCOyCTq5z3silDO_sKwE9JfXfbVw-DYC9Kh4C0EmQNNcYrWp_VlBzOS-GEWsBQ0W4XikpemFoR9tErWMWqO1leGEv8lf0FTjaK82YdS3hBNIMEtnTiBMCyKcKqndnH54SmvEMA-HRROU99HZIkqqbu8CxZYMAsKHW3Lhxa_rr/w410-h640/1210+From%20a%20Psalter_French%20(Troyes),%20c.%201210_Paris,%20BNF_MS%20Latin%20238,%20fol.%2061v.jpeg" width="410" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">The Death, Assumption and Coronation of the Virgin</div><div style="text-align: center;">From a <u><i>Psalter</i></u></div><div style="text-align: center;">French (North), c. 1210</div><div style="text-align: center;">Paris, Bibliotheque nationale de France</div><div style="text-align: center;">MS Latin 238, fol. 62v</div></td></tr></tbody></table><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilMQRnS9YR4-WY7xhGKEod7_Dmx3ga9alGnDDO1oLojPeTX6DZ738iTYr9-jYGgJpXlIkCrelbUpubCqkcaG0VzkRWKzO5hWRQ93V5q0xLsR9tXydrbDzGyLnFS3gPsnkcd20pOUS43DJFAkkQjwS1Io7_1FTwaENaT9EGZnRCD9tnBYSyS85QflyD/s1146/1225+From%20Psalter%20of%20Saint%20Louis%20and%20of%20Blanche%20of%20Castille_French%20(Paris),%20c.%201225_Paris,%20BNF_MS%20Arsenal%201186,%20fol.%2029v.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1146" data-original-width="830" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilMQRnS9YR4-WY7xhGKEod7_Dmx3ga9alGnDDO1oLojPeTX6DZ738iTYr9-jYGgJpXlIkCrelbUpubCqkcaG0VzkRWKzO5hWRQ93V5q0xLsR9tXydrbDzGyLnFS3gPsnkcd20pOUS43DJFAkkQjwS1Io7_1FTwaENaT9EGZnRCD9tnBYSyS85QflyD/w464-h640/1225+From%20Psalter%20of%20Saint%20Louis%20and%20of%20Blanche%20of%20Castille_French%20(Paris),%20c.%201225_Paris,%20BNF_MS%20Arsenal%201186,%20fol.%2029v.jpeg" width="464" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Burial and Coronation of the Virgin</div><div style="text-align: center;">From the <u><i>Psalter of St. Louis and Blanche of Castille</i></u></div><div style="text-align: center;">French, c.1225</div><div style="text-align: center;">Paris, Bibliotheqe nationale de France</div><div style="text-align: center;">MS Arsenal 1186, fol. 29v</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7BIMVgd3EZErQZWYubbhg31czMXtlViyvZt3ZD9SLaagvGO3Qu8hYLlHWrg13yBi3MsU_XvIAv2JYkN0XKtmUJJ8rkkpzNqNT1aO3U01dZ7TT8sTrtQlSN8d2xD8VlqcGxkbRpbj0nS1HuheCR-k10tXb26JEVE56ydQQxhN-BJzILH9Ks2fpfl7j/s572/1246_From%20Psalter-Hours%20of%20Ghuiluys%20de%20Boisieux_French%20(Arras),%20c.%201246-1260_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20730,%20fol.%2016v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="357" data-original-width="572" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7BIMVgd3EZErQZWYubbhg31czMXtlViyvZt3ZD9SLaagvGO3Qu8hYLlHWrg13yBi3MsU_XvIAv2JYkN0XKtmUJJ8rkkpzNqNT1aO3U01dZ7TT8sTrtQlSN8d2xD8VlqcGxkbRpbj0nS1HuheCR-k10tXb26JEVE56ydQQxhN-BJzILH9Ks2fpfl7j/w640-h400/1246_From%20Psalter-Hours%20of%20Ghuiluys%20de%20Boisieux_French%20(Arras),%20c.%201246-1260_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20730,%20fol.%2016v.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Scenes from the Life of the Virgin Mary</div><div style="text-align: center;">From<u><i> Psalter-Hours of Ghuiluys de Boisleux</i></u></div><div style="text-align: center;">French (Arras), c. 1246-1260</div><div style="text-align: center;">New York, Pierpont Motgan Library</div><div style="text-align: center;">MS M 730, fol. 16v</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2qIiety9hmnnem9pN9s_reIDX5a1ZsmAwmkhSOGNaFoGxTK45RZpPRKxJMjYSSDTqmjrqbCcQN4lBQLXJaqcsoaVlTbLEX17g_QIYAifcv7qDi-K-hVb5NnwJk0_kDMKAYOMuLNXsB9-wiPH7ljpk7oA1bVj7wBJ2sZykHHAzAKkhwUGWI9dopyFC/s640/1295-Life%20of%20Virgin_Leaves%20from%20the%20Ramsey%20Psalter_English%20(Ramsey%20Abbey),%20c.%201295-1310_New%20York,%20Pierpont_MS%20M302,%20fol.004r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="443" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2qIiety9hmnnem9pN9s_reIDX5a1ZsmAwmkhSOGNaFoGxTK45RZpPRKxJMjYSSDTqmjrqbCcQN4lBQLXJaqcsoaVlTbLEX17g_QIYAifcv7qDi-K-hVb5NnwJk0_kDMKAYOMuLNXsB9-wiPH7ljpk7oA1bVj7wBJ2sZykHHAzAKkhwUGWI9dopyFC/w444-h640/1295-Life%20of%20Virgin_Leaves%20from%20the%20Ramsey%20Psalter_English%20(Ramsey%20Abbey),%20c.%201295-1310_New%20York,%20Pierpont_MS%20M302,%20fol.004r.jpg" width="444" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Scenes from the Life of the Virgin Mary</div><div style="text-align: center;">Leaves from the <u><i>Ramsey Psalter</i></u></div><div style="text-align: center;">English (Ramsey Abbey), c. 1295-1310</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS M 302, fol. 4r</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlIs_3WeVV4Qc_5rjeyxSOlP77fxJ20L-Gm970b4bfxFxB1Q6UWdY5hyUtknLNJFmeO-6nBuk-KZ5sKJIfud9lxWhrFuEU5Ee7kxjxKc9zd8Oxj_cRyYyPC4E9_NWWsUEZz56f95Bkr7nVTuQu4NjZ30gnyHv8CixyPB2aGqyYxb6V2_qp0W2qdnEr/s1000/1296_Giacomo%20Torriti_Coronation_S.%20Maria%20Maggiore_.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="645" data-original-width="1000" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlIs_3WeVV4Qc_5rjeyxSOlP77fxJ20L-Gm970b4bfxFxB1Q6UWdY5hyUtknLNJFmeO-6nBuk-KZ5sKJIfud9lxWhrFuEU5Ee7kxjxKc9zd8Oxj_cRyYyPC4E9_NWWsUEZz56f95Bkr7nVTuQu4NjZ30gnyHv8CixyPB2aGqyYxb6V2_qp0W2qdnEr/w640-h412/1296_Giacomo%20Torriti_Coronation_S.%20Maria%20Maggiore_.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Giacomo Torriti, Scenes from the Life of the Virgin</div><div style="text-align: center;">Italian, Mosaic, 1296</div><div style="text-align: center;">Rome, Santa Maria Maggiore</div><div style="text-align: left;">Although the largest image is that of the Coronation, the supports for the half-dome on which it is placed include other scenes from the life of the Virgin. At the left is the Nativity of Jesus, on the right is the Adoration of the Magi and in the center, directly below the Coronation image is the Dormition of the Virgin, her death.</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN6aeKS9z1NQdfblxmTqtv669GUa8Kt6hFbvetfm1R7fjLZGIia8o0xdIVj6_1f9eOePVQomyCMyo2YditPGiBoD16S14cvumBBpm___pWbNHGwcRwm5jro3cK1fkC0SVRv5nuniz8pdrnqYNyasklIinL5smZaOUEKujI_G4cK9ttqdMtjYcu_PT3/s2500/1300_French,%2014th%20Century_London,%20Victoria%20and%20Albert%20Museum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2500" data-original-width="1875" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN6aeKS9z1NQdfblxmTqtv669GUa8Kt6hFbvetfm1R7fjLZGIia8o0xdIVj6_1f9eOePVQomyCMyo2YditPGiBoD16S14cvumBBpm___pWbNHGwcRwm5jro3cK1fkC0SVRv5nuniz8pdrnqYNyasklIinL5smZaOUEKujI_G4cK9ttqdMtjYcu_PT3/w480-h640/1300_French,%2014th%20Century_London,%20Victoria%20and%20Albert%20Museum.jpg" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Dormition and Coronation of the Virgin<br />French, 14th Century<br />London, Victoria and Albert Museum</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpwyLkuQRfhfxf8nGqQfgyZW8NX5pzvGgpUlOh51GeUcbX-a0D2krxHFpJ_hAtnetV-Inc8X8iJprK-hA3vmNnzWhOTKyWg6Z9UpICGtYjqtJrvmGnZq8RgP6d5kAalbAGjXJVLfV_o52XLgnVsAt465i6IAAv_Ur80uFYwHgNNLVUo6G_QvclrjH6/s2487/1330_French,%20c.%201330-1350_New%20York,%20Metropolitan%20Museum%20of%20Art.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1810" data-original-width="2487" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpwyLkuQRfhfxf8nGqQfgyZW8NX5pzvGgpUlOh51GeUcbX-a0D2krxHFpJ_hAtnetV-Inc8X8iJprK-hA3vmNnzWhOTKyWg6Z9UpICGtYjqtJrvmGnZq8RgP6d5kAalbAGjXJVLfV_o52XLgnVsAt465i6IAAv_Ur80uFYwHgNNLVUo6G_QvclrjH6/w640-h466/1330_French,%20c.%201330-1350_New%20York,%20Metropolitan%20Museum%20of%20Art.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Dormition and Coronation of the Virgin<br />French, c. 1330-1350<br />New York, Metropolitan Museum of Art</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCcRqJP4UyAkz2CIh-fMjaGYmTRDgDnI39VYdgKMBHAjQlndOHqYep3-GCZeeYy09WxzCs_y6pJ8JjbdRZHJ54XnhTPMeYxworQ8hsfhxD9wmtWw6bmwzsJ4_zTnGgy55JgFXYeAwD7BoUpDsUueYWQ-UGwoBgmYBOZT_78juntH6VohCZOalArBMF/s640/1330_French,%20c.%201330-1350_New%20York,%20Metropolitan%20Museum%20of%20Art_%232.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="423" data-original-width="640" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCcRqJP4UyAkz2CIh-fMjaGYmTRDgDnI39VYdgKMBHAjQlndOHqYep3-GCZeeYy09WxzCs_y6pJ8JjbdRZHJ54XnhTPMeYxworQ8hsfhxD9wmtWw6bmwzsJ4_zTnGgy55JgFXYeAwD7BoUpDsUueYWQ-UGwoBgmYBOZT_78juntH6VohCZOalArBMF/w640-h424/1330_French,%20c.%201330-1350_New%20York,%20Metropolitan%20Museum%20of%20Art_%232.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Dormition and Coronation of the Virgin<br />French, c. 1330-1350<br />New York, Metropolitan Museum of Art</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimvqZnkIcWrZfRNcTVz2i03dmgsItNyz-TSlZutSM5N3oQx-AmKgHw2Xo8iHG0UfZXQgv2coqC4dIeHHlHcSXyyIuhAkUIwCGDkIgkZU118f0HDk9_BzleZVhgjKxSyJX_j4j9CW18K9LtbWFm9nEJ5aHZQmfPueo3svs8P88qnAC_-yYlLLqkoBrD/s407/1370-Death%20and%20Coronation_From%20Psalter-Hours_French%20(Metz),%20c.%201370-1380_New%20York,%20Pierpont_MS%20M88,%20fol.019v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="407" data-original-width="336" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimvqZnkIcWrZfRNcTVz2i03dmgsItNyz-TSlZutSM5N3oQx-AmKgHw2Xo8iHG0UfZXQgv2coqC4dIeHHlHcSXyyIuhAkUIwCGDkIgkZU118f0HDk9_BzleZVhgjKxSyJX_j4j9CW18K9LtbWFm9nEJ5aHZQmfPueo3svs8P88qnAC_-yYlLLqkoBrD/w528-h640/1370-Death%20and%20Coronation_From%20Psalter-Hours_French%20(Metz),%20c.%201370-1380_New%20York,%20Pierpont_MS%20M88,%20fol.019v.jpg" width="528" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Dormition and Coronation of the Virgin<br />From a <u><i>Book of Psalter-Hours</i></u><br />French (Metz), c. 1370-1380<br />New York, Pierpont Morgan Library<br />MS M 88, fol. 19v</td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBd9vu1XZ2oGkYeDAmSPtHNMRFSV7S4T1tsuAau7hNp5HogSGfLaFwOs5z2hl7k_OMzGy8LAQn8v0a03_kwhGEVa6D8-jn98J2xRr5-6bFHRo699a1OUMTTsarAgeIXWWmf4rM4jCcUC2FWaOkTubrkBDg-ql5TVSesKIanA5Ov7IV0zyOwYYOYEJL/s485/1370_Master%20of%20the%20Jean%20de%20Sy%20Bible_Death%20and%20Coronation_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201370-1380_New%20York,%20Pierpont_MS%20M90,%20fol.045ra.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="384" data-original-width="485" height="506" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBd9vu1XZ2oGkYeDAmSPtHNMRFSV7S4T1tsuAau7hNp5HogSGfLaFwOs5z2hl7k_OMzGy8LAQn8v0a03_kwhGEVa6D8-jn98J2xRr5-6bFHRo699a1OUMTTsarAgeIXWWmf4rM4jCcUC2FWaOkTubrkBDg-ql5TVSesKIanA5Ov7IV0zyOwYYOYEJL/w640-h506/1370_Master%20of%20the%20Jean%20de%20Sy%20Bible_Death%20and%20Coronation_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201370-1380_New%20York,%20Pierpont_MS%20M90,%20fol.045ra.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Master of the Jean de Sy Bible, The Dormition and Coronation of the Virgin</div><div style="text-align: center;">From a <u><i>Book of Hours</i></u></div><div style="text-align: center;">French (Paris), c. 1370-1380</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS M 90, fol. 45r</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbpEihHxpXCc-HLIYQQj5kwDdP0_xtc0SU_Aqa9SY8ydMaREd3UznUEqt1B9XSMtDcv4Uzh6shgEWb0ZIkcNKdqeiadaS2T6s4u45g3y7j8eab7zqY7xP8YTP-umIgU0teUbuKKj91lIUl4dJgmHmJXkOCj_noofqLmQOcdHrB9ygewqvjsKzWOY6M/s1324/1380+Master%20of%20the%20Parement%20de%20Narbonne%20and%20Workshop_From%20Tr%C3%A8s%20belles%20Heures%20de%20Notre-Dame_French%20(Paris),%20c.%201380+Paris,%20BNF_MS%20Nouvelle%20acquistiion%20latine%203093,%20fol.%2075v.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1324" data-original-width="871" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbpEihHxpXCc-HLIYQQj5kwDdP0_xtc0SU_Aqa9SY8ydMaREd3UznUEqt1B9XSMtDcv4Uzh6shgEWb0ZIkcNKdqeiadaS2T6s4u45g3y7j8eab7zqY7xP8YTP-umIgU0teUbuKKj91lIUl4dJgmHmJXkOCj_noofqLmQOcdHrB9ygewqvjsKzWOY6M/w422-h640/1380+Master%20of%20the%20Parement%20de%20Narbonne%20and%20Workshop_From%20Tr%C3%A8s%20belles%20Heures%20de%20Notre-Dame_French%20(Paris),%20c.%201380+Paris,%20BNF_MS%20Nouvelle%20acquistiion%20latine%203093,%20fol.%2075v.jpeg" width="422" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Master of the Parement de Narbonne, The Death, Assumption and Corornation of the Virgin</div><div style="text-align: center;">From the <u><i>Tres Belles Heures of Jean, Duc de Berry</i></u></div><div style="text-align: center;">French_c.1380</div><div style="text-align: center;">Paris, Bibliotheque nationale de France</div><div style="text-align: center;">MS Nouvelle acquisition latine 3093, fol. 76</div></td></tr></tbody></table><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqd8z7iI7z8n6TNl0_cA4jqQC8kY0ruVdFwgwPslVJlH2YRdVifbFIWmy2Vg_Hhn6xGaukJnGGyzdxLy-rFW2px2ZMiM3nBPq1R3ckdhZLYWFXjut6-KzoScMwCGlSDKZkQoIiEg6hkod-rjGF0kdGzpDq05fGzA1JXSGKQtmxtlbJs0jzUEQndHH6/s481/1470_Robinet%20Testard_From%20a%20Book%20of%20Hours_French%20(Poitiers),%20c.%201470-1480_New%20York,%20Pierpont_MS%20M1001,%20fol.062r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="481" data-original-width="362" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqd8z7iI7z8n6TNl0_cA4jqQC8kY0ruVdFwgwPslVJlH2YRdVifbFIWmy2Vg_Hhn6xGaukJnGGyzdxLy-rFW2px2ZMiM3nBPq1R3ckdhZLYWFXjut6-KzoScMwCGlSDKZkQoIiEg6hkod-rjGF0kdGzpDq05fGzA1JXSGKQtmxtlbJs0jzUEQndHH6/w482-h640/1470_Robinet%20Testard_From%20a%20Book%20of%20Hours_French%20(Poitiers),%20c.%201470-1480_New%20York,%20Pierpont_MS%20M1001,%20fol.062r.jpg" width="482" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Robinet Testard, Death and Coronation of the Virgin</div><div style="text-align: center;">From a <i><u>Book of Hours</u></i></div><div style="text-align: center;">French (Poitiers), c. 1470-1480</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS M 1001, fol. 62r</div></td></tr></tbody></table><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIEURmGUdTVDvbyt1vxcU7QCKBvLhbPd19xK2wh1z2bTNk509eHgKLZT2kAszMt7L_Y_ianmXa8qDjX4MrmXcAIEOLFapmoYPL8ELROnu95mkMMqe3ZHO3twl4T-JXNR-VmChNBmDZ_FwAi8jhD8iCitIjhb6J1tOSL34_J9TXjtypsmPiJscVaM3_/s532/1475_Workshop%20of%20the%20Master%20of%20the%20Rouen%20Echevinage_From%20a%20Book%20of%20Hours_French%20(Rouen),%20c.%201475-1485_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20131,%20fol.%2063r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="532" data-original-width="341" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIEURmGUdTVDvbyt1vxcU7QCKBvLhbPd19xK2wh1z2bTNk509eHgKLZT2kAszMt7L_Y_ianmXa8qDjX4MrmXcAIEOLFapmoYPL8ELROnu95mkMMqe3ZHO3twl4T-JXNR-VmChNBmDZ_FwAi8jhD8iCitIjhb6J1tOSL34_J9TXjtypsmPiJscVaM3_/w410-h640/1475_Workshop%20of%20the%20Master%20of%20the%20Rouen%20Echevinage_From%20a%20Book%20of%20Hours_French%20(Rouen),%20c.%201475-1485_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20131,%20fol.%2063r.jpg" width="410" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Workshop of the Master of the Rouen Echevinage, The Death, Assumption and Coronation of the Virgin</div><div style="text-align: center;">From a <u><i>Book of Hours</i></u></div><div style="text-align: center;">French (Rouen), c. 1475-1485</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS M 131, fol. 63r</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqhXt573OMT_XrrkZj1p6VCJcfR9oAPAG7DosHIN2Fj8ZpuRw4ZXnff80-rpyfKE2NnjNDpCpc933EUc-Cgi1lcFrua0JnhA7ZtwJLQEkvTsD_uenznJDutv-8MrIMoKhXy5KocsBLS5TdjBCd_np_1ChKevviBT69g_4cmCzzQFnTYK_p4vEI8xF2/s534/1495_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201495-1505_New%20York,%20Pierpont_MS%20M%205,%20fol.074v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="534" data-original-width="319" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqhXt573OMT_XrrkZj1p6VCJcfR9oAPAG7DosHIN2Fj8ZpuRw4ZXnff80-rpyfKE2NnjNDpCpc933EUc-Cgi1lcFrua0JnhA7ZtwJLQEkvTsD_uenznJDutv-8MrIMoKhXy5KocsBLS5TdjBCd_np_1ChKevviBT69g_4cmCzzQFnTYK_p4vEI8xF2/w382-h640/1495_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201495-1505_New%20York,%20Pierpont_MS%20M%205,%20fol.074v.jpg" width="382" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">The Annunciation of the Death of the Virgin, Death of the Virgin, Assumption and Coronation of the Virgin</div><div style="text-align: center;">From a <u><i>Book of Hours</i></u></div><div style="text-align: center;">French (Paris), c. 1495-1505</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS M 5, fol. 74v</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQc8mNIWG5DDm0ffHFlHMEZ37pELdUIxwb2oi_bq1AWEYvaXbMpoOMoDeGpsirgRYjxhNA-Z02aMEX3hZZ9d3haUQQP9-z22RcCkrQHAhy6A6LvaaaOpdeCpwfBPkDFZwqnFuA7sgBVOX9dM_uy84Gtv8Ua09nBwvAExCIhaBDaE1EBJ9mSBquiUSg/s1200/1500_Master%20of%20the%20Oberschoenenfelder%20Altar_Full_German,%20c.%201500_Munich,%20Bayerische%20Staatsgemaeldegalerie%20,%20Alte%20Pinakothek%20(4).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="557" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQc8mNIWG5DDm0ffHFlHMEZ37pELdUIxwb2oi_bq1AWEYvaXbMpoOMoDeGpsirgRYjxhNA-Z02aMEX3hZZ9d3haUQQP9-z22RcCkrQHAhy6A6LvaaaOpdeCpwfBPkDFZwqnFuA7sgBVOX9dM_uy84Gtv8Ua09nBwvAExCIhaBDaE1EBJ9mSBquiUSg/w298-h640/1500_Master%20of%20the%20Oberschoenenfelder%20Altar_Full_German,%20c.%201500_Munich,%20Bayerische%20Staatsgemaeldegalerie%20,%20Alte%20Pinakothek%20(4).jpg" width="298" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of the Oberschoenenfelder Altar, The Death and Coronation of the Virgin<br />German, c. 1500<br />Munich, Bayerische <span style="text-align: left;">Staatsgemäldesammlungen</span>, Alte Pinakothek</td></tr></tbody></table><br /><br /><br /><br /></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><h3 style="margin: 0px; position: relative; text-align: left;">From the High Renaissance to the End of the Baroque</h3><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div>From the period of the High Renaissance (beginning around 1500 in central Italy) through the Baroque and later periods all of these themes were incorporated into the images of the Coronation of the Virgin that were produced by artists.</span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;">The first thing that is instantly recognizable as a difference from what had gone before is the location of the Coronation. Prior to this time the scene of the Coronation had usually taken place against an architectural backdrop, or in a non-spatial setting. The most noticeable difference after 1500 is that the scene has been transported into the clouds. This is true for the last remaining manuscript illuminations as well as for wall and panel painting,</span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuE6FSTplKNBK9Rvq0BOlAA4gM5bv77XdXiouN3WAoFs3Q6hcdTAbwz9LAb3dfIecoEdpg8Yht857W4vGg1j0NtSbPCbL6-dVJFzUk0_0NVxj4NzwgQnZPu4F-fJMxwbarNA_jYaijP_d8ZqU5fFD9TId-ihjbtNUqKZ93YFeWgDo7bR2WJy22nqEt/s1500/1500_School%20of%20Raffaellino%20del%20Garbo.%20wth%20Saints%20Benedict,%20Salvus,%20Gualberto%20and%20Bernardo%20degli%20Uberti_Italian,%2016th%20Century_Avignon,%20Musee%20du%20Petit%20Palais.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="846" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuE6FSTplKNBK9Rvq0BOlAA4gM5bv77XdXiouN3WAoFs3Q6hcdTAbwz9LAb3dfIecoEdpg8Yht857W4vGg1j0NtSbPCbL6-dVJFzUk0_0NVxj4NzwgQnZPu4F-fJMxwbarNA_jYaijP_d8ZqU5fFD9TId-ihjbtNUqKZ93YFeWgDo7bR2WJy22nqEt/w360-h640/1500_School%20of%20Raffaellino%20del%20Garbo.%20wth%20Saints%20Benedict,%20Salvus,%20Gualberto%20and%20Bernardo%20degli%20Uberti_Italian,%2016th%20Century_Avignon,%20Musee%20du%20Petit%20Palais.JPG" width="360" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">School of Raffaellino del Garbo, The Coronation of the Virgin with Saints Benedict, Salvus, Gualberto and Bernardo degli Uberti<br />Italian, 16th Century<br />Avignon, Musée du Petit Palais</td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9Nv8eAA9Fh3t8nvfvIXobOnhsLmxkTwJXtBXku7Q0zfKoWQyThux5mywghUNd88OBDdWGuYDjrfu2_KU1HHDhitIoJlDCK7Gee1FnC4tkeFkuMUfcZjd3RiNq5ry8oL-rF4CNiW6MTeez6jV0AyBVCEPOZK8HysQYcxj75HzkvOmm3O67saVfag5-/s1500/1500_Atributed%20to%20Filippino%20Lippi_w,%20Saints%20Jerome,%20Francis,%20Bonaventure%20and%20Louis%20of%20Toulouse_Italian,%20c.%201500-1504_Paris,%20Musee%20du%20Louvre.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="1057" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9Nv8eAA9Fh3t8nvfvIXobOnhsLmxkTwJXtBXku7Q0zfKoWQyThux5mywghUNd88OBDdWGuYDjrfu2_KU1HHDhitIoJlDCK7Gee1FnC4tkeFkuMUfcZjd3RiNq5ry8oL-rF4CNiW6MTeez6jV0AyBVCEPOZK8HysQYcxj75HzkvOmm3O67saVfag5-/w450-h640/1500_Atributed%20to%20Filippino%20Lippi_w,%20Saints%20Jerome,%20Francis,%20Bonaventure%20and%20Louis%20of%20Toulouse_Italian,%20c.%201500-1504_Paris,%20Musee%20du%20Louvre.JPG" width="450" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Atributed to Filippino Lippi, The Coronation of the Virgin with Saints Jerome, Francis, Bonaventure and Louis of Toulouse<br />Italian, c. 1500-1504<br />Paris, Musée du Louvre<br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHCgtY7rKCk2TEg2WPFfK1OpZ5fSJIwBIKdjuvwkzmVhY4Emr0pTtaWoeDtdBmJfnRrUwl4O3YhqWVz42Mh9Y2S-o7t6N2lYiLrtDYqtHsCOCXMdCeCCjDtd-ux_kIJ2xeHt-OP6qRzDRRjouvmDNiG0j5n3krdF3Hffzc0jywePj7hGsfYW4piSx6/s504/1502_Raphael_Assumption%20with%20Coronation_1502-03_Vatican,%20Pinacoteca%20(2).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="504" data-original-width="330" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHCgtY7rKCk2TEg2WPFfK1OpZ5fSJIwBIKdjuvwkzmVhY4Emr0pTtaWoeDtdBmJfnRrUwl4O3YhqWVz42Mh9Y2S-o7t6N2lYiLrtDYqtHsCOCXMdCeCCjDtd-ux_kIJ2xeHt-OP6qRzDRRjouvmDNiG0j5n3krdF3Hffzc0jywePj7hGsfYW4piSx6/w420-h640/1502_Raphael_Assumption%20with%20Coronation_1502-03_Vatican,%20Pinacoteca%20(2).jpg" width="420" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Raphael, The Assumption and Coronation of the Virgin<br />Italian, c. 1502-1503<br />Vatican City, Pinacoteca Vaticana<br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAaKfUg2JEXat65xOiBQwHvO4JLzQmwrglV7rrFiErgVuoKHJAr47NU5p5HmrFFoh7DCyyoGj4jqyU67DJphWRr1S6cIUeohhi9SI5JEdR-TgGFGJUk8O0mH7SVr0GvIxMlkw3cNcMYRKLq6QwWw4EtsM3sBXGTfbKYplQTN_bSnl5HXvk6OndvGE8/s484/1500_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201500-1515_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%2089,%20fol.%2054r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="484" data-original-width="333" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAaKfUg2JEXat65xOiBQwHvO4JLzQmwrglV7rrFiErgVuoKHJAr47NU5p5HmrFFoh7DCyyoGj4jqyU67DJphWRr1S6cIUeohhi9SI5JEdR-TgGFGJUk8O0mH7SVr0GvIxMlkw3cNcMYRKLq6QwWw4EtsM3sBXGTfbKYplQTN_bSnl5HXvk6OndvGE8/w440-h640/1500_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201500-1515_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%2089,%20fol.%2054r.jpg" width="440" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Coronation of the Virgin<br />From a <u><i>Book of Hours</i></u><br />French (Paris), c. 1500-1515<br />New York, Pierpont Morgan Library<br />MS M 89, fol. 54r<br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg21OHNGfYqhQOdewpkcUWUDnRzjCHtYKdrTNmhS4igxjc6KBjAUNsSWc89cSo-LzqEGhQdex6HGDnmBtv7BGs_PSrZfvRf_2XQHvXVNeiQua76-gdXKC91mMSNdiXKOFVBLFjvLPlT0Ge563AE6MlAZWJEX5zV0ik-KWaBA66nHvIFfNeBOfOs-AAz/s1500/1504_Ridolfi%20Ghirlandaio_Coronation%20w%206%20sts%20(Peter%20Martyr_JB_Jerome,%20Magdalen_Francis_Thomas%20Aquinas)_c.1504_Avignon_Musee%20du%20Petit%20Palais.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="1039" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg21OHNGfYqhQOdewpkcUWUDnRzjCHtYKdrTNmhS4igxjc6KBjAUNsSWc89cSo-LzqEGhQdex6HGDnmBtv7BGs_PSrZfvRf_2XQHvXVNeiQua76-gdXKC91mMSNdiXKOFVBLFjvLPlT0Ge563AE6MlAZWJEX5zV0ik-KWaBA66nHvIFfNeBOfOs-AAz/w444-h640/1504_Ridolfi%20Ghirlandaio_Coronation%20w%206%20sts%20(Peter%20Martyr_JB_Jerome,%20Magdalen_Francis_Thomas%20Aquinas)_c.1504_Avignon_Musee%20du%20Petit%20Palais.JPG" width="444" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ridolfi Ghirlandaio, The Coronation of the Virgin with Six Saints (Peter Martyr, John the Baptist, Jerome, Magdalene, Francis and Thomas Aquinas)<br />Italian, c.1504<br />Avignon, Musée du Petit Palais<br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGJrRhrWxBR5ybcuxpRIv4ChzGTPF2onEK0qbTL6CsaAuaO0VpnbEPJyf9IX7J9xEcBULoNH-VeqlBwdaML9RB5POn20nf3iZGFP4Q25OuSf3ShcM87uDQeegCD2cqd2pYbDWAj3BFh3XGWnRBo8ZczuHwW7wfL932f3fdAKwg2cHwzGSXb3qhb94Y/s639/1515_Master%20of%20Claude%20de%20France_From%20Prayer%20Book%20of%20Claude%20de%20France_French%20(Tours),%20c.%201515-1520_New%20York,%20Pierpont_MS%20M1166,%20fol.%2024r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="639" data-original-width="441" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGJrRhrWxBR5ybcuxpRIv4ChzGTPF2onEK0qbTL6CsaAuaO0VpnbEPJyf9IX7J9xEcBULoNH-VeqlBwdaML9RB5POn20nf3iZGFP4Q25OuSf3ShcM87uDQeegCD2cqd2pYbDWAj3BFh3XGWnRBo8ZczuHwW7wfL932f3fdAKwg2cHwzGSXb3qhb94Y/w442-h640/1515_Master%20of%20Claude%20de%20France_From%20Prayer%20Book%20of%20Claude%20de%20France_French%20(Tours),%20c.%201515-1520_New%20York,%20Pierpont_MS%20M1166,%20fol.%2024r.jpg" width="442" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Master of Claude de France, The Coronation of the Virgin</div><div style="text-align: center;">From the <u><i>Prayer Book of Claude de France</i></u></div><div style="text-align: center;">French (Tours), c. 1515-1520</div><div style="text-align: center;">New York, Pierpont Morgan Library</div><div style="text-align: center;">MS M 1166, fol. 24r</div></td></tr></tbody></table><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_8B0IvG909tRkytRxlF7URDJJ0zqtNuwxmnsKqyHHhzJoYSj9PLtthl1k8bsHsGRMrWCxx3pCwsTCTn29wJtVohkKmw3NhjTQbARAF0ORuod_9RHbYGbOYJ_YToqhiU1y3l0uKkZzj4P_VDQhRxFIA06khaoyBqR9X24G49b1VMtLXnPpiyQ2Z8a3/s640/1521_Vicente%20Macip_Spanish,%20After%201521_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="546" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_8B0IvG909tRkytRxlF7URDJJ0zqtNuwxmnsKqyHHhzJoYSj9PLtthl1k8bsHsGRMrWCxx3pCwsTCTn29wJtVohkKmw3NhjTQbARAF0ORuod_9RHbYGbOYJ_YToqhiU1y3l0uKkZzj4P_VDQhRxFIA06khaoyBqR9X24G49b1VMtLXnPpiyQ2Z8a3/w546-h640/1521_Vicente%20Macip_Spanish,%20After%201521_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="546" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Vicente Macip, The Coronation of the Virgin<br />Spanish, After 1521<br />Madrid, Museo Nacional del Prado<br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbLzDc5B-3uZcJ93AQtLyG-mIMRaIyXcZDG40bT8F6C5YOGfrXf5hwxqrQ5LVynC6cPMXJwbL1xl_yrnpYXhF4RR7Xd9x0rQqPGe5ah7PfX7IUmuvuO2gwAd4xT62ZpiADAC-CCDUE4PnXmPasdh8-1Z1fhKf8F2Bw5mjc9EOCpp6dVknB7GKWogqq/s606/1525_Master%20H.%20L.%20+German,%201525_Niederrotweil,%20Parish%20Church.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="606" data-original-width="516" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbLzDc5B-3uZcJ93AQtLyG-mIMRaIyXcZDG40bT8F6C5YOGfrXf5hwxqrQ5LVynC6cPMXJwbL1xl_yrnpYXhF4RR7Xd9x0rQqPGe5ah7PfX7IUmuvuO2gwAd4xT62ZpiADAC-CCDUE4PnXmPasdh8-1Z1fhKf8F2Bw5mjc9EOCpp6dVknB7GKWogqq/w544-h640/1525_Master%20H.%20L.%20+German,%201525_Niederrotweil,%20Parish%20Church.jpg" width="544" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Master H. L, Coronation of the Virgin</div><div style="text-align: center;">German, 1525</div><div style="text-align: center;">Niederrotweil (Germany), Parish Church of Saint Michael</div><div><br /></div></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjxWylLKc9MUnL2zliXipDfWqQZaNmAK1YWsNIMVWeQk848DREpWXVAxUQBq8-JdIc5WGKSB48J4wYge13W1g9FSNBHddAvMYCOskm4YOsQ0ncSVYWCez-gr3AH9-P2hAuRxvSwHXN9tDfSJm8teVx8lBaemBWROkrM4kETi15GK0PrLEqVF04RUHo/s548/1525_Master%20of%20the%20Getty%20Epistles_From%20a%20Book%20of%20Hours_French%20(Tours),%20c.%201525-1540_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20452,%20fol.%2071v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="548" data-original-width="334" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjxWylLKc9MUnL2zliXipDfWqQZaNmAK1YWsNIMVWeQk848DREpWXVAxUQBq8-JdIc5WGKSB48J4wYge13W1g9FSNBHddAvMYCOskm4YOsQ0ncSVYWCez-gr3AH9-P2hAuRxvSwHXN9tDfSJm8teVx8lBaemBWROkrM4kETi15GK0PrLEqVF04RUHo/w390-h640/1525_Master%20of%20the%20Getty%20Epistles_From%20a%20Book%20of%20Hours_French%20(Tours),%20c.%201525-1540_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20452,%20fol.%2071v.jpg" width="390" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of the Getty Epistles, The Coronation of the Virgin<br />From a <i><u>Book of Hours</u></i><br />French (Tours), c. 1525-1540<br />New York, Pierpont Morgan Library<br />MS M 452, fol. 71v<br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga876H2Dmyh7qEvVJAT9ama2wn96MbrDPy8mgNKct2AsTr-fmmzx3B6iE6frWmPlNXEEty8OF34D7En5FrBSFGXiX0rZhJ7bex6QSvv1cAcHpzaSrg0iuq3cSSFJajwvYSqaQ5s1nTovt06qxdJSOlJ-QVYyVUu27Yq1ZO70MRExTD1VljSPZ1pEWO/s1916/1526_W~1.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1916" data-original-width="1076" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga876H2Dmyh7qEvVJAT9ama2wn96MbrDPy8mgNKct2AsTr-fmmzx3B6iE6frWmPlNXEEty8OF34D7En5FrBSFGXiX0rZhJ7bex6QSvv1cAcHpzaSrg0iuq3cSSFJajwvYSqaQ5s1nTovt06qxdJSOlJ-QVYyVUu27Yq1ZO70MRExTD1VljSPZ1pEWO/w360-h640/1526_W~1.JPG" width="360" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Workshop of Noel Bellemarre, The Coronation of the Virgin</div><div style="text-align: center;">From the <i><u>Dutuit Hours</u></i></div><div style="text-align: center;">French (Paris), c. 1526-1540</div><div style="text-align: center;">Paris, Collections des musées de la Ville de Paris, Petit Palais</div><div style="text-align: center;">Fol. 22v</div><div><br /></div></td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgstR8eCB4dM4L9sRkoaCqq8V6hm6YzCa-YhWQVukAL7UfF10TRz9c38BbEfmnk7oJhUhoMU3ymyDcMAtAAQaZCibkG7m6W7a_ojwxMGFygR-QIi7zDBz-Ll6nHcnWRWuUMGaqSYWwoa19cebj2Td7kslZ-7jjc5YjEgzx97TxU7Y5W2UT8yuvtJUh3/s591/1546+Giulio%20Clovio_Detail%20From%20the%20Farnese%20Hours_Italian,%201546_New%20York,%20Pierpont_MS%20M%2069,%20fol.%2048v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="591" data-original-width="353" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgstR8eCB4dM4L9sRkoaCqq8V6hm6YzCa-YhWQVukAL7UfF10TRz9c38BbEfmnk7oJhUhoMU3ymyDcMAtAAQaZCibkG7m6W7a_ojwxMGFygR-QIi7zDBz-Ll6nHcnWRWuUMGaqSYWwoa19cebj2Td7kslZ-7jjc5YjEgzx97TxU7Y5W2UT8yuvtJUh3/w382-h640/1546+Giulio%20Clovio_Detail%20From%20the%20Farnese%20Hours_Italian,%201546_New%20York,%20Pierpont_MS%20M%2069,%20fol.%2048v.jpg" width="382" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Giulio Clovio, Coronation of the Virgin<br />From the <u><i>Farnese Hours</i></u><br />Italian, 1546<br />New York, Pierpont Morgan Library<br />MS M 69, fol. 48v<br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH8z_dCL5fu86LFh2I2OfqUe6eBAXiI65_gMoYqN9BCKJk5SwtrMLFQ77FawKMerrYHVJH6Wh7AxweCm-NaJ7gBbU2h4kSMnKwn91IHQoqsh5DIJCkRfftjL_fnoueLy-lcXttnxTVdw_BBo--zzH1YFSZMD7ws3H9EddlAVGen-dCkz6KAxhZwd2B/s515/1550_Baptiste%20Pellerin_From%20the%20Hours%20of%20Claude%20Gouffier_French%20(Paris),%20c.%201550-1558_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20538,%20fol.%2047v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="515" data-original-width="335" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH8z_dCL5fu86LFh2I2OfqUe6eBAXiI65_gMoYqN9BCKJk5SwtrMLFQ77FawKMerrYHVJH6Wh7AxweCm-NaJ7gBbU2h4kSMnKwn91IHQoqsh5DIJCkRfftjL_fnoueLy-lcXttnxTVdw_BBo--zzH1YFSZMD7ws3H9EddlAVGen-dCkz6KAxhZwd2B/w416-h640/1550_Baptiste%20Pellerin_From%20the%20Hours%20of%20Claude%20Gouffier_French%20(Paris),%20c.%201550-1558_New%20York,%20Pierpont%20Morgan%20Library_MS%20M%20538,%20fol.%2047v.jpg" width="416" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Baptiste Pellerin, The Coronation of the Virgin<br />From the <u><i>Hours of Claude Gouffier</i></u><br />French (Paris), c. 1550-1558<br />New York, Pierpont Morgan Library<br />MS M 538, fol. 47v<br /><br /></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh57Aao9d2z_z-f7MA4gamKtxip1FDg09hl5rWg_4-p2rKwEK7p4hzWb6WvaiFfRrxPTzf79A62um2c9STVGoFhfqWmIIPZiIzKsKZpPGr7EZBhyuEF6o6-O4YwRic72fald9H3uwD2qX1qT55m3XuQ1J1VrmwTFCdLomgu8Yl4MTK1hiYCK7mshZjU/s640/1555_Paolo%20Veronese_Italian,%201555_Venice,%20Church%20of%20San%20Sebastiano.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="540" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh57Aao9d2z_z-f7MA4gamKtxip1FDg09hl5rWg_4-p2rKwEK7p4hzWb6WvaiFfRrxPTzf79A62um2c9STVGoFhfqWmIIPZiIzKsKZpPGr7EZBhyuEF6o6-O4YwRic72fald9H3uwD2qX1qT55m3XuQ1J1VrmwTFCdLomgu8Yl4MTK1hiYCK7mshZjU/w540-h640/1555_Paolo%20Veronese_Italian,%201555_Venice,%20Church%20of%20San%20Sebastiano.jpg" width="540" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Paolo Veronese, The Coronation of the Virgin<br />Italian, 1555<br />Venice, Church of San Sebastiano</td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXs9r-frKNsWbn96mHvndk5_DKjlcfSoNbhuJ3NObFsG4xtIgihO8u07i4TETnsb2gpgDmASS_tj6boysYKUbCNHtPlur8hdir89s_gkqHs6VfIdDNYZp9jAHLYXBmV__OPKUAVkM_AJGYKEojLLDP1oTx6IU3uGVh0Cf2XnTojT3a1NJGQqcaIIkL/s914/1555+Hours%20of%20Francis%20II_French,%201555_Paris,%20BNF_MS%20Nouvelle%20acquisition%20latine%20104,%20fol.%2063v.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="914" data-original-width="808" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXs9r-frKNsWbn96mHvndk5_DKjlcfSoNbhuJ3NObFsG4xtIgihO8u07i4TETnsb2gpgDmASS_tj6boysYKUbCNHtPlur8hdir89s_gkqHs6VfIdDNYZp9jAHLYXBmV__OPKUAVkM_AJGYKEojLLDP1oTx6IU3uGVh0Cf2XnTojT3a1NJGQqcaIIkL/w566-h640/1555+Hours%20of%20Francis%20II_French,%201555_Paris,%20BNF_MS%20Nouvelle%20acquisition%20latine%20104,%20fol.%2063v.jpeg" width="566" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Hours of Francis II, The Coronation of the Virgin<br />French, 1555<br />Paris, Bibliotheque nationale de France<br />MS Nouvelle acquisition latine 104, fol. 63v<br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1aNW_q8QFSmZ32VddPqPpp6gFLVsGv55LSLbxbMttTrqX93d_TYNRZpUwwhWvhR1fT_js-B1bhqc9OAiSbVobWrUorcXHd6mcwUrAuZwebXcXRzHtFG6cmbzrh2esezbZFzETrqI0QYM-qv7ycdpLH5YgU3lsUqStFSG2Y_RXmTUm4_BfW2ECFD1k/s1290/1580_Tintoretto_Coronation%20of%20Virgin%20in%20Paradise_c.1580_Venice_Palace%20of%20the%20Doge.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="1290" height="372" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1aNW_q8QFSmZ32VddPqPpp6gFLVsGv55LSLbxbMttTrqX93d_TYNRZpUwwhWvhR1fT_js-B1bhqc9OAiSbVobWrUorcXHd6mcwUrAuZwebXcXRzHtFG6cmbzrh2esezbZFzETrqI0QYM-qv7ycdpLH5YgU3lsUqStFSG2Y_RXmTUm4_BfW2ECFD1k/w640-h372/1580_Tintoretto_Coronation%20of%20Virgin%20in%20Paradise_c.1580_Venice_Palace%20of%20the%20Doge.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Tintoretto, The Coronation of Virgin (Known as the Paradiso)</div><div style="text-align: center;">Italian, c.1588-1590</div><div style="text-align: center;">Venice, Palace of the Doges</div></td></tr></tbody></table><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwTq308DKvofPBtkM-KQ2waQlL5ScLpaakKwG8QXxPCwvzv_K9f05pcLo2NHq8rQuOnPV6H42eH1IUjClvz0P3VEso2AWOJrlziONDWOfE5d2klSTX2BIvr5VuvbltsSflh5nSlObRrT5rgmEX_RUtZmHAcwSCCkI_Lu2KHiAAEB6SmyRPTD0KbsDG/s1482/1580_TintorettoCoronation%20of%20Virgin_Louvre_c.1580_Louvre.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="585" data-original-width="1482" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwTq308DKvofPBtkM-KQ2waQlL5ScLpaakKwG8QXxPCwvzv_K9f05pcLo2NHq8rQuOnPV6H42eH1IUjClvz0P3VEso2AWOJrlziONDWOfE5d2klSTX2BIvr5VuvbltsSflh5nSlObRrT5rgmEX_RUtZmHAcwSCCkI_Lu2KHiAAEB6SmyRPTD0KbsDG/w640-h252/1580_TintorettoCoronation%20of%20Virgin_Louvre_c.1580_Louvre.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Tintoretto, The Coronation of the Virgin</div><div style="text-align: center;">Sketch for decoration in the Palace of the Doges (Venice)</div><div style="text-align: center;">Italian, c. 1588</div><div style="text-align: center;">Paris, Musée du Louvre</div><div><br /></div></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-vSRvgrHb-vog5HSCrpfCUQ7jHjxCRRXNVH5XBt9a-JU1CyoQedocWiAKf3By9EDDiqthXcDvIzrQS6XBswOgOwROhnGz7uLvCilEUDSiGWibMcZmSh0B7wjtEzfzt6diKnRlO5iug4aX73VydcQoSpbTvbAGeHO8aHSWwmcQpG5cPlZB2lMNRB8A/s1920/1592_El%20Greco_Greco-Spanish,%201592_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1879" data-original-width="1920" height="626" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-vSRvgrHb-vog5HSCrpfCUQ7jHjxCRRXNVH5XBt9a-JU1CyoQedocWiAKf3By9EDDiqthXcDvIzrQS6XBswOgOwROhnGz7uLvCilEUDSiGWibMcZmSh0B7wjtEzfzt6diKnRlO5iug4aX73VydcQoSpbTvbAGeHO8aHSWwmcQpG5cPlZB2lMNRB8A/w640-h626/1592_El%20Greco_Greco-Spanish,%201592_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">El Greco, The Coronation of the Virgin</div><div style="text-align: center;">Greco-Spanish, 1592</div><div style="text-align: center;">Madrid, Museo Nacional del Prado</div></td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1hky5Gn7Q5zdpZ0DBTEKGKTG8fPRz4D9jXbLnorwGsojJtbo_tRGwmz9GWWkmLprFC8LEOLLaq4EOUyrfPSdbddAMEbG-NYkSGJ23WkgaofVyRZHEqN5gbLxoHe7svJpIPPE8fvxuPsVmQ9XjHcZWmwgduCl3kvL86-YFlNYe5u1xkHWpKJjEF2dT/s3803/1595_Annibale%20Carracci_Coronation%20of%20Virgin_Italian,%20_after%201595,%20New%20York,%20Metropolitan%20Museum%20of%20ARt.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3153" data-original-width="3803" height="530" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1hky5Gn7Q5zdpZ0DBTEKGKTG8fPRz4D9jXbLnorwGsojJtbo_tRGwmz9GWWkmLprFC8LEOLLaq4EOUyrfPSdbddAMEbG-NYkSGJ23WkgaofVyRZHEqN5gbLxoHe7svJpIPPE8fvxuPsVmQ9XjHcZWmwgduCl3kvL86-YFlNYe5u1xkHWpKJjEF2dT/w640-h530/1595_Annibale%20Carracci_Coronation%20of%20Virgin_Italian,%20_after%201595,%20New%20York,%20Metropolitan%20Museum%20of%20ARt.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Annibale Carracci, The Coronation of the Virgin</div><div style="text-align: center;">Italian, After 1595</div><div style="text-align: center;">New York, Metropolitan Museum of Art</div></td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0kfvjr4WlmY1CLUhZ4gTE5RidsQQvgpVQlYdHqns1r_OiB9TRkXyihKZ6LSrvIJJiligwkRepv7-PixhfyjfoZHz25ZN9HWCgiXpYgnlGWguUS65Z0Awc9l9jyGFeb2oL5Hw3ycO1629e21q643dVrcfKFcjbrFxtSvDfCt9qZ6YDLGYWjGlP1oNV/s1500/1615_Giovanni%20Lanfranco_Italian,%20c.%201615-1616+Paris,%20Musee%20du%20Louvre.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="973" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0kfvjr4WlmY1CLUhZ4gTE5RidsQQvgpVQlYdHqns1r_OiB9TRkXyihKZ6LSrvIJJiligwkRepv7-PixhfyjfoZHz25ZN9HWCgiXpYgnlGWguUS65Z0Awc9l9jyGFeb2oL5Hw3ycO1629e21q643dVrcfKFcjbrFxtSvDfCt9qZ6YDLGYWjGlP1oNV/w416-h640/1615_Giovanni%20Lanfranco_Italian,%20c.%201615-1616+Paris,%20Musee%20du%20Louvre.JPG" width="416" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Giovanni Lanfranco, The Coronation of the Virgin with Saints Augustine and William of Aquitaine<br />Italian, c. 1615-1616<br />Paris, Musée du Louvre</td></tr></tbody></table><br /><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZFZNAMTTy0zqpFhkh0KPNcxamqZ5BH965C7ZssEUcG7Qj5C7EDnGlGjXNzuc5LsuBlfxeJ2xZIH4dr1tmMFG6taXHBDJMe2yUjvKQJjbpJZaveEruJbIir1s3VJ6_y7fAYfxvaCMduAljjqgQ9StdHGsryeiEGyEDn6KGfzXY5b5TFmwkEqfLPbXJ/s624/1620_Rubens_c.1620_Louvre.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="501" data-original-width="624" height="514" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZFZNAMTTy0zqpFhkh0KPNcxamqZ5BH965C7ZssEUcG7Qj5C7EDnGlGjXNzuc5LsuBlfxeJ2xZIH4dr1tmMFG6taXHBDJMe2yUjvKQJjbpJZaveEruJbIir1s3VJ6_y7fAYfxvaCMduAljjqgQ9StdHGsryeiEGyEDn6KGfzXY5b5TFmwkEqfLPbXJ/w640-h514/1620_Rubens_c.1620_Louvre.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Peter Paul Rubens, The Coronation of the Virgin</div><div style="text-align: center;">Flemish, c.1620</div><div style="text-align: center;">Paris, Musée du Louvre</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgojXhI5fs7yjg-M4iPOqdGVwsqoDMq5h-GH1-59czGAmcU_4SO8qNs79wGd6r1GV9sOO8NzZW95q0KJHryxBSTU7xB1d0y-_M9qz4x2Elxn73qVgSQtRG9tsmiqgFcPIbIV_ne9WVo8U0pmds2fSTR9oGPPbh9hH83r3TE1zoSvCmlAR7iBUrJ7gl0/s3278/1625_Giovanni%20Serodine_with%20Saints_Swiss,%20c.%201625_Ascona,%20Parish%20Church.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3278" data-original-width="2245" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgojXhI5fs7yjg-M4iPOqdGVwsqoDMq5h-GH1-59czGAmcU_4SO8qNs79wGd6r1GV9sOO8NzZW95q0KJHryxBSTU7xB1d0y-_M9qz4x2Elxn73qVgSQtRG9tsmiqgFcPIbIV_ne9WVo8U0pmds2fSTR9oGPPbh9hH83r3TE1zoSvCmlAR7iBUrJ7gl0/w438-h640/1625_Giovanni%20Serodine_with%20Saints_Swiss,%20c.%201625_Ascona,%20Parish%20Church.jpg" width="438" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Giovanni Serodine, The Coronation of the Virgin with Saints (Back row: Saints John the Evangelist, Peter, Paul and Sebastian. Front row: Saints Anthony Abbot and Charles Borromeo)</div><div style="text-align: center;">Swiss, c. 1625-1630</div><div style="text-align: center;">Ascona (Switzerland), Parish Church of Saints Peter and Paul</div></td></tr></tbody></table><div><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF8yak0A-JijFexS3n3z-HfehYqykLL7tJ8XsaGXNixJA9kOLrQjmlOL6N9F2HO-_zRgTfj6NwRbxNlD6I2m884xdUrwNpRTBpAQ32tEGJEWT1x11MXJ9l5WfvAe9ueTYg5kPBNsf059IA7OAoeIrv-eIXbtCyg-91DEXyWyrRKT0T3bgSiU3I1_sm/s3716/1632+Peter%20Paul%20Rubens_Oil%20Sketch%20for%20Altarpiece%20formerly%20in%20Berlin%20(destroyed%201945)_Flemish,%20c.%201632-1633_New%20York,%20Metropolitan%20Museum%20of%20Art.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3716" data-original-width="3036" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF8yak0A-JijFexS3n3z-HfehYqykLL7tJ8XsaGXNixJA9kOLrQjmlOL6N9F2HO-_zRgTfj6NwRbxNlD6I2m884xdUrwNpRTBpAQ32tEGJEWT1x11MXJ9l5WfvAe9ueTYg5kPBNsf059IA7OAoeIrv-eIXbtCyg-91DEXyWyrRKT0T3bgSiU3I1_sm/w522-h640/1632+Peter%20Paul%20Rubens_Oil%20Sketch%20for%20Altarpiece%20formerly%20in%20Berlin%20(destroyed%201945)_Flemish,%20c.%201632-1633_New%20York,%20Metropolitan%20Museum%20of%20Art.jpg" width="522" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Peter Paul Rubens, The Coronation of the Virgin</div><div style="text-align: center;">Oil Sketch for an Altarpiece formerly in Berlin (destroyed 1945)</div><div style="text-align: center;">Flemish, c. 1632-1633</div><div style="text-align: center;">New York, Metropolitan Museum of Art</div></td></tr></tbody></table><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK2Clg6vaPvKrMu9NU17AcwTqg7muFUBuR6w7ay7uDdry4MU2aYk_AMU5LKy-TXQ94cYgvyVisnBsQkSzazZ4ShaG0IdyBaSX-9QR60PTBQJC3O_mgauoxCmtuuW5tPG5Ib-XEwj2GqJYnFrg8zjN014jtJIFMr6dS4EtZe6NASl1NmjpYwyx8-5pE/s1200/1634_David%20Teniers%20the%20Younger_Dutch,%20c.%201635-1650_Munich,%20Bayerisched%20Sattsgemaeldesammlungen,%20Alte%20Pinakothek.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="904" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK2Clg6vaPvKrMu9NU17AcwTqg7muFUBuR6w7ay7uDdry4MU2aYk_AMU5LKy-TXQ94cYgvyVisnBsQkSzazZ4ShaG0IdyBaSX-9QR60PTBQJC3O_mgauoxCmtuuW5tPG5Ib-XEwj2GqJYnFrg8zjN014jtJIFMr6dS4EtZe6NASl1NmjpYwyx8-5pE/w482-h640/1634_David%20Teniers%20the%20Younger_Dutch,%20c.%201635-1650_Munich,%20Bayerisched%20Sattsgemaeldesammlungen,%20Alte%20Pinakothek.jpg" width="482" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">David Teniers the Younger, The Coronation of the Virgin</div><div style="text-align: center;">Dutch, c. 1634</div><div style="text-align: center;">Munich, Bayerische <span style="text-align: left;">Staatsgemäldesammlungen</span>, Alte Pinakothek</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrFsgZDveRpMBhgg4IyeSeur3jSYON6Jf0uqd2IQS9Qdxm6FYrGRwWRR_De2dV5wIFrK-EKr8Yg1Yz4s7qNS_0cHD6AH2TRERI2XEd9eVf0XuZ78w2WJOqoeyDs7r-3G3X-yEdlf2gqOW4Y8OGt9UInIYn8s1gXXnVxPzmCft2bqL4YWUKgim-DF0c/s1920/1635_Diego%20Velazquez_Coronation%20of%20the%20Virgin_Spanish,%20c.%201635-1636_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1920" data-original-width="1450" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrFsgZDveRpMBhgg4IyeSeur3jSYON6Jf0uqd2IQS9Qdxm6FYrGRwWRR_De2dV5wIFrK-EKr8Yg1Yz4s7qNS_0cHD6AH2TRERI2XEd9eVf0XuZ78w2WJOqoeyDs7r-3G3X-yEdlf2gqOW4Y8OGt9UInIYn8s1gXXnVxPzmCft2bqL4YWUKgim-DF0c/w484-h640/1635_Diego%20Velazquez_Coronation%20of%20the%20Virgin_Spanish,%20c.%201635-1636_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="484" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Diego Velazquez, The Coronation of the Virgin</div><div style="text-align: center;">Spanish, 1635-1636</div><div style="text-align: center;">Madrid, Museo Nacional del Prado</div></td></tr></tbody></table><br /><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxe__xXLnvot6leczre6L8ldjhlJdS7LRfrQuXtohketVyRT0f5jNIjqxbzx0-kGH_csJQdQbKnVJ9RRs7lyzf9uYbsHAfdbBDaXA3Z0y06QgCNeQn7jZKJu_9fOjbUk5sByDKgfTfSXUhiqRnxwsRb0V7g699z31GFuu1TxXD-k0OXJSkTgBmAgXp/s640/1650_Thomas%20Willeboirts_c.1650_Lille_Palais%20des%20Beaux-Arts.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="468" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxe__xXLnvot6leczre6L8ldjhlJdS7LRfrQuXtohketVyRT0f5jNIjqxbzx0-kGH_csJQdQbKnVJ9RRs7lyzf9uYbsHAfdbBDaXA3Z0y06QgCNeQn7jZKJu_9fOjbUk5sByDKgfTfSXUhiqRnxwsRb0V7g699z31GFuu1TxXD-k0OXJSkTgBmAgXp/w468-h640/1650_Thomas%20Willeboirts_c.1650_Lille_Palais%20des%20Beaux-Arts.jpg" width="468" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Thomas Willeboirts Bosschaert, The Coronation of the Virgin</div><div style="text-align: center;">Flemish, c.1650</div><div style="text-align: center;">Lille, Palais des Beaux-Arts</div></td></tr></tbody></table><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipsZJENXCJ0S2B8G0Kd26kyvPM2XA28T8digZNKhxNAtudAgny-uX8oX72yrqyrgWcK_rmc1dHQJz9p-AXbZUmxYNS0jIBqVjEyU3dCf-i00O9PD18mAowZvDGbf9Df-rcNITfOKWQzib0SnvjLLr12sGFPNMhUQkjfk42g-QHsIScL3nk-i79KTL2/s1920/1653_Sebastian%20de%20Herrera%20Barnuevo_Spanish,%20c.%201653_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1534" data-original-width="1920" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipsZJENXCJ0S2B8G0Kd26kyvPM2XA28T8digZNKhxNAtudAgny-uX8oX72yrqyrgWcK_rmc1dHQJz9p-AXbZUmxYNS0jIBqVjEyU3dCf-i00O9PD18mAowZvDGbf9Df-rcNITfOKWQzib0SnvjLLr12sGFPNMhUQkjfk42g-QHsIScL3nk-i79KTL2/w640-h512/1653_Sebastian%20de%20Herrera%20Barnuevo_Spanish,%20c.%201653_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Sebastian de Herrera Barnuevo, The Coronation of the Virgin</div><div style="text-align: center;">Spanish, c. 1653</div><div style="text-align: center;">Madrid, Museo Nacional del Prado</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyar9hGMh-JhTlQJ2UwuTAznRoNIACHkFnBRIPRDLxyCzQpVKAhAAKKrSuEHBXdnnWt3bfTIlXO63HMqoh7rHBjjKlxqlSzr8R06D3sK6gdOU2vceeifTBaoOzIS-iZs9Xaza5h3JHHl9BYUmREPDotMNjCoHTgOFdJSK0bviNqNiM6fDhOKS8E8cR/s600/1672_Charles%20de%20La%20Fosse_French,%20c.%201672-1676_Rouen,%20Musee%20des%20Beaux-Arts.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="493" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyar9hGMh-JhTlQJ2UwuTAznRoNIACHkFnBRIPRDLxyCzQpVKAhAAKKrSuEHBXdnnWt3bfTIlXO63HMqoh7rHBjjKlxqlSzr8R06D3sK6gdOU2vceeifTBaoOzIS-iZs9Xaza5h3JHHl9BYUmREPDotMNjCoHTgOFdJSK0bviNqNiM6fDhOKS8E8cR/w526-h640/1672_Charles%20de%20La%20Fosse_French,%20c.%201672-1676_Rouen,%20Musee%20des%20Beaux-Arts.jpg" width="526" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Charles de La Fosse, The Coronation of the Virgin</div><div style="text-align: center;">French, c. 1672-1676</div><div style="text-align: center;">Rouen, Musée des Beaux-Arts</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-w9ovGsGNow6yfsxeUe1UGXozU-ktAJ7YJeM19JhIbjBPiCNAY8sPnESZZaeA7bCO0f7VOrXhDjEg4W0eHLWnVz5n9CB3bUEGPofi2SpqT2e9IErSQ8DASEmK-Ea6z64S2kSSHpq3SjUVVVRnwYxefnmZQEYlwTSI7s1xnjPoFTOW_Ii-0bXJtKjn/s1920/1700_Pedro%20de%20Calabria_Italian,%20End%20of%2017th-Beginning%20of%2018th%20Century_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1427" data-original-width="1920" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-w9ovGsGNow6yfsxeUe1UGXozU-ktAJ7YJeM19JhIbjBPiCNAY8sPnESZZaeA7bCO0f7VOrXhDjEg4W0eHLWnVz5n9CB3bUEGPofi2SpqT2e9IErSQ8DASEmK-Ea6z64S2kSSHpq3SjUVVVRnwYxefnmZQEYlwTSI7s1xnjPoFTOW_Ii-0bXJtKjn/w640-h476/1700_Pedro%20de%20Calabria_Italian,%20End%20of%2017th-Beginning%20of%2018th%20Century_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Pedro de Calabria, The Coronation of the Virgin</div><div style="text-align: center;">Italian, End of 17th-Beginning of 18th Century</div><div style="text-align: center;">Madrid, Museo Nacional del Prado</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMz7JyAi0BBRB1uA7Ab9QLuVk-vnVGtYDXehtwuVczpRaRY5JGszb7MrYBtP0rXDNZcgKAxsPV1s69fXj6sOG3msu6UE5ufBqsQHfML5_cAxc012fqexI7F_z7f3eU6cEi5ZwzCQrPHAfZxpe9Ek8Y4uNO1XDDOO4lt5A016awISt_9ps_BOAVm0GU/s3508/1760_Attributed%20to%20Michelangelo%20Unterberger_Austrian,%20c.%201760_Vienna,%20Belvedere%20Museum2.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3508" data-original-width="2613" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMz7JyAi0BBRB1uA7Ab9QLuVk-vnVGtYDXehtwuVczpRaRY5JGszb7MrYBtP0rXDNZcgKAxsPV1s69fXj6sOG3msu6UE5ufBqsQHfML5_cAxc012fqexI7F_z7f3eU6cEi5ZwzCQrPHAfZxpe9Ek8Y4uNO1XDDOO4lt5A016awISt_9ps_BOAVm0GU/w476-h640/1760_Attributed%20to%20Michelangelo%20Unterberger_Austrian,%20c.%201760_Vienna,%20Belvedere%20Museum2.jpeg" width="476" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Attributed to Michelangelo Unterberger, The Coronation of the Virgin</div><div style="text-align: center;">Austrian, c. 1760</div><div style="text-align: center;">Vienna, Belvedere Museum</div></td></tr></tbody></table><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><br /></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><h3 style="margin: 0px; position: relative; text-align: left;">The Nineteenth Century</h3><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div>In the nineteenth century the tradition continued, but in a reduced form. It seems to have lost some of its popularity to other images of the Virgin such as the Immaculate Conception, which received greater attention during the period.</span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw2uX54RuZ-HtJ2yVZWEL3rYYuU9_HOa3aiJ3Z7ez2NJc_nkNyjOqzmD7Q8-RhOI1Jq-lmnUgJbgGo3q-OqUkQ-JaBTWckS-T-ztmAjR6p-WcTAwn-cl2qXr4pi4AtteiwV1tuyiQzu44CBWpGuxg-43Eg277QdukCJ0I05Rb_dlogG0JZeEErQ_KK/s1331/1850_Romain%20Cazes_c.1850_Louvre.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1331" data-original-width="1024" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw2uX54RuZ-HtJ2yVZWEL3rYYuU9_HOa3aiJ3Z7ez2NJc_nkNyjOqzmD7Q8-RhOI1Jq-lmnUgJbgGo3q-OqUkQ-JaBTWckS-T-ztmAjR6p-WcTAwn-cl2qXr4pi4AtteiwV1tuyiQzu44CBWpGuxg-43Eg277QdukCJ0I05Rb_dlogG0JZeEErQ_KK/w492-h640/1850_Romain%20Cazes_c.1850_Louvre.jpg" width="492" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Romain Cazes, The Coronation of the Virgin</div><div style="text-align: center;">French, c.1850</div><div style="text-align: center;">Paris, Musée du Louvre</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6U45ToqEj_yiVD7-5oRHs73obX3a4uA_ZOPSqOAi-YiqBx5pQmgLwGqUwQEpgi6LifNuRj-jA8Fw-1bJMBl-2wskpdWRLqBMlbSHjLVmGWkCCPXjVOQpeCorYpjL8h8-Oy5g5BcaILMOzE5U2Om4GI5bjGMmdFzw9PlodJE5mRf3kRCixiFFzeQeN/s631/1900_Melchior%20Doze_French,%20c.%201900_Beauvais,%20MUDO,%20Musee%20de%20l'Oise.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="631" data-original-width="487" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6U45ToqEj_yiVD7-5oRHs73obX3a4uA_ZOPSqOAi-YiqBx5pQmgLwGqUwQEpgi6LifNuRj-jA8Fw-1bJMBl-2wskpdWRLqBMlbSHjLVmGWkCCPXjVOQpeCorYpjL8h8-Oy5g5BcaILMOzE5U2Om4GI5bjGMmdFzw9PlodJE5mRf3kRCixiFFzeQeN/w494-h640/1900_Melchior%20Doze_French,%20c.%201900_Beauvais,%20MUDO,%20Musee%20de%20l'Oise.jpg" width="494" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Melchior Doze, The Coronation of the Virgin</div><div style="text-align: center;">French, c. 1900</div><div style="text-align: center;">Beauvais, MUDO, Musée de l'Oise</div></td></tr></tbody></table><br /><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;">________________________</span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;">1, Pope Pius XII, “<em><u>Ad Caeli Reginam</u></em>”, Encyclical, October 11, 1954. It can be accessed in full at <a href="http://www.vatican.va/holy_father/pius_xii/encyclicals/documents/hf_p-xii_enc_11101954_ad-caeli-reginam_en.html" style="color: #114499; text-decoration-line: none;">http://www.vatican.va/holy_father/pius_xii/encyclicals/documents/hf_p-xii_enc_11101954_ad-caeli-reginam_en.html</a><br /><br />2. See section entitled "Feast of Queenship" at <a href="http://en.wikipedia.org/wiki/Queen_of_Heaven#Feast_of_Queenship" style="color: #114499; text-decoration-line: none;">http://en.wikipedia.org/wiki/Queen_of_Heaven#Feast_of_Queenship</a><br /><br />© M. Duffy, 2022</span></div><div><span style="background-color: white; color: #114499; font-family: Cantarell; font-size: 15.84px;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><br /><br /><br /><br /></div></div><div class="blogger-post-footer">Copyright Margaret Duffy, 2008-2017</div>Margaret Duffyhttp://www.blogger.com/profile/03821836487895782384noreply@blogger.com0tag:blogger.com,1999:blog-415269867796810849.post-89021246954391489572023-07-17T12:30:00.000-04:002023-07-18T03:00:27.545-04:00Glorious Saint Anne – The Iconography of Saint Anne<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidej3dMgMFF6AVEnM0e8gbXxrXk3jyDfwRBfnFM11dGLWqQ7mMVqgniRSKbcpNTaMSY1YkDgLjA4zLj3lBDutHpcVTKwyYwOIckJNlpMWX7ke_VaWKRxWhwVmkWp_tncl7oxmN_f-kN8Bm/s1600/Massaccio+St.+Anne_Florence,+Ufizzi_1424.bmp" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" ca="true" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidej3dMgMFF6AVEnM0e8gbXxrXk3jyDfwRBfnFM11dGLWqQ7mMVqgniRSKbcpNTaMSY1YkDgLjA4zLj3lBDutHpcVTKwyYwOIckJNlpMWX7ke_VaWKRxWhwVmkWp_tncl7oxmN_f-kN8Bm/s640/Massaccio+St.+Anne_Florence,+Ufizzi_1424.bmp" width="386" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Masaccio, Madonna and Child with Saint Anne<br />
Italian, 1424<br />
Florence, Uffizi Gallery</td></tr>
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The course of the year has come round, once again, to the middle of July and the start of the period in which the Church turns to honor Saint Anne and her husband, Saint Joachim, parents of the Virgin Mary and grandparents of Jesus. As it has every July since 1892, my home parish in New York will be honoring St. Anne during the nine day novena and feast day, from July 17th to July 26th. T<span style="color: #cc0000;">he new schedule is available <a href="https://www.sjbny.org/">here.</a></span><br />
<br />
During the normal ten-day period in 2011, I posted a series of essays on the iconography of Saint Anne. The list of topics is shown below. I refer readers to them. I've updated some with additional images, as I've found them during the past year. <br />
<br />
1. <a href="http://imaginemdei.blogspot.com/2011/07/glorious-st-anne-iconography-of-st-anne.html" target="_blank">Introduction, Background of Joachim and Anne plus Annunciation of Mary's Birth</a><br />
2. <a href="http://imaginemdei.blogspot.com/2011/07/glorious-st-anne-iconography-of-st-anne_18.html" target="_blank">The Meeting of Anne and Joachim at the Golden Gate</a><br />
3. <a href="http://imaginemdei.blogspot.com/2011/07/glorious-st-anne-iconography-of-st-anne_19.html" target="_blank">Birth of Mary</a><br />
4. <a href="http://imaginemdei.blogspot.com/2011/07/glorious-st-anne-iconography-of-st-anne_20.html" target="_blank">Presentation of Mary in the Temple</a><br />
5. <a href="http://imaginemdei.blogspot.com/2011/07/glorious-st-anne-iconography-of-st-anne_21.html" target="_blank">Saint Anne as Teacher (Education of the Virgin Mary)</a><br />
6. <a href="http://imaginemdei.blogspot.com/2011/07/glorious-st-anne-iconography-of-st-anne_22.html" target="_blank">Anne, Root of the Tree of Salvation (the Anna selbdritt image)</a><br />
7. <a href="http://imaginemdei.blogspot.com/2011/07/glorious-st-anne-iconography-of-st-anne_23.html" target="_blank">Saint Anne, Grandmother</a><br />
8. <a href="http://imaginemdei.blogspot.com/2011/07/glorious-st-anne-iconography-of-st-anne_24.html" target="_blank">Saint Anne, Matriarch of the Holy Kindred</a><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimDABIRNeeQ25AWfsFjbB-71n760v5gd9kCTIx7kia9lg6JkmF16DFZ97EYQ3-nRSjMs0SyvzBcb8na4s-icU-1tMnl9i20aSslsdsb3Wfpi3yQ7WGgHbbPwnsscEtHXXenQmftuG2hKfM/s1600/St.+Anne.bmp" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" ca="true" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimDABIRNeeQ25AWfsFjbB-71n760v5gd9kCTIx7kia9lg6JkmF16DFZ97EYQ3-nRSjMs0SyvzBcb8na4s-icU-1tMnl9i20aSslsdsb3Wfpi3yQ7WGgHbbPwnsscEtHXXenQmftuG2hKfM/s400/St.+Anne.bmp" width="273" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Luca Vescia, Saint Anne and Mary<br />
Italian, 1911<br />
<span style="font-size: 12.8px;">New York, Saint Jean Baptiste Church, </span><br />
<span style="font-size: 12.8px;">Shrine of Saint Anne</span></td></tr>
</tbody></table>
9. <a href="http://imaginemdei.blogspot.com/2011/07/glorious-st-anne-iconography-of-st-anne_25.html" target="_blank">Saint Anne in the Communion of Saints</a><br />
10. <a href="http://imaginemdei.blogspot.com/2011/07/glorious-st-anne-iconography-of-st-anne_582.html" target="_blank">Saint Anne, Patron and Intercessor</a><br />
<br />
<br />
I have also published additional images of Saint Anne in annual supplements. To see these click on the year or title:<br />
<a href="http://imaginemdei.blogspot.com/2014/07/st-anne-at-met.html" target="_blank">Saint Anne at the Met</a><br />
<a href="https://imaginemdei.blogspot.com/2014/07/iconography-of-st-anne-2014-update.html" target="_blank"><span style="color: blue;">2014</span></a><br />
<a href="http://imaginemdei.blogspot.com/2016/07/st-anne-update-2016.html" target="_blank">2016</a><br />
<a href="http://imaginemdei.blogspot.com/2017/07/2017-saint-anne-update.html" target="_blank">2017</a><br />
<a href="http://imaginemdei.blogspot.com/2018/07/2018-saint-anne-update.html" target="_blank">2018</a><br />
<a href="https://imaginemdei.blogspot.com/2019/07/2019-saint-anne-update.html" target="_blank"><span style="color: blue;">2019</span></a></div><div dir="ltr" style="text-align: left;" trbidi="on"><u><span style="color: #2b00fe;"><a href="https://imaginemdei.blogspot.com/2020/07/2020-saint-anne-update.html">2020</a></span></u></div><div dir="ltr" style="text-align: left;" trbidi="on"><u><span style="color: #2b00fe;"><a href="https://imaginemdei.blogspot.com/2022/07/master-of-ango-hours-saints-anne-and.html">2022</a></span></u></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="color: #2b00fe;"><u><br /></u></span>
<br />
Please note that there will be no update for 2023. A recent unfortunate computer accident wiped out all the data I had collected during the past year and so I am unable to provide an update. I hope to retrieve that data soon and publish an expanded update in 2024.<br />
<br />
<br />
In the meantime, you may want to join in the daily prayer to Saint Anne, recited during each day of the novena. <br />
<br />
<b><span style="color: #0b5394;">Novena Prayer to Saint Anne</span></b><br />
<i>"O glorious Saint Ann, you are filled with compassion for those who invoke you and with love for those who suffer! Heavily burdened with the weight of my troubles, I cast myself at your feet and humbly beg of you to take the present intention which I recommend to you in your special care.<br /><br /> Please recommend it to your daughter, the Blessed Virgin Mary, and place it before the throne of Jesus, so that He may bring it to a happy issue. Continue to intercede for me until my request is granted. But, above all, obtain for me the grace one day to see my God face to face, and with you and Mary and all the saints to praise and bless Him for all eternity. Amen."</i><br />
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<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="font-family: "times new roman";">© M. Duffy, 2019</span></div>
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<div class="blogger-post-footer">Copyright Margaret Duffy, 2008-2017</div>Margaret Duffyhttp://www.blogger.com/profile/03821836487895782384noreply@blogger.com0tag:blogger.com,1999:blog-415269867796810849.post-76669738827925540582023-06-28T03:31:00.001-04:002023-06-28T03:31:23.128-04:00Illustrating Miracles -- The Miracle of the Woman Bent Over<p><span style="color: red;"> I am re-posting this article as a kind of commemoration of the fifth anniversary of the day that really changed my life, June 30, 2018.</span><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF1cGxfioREeqxEnQiTcvz1f-a2ED5RLmIA5cMKDwuEvHQg04rmmtnlgEWo7L7JJyvA_waWa7HIswR3NA-zAcgmq6-k8IFyxpArKVa2jtI-IZODQhUUzdAZ0ZRkzo80NA60mrewe1vT_A/s1389/1886_James+Tissot%252C+Jesus+Healing+the+Woman_French%252C+c.+1886-1894_New+York%252C+Brooklyn+Museum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1389" data-original-width="1051" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF1cGxfioREeqxEnQiTcvz1f-a2ED5RLmIA5cMKDwuEvHQg04rmmtnlgEWo7L7JJyvA_waWa7HIswR3NA-zAcgmq6-k8IFyxpArKVa2jtI-IZODQhUUzdAZ0ZRkzo80NA60mrewe1vT_A/w484-h640/1886_James+Tissot%252C+Jesus+Healing+the+Woman_French%252C+c.+1886-1894_New+York%252C+Brooklyn+Museum.jpg" width="484" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">James Tissot, Jesus Healing the Woman<br />French, c. 1886-1894<br />New York, Brooklyn Museum<br /><br /></td></tr></tbody></table><p class="MsoNormal"><i style="mso-bidi-font-style: normal;">“Jesus was teaching in
a synagogue on the Sabbath.<br />
And a woman was there who for eighteen years<br />
had been crippled by a spirit;<br />
she was bent over, completely incapable of standing erect.<br />
When Jesus saw her, he called to her and said,<br />
“Woman, you are set free of your infirmity.”<br />
He laid his hands on her,<br />
and she at once stood up straight and glorified God.<br />
But the leader of the synagogue,<br />
indignant that Jesus had cured on the Sabbath,<br />
said to the crowd in reply,<br />
“There are six days when work should be done.<br />
Come on those days to be cured, not on the Sabbath day.”<br />
The Lord said to him in reply, “Hypocrites!<br />
Does not each one of you on the Sabbath<br />
untie his ox or his ass from the manger<br />
and lead it out for watering?<br />
This daughter of Abraham,<br />
whom Satan has bound for eighteen years now,<br />
ought she not to have been set free on the Sabbath day<br />
from this bondage?”<br />
When he said this, all his adversaries were humiliated;<br />
and the whole crowd rejoiced at all the splendid deeds done by him.”<o:p></o:p></i></p>
<p class="MsoNormal">Luke 13:10-17<o:p></o:p></p>
<p class="MsoNormal"><br /></p><p class="MsoNormal"><br /></p><p class="MsoNormal"><br /></p><p class="MsoNormal"><br /></p><p class="MsoNormal">Although I usually focus on the iconography related to those
passages of Scripture that are read as part of the Sunday liturgies, this
quotation, which is read during the Mass for Monday, October 26 caught my
eye.<span style="mso-spacerun: yes;"> </span>It has a very personal
connection.<span style="mso-spacerun: yes;"> </span><o:p></o:p></p>
<p class="MsoNormal">For almost six months during 2018 I was the woman “bent
over, completely incapable of standing erect”.<span style="mso-spacerun: yes;">
</span>After a dozen years of growing discomfort in walking, caused by the
narrowing of the canal through which the spinal cord runs, I arose on the
morning of June 30, 2018 unable to stand up.<span style="mso-spacerun: yes;">
</span>In order to move around at all, I had to bend at a 90<sup>0</sup> angle
and even that was terribly painful.<span style="mso-spacerun: yes;">
</span>Attempting to stand straight was impossible.<span style="mso-spacerun: yes;"> </span>Bed rest didn’t help, nor did the medication
suggested by the emergency room doctors.<span style="mso-spacerun: yes;">
</span>My physiotherapist refused to touch me for fear of causing more damage.<span style="mso-spacerun: yes;"> </span><o:p></o:p></p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkY7x0mQcneBKt0g_x8CwSMxPyLvE-aSd0RtZo72twSA3Q-7MsRjNrVl4xsDOtxguECmkCHgd1pmyss2_KGJQtr6B4MS2ipid7ZK2pioGEcB7JwjxnNXcitR4MHmnO_ZA5ecKyiVQDb60/s458/850_Healing+of+the+Bent+Woman_From+Sacra+parallela+by+John+of+Damascus_Byzantine+%2528Constantinople%2529%252C+c.+850-900_Paris%252C+BNF_MS+Grec+923%252C+fol.+212.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="446" data-original-width="458" height="624" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkY7x0mQcneBKt0g_x8CwSMxPyLvE-aSd0RtZo72twSA3Q-7MsRjNrVl4xsDOtxguECmkCHgd1pmyss2_KGJQtr6B4MS2ipid7ZK2pioGEcB7JwjxnNXcitR4MHmnO_ZA5ecKyiVQDb60/w640-h624/850_Healing+of+the+Bent+Woman_From+Sacra+parallela+by+John+of+Damascus_Byzantine+%2528Constantinople%2529%252C+c.+850-900_Paris%252C+BNF_MS+Grec+923%252C+fol.+212.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Healing of the Bent Woman<br />From <i><u>Sacra parallela</u></i> by John of Damascus<br />Byzantine (Constantinople), c. 850-900<br />Paris, Bibliotheque nationale de France<br />MS Grec 923, fol. 212<br /><div style="text-align: left;">This healing is the third one down the page. We see the healing of a blind man and of the man with the withered hand as well.</div></td></tr></tbody></table><p class="MsoNormal">Because of the terrible timing (the week of the July 4
holiday) it took nearly two weeks before I could see an appropriate doctor and
begin the process of determining what had gone so wrong. After several MRIs and ordinary x-rays it was
obvious that he cause was a herniated disk in my lower back. The disk had collapsed and the vertebra above
had slipped over the one below. Surgery
was suggested to deal with that as well as to free the terribly pinched nerve
just below the collapse. It took me
months more to find a surgeon I trusted and to get clearance for the
surgery. Finally, on December 12, 2018 I
had the operation to remove the collapsed disk, replace it with an intervertebral
disk, place bone grafts and a titanium rod in support, and screw the whole thing together, as well
as to cut out a section of bone where the nerve was being squeezed. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi28pE_q9yGe5P_w_qR8___4CXkPwWwAeXPDGWUWFHX5szKfOC0kq_ko3A0vy3iZ6mi-o1yGtbOohPo2OgjWkA6MeNPFHA80qWpUHa2BgQyYBu-1dSwaf_TTrOGuMFq31MtQjz795pdJ7U/s672/879%252BHealing+of+the+Bent+Woman_From+Orationes+of+Gregory+Nazainzenus_Byzantine+%2528Constantinople%2529%252C+c.+879-882_Paris%252C+BNF_MS+Grec+510%252C+fol.+310v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="672" data-original-width="465" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi28pE_q9yGe5P_w_qR8___4CXkPwWwAeXPDGWUWFHX5szKfOC0kq_ko3A0vy3iZ6mi-o1yGtbOohPo2OgjWkA6MeNPFHA80qWpUHa2BgQyYBu-1dSwaf_TTrOGuMFq31MtQjz795pdJ7U/w442-h640/879%252BHealing+of+the+Bent+Woman_From+Orationes+of+Gregory+Nazainzenus_Byzantine+%2528Constantinople%2529%252C+c.+879-882_Paris%252C+BNF_MS+Grec+510%252C+fol.+310v.jpg" width="442" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Healing of the Bent Woman<br />From <u><i>Orationes </i></u>of Gregory Nazainzenus<br />Byzantine (Constantinople), c. 879-882<br />Paris, Bibliotheque nationale de France<br />MS Grec 510, fol. 310v<br /><div style="text-align: left;">This image records several miracles of Christ (the man with the withered hand, the woman bent over and the woman with the long period of bleeding) and his parable of the fig tree.</div></td></tr></tbody></table><br /><p class="MsoNormal">Since then I have been working on recovery. Having one’s back taken apart and screwed
back together is a serious business. The
road has been long, and unfortunately interrupted by the restrictions on movement
that have accompanied the coronavirus pandemic, but ever since the first week
of recovery I have been able to stand straight once again. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidFztwJ9H7FdkWcYoi2axTjydTXXs7UWkOF8ObehI8gflHVzy2dFLg3HKBi_TO8o-1BAMp6DxdPWEf-BF5Yf8Cmk1hCN9FW9JRgaMiYpWj2Z9XHTo98EeMF7KL63nEwXNBQinIaigtpmU/s625/1000_Fig+Tree+Parable+and+Healing+of+the+Bent+Woman_From+Gospels+of+Otto+III_German+%2528Reichenau%2529%252C+c.+1000_Munich%252C+Bayerische+Staatsbibliothek_MS+Clm+4453%252C+fol.+175v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="625" data-original-width="440" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidFztwJ9H7FdkWcYoi2axTjydTXXs7UWkOF8ObehI8gflHVzy2dFLg3HKBi_TO8o-1BAMp6DxdPWEf-BF5Yf8Cmk1hCN9FW9JRgaMiYpWj2Z9XHTo98EeMF7KL63nEwXNBQinIaigtpmU/w450-h640/1000_Fig+Tree+Parable+and+Healing+of+the+Bent+Woman_From+Gospels+of+Otto+III_German+%2528Reichenau%2529%252C+c.+1000_Munich%252C+Bayerische+Staatsbibliothek_MS+Clm+4453%252C+fol.+175v.jpg" width="450" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Fig Tree Parable and Healing of the Bent Woman<br />From the <i><u>Gospels of Otto III</u></i><br />German (Reichenau), c. 1000<br />Munich, Bayerische Staatsbibliothek<br />MS Clm 4453, fol. 175v</td></tr></tbody></table><p class="MsoNormal">All of this has made me alert to this story of Jesus’
healing of the “bent woman”. I strongly
identify with her and have often reflected on how terrible her life must have
been for the eighteen long years she was unable to stand. How difficult it must have been to live with
that condition but without very much available to help her to deal with
it. A story told me by my mother about
one of her aunts (my great-aunt) also resonates. My great-aunt suffered a vertebral slippage
in her 40s and remained like that, bent double, for the rest of her life. This happened in the 1920s in rural
Ireland. There was little that anyone
could do for her or for the pain she must have endured. And so it has been for many thousands of
years. I am truly fortunate that I live
at a time in which there is something that can be done, even though the surgery
brings its own set of woes. But I had
the opportunity to use a rolling walker to help support my walking, I had the
use of ice bags and heating pads, modern pain killers and the use of a TENS
unit to help with the pain. In first
century Palestine, and in every other location until quite recently, such
things were unimaginable.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzFUym0i83lKa9_bfvp3rLDODbhE1Xd1_xBAyKE1wytqCDi7a6AZZ9bSKMEceumbSyVhf3ssSbEju1UIMxLc0pd52PVeAljAqtke8aDKV4lsk9l3DzD9eAgBtMvJ03ceasa8V9WAI2AlA/s1023/1430__Claes+Brouwer%252C+Jeus+Heals+the+Woman+Bent+Over%252C+Parable+of+the+Fig+Treet_From+a+History+Bible_Dutch+%2528Utrecht%2529%252C+c.+1420_The+Hague%252C+KB_MS+KB+78+D+38+II%252C+fol.+170r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="744" data-original-width="1023" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzFUym0i83lKa9_bfvp3rLDODbhE1Xd1_xBAyKE1wytqCDi7a6AZZ9bSKMEceumbSyVhf3ssSbEju1UIMxLc0pd52PVeAljAqtke8aDKV4lsk9l3DzD9eAgBtMvJ03ceasa8V9WAI2AlA/w640-h466/1430__Claes+Brouwer%252C+Jeus+Heals+the+Woman+Bent+Over%252C+Parable+of+the+Fig+Treet_From+a+History+Bible_Dutch+%2528Utrecht%2529%252C+c.+1420_The+Hague%252C+KB_MS+KB+78+D+38+II%252C+fol.+170r.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Claes Brouwer, Jeus Heals the Woman Bent Over and the Parable of the Fig Tree<br />From a <u><i>History Bible</i></u><br />Dutch (Utrecht), c. 1420<br />The Hague, Koninklijk Bibliotheek<br />MS KB 78 D 38 II, fol. 170r</td></tr></tbody></table><p class="MsoNormal">At the time I was afflicted, I posted some comments
regarding my problem on this blog. In
searching for some images to use (after all, this is a blog about art) I
discovered that these seemed to be virtually non-existent. I used the two or three I found and resolved
to do some more digging later. Noting
that the reading for October 26<sup>th</sup> is the passage that refers to this
healing, the time seemed ripe. I began
the search.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxkDRpW2mPxcit2EY8F8zq-tX8vMWYu5hMv3LjV06nDF8etvmSEXW0Qc4sAhGadiDfIcXY3XiKRAlS310uB8kGtsgl_hZYYFXdmTLhJHOpP2y9rswjmwaYibzAPdbPu5y3EXgbOFvTd4I/s2048/1577_Philips+Galle+Aft+Anthonie+Blocklandt%252C+Christ+Heals+a+Crippled+Woman_Fr+Series+6++Scenes+with+Christ+%2526+Women+fr+the+Gospels+_Flemish%252C+c.+1577-1579_Amsterdam%252C+Rijksmuseum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1653" data-original-width="2048" height="516" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxkDRpW2mPxcit2EY8F8zq-tX8vMWYu5hMv3LjV06nDF8etvmSEXW0Qc4sAhGadiDfIcXY3XiKRAlS310uB8kGtsgl_hZYYFXdmTLhJHOpP2y9rswjmwaYibzAPdbPu5y3EXgbOFvTd4I/w640-h516/1577_Philips+Galle+Aft+Anthonie+Blocklandt%252C+Christ+Heals+a+Crippled+Woman_Fr+Series+6++Scenes+with+Christ+%2526+Women+fr+the+Gospels+_Flemish%252C+c.+1577-1579_Amsterdam%252C+Rijksmuseum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Philips Galle After Anthonie Blocklandt, Christ Heals a Crippled Woman<br />From the Series <u><i>Six Scenes with Christ and Women from the Gospels </i></u><br />Flemish, c. 1577-1579<br />Amsterdam, Rijksmuseum</td></tr></tbody></table><p class="MsoNormal">The less than handful of images I found in 2018-2019 came
from two totally different eras, two from the high middle ages and one from the
late nineteenth century. In my search
this year I uncovered a few more, the majority of them coming from the period
stretching from the late sixteenth to the late eighteenth centuries. Perhaps this two-hundred-year period, with
its nearly constant wars within Europe, saw more of this kind of injury than
had been true previously, or perhaps artists were somewhat more interested in
this predicament. I cannot really
account for the scarcity of images in earlier and later periods in any other
way.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8ZoNMTVVr-cCa2J-vG3qw0NEGgEs6TOZSPo4bNPkcd_WM9rNFtaNnWsOc4TpJm3IZXQNDZ-CiV92syVUvCVKPZ2cxNKuUe5J3-IX2J7whigFeeUQHY5Sm42RzSUG2EUuNdNEYuDopHIc/s2048/1600_Abel+Grimmer%252C+September+landscape+w+parab+of+Olive+Tree%252C+Collapse+of+Siloam%252C+Woman+Bent_Flemish%252C+c.+1600_Private+Collection+%25282%2529.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2012" data-original-width="2048" height="628" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8ZoNMTVVr-cCa2J-vG3qw0NEGgEs6TOZSPo4bNPkcd_WM9rNFtaNnWsOc4TpJm3IZXQNDZ-CiV92syVUvCVKPZ2cxNKuUe5J3-IX2J7whigFeeUQHY5Sm42RzSUG2EUuNdNEYuDopHIc/w640-h628/1600_Abel+Grimmer%252C+September+landscape+w+parab+of+Olive+Tree%252C+Collapse+of+Siloam%252C+Woman+Bent_Flemish%252C+c.+1600_Private+Collection+%25282%2529.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Abel Grimmer, September landscape with the Parable of the Olive Tree, Collapse of the Tower of Siloam and the Miracle of the Woman Bent Over<br />Flemish, c. 1600<br />Private Collection</td></tr></tbody></table><br /><p class="MsoNormal">Although my search did turn up these additional images they
remain few. I think this rather sad. This is a real, debilitating state in which
to find oneself. Since human beings
haven’t changed all that much physically since the appearance of the first
humans, whether you are talking about the biblical Adam and Eve or the genetic
Adam and Eve, this ailment has been with us in the past as it is today. Perhaps in the past it was somewhat less
frequent, owing to the shorter life expectancies of earlier centuries, but
there have always been people who lived to extraordinary ages. That this woman should be mentioned in the Gospels
makes that clear enough. Therefore, it
is sad that artists depicted this miracle only infrequently. It is the same with another miracle of Jesus,
where he heals the withered hand of a man, a miracle which is included in all
three of the Synoptic Gospels. I found
few visual references for that miracle either. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwgAJN_EmxAzRxNMpL9UUPSQ5weji1O_toQJBJrKn_Ecy2xvXrazta9Z-T9JixhXo4DGrhCLn8uMbqdA8aLnOvUMoLDUNjW4nQqEV1UoFPwhEzrXgc4z71FuA5vtlAgCk_KopZbkfnZtE/s650/1610_David+Vinckboons+I%252C+Healing+of+the+Bent+Woman_From+a+Series+on+the+Life+of+Christ_Dutch%252C+c.+1610-1615_Private+Collection.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="650" data-original-width="465" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwgAJN_EmxAzRxNMpL9UUPSQ5weji1O_toQJBJrKn_Ecy2xvXrazta9Z-T9JixhXo4DGrhCLn8uMbqdA8aLnOvUMoLDUNjW4nQqEV1UoFPwhEzrXgc4z71FuA5vtlAgCk_KopZbkfnZtE/w458-h640/1610_David+Vinckboons+I%252C+Healing+of+the+Bent+Woman_From+a+Series+on+the+Life+of+Christ_Dutch%252C+c.+1610-1615_Private+Collection.jpg" width="458" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">David Vinckboons I, Healing of the Bent Woman<br />From a Series on the <u><i>Life of Christ</i></u><br />Dutch, c. 1610-1615<br />Private Collection</td></tr></tbody></table><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><br />Perhaps they are less frequently depicted because they are
part of a controversy between Jesus and those who believed themselves to be
upholders of the Law.<span style="mso-spacerun: yes;"> </span>Both cures were
done on the Sabbath and are instances of a string of actions by Jesus, taken on
the Sabbath, that offended the “leaders”.<span style="mso-spacerun: yes;">
</span>Yet, other actions done of the Sabbath, such as the healing of the
paralyzed man at the Pool of Bethesda (John 5:1-17), are visually well
represented.<span style="mso-spacerun: yes;"> </span><o:p></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2TUSZNkhX9jMnRg8OVmwIqp2jhj3jjR6QM63q6VUmXy3M5YUzn-RJuUA4nPRh5CkadaxWf1cb_pGjLl-MNcQHacgDzP7_n7zL8FkP_ounvyQEp8M4B4mw-vwC8xK97io5Ay_zm94-4IU/s2048/1685_Jan+van+Orley%252C+Christ+Healing+on+the+Sabbath_From+a+Series+of+Scenes+from+the+New+Testament_Flemish%252C+c.+1685-1700_Amsterdam%252C+Rijksmuseum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1730" data-original-width="2048" height="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2TUSZNkhX9jMnRg8OVmwIqp2jhj3jjR6QM63q6VUmXy3M5YUzn-RJuUA4nPRh5CkadaxWf1cb_pGjLl-MNcQHacgDzP7_n7zL8FkP_ounvyQEp8M4B4mw-vwC8xK97io5Ay_zm94-4IU/w640-h540/1685_Jan+van+Orley%252C+Christ+Healing+on+the+Sabbath_From+a+Series+of+Scenes+from+the+New+Testament_Flemish%252C+c.+1685-1700_Amsterdam%252C+Rijksmuseum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jan van van Orley, Christ Healing on the Sabbath<br />From a <u><i>Series of Scenes from the New Testament</i></u><br />Flemish, c. 1685-1700<br />Amsterdam, Rijksmuseum</td></tr></tbody></table><p class="MsoNormal">The fact that the recipient of the miracle is a woman
doesn’t seem to be one of the reasons for the lack in the visual record. I found many, many instances of miracles done
for women, from the very widely represented healing of the woman who had been
bleeding for many years, to the healing of the Canaanite woman’s daughter, to
the healing of Peter’s mother-in-law.
Miracles for women abound in both the biblical texts and the visual
legacy. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPgpGAr6IhKBwtIZjkv4ZO2KBoqCpoTuRJWDrdIu4lCaQzlgYNb-ga3r8VC0mmwMNgRgKGQzZye8INvXZWmDmheSelyMfu2AqR7SYESNgBEkFc5SP5kS-Os_w_2WM2nEs0iaaeUYrkYrc/s2048/1712_Jan+Luyken%252C+Jesus+Heals+the+Bent+Woman+in+the+Synagogue_Dutch%252C+1712%252BAmsterdam%252C+Rijksmuseum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1568" data-original-width="2048" height="490" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPgpGAr6IhKBwtIZjkv4ZO2KBoqCpoTuRJWDrdIu4lCaQzlgYNb-ga3r8VC0mmwMNgRgKGQzZye8INvXZWmDmheSelyMfu2AqR7SYESNgBEkFc5SP5kS-Os_w_2WM2nEs0iaaeUYrkYrc/w640-h490/1712_Jan+Luyken%252C+Jesus+Heals+the+Bent+Woman+in+the+Synagogue_Dutch%252C+1712%252BAmsterdam%252C+Rijksmuseum.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jan Luyken, Jesus Heals the Bent Woman in the Synagogue<br />Dutch, 1712<br />Amsterdam, Rijksmuseum</td></tr></tbody></table><p class="MsoNormal">Perhaps the miracle in question wasn’t highly thought of by
painters, as it afforded them less space for demonstrations of their skill at
depiction. Perhaps they found the
subject of an old, bent woman uncongenial. </p><p class="MsoNormal"><br /></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYbZA59IT4fikyP4TiJ2iZS5-x9s55gXAQDmrF7QYgH1xQKG7viw2YL_4dgES_WSkvZDzdWsJRbOzkDVKBJhQXS9v5WibPWAnEZaploolyNFB5hbp2O14PVf4KOuAOCQTCQHeWYDYjG9w/s1500/1594_Jan+Pieterszoon+Saenredam+After+Hendrick+Goltzius%252C+A+Crippled+Old+Woman+Healed+by+Christ_Dutch%252C+c.+1594_Philadelphia%252C+Museum+of+Art.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="1086" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYbZA59IT4fikyP4TiJ2iZS5-x9s55gXAQDmrF7QYgH1xQKG7viw2YL_4dgES_WSkvZDzdWsJRbOzkDVKBJhQXS9v5WibPWAnEZaploolyNFB5hbp2O14PVf4KOuAOCQTCQHeWYDYjG9w/w464-h640/1594_Jan+Pieterszoon+Saenredam+After+Hendrick+Goltzius%252C+A+Crippled+Old+Woman+Healed+by+Christ_Dutch%252C+c.+1594_Philadelphia%252C+Museum+of+Art.jpg" width="464" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jan Pieterszoon Saenredam After Hendrick Goltzius, <br />A Crippled Old Woman Healed by Christ<br />Dutch, c. 1594<br />Philadelphia, Museum of Art<br /><br /></td></tr></tbody></table><p class="MsoNormal">However, I am certain that to the recipient of the miracle, it was the
most wonderful moment of her life. I
suspect that, unlike those of us who have to trust our healing to the hands of
surgeons, her recovery was neither slow nor tedious nor incomplete, but
miraculously complete, leaving her pain free and capable of much greater
movement. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmoREPDz29svZzt9f3ae0ul8QdQQxdtzwengB6W_hQwywCe2rUFnkNGPRkHk4BSEhxEecJgCWdgyp09is4_6WnwWyp535WKZdBiK2VvW6iakuv0G8tF9FS7IEHRRW8E7pN4EHgPqaBiIw/s2048/1712_Jan+Luyken%252C+Jesus+Lays+His+Hand+on+the+Crooked+Woman_Dutch%252C+1712_Amsterdam%252C+Rijksmuseum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1078" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmoREPDz29svZzt9f3ae0ul8QdQQxdtzwengB6W_hQwywCe2rUFnkNGPRkHk4BSEhxEecJgCWdgyp09is4_6WnwWyp535WKZdBiK2VvW6iakuv0G8tF9FS7IEHRRW8E7pN4EHgPqaBiIw/w336-h640/1712_Jan+Luyken%252C+Jesus+Lays+His+Hand+on+the+Crooked+Woman_Dutch%252C+1712_Amsterdam%252C+Rijksmuseum.jpg" width="336" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jan Luyken, Jesus Lays His Hand on the Crooked Woman<br />Dutch, 1712<br />Amsterdam, Rijksmuseum<br /><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqaH5R_1cNMUz5x8W0CXioz6NUwpZrC-Pr6lH662VB_LD5MEnB3oR4FZQJzGcNPJHy4oducbrqsl3-CxRyNQvh2I9nzmi1liX0J-CqacdDs_2RKphue_qOjwbUmkSxXA-hriN2jEzbUjg/s1150/1780_Thomas+Schaidhauf%252C+Christ+Heals+the+Crooked+Woman_German%252C+c.+1780-1800_Fuerstenfeldbruck%252C+Former+Monastery+Church+of+the+Assumption.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1150" data-original-width="1111" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqaH5R_1cNMUz5x8W0CXioz6NUwpZrC-Pr6lH662VB_LD5MEnB3oR4FZQJzGcNPJHy4oducbrqsl3-CxRyNQvh2I9nzmi1liX0J-CqacdDs_2RKphue_qOjwbUmkSxXA-hriN2jEzbUjg/w618-h640/1780_Thomas+Schaidhauf%252C+Christ+Heals+the+Crooked+Woman_German%252C+c.+1780-1800_Fuerstenfeldbruck%252C+Former+Monastery+Church+of+the+Assumption.jpg" width="618" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Thomas Schaidhauf, Christ Heals the Crooked Woman<br />German, c. 1780-1800<br />Fürstenfeldbruck, Former Monastery Church of the Assumption </span></td></tr></tbody></table><br /><p class="MsoNormal">In any event I find myself sharing in the suffering and the
release from it which the few available pictures suggest. And I will keep on looking for more. The quest has not ended.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">©</span> M. Duffy, 2020 </p><div style="border: 1pt solid windowtext; mso-border-alt: solid windowtext .5pt; mso-element: para-border-div; padding: 0in 4pt 1pt;">
<p class="MsoNormal" style="border: medium none; mso-border-alt: solid windowtext .5pt; mso-padding-alt: 0in 4.0pt 1.0pt 4.0pt; padding: 0in;">Lectionary for Mass for Use
in the Dioceses of the United States, second typical edition, Copyright © 2001,
1998, 1997, 1986, 1970 Confraternity of Christian Doctrine; Psalm refrain ©
1968, 1981, 1997, International Committee on English in the Liturgy, Inc. All
rights reserved. No portion of this text may be reproduced by any means without
permission in writing from the copyright owner.<o:p></o:p></p>
</div><div class="blogger-post-footer">Copyright Margaret Duffy, 2008-2017</div>Margaret Duffyhttp://www.blogger.com/profile/03821836487895782384noreply@blogger.com5tag:blogger.com,1999:blog-415269867796810849.post-48629989546177060912023-06-21T03:56:00.001-04:002023-06-21T03:57:06.345-04:00The Tale of the Third Portrait<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvXxoLs7VGWXdtjBV74d_aLl_lzTJ60Boi0VURC4frfLzDzXPg-9BuzyLK-gZzNe6lMGuGT_B5EH7HbSvbrxzONrP7hBclO5Gp77CMXfRRvQgfVT-l0CHzTju39GINnPvfwXo4uEUT0Ug/s1709/1550_John+Fisher+and+Thomas+More_Italian+poss.%252C+c.+1550-1600_London%252C+Royal+Collections+Trust.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1186" data-original-width="1709" height="444" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvXxoLs7VGWXdtjBV74d_aLl_lzTJ60Boi0VURC4frfLzDzXPg-9BuzyLK-gZzNe6lMGuGT_B5EH7HbSvbrxzONrP7hBclO5Gp77CMXfRRvQgfVT-l0CHzTju39GINnPvfwXo4uEUT0Ug/w640-h444/1550_John+Fisher+and+Thomas+More_Italian+poss.%252C+c.+1550-1600_London%252C+Royal+Collections+Trust.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">John Fisher and Thomas More<br />Possibly Italian, c. 1550-1600<br />London, Royal Collections Trust</td></tr></tbody></table><p class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><br /></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i>“</i><i>Beloved, do not be surprised
that a trial by fire is occurring among you, as if something strange were
happening to you.</i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i>But rejoice to the extent that
you share in the sufferings of Christ, so that when his glory is revealed </i><i>you may also rejoice exultantly.</i></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i>If you are insulted for the name
of Christ, blessed are you, for the Spirit of glory and of God rests upon you.”<o:p></o:p></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">1 Peter 4:12-14.
Excerpt from the First Reading of the Optional Memorial of Saint John
Fisher, bishop and martyr, and Saint Thomas More, martyr for Masses celebrated
on June 22.</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><i></i></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><br /></p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">New Yorkers have an amazing privilege in that they can see
the actual faces of the trio of men who had a fateful encounter almost 500
years ago, all within a walk of less than a quarter mile.<span style="mso-spacerun: yes;"> </span>The three men are Thomas More and John
Fisher, staunch defenders of Catholic doctrine and discipline at a time when it
was under severe attack, and Thomas Cromwell, leader of the forces seeking to
undo both.<span style="mso-spacerun: yes;"> </span>At the time Cromwell was
successful and both men died at the hands of the executioner.<span style="mso-spacerun: yes;"> </span>In the long run, Cromwell’s personal victory
was brief as he himself fell to the ax.<span style="mso-spacerun: yes;">
</span>Further, he has been seen as the villain of the story ever since
(barring Hilary Mantel’s recent trilogy of novels which cast him as a rather
twisted hero). <span style="mso-spacerun: yes;"> </span>His single minded drive
to eradicate Catholicism in England, although never entirely successful, has,
however, had a longer term effect.<o:p></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggCuA1v7pcl7DQsKYPuc-4tDrVUXdPIpdYU93mwT0E5_9PYIrm3bkLV8c79AIPj0-lUJvB6d0b8fMSVcpnWlEWryZB1olCFK7z_912Mfn0dSuyLnTuctoSpMuazW-dQVQ-ilit1Rs65-U/s740/Usual+arrangement+-+Michelle+Young+for+Untapped+Cities.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="488" data-original-width="740" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggCuA1v7pcl7DQsKYPuc-4tDrVUXdPIpdYU93mwT0E5_9PYIrm3bkLV8c79AIPj0-lUJvB6d0b8fMSVcpnWlEWryZB1olCFK7z_912Mfn0dSuyLnTuctoSpMuazW-dQVQ-ilit1Rs65-U/w640-h422/Usual+arrangement+-+Michelle+Young+for+Untapped+Cities.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Usual arrangement of the two Holbein portraits in the Living Hall of the Frick Collection<br />(Photo Credit -- Michelle Young for Untapped Cities)</td></tr></tbody></table>
<p class="MsoNormal"><br />Most New Yorkers interested in the Tudor period undoubtedly
know that the portraits of More and Cromwell, both masterpieces of portrait art
by the incomparable Hans Holbein the Younger, are owned by the Frick
Collection.<span style="mso-spacerun: yes;"> </span>My earlier piece on the
clash of portraits across Mr. Frick’s fireplace is my most popular.<o:p></o:p></p>
<p class="MsoNormal">Most people are not aware, however, of a slightly earlier
portrait of the other figure of the trio, Saint John Fisher, which is owned by
the Metropolitan Museum of Art.<span style="mso-spacerun: yes;"> </span>It has
been in storage for many years, finally reappearing just before the onset of
the pandemic closures as the first object one encounters in the newly reinstalled
British Art galleries.</p><p class="MsoNormal"><sup><span style="font-family: "Times New Roman",serif;"><o:p></o:p></span></sup></p><p class="MsoNormal"> <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVpLCDR1unBwtYyU4O52cj0LBewOISo4NmTjENUYiHqIUk5QKNn75pTCntuA21ZIFqISu9Msu5wRh-bIMKa8uuJ8cUt5wvlJhzju2-BqYmDcvLFzjCdkTXqrDKW5mbvxGGJTk82jpbIQQ/s2048/1510%252BPietro+Torrigiano%252C+Bishop+John+Fisher_Italian%252C+c.+1510-1515_New+York%252C+Metropolitan+Museum+of+Art%252BMMD2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1599" data-original-width="2048" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVpLCDR1unBwtYyU4O52cj0LBewOISo4NmTjENUYiHqIUk5QKNn75pTCntuA21ZIFqISu9Msu5wRh-bIMKa8uuJ8cUt5wvlJhzju2-BqYmDcvLFzjCdkTXqrDKW5mbvxGGJTk82jpbIQQ/w640-h500/1510%252BPietro+Torrigiano%252C+Bishop+John+Fisher_Italian%252C+c.+1510-1515_New+York%252C+Metropolitan+Museum+of+Art%252BMMD2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pietro Torrigiano, Bishop John Fisher<br />Italian, c. 1510-1515<br />New York, Metropolitan Museum of Art</td></tr></tbody></table><p></p><p class="MsoNormal">Saint John Fisher was, at the time of his execution, Bishop
of Rochester.<span style="mso-spacerun: yes;"> </span>His story is a fascinating
one, for in his life he had moved among the very highest level of English
society.<span style="mso-spacerun: yes;"> </span>He was chaplain to Lady
Margaret Beaufort, mother of King Henry VII and grandmother of Henry VIII.<span style="mso-spacerun: yes;"> </span>He was also very involved in the
establishment of new colleges at the University of Cambridge, where he also
served as a teacher and as Vice-Chancellor, in addition to his other duties.<span style="mso-spacerun: yes;"> </span>There is contemporary
testimony about his piety and austere lifestyle in spite of his exalted
company. There is even the possibility that, due to his grandmother's influence, he may have been, for a time, the tutor to the young Prince Henry who would become Henry VIII.<o:p></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaykO0No-5l4b3RzYdaYdSjdIeRqc4dNzPy7JeCY5hIpz4YzXBJo0dzyhunOaUhdcoykQLyJ0IDMmdJfACGP9WjJL87URi_GxIJGNEArwyI3avUtXJ9UFXnCOHwiP5kYVkHZ2tKyMnRn0/s800/1572_Philipp+Galle%252C+John+Fisher_Dutch%252C+1572_London%252C+National+Portrait+Gallery.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="579" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaykO0No-5l4b3RzYdaYdSjdIeRqc4dNzPy7JeCY5hIpz4YzXBJo0dzyhunOaUhdcoykQLyJ0IDMmdJfACGP9WjJL87URi_GxIJGNEArwyI3avUtXJ9UFXnCOHwiP5kYVkHZ2tKyMnRn0/w464-h640/1572_Philipp+Galle%252C+John+Fisher_Dutch%252C+1572_London%252C+National+Portrait+Gallery.jpg" width="464" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Philipp Galle, John Fisher<br />Dutch, 1572<br />London, National Portrait Gallery</td></tr></tbody></table><p class="MsoNormal">When Henry VIII began his assault on his marriage to Catherine of
Aragon, Bishop Fisher was one of those who defended the Queen and the
marriage. Indeed, it was he who
represented her at the Legatine Court that assembled to try the case. She herself ended this phase of his career by
famously insisting that the case be referred to Rome. <o:p> </o:p></p><p class="MsoNormal">As the situation became more highly pressured, Bishop Fisher remained a
staunch advocate for the validity of the marriage and for its
indissolubility. Needless to say, this
angered the King greatly. As the
pressure increased with Parliament’s actions in denying the right to appeal to
Rome, in declaring Henry to be head of the Church in England and then requiring
an oath in support of the divorce of Queen Catherine and the remarriage to Anne
Boleyn, Fisher found himself in prison in 1534. He was condemned as a traitor
and beheaded in June 1535, a few weeks before Sir Thomas More also lost his
life. Both men saw the ultimate
stupidity of the king’s moves in the light of eternity and truth and resisted
to the end the efforts to convince them to “go along with the pack”.</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuXQ_0t-iWWiTjHfd6DK3Us1usvmREYJwDY41dBTppxdQuwlpkK32OsYIAg1RNqUYIiZ7CpVtHAX28knC_xhSd_guextrWYpQ2fFmabheawTJh4rdegA8jHZHkL297YPB_38fPO5FbfU0/s800/1570_Anonymous%252C+The+Pope+Suppressed+by+King+Henry+VII_English%252C+c.+1570_London%252C+National+Portrait+Gallery.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="749" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuXQ_0t-iWWiTjHfd6DK3Us1usvmREYJwDY41dBTppxdQuwlpkK32OsYIAg1RNqUYIiZ7CpVtHAX28knC_xhSd_guextrWYpQ2fFmabheawTJh4rdegA8jHZHkL297YPB_38fPO5FbfU0/w600-h640/1570_Anonymous%252C+The+Pope+Suppressed+by+King+Henry+VII_English%252C+c.+1570_London%252C+National+Portrait+Gallery.jpg" width="600" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Anonymous, The Pope Suppressed by King Henry VII<br />English, c. 1570<br />London, National Portrait Gallery<br /><div style="text-align: left;">In this woodcut print you can see Henry VIII pressing down Pope Clement VII with the support of Thomas Cromwell and Thomas Cranmer. Bishop Fisher is the kneeling figure on the left who is trying to support the Pope. Various clerics, monks and ordinary people express shock and dismay.</div></td></tr></tbody></table><br /><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;">I have examined the portraits of More and Cromwell in detail in the
article called <a href="https://imaginemdei.blogspot.com/2011/06/tale-of-two-portraits-thomas-more-and.html" target="_blank">“The Tale of Two Portraits”</a>.<span style="mso-spacerun: yes;">
</span>The two remain together in their new setting at the Marcel Breuer
building on Madison Avenue, the former home of the Whitney Museum.<span style="mso-spacerun: yes;"> </span>The Frick’s treasures have been moved there
to allow for them to be seen by the public during the extensive renovation and
enlargement taking place at the Frick building on Fifth Avenue.<span style="mso-spacerun: yes;"> </span>In the temporary installation the sumptuous
trappings of the enormous parlor room in the Frick building have been removed
and the two portraits face each other across empty space.<span style="mso-spacerun: yes;"> </span>I’m not positive about whether this has been
an enhancement or not, possibly since I have literally grown up with the opulent
setting.<span style="mso-spacerun: yes;"> </span><o:p></o:p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><o:p> </o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXV4rIWThg1iUczgxKwXO8QE1VSH-YZpjbW-2UHRayFct0KpRiTdwwES7XWhwG8iANUvJJFr6AtDzTPB3j3eUgXjKmtiILxxP7EnorMCJFqzu0d-kyc0cl2S5LMNA_mz6IHkeM5zogZSw/s1042/New+faceoff+--+Art+%2526+Object.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="623" data-original-width="1042" height="382" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXV4rIWThg1iUczgxKwXO8QE1VSH-YZpjbW-2UHRayFct0KpRiTdwwES7XWhwG8iANUvJJFr6AtDzTPB3j3eUgXjKmtiILxxP7EnorMCJFqzu0d-kyc0cl2S5LMNA_mz6IHkeM5zogZSw/w640-h382/New+faceoff+--+Art+%2526+Object.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Current installation of the Holbein portraits at the Frick Madison temporary location.<br />(Photo -- Art and Object)</td></tr></tbody></table><p></p><p class="MsoNormal">The portrait of Bishop Fisher is in the form of a portrait
bust by the Italian sculptor Pietro Torrigiano.<span style="mso-spacerun: yes;">
</span>Torrigiano is probably most famous for an outburst of anger rather than
for his work as a sculptor.<span style="mso-spacerun: yes;"> </span>He and
Michelangelo were fellow students and rivals in the “academy” set up for young
Florentine artists by Lorenzo the Magnificent.<span style="mso-spacerun: yes;">
</span>One day, when Michelangelo poked fun at the drawings of Torrigiano, the
latter boy punched him in the face.<span style="mso-spacerun: yes;"> </span>The
blow broke Michelangelo’s nose, a disfigurement he carried for the rest of his
life.<span style="mso-spacerun: yes;"> </span>This put Torrigiano in great
disfavor with the Medici and he soon looked for alternative places to perfect
his art.<span style="mso-spacerun: yes;"> </span><o:p></o:p></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6sXeGvuTBToa1iSOJLRmSn0ZATRplEXCf8Vd8MVSuf9zoTlnOWi2iBXbQP7Hk8A4-YTgz2AqqeYdrvLF8sYhIG2VQgye06XuxXewtPxjT5F2JHmsR_T8KucpBHcBma0oaw3mUtq5sIGA/s2048/1510%252BPietro+Torrigiano%252C+Bishop+John+Fisher_Italian%252C+c.+1510-1515_New+York%252C+Metropolitan+Museum+of+Art.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1683" data-original-width="2048" height="526" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6sXeGvuTBToa1iSOJLRmSn0ZATRplEXCf8Vd8MVSuf9zoTlnOWi2iBXbQP7Hk8A4-YTgz2AqqeYdrvLF8sYhIG2VQgye06XuxXewtPxjT5F2JHmsR_T8KucpBHcBma0oaw3mUtq5sIGA/w640-h526/1510%252BPietro+Torrigiano%252C+Bishop+John+Fisher_Italian%252C+c.+1510-1515_New+York%252C+Metropolitan+Museum+of+Art.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pietro Torrigiano, Bishop John Fisher<br />Italian, c. 1510-1515<br />New York, Metropolitan Museum of Art</td></tr></tbody></table><br /><span style="mso-spacerun: yes;"><br /></span><p></p>
<p class="MsoNormal">In about 1509 he arrived in England to produce a terracotta
bust of the recently deceased King Henry VII.<span style="mso-spacerun: yes;">
</span>Such busts already had a long history among Florentine sculptors.<span style="mso-spacerun: yes;"> </span>It was well received by the new young king
Henry VIII.<span style="mso-spacerun: yes;"> </span>Young Henry commissioned
Torrigiano for the tombs of his father and mother and grandmother, all of which
are still extant in Westminster Abbey in the beautiful chapel the older Henry
had built for himself.<span style="mso-spacerun: yes;"> </span>While in England
Torrigiano also made portrait busts of several important churchmen, including
Bishop Fisher and John Colet.<span style="mso-spacerun: yes;"> </span><o:p></o:p></p>
<p class="MsoNormal">It is presumably toward the beginning of his stay in England
that he made the bust of Bishop Fisher.<span style="mso-spacerun: yes;">
</span>The Metropolitan Museum is somewhat cagey about the attribution.<span style="mso-spacerun: yes;"> </span>Some of the Met’s sources say that it is John
Fisher, others say that it is simply “An Unknown Man”.<i style="color: #2b00fe; font-family: "Times New Roman", serif;"><b>1</b></i>
So, I’ve done a little research in various English source websites and
from the material available there I think that it is extremely reasonable to
support the identification as Fisher. </p><p class="MsoNormal">The objections seem to be based on a perception that the sculpture does
not match the portrait sketches of Fisher done by Holbein during his stays in
England in the late 1520s or early 1530s.
However, if one remembers that the bust is between ten and twenty years
old at the time of the sketches, some of the difficulty vanishes. </p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMs1XIiLvz5d5uvrMSUvNPP8efA8LlGutCZtCZrsHH5VSiSVGf8vL4O91YzE55_CQKkYqeKV7wGfqV8DFa30oaMIhQqTOTpHkJfIjZXHMnPZqq250wZrLi3HsNfey79n_Voj_6Wq-ZsF0/s2000/1526_Hans+Holbein%252C+John+Fisher_German%252C+c.+1526-1534_London%252C+Royal+Collection+Trust.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="1265" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMs1XIiLvz5d5uvrMSUvNPP8efA8LlGutCZtCZrsHH5VSiSVGf8vL4O91YzE55_CQKkYqeKV7wGfqV8DFa30oaMIhQqTOTpHkJfIjZXHMnPZqq250wZrLi3HsNfey79n_Voj_6Wq-ZsF0/w404-h640/1526_Hans+Holbein%252C+John+Fisher_German%252C+c.+1526-1534_London%252C+Royal+Collection+Trust.jpg" width="404" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Hans Holbein the Younger, John Fisher<br />German, c. 1526-1534<br />London, Royal Collection Trust</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCsiF7AWC5TAsq7mI6wBpodPAcdhkGV6UF9ghQ2EsE4D358ZnKFou04F8XzXKc-ZgnKXvftu83QoxD_SZd6JzFqh8laPjLhr1hoEqFiMOTh7pj0Mp_kWGU2n6nbAuy-vCEqbgBpZbv3nI/s2048/1510%252BPietro+Torrigiano%252C+Bishop+John+Fisher_Italian%252C+c.+1510-1515_New+York%252C+Metropolitan+Museum+of+Art-v5.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1551" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCsiF7AWC5TAsq7mI6wBpodPAcdhkGV6UF9ghQ2EsE4D358ZnKFou04F8XzXKc-ZgnKXvftu83QoxD_SZd6JzFqh8laPjLhr1hoEqFiMOTh7pj0Mp_kWGU2n6nbAuy-vCEqbgBpZbv3nI/w484-h640/1510%252BPietro+Torrigiano%252C+Bishop+John+Fisher_Italian%252C+c.+1510-1515_New+York%252C+Metropolitan+Museum+of+Art-v5.jpg" width="484" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pietro Torrigiano, Bishop John Fisher<br />Italian, c. 1510-1515<br />New York, Metropolitan Museum of Art</td></tr></tbody></table><p class="MsoNormal"><br /></p><p class="MsoNormal">Comparison between the known portrait of
Fisher by Holbein and the Torrigiano bust reveal the same narrow chin, long
narrow nose, thin lips and hazel eyes as are found in the portrait drawing and
a “pattern” made from it. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnufbaINevAkDqOWd4fz_5tVyzmsHmO1tj36Jyx8FXX_-8hvk6kCMxm_zWlDTYnnwUWvqxooLf6TgvG4o-xrR5-o7bhWvGKqot2tfNNJFuBc0tj-8vpR2JI5DCkJRraDqptXARovDTaC0/s512/1527_Face+Pattern+After+Hans+Holbein%252C+Bishop+John+Fisher_German%252C+16th+Century_London%252C+National+Portrait+Gallery.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="512" data-original-width="454" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnufbaINevAkDqOWd4fz_5tVyzmsHmO1tj36Jyx8FXX_-8hvk6kCMxm_zWlDTYnnwUWvqxooLf6TgvG4o-xrR5-o7bhWvGKqot2tfNNJFuBc0tj-8vpR2JI5DCkJRraDqptXARovDTaC0/w568-h640/1527_Face+Pattern+After+Hans+Holbein%252C+Bishop+John+Fisher_German%252C+16th+Century_London%252C+National+Portrait+Gallery.jpg" width="568" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Face Pattern After Hans Holbein the Younger, Bishop John Fisher<br />German, 16th Century<br />London, National Portrait Gallery</td></tr></tbody></table><p class="MsoNormal"><br />The pattern is
a survivor of one of the professional “tricks of the trade” used by painters in
earlier centuries. A tracing would be
made from an original drawing and the copy would serve as the model or “pattern” from
which painters and engravers would be able to work in creating multiple copies
without harming the original. The age
difference between a man of 41 of the bust and the same man at around 60 in the drawing can easily account
for any differences. In this
consideration it is useful to compare the portrait drawing of Thomas More with
the finished portrait to see how the immediacy of the drawing can look quite
different in the finished work.</p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnGTJj80-f4HNLfLDAxwVqYtwr6AwYMNto98DKUUOIASmtpJY1EDCAgoErZRFapkWbJ-edyZmSwkjYfNPp5k83M-MJjJNxDxEeCqAzzr6g4kRz7ZfysPtusQHU_HdYZ5anKAATluRMa04/s1956/1526_Hans+Holbein_German%252C+1526-1527_London+%252C+Royal+Collections+Trust.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1956" data-original-width="1519" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnGTJj80-f4HNLfLDAxwVqYtwr6AwYMNto98DKUUOIASmtpJY1EDCAgoErZRFapkWbJ-edyZmSwkjYfNPp5k83M-MJjJNxDxEeCqAzzr6g4kRz7ZfysPtusQHU_HdYZ5anKAATluRMa04/w498-h640/1526_Hans+Holbein_German%252C+1526-1527_London+%252C+Royal+Collections+Trust.jpg" width="498" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Hans Holbein the Younger, Sir Thomas More<br />German, 1526-1527<br />London , Royal Collections Trust</td></tr></tbody></table><br />j<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF6djWxJlon_vQZv0UeOOiA8nbSVkq1NV-lODNlV4zNTxeQpbMZ0prZ23cvjPHnS3HwTQqn2FG_mp8uBQJ9sT6TD88hVEeZNaJF8b4_RpMMUZMmfQhAVylPC4zipsy_AnwzC9JAt54gVs/s1150/1527_Holbein%252C+Thomas+More_German_1527_New+York%252C+Frick+Collection.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1150" data-original-width="888" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF6djWxJlon_vQZv0UeOOiA8nbSVkq1NV-lODNlV4zNTxeQpbMZ0prZ23cvjPHnS3HwTQqn2FG_mp8uBQJ9sT6TD88hVEeZNaJF8b4_RpMMUZMmfQhAVylPC4zipsy_AnwzC9JAt54gVs/w494-h640/1527_Holbein%252C+Thomas+More_German_1527_New+York%252C+Frick+Collection.jpg" width="494" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Hans Holbein the Younger, Sir Thomas More<br />German, 1527<br />New York, Frick Collection</td></tr></tbody></table><br /><p class="MsoNormal">The feast day shared by the two men is June 22. This is a compromise between the actual dates
of their deaths. Bishop Fisher was the
first to die, on June 22, 1535. Sir
Thomas More followed a couple of weeks later, on July 6. </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIephBbmmm_1U4GSedilJ4pUfrD2JSyt9sn40YnKIpydpyCFrTmOel1uvCrHTafOtxBJPstiuIuWF3YfPTnHY9ZrOo_T5czh7WTbs49y7kI2tccPDFK6t0SxT_ofY0A5ky6qvKsOZ9Eyg/s338/1935_Mistruzzi%252C+Reverse+of+Medal+Commemorating+the+Canonization+of+Saints+Thomas+More+and+John+Fisher_Italian%252C+1935_London%252C+Royal+Collection+Trust%252C+Royal+Library.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="338" data-original-width="336" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIephBbmmm_1U4GSedilJ4pUfrD2JSyt9sn40YnKIpydpyCFrTmOel1uvCrHTafOtxBJPstiuIuWF3YfPTnHY9ZrOo_T5czh7WTbs49y7kI2tccPDFK6t0SxT_ofY0A5ky6qvKsOZ9Eyg/w636-h640/1935_Mistruzzi%252C+Reverse+of+Medal+Commemorating+the+Canonization+of+Saints+Thomas+More+and+John+Fisher_Italian%252C+1935_London%252C+Royal+Collection+Trust%252C+Royal+Library.jpg" width="636" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Mistruzzi, Reverse of Medal Commemorating the Canonization of Saints Thomas More and John Fisher<br />Italian, 1935<br />London, Royal Collection Trust, Royal Library</td></tr></tbody></table><br /><p class="MsoNormal">Today, when there is continuing and
increasing pressure being put on people of faith to “go along with the pack” on
a host of serious issues, these determined and brave men stand as beacons of light and courage. </p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>© M. Duffy, 2021</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>1. The Metropolitan Museum of Art Catalog of the Renaissance in
Italy and Spain, Introduction by Frederick Hartt, New York, 1987, p. 117 calls
it <i>Bust of John Fisher, Bishop of
Rochester</i>.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">Iain Wardropper, European Sculpture, 1400-1900, The
Metropolitan Museum of Art, New York, 2011, pp. 47-49 calls <i style="mso-bidi-font-style: normal;">it Portrait of an Unknown Man</i> and gives
some of the background for disputing the title.<span style="mso-spacerun: yes;">
</span><o:p></o:p></p>
<p class="MsoNormal">Wolf Burchard, Nation of Shopkeepers: A Very Brief History
of British Decorative Arts, Metropolitan Museum of Art Bulletin, New York, Spring
2020, pp. 6-7 calls it <i style="mso-bidi-font-style: normal;">Bishop John Fisher</i>
without referencing any ambiguity.<o:p></o:p></p>
<p class="MsoNormal">The exhibition primer for the new British galleries on the Metropolitan Museum website calls
it <i style="mso-bidi-font-style: normal;">Bishop John Fisher</i> and includes a
brief audio clip that includes some of Fisher’s own words in opposition to the
divorce.<span style="mso-spacerun: yes;"> </span><o:p></o:p><a href="https://www.metmuseum.org/art/collection/search/197752?&exhibitionId=%7bb2bd281b-58c0-42e2-af3a-54dfb36fdd79%7d&oid=197752&pkgids=632&pg=0&rpp=20&pos=1&ft=*&offset=20">https://www.metmuseum.org/art/collection/search/197752?&exhibitionId=%7bb2bd281b-58c0-42e2-af3a-54dfb36fdd79%7d&oid=197752&pkgids=632&pg=0&rpp=20&pos=1&ft=*&offset=20</a></p><div class="blogger-post-footer">Copyright Margaret Duffy, 2008-2017</div>Margaret Duffyhttp://www.blogger.com/profile/03821836487895782384noreply@blogger.com0tag:blogger.com,1999:blog-415269867796810849.post-18177100680395211952023-06-07T18:52:00.000-04:002023-06-07T18:52:58.430-04:00Resources for Corpus Christi<div dir="ltr" style="text-align: left;" trbidi="on">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5tcEQfobCVuzIQqBMM1icvn0NHh-YcU-tzDXP0AxZ_y4iMXHfGr6eZvwrYo40DOx2EYZCflRfgaJyXkf_aXe2nFzDrrcXP7L_MUfgCFgjXEIAGsOiII7pYEc_ukbzNkB5P85rs-yPPDaki1b_pXY-UTtNxv-M9X5DCycF7ptoNdy-hx9qX1Ao_DvR/s1369/1501_Jean%20Bourdichon_From%20Hours%20of%20Frederic%20of%20Aragon_French%20(Tours),%20c.%201501-1503_Paris,%20BNF_MS%20Latin%2010532,%20fol.%20302v.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1369" data-original-width="767" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5tcEQfobCVuzIQqBMM1icvn0NHh-YcU-tzDXP0AxZ_y4iMXHfGr6eZvwrYo40DOx2EYZCflRfgaJyXkf_aXe2nFzDrrcXP7L_MUfgCFgjXEIAGsOiII7pYEc_ukbzNkB5P85rs-yPPDaki1b_pXY-UTtNxv-M9X5DCycF7ptoNdy-hx9qX1Ao_DvR/w358-h640/1501_Jean%20Bourdichon_From%20Hours%20of%20Frederic%20of%20Aragon_French%20(Tours),%20c.%201501-1503_Paris,%20BNF_MS%20Latin%2010532,%20fol.%20302v.jpeg" width="358" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jean Bourdichon, Angels Holding the Host for Adoration<br />From <u><i>Heures de Frédéric d'Aragon</i></u><br />French (Tours), c. 1501-1504<br />Paris, Bibliotheque nationale de France<br />MS Latin 10532, fol. 302<br /><br /></td></tr></tbody></table>
<i><span style="color: #0b5394; font-family: inherit;"><span style="background-color: white;">"Jesus said to the Jewish crowds:</span><br style="background-color: white; box-sizing: inherit;" /><span style="background-color: white;">"I am the living bread that came down from heaven;</span><br style="background-color: white; box-sizing: inherit;" /><span style="background-color: white;">whoever eats this bread will live forever;</span><br style="background-color: white; box-sizing: inherit;" /><span style="background-color: white;">and the bread that I will give</span><br style="background-color: white; box-sizing: inherit;" /><span style="background-color: white;">is my flesh for the life of the world."</span><br style="background-color: white; box-sizing: inherit;" /><br style="background-color: white; box-sizing: inherit;" /><span style="background-color: white;">The Jews quarreled among themselves, saying,</span><br style="background-color: white; box-sizing: inherit;" /><span style="background-color: white;">"How can this man give us his flesh to eat?"</span><br style="background-color: white; box-sizing: inherit;" /><span style="background-color: white;">Jesus said to them,</span><br style="background-color: white; box-sizing: inherit;" /><span style="background-color: white;">"Amen, amen, I say to you,</span><br style="background-color: white; box-sizing: inherit;" /><span style="background-color: white;">unless you eat the flesh of the Son of Man and drink his blood,</span><br style="background-color: white; box-sizing: inherit;" /><span style="background-color: white;">you do not have life within you.</span><br style="background-color: white; box-sizing: inherit;" /><span style="background-color: white;">Whoever eats my flesh and drinks my blood</span><br style="background-color: white; box-sizing: inherit;" /><span style="background-color: white;">has eternal life,</span><br style="background-color: white; box-sizing: inherit;" /><span style="background-color: white;">and I will raise him on the last day.</span><br style="background-color: white; box-sizing: inherit;" /><span style="background-color: white;">For my flesh is true food,</span><br style="background-color: white; box-sizing: inherit;" /><span style="background-color: white;">and my blood is true drink.</span><br style="background-color: white; box-sizing: inherit;" /><span style="background-color: white;">Whoever eats my flesh and drinks my blood</span><br style="background-color: white; box-sizing: inherit;" /><span style="background-color: white;">remains in me and I in him.</span><br style="background-color: white; box-sizing: inherit;" /><span style="background-color: white;">Just as the living Father sent me</span><br style="background-color: white; box-sizing: inherit;" /><span style="background-color: white;">and I have life because of the Father,</span><br style="background-color: white; box-sizing: inherit;" /><span style="background-color: white;">so also the one who feeds on me</span><br style="background-color: white; box-sizing: inherit;" /><span style="background-color: white;">will have life because of me.</span><br style="background-color: white; box-sizing: inherit;" /><span style="background-color: white;">This is the bread that came down from heaven.</span><br style="background-color: white; box-sizing: inherit;" /><span style="background-color: white;">Unlike your ancestors who ate and still died,</span><br style="background-color: white; box-sizing: inherit;" /><span style="background-color: white;">whoever eats this bread will live forever."</span></span></i></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="color: #0b5394;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="color: #0b5394;">John 6:51-58 (Gospel for the Solemnity of the Body and Blood of Christ)</span><br />
<br /><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">
The feast of Corpus Christi or Corpus Domini or The Most Holy Body and Blood of Christ is a special feast day of the Church. It occurs on either the Thursday after Trinity Sunday (in many countries) or on the Sunday after Trinity Sunday (in the United States). It focuses our attention on the mystery of the Eucharist, in which the bread and wine that we offer are transformed into the true Body and Blood of Christ.<br />
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It was officially recognized by the Church in 1264 by Pope Urban IV, who asked St. Thomas Aquinas to compose the liturgical prayers for the feast. Thomas responded with some of the most beautiful prayers and hymns in the history of the Church. Artists also developed a complex and fascinating repertoire of images which celebrate the same mystery. In past essays I have described many of the ways in which artists have responded. Here is a series of links which you can use to access this material.<br />
<br /><br /><div class="MsoNormal"><h4 style="text-align: left;">Lists of Posts Related to the Feast of Corpus Christi</h4><table border="1" cellpadding="0" cellspacing="0" class="MsoNormalTable" style="border-collapse: collapse; border: medium none; margin-left: -0.5pt; mso-border-alt: solid windowtext .5pt; mso-border-insideh: .5pt solid windowtext; mso-border-insidev: .5pt solid windowtext; mso-padding-alt: 0in 5.4pt 0in 5.4pt; width: 649px;">
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<p class="MsoNormal">"<a href="https://imaginemdei.blogspot.com/2020/06/the-miracle-of-mule-corpus-christi.html">The
Miracle of the Mule – A Corpus Christi Reflection</a>"<o:p></o:p></p>
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<p class="MsoNormal">June 14, 2020<o:p></o:p></p>
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<p class="MsoNormal">“<a href="https://imaginemdei.blogspot.com/2017/06/corpus-christi-living-bread-that-came.html">The
Living Bread That Came Down From Heaven</a>”<o:p></o:p></p>
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<p class="MsoNormal">June 18, 2017<o:p></o:p></p>
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<p class="MsoNormal">"<a href="https://imaginemdei.blogspot.com/2017/06/corpus-christ-of-blood-all-price.html">Of
the Blood, All Price Exceeding, Shed by Our Immortal King</a>"<o:p></o:p></p>
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<p class="MsoNormal">June 18, 2017<o:p></o:p></p>
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<p class="MsoNormal"><a href="https://imaginemdei.blogspot.com/2011/06/corpus-christi-last-supper-vs.html">Last
Supper vs. Institution of the Eucharist</a><o:p></o:p></p>
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<p class="MsoNormal">June 26, 2011<o:p></o:p></p>
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<p class="MsoNormal"><a href="https://imaginemdei.blogspot.com/2008/05/corpus-christi.html">Corpus
Christi in the Vatican Stanze</a><o:p></o:p></p>
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<p class="MsoNormal">May 25, 2008<o:p></o:p></p>
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<h4 style="text-align: left;"><br /></h4><div><br /></div><div><br /></div><h4 style="text-align: left;">
Posts Reviewing the 2013 Exhibition<span style="font-family: Times, Times New Roman, serif;"> <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Illuminating Faith: The Eucharist
in Medieval Life and Art</i></b> </span><br />at the Morgan Library, New York</h4>
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<b>Original Date of Publication</b><o:p></o:p></div>
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<a href="https://imaginemdei.blogspot.com/2013/05/illuminating-eucharistic-faith-at.html">Illuminating
Eucharistic Faith at the Morgan Library</a><o:p></o:p></div>
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May 29, 2013<o:p></o:p></div>
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<a href="https://imaginemdei.blogspot.com/2013/05/the-sacrifice-of-mass-at-morgan.html">The
Sacrifice of the Mass at the Morgan</a><o:p></o:p></div>
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May 30, 2013<o:p></o:p></div>
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<a href="https://imaginemdei.blogspot.com/2013/05/the-eucharist-and-old-testament-at.html">The
Eucharist and the Old Testament at the Morgan Library</a><o:p></o:p></div>
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May 31, 2013 <o:p></o:p></div>
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<a href="https://imaginemdei.blogspot.com/2013/06/domestic-devotion-to-eucharist-at.html">Domestic
Devotion to the Eucharist at the Morgan Library</a><o:p></o:p></div>
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June 4, 2013<o:p></o:p></div>
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<a href="https://imaginemdei.blogspot.com/2013/06/the-feast-of-corpus-christi-at-morgan.html">The
Feast of Corpus Christi at the Morgan Library</a><o:p></o:p></div>
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June 5, 2013<o:p></o:p></div>
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<a href="https://imaginemdei.blogspot.com/2013/06/eucharistic-miracles-and-final-ends-at.html">Eucharistic
Miracles and Final Ends at the Morgan Library</a><o:p></o:p></div>
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June 12, 2013<o:p></o:p></div>
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<h4 style="text-align: left;"><p class="MsoNormal">Posts Examining the Related Iconography of the Manna in the
Desert, an Old Testament Prefiguration of the Eucharist, and the Multiplication
of the Loaves and Fish, a New Testament Prefiguration</p><p class="MsoNormal"><o:p></o:p></p>
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<td style="border-top: none; border: 1pt solid windowtext; height: 12.95pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 346.55pt;" valign="top" width="462">
<p class="MsoNormal"><a href="https://imaginemdei.blogspot.com/2018/08/prefiguring-salvation-manna-in-desert.html">Prefiguring
Salvation –Manna in the Desert and the Bread from Heaven, Part I</a><o:p></o:p></p>
</td>
<td style="border-bottom-color: windowtext; border-color: currentcolor windowtext windowtext currentcolor; border-left-color: initial; border-right-color: windowtext; border-style: none solid solid none; border-top-color: initial; border-width: medium 1pt 1pt medium; height: 12.95pt; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 140.35pt;" valign="top" width="187">
<p class="MsoNormal">August 15, 2018<o:p></o:p></p>
</td>
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<td style="border-top: none; border: 1pt solid windowtext; height: 12.95pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 346.55pt;" valign="top" width="462">
<p class="MsoNormal"><a href="https://imaginemdei.blogspot.com/2018/08/prefiguring-salvation-manna-in-desert_15.html">Prefiguring
Salvation -- Manna in the Desert and the Bread from Heaven, Part II</a><o:p></o:p></p>
</td>
<td style="border-bottom-color: windowtext; border-color: currentcolor windowtext windowtext currentcolor; border-left-color: initial; border-right-color: windowtext; border-style: none solid solid none; border-top-color: initial; border-width: medium 1pt 1pt medium; height: 12.95pt; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 140.35pt;" valign="top" width="187">
<p class="MsoNormal">August 15, 2018<o:p></o:p></p>
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<td style="border-top: none; border: 1pt solid windowtext; height: 12.95pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 346.55pt;" valign="top" width="462">
<p class="MsoNormal"><a href="https://imaginemdei.blogspot.com/2018/08/prefiguring-salvation-manna-in-desert_25.html">Prefiguring
Salvation -- Manna in the Desert and the Bread from Heaven, Part III</a><o:p></o:p></p>
</td>
<td style="border-bottom-color: windowtext; border-color: currentcolor windowtext windowtext currentcolor; border-left-color: initial; border-right-color: windowtext; border-style: none solid solid none; border-top-color: initial; border-width: medium 1pt 1pt medium; height: 12.95pt; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 140.35pt;" valign="top" width="187">
<p class="MsoNormal">August 25, 2018<o:p></o:p></p>
</td>
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<td style="border-top: none; border: 1pt solid windowtext; height: 12.95pt; mso-border-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 346.55pt;" valign="top" width="462">
<p class="MsoNormal"><a href="https://imaginemdei.blogspot.com/2020/08/illustrating-miracles-multiplication-of.html">Illustrating
Miracles – Multiplication of the Loaves and Fish</a><o:p></o:p></p>
</td>
<td style="border-bottom-color: windowtext; border-color: currentcolor windowtext windowtext currentcolor; border-left-color: initial; border-right-color: windowtext; border-style: none solid solid none; border-top-color: initial; border-width: medium 1pt 1pt medium; height: 12.95pt; mso-border-alt: solid windowtext .5pt; mso-border-left-alt: solid windowtext .5pt; mso-border-top-alt: solid windowtext .5pt; padding: 0in 5.4pt; width: 140.35pt;" valign="top" width="187">
<p class="MsoNormal">August 2, 2020<o:p></o:p></p>
</td>
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</tbody></table><p class="MsoNormal"><br /></p></h4>
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">©</span> M. Duffy, 2021, 2022, 2023<o:p></o:p></div>
<br /></div><br />
<div class="blogger-post-footer">Copyright Margaret Duffy, 2008-2017</div>Margaret Duffyhttp://www.blogger.com/profile/03821836487895782384noreply@blogger.com0tag:blogger.com,1999:blog-415269867796810849.post-87562390301393274892023-06-04T02:06:00.005-04:002023-06-21T03:44:45.214-04:00Iconography of the Holy Trinity -- The Pietà of the Father, Divine Love Made Visible<div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho68c0OZumPIUHVpS8VDg7nEQtnwaYRB7YCeMAmqpQyKpqvKR5JvS2hhxplLwgPHcno_KA7YQPabHXBCqy-7tUk0r77CuPOZ0V2FwrOxJ5JLndWvjNeYHKcdDV6cx2jZvW_T4jTweTip9W_illGnocnqASAruoFcfGk_Qg0AXO_febIh_bm0wRkeau/s640/1577_El%20Greco,%20The%20Sorrow%20of%20God_Greco-Spanish,%201577-1579_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" imageanchor="1" style="clear: left; font-style: normal; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="640" data-original-width="374" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho68c0OZumPIUHVpS8VDg7nEQtnwaYRB7YCeMAmqpQyKpqvKR5JvS2hhxplLwgPHcno_KA7YQPabHXBCqy-7tUk0r77CuPOZ0V2FwrOxJ5JLndWvjNeYHKcdDV6cx2jZvW_T4jTweTip9W_illGnocnqASAruoFcfGk_Qg0AXO_febIh_bm0wRkeau/w374-h640/1577_El%20Greco,%20The%20Sorrow%20of%20God_Greco-Spanish,%201577-1579_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="374" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">El Greco, The Sorrow of God<br />Greco-Spanish, c. 1577-1579<br />Madrid, Museo Nacional del Prado</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><i style="mso-bidi-font-style: normal;"></i></div><div dir="ltr" style="text-align: left;" trbidi="on"><i style="mso-bidi-font-style: normal;">“For God so loved the
world that he gave his only Son, so that everyone who believes in him might not
perish but might have eternal life. </i><br />
<i style="mso-bidi-font-style: normal;">For God did not send
his Son into the world to condemn the world, but that the world might be saved
through him.”</i><br />
<div class="MsoNormal">
John 3:16-17 (Jesus speaking to Nicodemus)<br />
Gospel for the Solemnity of the Most Holy Trinity, Year B<o:p></o:p><br />
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span>“In this way the love of God was revealed to
us: God sent his only Son into the world so that we might have life through
him. </i><br />
<i style="mso-bidi-font-style: normal;">In this is love: not
that we have loved God, but that he loved us and sent his Son as expiation for
our sins.”</i></div>
<div class="MsoNormal">
1 John 4:9-10 (John the Evangelist writing toward the end of
the first century AD)<sup><span style="color: blue;"><u><b>1</b></u></span><o:p></o:p></sup></div>
<div class="MsoNormal">
<br />
<br />
Christians, and Catholics in particular, believe in a Triune
God.<span style="mso-spacerun: yes;"> </span>Catholics begin every liturgy,
every prayer with the words “In the name of the Father and of the Son and of
the Holy Spirit”, echoing the words of Jesus himself <i style="mso-bidi-font-style: normal;">“Go, therefore, and make disciples of all nations, baptizing them in
the name of the Father, and of the Son, and of the Holy Spirit.”<span style="mso-spacerun: yes;"> </span></i>(<span style="mso-bidi-font-weight: bold;">Matthew
28:19).<span style="mso-spacerun: yes;"> Christians of all types baptize in the name of the Three Persons. </span>Catholics and some other
Christians also end prayers with what is known as a doxology, the most familiar
of which for Catholics is <i style="mso-bidi-font-style: normal;">“Glory be to
the Father and to the Son and to the Holy Spirit.<span style="mso-spacerun: yes;"> </span>As it was in the beginning, is now and ever shall be.”</i>.<span style="mso-spacerun: yes;"> </span>Many liturgical prayers
address God the Father directly at their end in a way that includes the other
Persons of the Trinity <i style="mso-bidi-font-style: normal;">“Through our Lord Jesus Christ,
your Son, who lives and reigns with you in the unity of the Holy Spirit, one
God, for ever and ever. Amen.”<o:p></o:p></i></span></div>
<div class="MsoNormal">
<br />
<br />
<br />
<br />
<br />
What is this all about?<span style="font-family: inherit;"><span style="mso-spacerun: yes;"> </span>“The
mystery of the Most Holy Trinity is the central mystery of Christian faith and
life. It is the mystery of God in himself.”<sup><span style="color: blue;"><u><b>2</b></u></span> </sup></span>Belief in the Holy Trinity is unique to Christianity and is one of the most
difficult of all Christian concepts to understand.<span style="mso-spacerun: yes;"> </span>It is a primary stumbling block for many,
many people.<span style="mso-spacerun: yes;"> </span>To Jews and Muslims it is
inconceivable, even blasphemous, to suggest that God, the One God, should be Three "Persons" and that one of
the Three became and remains human.<span style="mso-spacerun: yes;"> </span>To
those who acknowledge that God <b style="mso-bidi-font-weight: normal;">may</b>
exist, it is a leap too far to say that this “Force” is somehow personal, let
alone triune, and that the man, Jesus, was also God.<span style="mso-spacerun: yes;"> </span>To those from cultural traditions where many
gods are the norm, it is puzzling why Christianity claims to be about one God,
when it seems to name three.<span style="mso-spacerun: yes;"> </span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRK2i4m4zJ4udB2X508WLw-UsP4xpk53uiikQAiapqGUjrOwj1l3itw8y11XOp4Q-qJXaHGGB6tzoFqtDhwkJqOlqia27_W5IErImZDjgTY-UrZjQXYJVYAJYekzcXquV87kSzqX0DW-8/s1600/Shield-Trinity-Scutum-Fidei-English.svg_.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1440" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRK2i4m4zJ4udB2X508WLw-UsP4xpk53uiikQAiapqGUjrOwj1l3itw8y11XOp4Q-qJXaHGGB6tzoFqtDhwkJqOlqia27_W5IErImZDjgTY-UrZjQXYJVYAJYekzcXquV87kSzqX0DW-8/s400/Shield-Trinity-Scutum-Fidei-English.svg_.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;">Diagram that attempts to explain the relationships within the Trinity of the Father, Son and Holy Spirit. Each is God, but they are differentiated independently. Therefore, the Father is not the Son or the Holy Spirit, The son is not the Father or the Holy Spirit. The Holy Spirit is not the Father or the Son. But each is God and together they are one and undivided God. </td></tr>
</tbody></table>
<o:p></o:p></div>
<div class="MsoNormal">
<br />
To Christians the Trinity is one of the great glories of
Christianity, but also one of its most profound (in the sense of deep and
overwhelming) mysteries. Even the most subtle thinkers have reminded us that
our earthbound, materially based, intellects cannot grasp the full reality of
the Three in One.<span style="mso-spacerun: yes;"> </span>Yet, the Christian belief in the Trinity appears very early on, already in use by Saint Paul in the middle of the first
century, barely twenty years after the death, resurrection and ascension of
Jesus.<sup><span style="color: blue;"><u><b>3</b></u></span></sup><span style="mso-spacerun: yes;"> <span style="font-family: inherit;"> </span></span><span style="font-family: inherit;">And,
it was clearly in evidence by the time Matthew’s Gospel was written, about an
additional thirty years later, as evidenced by the quote in the first paragraph
above.<sup><span style="color: blue;"><u><b>4</b></u></span></sup> <span style="mso-spacerun: yes;"> </span>It certainly
represents a huge break from Jewish tradition, with the strong insistence on
the oneness of God.<span style="mso-spacerun: yes;"> </span>It is a break so radical
that it is, in itself, evidence of a revelation, for what devout
Jew would or could imagine such a thing.<span style="mso-spacerun: yes;"> </span></span><br />
<o:p></o:p><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYNrkNJ63E4H145lRaF-5NxsBVSxUAU3_15YyCIXdNH9J1dsYvAUQXC0kpYJV0kqg-U7Xcg3A3y-hcfrX17UgVnsqm6xUL4dbRkY30RIiO3j5BG7doW_lpjzhHzgIbkUXOHB0D_VDG2dc/s1600/Adoration-of-the-Trinity-Chiesa-del-Gesu-6591-VLG.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="350" data-original-width="259" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYNrkNJ63E4H145lRaF-5NxsBVSxUAU3_15YyCIXdNH9J1dsYvAUQXC0kpYJV0kqg-U7Xcg3A3y-hcfrX17UgVnsqm6xUL4dbRkY30RIiO3j5BG7doW_lpjzhHzgIbkUXOHB0D_VDG2dc/s640/Adoration-of-the-Trinity-Chiesa-del-Gesu-6591-VLG.jpg" width="472" /></a></td></tr>
<tr><td class="tr-caption">Federico Zuccaro, Seven Archangels Adoring the Trinity <br /> Italian, c. 1600 <br /> Rome, Church of Il Gesù
<div class="MsoNormal">
<span style="font-family: "times new roman" , serif; font-size: 10pt; line-height: 107%;"><o:p></o:p></span></div>
</td></tr>
</tbody></table><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal">
Also early and profound is the assertion that this infinite God
so loved us, flawed as we are, that he chose to unite himself with us and to
suffer with us at the deepest level, through the limitations of a human life, bearing
physical torture and psychological suffering, and dying in his human body, just
like us.<span style="mso-spacerun: yes;"> </span>But then, Christians believe
that, in a spectacular and completely unexpected act, that divine-human person
also rose to a new kind of life in that same body and took that body into the
infinity of God, which is the loving union of Father, Son and Holy Spirit.<span style="mso-spacerun: yes;"> </span>And further, we believe that God offers a
share in this new life to us, through his union with us.<span style="mso-spacerun: yes;"> </span>Only love can do this and love is the nature of the Holy Trinity.<span style="mso-spacerun: yes;"> </span>Although no
theologian has been able to completely explain the Trinity, it is generally
agreed that the essence of God is love, that this love is cosmically creative,
that it is self-reflective and that the self-reflection is the source of the
distinct “Persons” who sustain all of creation through the mutual, overflowing,
infinitely active love which they share.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br />
<o:p></o:p></div>
<div class="MsoNormal">
Many times the Evangelist John reminds us that God is love
and that his infinite love is also the source of his self-offering, for the
Jesus who teaches and heals and suffers and dies is also the Father, and, when
we see him we see the Father.</div>
<div class="MsoNormal" style="margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;">“Whoever has seen me has seen the Father.<o:p></o:p></i></div>
<div class="MsoNormal" style="margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;">How can you say, 'Show us the Father'?<o:p></o:p></i></div>
<div class="MsoNormal" style="margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;">Do you not believe that I am in the Father
and the Father is in me?<o:p></o:p></i></div>
<div class="MsoNormal" style="margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;">The words that I speak to you I do not speak
on my own.<o:p></o:p></i></div>
<div class="MsoNormal" style="margin-bottom: 0in;">
<i style="mso-bidi-font-style: normal;">The Father who dwells in me is doing his
works.”<o:p></o:p></i></div>
<div class="MsoNormal">
John 14:9-10 (Jesus speaking to the Apostle Philip)<o:p></o:p><br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br /></div>
<div class="MsoNormal">
<h4 style="text-align: left;">
Imagining the Unimaginable</h4>
Some years ago I wrote about the iconography of the Holy
Trinity (see <a href="http://imaginemdei.blogspot.com/2012/06/iconography-of-holy-trinity-imagining.html">Iconography
of the Holy Trinity -- Imagining the Unimaginable</a>).<span style="mso-spacerun: yes;"> </span>This has consistently remained one of my most
popular articles.<span style="mso-spacerun: yes;"> </span>In it I tried to
explain the difficulties Christian writers and artists have had over the
centuries in trying to imagine and picture the Trinity.<span style="mso-spacerun: yes;"> </span>I also gave a brief overview of some of the ways in
which visual artists have envisioned the Trinity.<span style="mso-spacerun: yes;"> </span>In this article I will be looking at one of
those treatments, in which artists have struggled to give form to the self-offering
of the Trinity.<o:p></o:p><br />
<br />
Most people in western culture today are vaguely aware of the image of the Virgin Mary holding her dead son on her lap, known as the Piet<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">à</span>.<span style="mso-spacerun: yes;"> </span>The image of the sorrowing mother is one that, on a human level, no one has any trouble understanding.<span style="mso-spacerun: yes;"> One does not need to be a Christian to relate to the image. </span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOMZviKq2x04osYxfgG66EtIote16dohniyU-K2643tVJoDjqJ6yKHioZgzz2WrgKsEiMVeFoErR8j0LKUsDeQjgM7kk0TJxs1w6ZbV-nXepBZq3I8ks-6xecKnTUJWUCFjJzck7VZtnc/s1600/1500_Pieta_Italian%252C+c.+1499-1500_VAtican%252C+St.+Peter%2527s+Basilica.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1366" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOMZviKq2x04osYxfgG66EtIote16dohniyU-K2643tVJoDjqJ6yKHioZgzz2WrgKsEiMVeFoErR8j0LKUsDeQjgM7kk0TJxs1w6ZbV-nXepBZq3I8ks-6xecKnTUJWUCFjJzck7VZtnc/s640/1500_Pieta_Italian%252C+c.+1499-1500_VAtican%252C+St.+Peter%2527s+Basilica.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption">Michelangelo, Pietà<br /> Italian, c. 1499-1500<br /> Vatican City, St. Peter's Basilica</td></tr>
</tbody></table><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal">
Primarily the image that comes to mind is the great statue carved by the young Michelangelo, which has been on display in the Basilica of St. Peter in Vatican City for centuries.<span style="mso-spacerun: yes;"> </span>But very few are aware that a there is another image which, though derived from it, shows a far more profound, even troubling, idea.<span style="mso-spacerun: yes;"> </span>For in it we see that God the Father presents us with the ultimate proof of his love for his human creatures.</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihyWVriyyrRHkwZ9DZj16Bo68QTNpbMWofAZpyaj7TECm5VU10N3ShFidJJKRsbvstvUHX3_whlyEtiYq9MKoBSgPCIN_MRyWNKTzHOdVM9d2ixUw4NBehnLDNJwFLwiWECgfCEkXWbXrXDRaVHYvFGDcjNQ5rSFJsuXAepRY6_o64Mpf91LcAB37y/s398/1402_Workshop%20of%20the%20Master%20of%20the%20Coronation%20of%20the%20Virgin_From%20a%20Book%20of%20Hours_French%20(Paris),%201402_New%20York,%20Pierpont_MS%20M%20515,%20fol.130v_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="398" data-original-width="371" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihyWVriyyrRHkwZ9DZj16Bo68QTNpbMWofAZpyaj7TECm5VU10N3ShFidJJKRsbvstvUHX3_whlyEtiYq9MKoBSgPCIN_MRyWNKTzHOdVM9d2ixUw4NBehnLDNJwFLwiWECgfCEkXWbXrXDRaVHYvFGDcjNQ5rSFJsuXAepRY6_o64Mpf91LcAB37y/w596-h640/1402_Workshop%20of%20the%20Master%20of%20the%20Coronation%20of%20the%20Virgin_From%20a%20Book%20of%20Hours_French%20(Paris),%201402_New%20York,%20Pierpont_MS%20M%20515,%20fol.130v_1.jpg" width="596" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Workshop of the Master of the Coronation of the Virgin, The Sorrow of God<br />From a <i><u>Book of Hours</u></i><br />French (Paris), 1402<br />New York, Pierpont Morgan Library<br />MS M 515, fol.130v<br /><br /><br /></td></tr></tbody></table><div class="MsoNormal">
<br />The Iconclass system, a system of classifying art by
subject, developed in Holland during the 20<sup>th</sup> century, describes this
image type as “God the Father standing or seated, holding the body of Christ,
‘Pitié-de-Notre-Seigneur’, ‘Not Gottes’”. <sup><b><u><span style="color: blue;">5</span></u></b></sup><span style="mso-spacerun: yes;">
</span>These two expressions may be translated into English as the “Sorrow of
God”. It is this image that we will be examining here.<br />
<o:p></o:p></div>
<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<h4 style="text-align: left;">
Development of the Image of the Sorrow of God</h4>
</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
The Sorrow of God image appears to have had its beginnings in the period stretching from the end of the fourteenth- to the beginning of the fifteenth-century.<span style="mso-spacerun: yes;">
</span>A series of other images, centering around the body of Christ depicted as bearing
the wounds of the Crucifixion, appear to have played a role in its
development.<span style="mso-spacerun: yes;"> </span><o:p></o:p><br />
<span style="mso-spacerun: yes;"><br /></span></div>
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First, the image of the <b><i>Piet<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">à</span></i></b>, in which the body of Jesus,
removed from the cross, is laid across the lap of Mary, his mother.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghwE61XJZYiQM2q43QDoiX6oDx4w7f9d7Q9xOuZCg5Ff5vyFZgvgJa5hlcU0m7i1N7JTPCkHlc_wIaaRu8csIIIfOCjFVlk0HccrU2kLB4BwMa7SAkoMbvm7kQrjGyrEyLCqnFGK6BulZ-xx3q5_2qU1GKw3RNYqyJYTXSyP5E_P56xjkM0ju9q_Kz/s1858/1300_Roettgen%20Pieta_German,%20c.%201300_Bonn,%20Rheinisches%20Landesmuseum_4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1858" data-original-width="1192" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghwE61XJZYiQM2q43QDoiX6oDx4w7f9d7Q9xOuZCg5Ff5vyFZgvgJa5hlcU0m7i1N7JTPCkHlc_wIaaRu8csIIIfOCjFVlk0HccrU2kLB4BwMa7SAkoMbvm7kQrjGyrEyLCqnFGK6BulZ-xx3q5_2qU1GKw3RNYqyJYTXSyP5E_P56xjkM0ju9q_Kz/w410-h640/1300_Roettgen%20Pieta_German,%20c.%201300_Bonn,%20Rheinisches%20Landesmuseum_4.jpg" width="410" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Roettgen Pietà<br />German, c. 1300<br />Bonn, Rheinisches Landesmuseum</td></tr></tbody></table><div class="MsoNormal"><span style="mso-spacerun: yes;"></span><o:p></o:p><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisYH7qU9Tth0ZAKB2SwXIr_q1piIcwHVIRwposKd3fq3P_7gTBVLe-_agM8GKKpbNIkLEq-gfjHh-DXFLU7byXVbi7oEEZPS0sdw2NRz0ZpJ32xrgTz3Swcj2s7vNcAiSDj3wMgixdnzs/s1600/1370_Roberto+d%2527Oderisi_Itlian%252C+c.+1370_Private+Collection.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1134" data-original-width="695" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisYH7qU9Tth0ZAKB2SwXIr_q1piIcwHVIRwposKd3fq3P_7gTBVLe-_agM8GKKpbNIkLEq-gfjHh-DXFLU7byXVbi7oEEZPS0sdw2NRz0ZpJ32xrgTz3Swcj2s7vNcAiSDj3wMgixdnzs/s640/1370_Roberto+d%2527Oderisi_Itlian%252C+c.+1370_Private+Collection.jpg" width="392" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Roberto d'Oderisi, Pietà<br />
Italian, c. 1370<br />
Private Collection</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAwlfELcdiqNmN_c2UQP9TZCA1AgSvLSeyBnrO3dJMfeR9tAZiyiWzH-10WG2NhvOSeghbEEMeWZKnTUPOALoQi6mwY_CZAo1JJSia49gxMz8uiac5rLxSrK-utr-qFgAvhBd6Oe3ti63QjEmvVEFoORUvON9Z49efP253ynfVSVsR3iQaOdNamhlI/s1303/1460_Enguerrand%20Charonton,%20Pieta%20of%20Villeneuve-les-Avignon_French,%20c.%201460_Paris,%20Musee%20du%20Louvre.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="994" data-original-width="1303" height="488" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAwlfELcdiqNmN_c2UQP9TZCA1AgSvLSeyBnrO3dJMfeR9tAZiyiWzH-10WG2NhvOSeghbEEMeWZKnTUPOALoQi6mwY_CZAo1JJSia49gxMz8uiac5rLxSrK-utr-qFgAvhBd6Oe3ti63QjEmvVEFoORUvON9Z49efP253ynfVSVsR3iQaOdNamhlI/w640-h488/1460_Enguerrand%20Charonton,%20Pieta%20of%20Villeneuve-les-Avignon_French,%20c.%201460_Paris,%20Musee%20du%20Louvre.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Enguerrand Quarton, Pietà of Villeneuve-les-Avignon</div><div style="text-align: center;">French, c. 1460</div><div style="text-align: center;">Paris, Musée du Louvre</div></td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4WypCliejMz3QM1bJtyAx3-8JU9qODZ-pfWXPYwrRMquD36B7ipfIMXcTR3PzIJXi6ZjyO8dI2MvKHlYKBbHwEsb-W-SYDraiT_GtoqkTdND07LtuQuxbtg4p7De-9_c-Br7voVAa69zq-huNMkEaZGMFKncItF6Je-15a1zfmk42zSveTloDFB0s/s1441/1485_Ludovico%20Brea_French%20(Provencal),%20c.%201485-1495_Paris,%20Musee%20du%20Louvre.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1441" data-original-width="1056" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4WypCliejMz3QM1bJtyAx3-8JU9qODZ-pfWXPYwrRMquD36B7ipfIMXcTR3PzIJXi6ZjyO8dI2MvKHlYKBbHwEsb-W-SYDraiT_GtoqkTdND07LtuQuxbtg4p7De-9_c-Br7voVAa69zq-huNMkEaZGMFKncItF6Je-15a1zfmk42zSveTloDFB0s/w470-h640/1485_Ludovico%20Brea_French%20(Provencal),%20c.%201485-1495_Paris,%20Musee%20du%20Louvre.JPG" width="470" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Louis Brea, Pietà</div><div style="text-align: center;">French, c. 1485-1495</div><div style="text-align: center;">Paris, Musée du Louvre</div></td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjAZLdpJwFq3Cymnhe5qw1azVusRSZKst5de66aPmAOYyd4y7zmsigr5Y1AY5hiJB89bpPLdlGjz7sKiKmx8oDPslRp7tdTa_0GDF0OPQqsgDuch50twqmt7Nnlp1cZ2wjmWsmFiDNZ0ZXyC6xGAfpRDun07ljP9Ac77Up_40quQPNzr4iPQQVpAby/s1024/1545_Lorenzo%20Lotto_Italian,%201545_Milan,%20Pinacoteca%20di%20Brera_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1024" data-original-width="839" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjAZLdpJwFq3Cymnhe5qw1azVusRSZKst5de66aPmAOYyd4y7zmsigr5Y1AY5hiJB89bpPLdlGjz7sKiKmx8oDPslRp7tdTa_0GDF0OPQqsgDuch50twqmt7Nnlp1cZ2wjmWsmFiDNZ0ZXyC6xGAfpRDun07ljP9Ac77Up_40quQPNzr4iPQQVpAby/w524-h640/1545_Lorenzo%20Lotto_Italian,%201545_Milan,%20Pinacoteca%20di%20Brera_1.jpg" width="524" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Lorenzo Lotto, Pietà<br />Italian, 1545<br />Milan, Pinacoteca di Brera</td></tr></tbody></table><br /><br /><span style="mso-spacerun: yes;"><br /></span></div>
<div class="MsoNormal">
Then the image of the<span style="color: blue;"> <b><i><a href="https://imaginemdei.blogspot.com/2012/04/meditation-on-passion-man-of-sorrows.html" target="_blank"><span style="color: #6fa8dc;">Man of Sorrows</span></a></i></b></span>, in which the dead
Christ stands or sits before the viewer, showing the wounds of the Passion for
contemplation.</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhws_FMFWi8W6LQvtZPG95i110Ujsvk9Ns-cxz6ap_fXVfy0tBDb_ElXgSa09ZVneoQL8Q4ELuxowjUUCNqLwvedJuNJLqEgJWbfZEBYcH-qKfXF2HxFbJRHAWKNZi6D9wh42O7MHcfN3Pe4lhcH1OAkG-C4r9NITpvUh3iNtzCEGbF339wO50MWDqM/s800/1255_Master%20of%20the%20Borgo%20Crucifix_Italian,%20c.%201255-1260_London,%20National%20Gallery.1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="800" data-original-width="567" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhws_FMFWi8W6LQvtZPG95i110Ujsvk9Ns-cxz6ap_fXVfy0tBDb_ElXgSa09ZVneoQL8Q4ELuxowjUUCNqLwvedJuNJLqEgJWbfZEBYcH-qKfXF2HxFbJRHAWKNZi6D9wh42O7MHcfN3Pe4lhcH1OAkG-C4r9NITpvUh3iNtzCEGbF339wO50MWDqM/w454-h640/1255_Master%20of%20the%20Borgo%20Crucifix_Italian,%20c.%201255-1260_London,%20National%20Gallery.1.jpg" width="454" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of the Borgo Crucifix, Man of Sorrows<br />Italian, c. 1255-1260<br />London, National Gallery</td></tr></tbody></table><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDBsxXs54EI9L_fMSx48BSFw2nX3qCNRXeuzE4nqwOqAFaKs4dBZZJZU3g7F__-QKNKHKOOcfWfg4mgtzElvkMGfStru5AaNjCqBtoKibAhQVyxp97PkkKG2ZEIg_zS80NWw3vxHjiWYPMDKbOdJUrYrmTtla-U-I-0lmVgbQv5XgvW9B6tmh6a1x4/s3173/1370_Niccolo%20di%20Tommasso_Italian,%20c.%201370_New%20York,%20Metropolitan%20Museum%20of%20Art,%20The%20Cloisters%20Collection.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="3071" data-original-width="3173" height="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDBsxXs54EI9L_fMSx48BSFw2nX3qCNRXeuzE4nqwOqAFaKs4dBZZJZU3g7F__-QKNKHKOOcfWfg4mgtzElvkMGfStru5AaNjCqBtoKibAhQVyxp97PkkKG2ZEIg_zS80NWw3vxHjiWYPMDKbOdJUrYrmTtla-U-I-0lmVgbQv5XgvW9B6tmh6a1x4/w640-h620/1370_Niccolo%20di%20Tommasso_Italian,%20c.%201370_New%20York,%20Metropolitan%20Museum%20of%20Art,%20The%20Cloisters%20Collection.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Niccolo di Tommasso, Man of Sorows<br />Italian, c. 1370<br />New York, Metropolitan Museum of Art, The Cloisters Collection</td></tr></tbody></table><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXmb09GRVqd6Uj1r-rks_KCUZ8rrRJGgHGddL2gjZ0vW4YkawChE4qPBNSiWUxxQb8gqpGet5f83Nk0o-K7vtUQ1MplDfLxtDGEZyIsLVK581XnafrRaiCidOG8B_OrrMyoB8ZxxecXTZXsThbVYk2oeALmZufqcH_iuR7KYy0xD4OLEk_vRSParwV/s3780/1480_Mast%20of%20Mary%20of%20Burgun_Flem,%20c.%201480_Berlin,%20Staatliche%20Museen,%20Kupferstichkabinett_MS%2078%20B%2012,%20fol.%2056v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="3780" data-original-width="2593" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXmb09GRVqd6Uj1r-rks_KCUZ8rrRJGgHGddL2gjZ0vW4YkawChE4qPBNSiWUxxQb8gqpGet5f83Nk0o-K7vtUQ1MplDfLxtDGEZyIsLVK581XnafrRaiCidOG8B_OrrMyoB8ZxxecXTZXsThbVYk2oeALmZufqcH_iuR7KYy0xD4OLEk_vRSParwV/w440-h640/1480_Mast%20of%20Mary%20of%20Burgun_Flem,%20c.%201480_Berlin,%20Staatliche%20Museen,%20Kupferstichkabinett_MS%2078%20B%2012,%20fol.%2056v.jpg" width="440" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Mary of Burgundy, Man of Sorrows<br />Flemish, c. 1480<br />Berlin, Staatliche Museen, Kupferstichkabinet</td></tr></tbody></table><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe9oaAGB5P7sSYJNd68-SvT9eDW2Tod-SEOqI8O6jWYyQ9jgIDFW8U_bgEVbWndNZTs_exqSedAJzCy8MJ36CWJGxMFoZaFJr45jbTtw7NGkgIG8PQL1BH3Tv6OqKHJ4WuLCysvvp2AYFigkYMnJk-Oq6hh1kR_zoGB6RdsfdD0inxCIUFENVsK9Ux/s2647/1480_Lautenbach%20Master_German,%20c.%201480_New%20York,%20Metropolitan%20Museum%20of%20Art,%20Cloisters%20Collection_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="2647" data-original-width="2208" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe9oaAGB5P7sSYJNd68-SvT9eDW2Tod-SEOqI8O6jWYyQ9jgIDFW8U_bgEVbWndNZTs_exqSedAJzCy8MJ36CWJGxMFoZaFJr45jbTtw7NGkgIG8PQL1BH3Tv6OqKHJ4WuLCysvvp2AYFigkYMnJk-Oq6hh1kR_zoGB6RdsfdD0inxCIUFENVsK9Ux/w534-h640/1480_Lautenbach%20Master_German,%20c.%201480_New%20York,%20Metropolitan%20Museum%20of%20Art,%20Cloisters%20Collection_1.jpg" width="534" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td class="tr-caption">Lautenbach Master, Man of Sorrows<br />German, c. 1480<br />New York, Metropolitan Museum of Art, The Cloisters Collection</td></tr></tbody></table><div class="separator" style="clear: both;"></div></td></tr></tbody></table><br /><div class="MsoNormal"><o:p></o:p><br /><br /></div>
<div class="MsoNormal">
A third image that contributes is the closely related
<i><span style="color: #6fa8dc;"><b>“</b><a href="https://imaginemdei.blogspot.com/2020/06/the-holy-trinity-throne-of-grace.html" target="_blank"><b>Throne of Grace</b></a><b>”</b></span></i> or <b><i>“Mercy Seat”</i></b> image, in which God the Father, joined by the
symbolic dove of the Holy Spirit, presents Christ on the cross to our
gaze.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="mso-spacerun: yes;"></span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqmrhnhHL528Ge-fkXzbj73T-pYkaJx3_nYOfkRin9Duepp3GSrhg4PEfC2UCcMdchF0JctUcfXF8B8j0ZDjmx4Gm_0f5o2XdUyEhXTnvgKejYx9-zBcJSmqvgTpWlvwqph-gsgbD3sV0/s1600/1246_From+Psalter-Hours+of+Ghiluys+de+Boisleux_French+%2528Arras%2529%252C+c.+1246-1260_New++York%252C+Pierpont+Morgan_MS+M+730%252C+fol.++203r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="690" height="556" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqmrhnhHL528Ge-fkXzbj73T-pYkaJx3_nYOfkRin9Duepp3GSrhg4PEfC2UCcMdchF0JctUcfXF8B8j0ZDjmx4Gm_0f5o2XdUyEhXTnvgKejYx9-zBcJSmqvgTpWlvwqph-gsgbD3sV0/s640/1246_From+Psalter-Hours+of+Ghiluys+de+Boisleux_French+%2528Arras%2529%252C+c.+1246-1260_New++York%252C+Pierpont+Morgan_MS+M+730%252C+fol.++203r.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Throne of Grace<br />
From <u><i>Psalter-Hours of Ghiluys de Boisleux</i></u><br />
French (Arras), c. 1246-1260<br />
New York, Pierpont Morgan Library<br />
MS M 730, fol. 203r<br /><br /><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhISPAgMKCngtjjDtZweYxCqFIjyQ42GyNklDTb4enBfebcs141r1FWouc_NX_gBcK63PzW6nTj6X5mbmBuyFVTXahALd-vkYznmwc3N6WYVLmh_0LB2dFBt8QXiuD8ZYFZcckkliGIuZ4Q4yFDKpIiIn4i0Fom94166VOuM9VkBDodzu9D_AOGbFMY/s686/1390_Agnolo%20Gaddi_Italian,%20c.%201390-1396_New%20%20York,%20Metropolitan%20Museum%20of%20Art_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="686" data-original-width="370" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhISPAgMKCngtjjDtZweYxCqFIjyQ42GyNklDTb4enBfebcs141r1FWouc_NX_gBcK63PzW6nTj6X5mbmBuyFVTXahALd-vkYznmwc3N6WYVLmh_0LB2dFBt8QXiuD8ZYFZcckkliGIuZ4Q4yFDKpIiIn4i0Fom94166VOuM9VkBDodzu9D_AOGbFMY/w346-h640/1390_Agnolo%20Gaddi_Italian,%20c.%201390-1396_New%20%20York,%20Metropolitan%20Museum%20of%20Art_1.jpg" width="346" /></a></td></tr><tr><td class="tr-caption">Agnolo Gaddi, The Throne of Grace<br />Italian, c. 1390-1396<br />New York, Metropolitan Museum of Art<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr></tr><tr></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmu1U54dcsnr6b0B1ry1MWNxr_S5IZWCJo30cwinINBfI_OlfauoL0vr5I3kAxNqmwz8l18j3qZ3eQJ2Hy7W__jjUslduzXPBvP1DSozSFuo_87jpIicFSOwTj0Cfxi3k9FBMPfBIQnUdCRsKlAdWYSWfcGOGNFCsXVnoTJ1inaE7j-vCbkTZjvMvi/s1441/1425_Masaccio,%20Italian,%20c.%201425-1428_Florence,%20Chruch%20of%20Santa%20Maria%20Novella_det.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1441" data-original-width="741" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmu1U54dcsnr6b0B1ry1MWNxr_S5IZWCJo30cwinINBfI_OlfauoL0vr5I3kAxNqmwz8l18j3qZ3eQJ2Hy7W__jjUslduzXPBvP1DSozSFuo_87jpIicFSOwTj0Cfxi3k9FBMPfBIQnUdCRsKlAdWYSWfcGOGNFCsXVnoTJ1inaE7j-vCbkTZjvMvi/w330-h640/1425_Masaccio,%20Italian,%20c.%201425-1428_Florence,%20Chruch%20of%20Santa%20Maria%20Novella_det.jpg" width="330" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td class="tr-caption">Masaccio, Holy Trinity with the Virgin Mary and Saint John the Evangelist<br />and Two Donors<br />Italian, c. 1425-1428<br />Florence, Church of Santa Maria Novella<br /><br /></td></tr></tbody></table></td></tr></tbody></table><br /><div style="text-align: left;"><br /></div><br /></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyQ27bxl4cLam8Qc7yZ7YMf39FbT03wM4MJGVwzP3k_Qg6DR0mYlUNPyOI9g_iijLDeCBsiE7vN3GvQ_GQaxIqDTwnX53vmdNMFOVB3cNMyAB9CguuKBNOd9sWyeTDGcCF-nplQtDvB3rI4pvIKgrcwj2j_2_Uj2q1Z1lhQYzU9H9sXhsWHkWa4XeC/s5080/1470_French_c.%201470s_Cleveland,%20Museum%20of%20Art_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="5080" data-original-width="4229" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyQ27bxl4cLam8Qc7yZ7YMf39FbT03wM4MJGVwzP3k_Qg6DR0mYlUNPyOI9g_iijLDeCBsiE7vN3GvQ_GQaxIqDTwnX53vmdNMFOVB3cNMyAB9CguuKBNOd9sWyeTDGcCF-nplQtDvB3rI4pvIKgrcwj2j_2_Uj2q1Z1lhQYzU9H9sXhsWHkWa4XeC/w532-h640/1470_French_c.%201470s_Cleveland,%20Museum%20of%20Art_1.jpg" width="532" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Throne of Grace<br />French, c. 1470s<br />Cleveland, Museum of Art</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;">
</div>
<br /><br /><span style="mso-spacerun: yes;"><br /></span></div>
<div class="MsoNormal">
All three of these image types begin to appear at least 100 years
before the Sorrow of God, which can perhaps also be called a Divine Piet<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">à</span>
or Divine Lamentation.<span style="mso-spacerun: yes;"> </span>And it takes
elements from each of them.<span style="mso-spacerun: yes;"> </span><o:p></o:p><br />
<span style="mso-spacerun: yes;"><br /></span></div><div class="MsoNormal"><span style="mso-spacerun: yes;"><br /></span></div><div class="MsoNormal"><span style="mso-spacerun: yes;"><br /></span></div>
<div class="MsoNormal">
From the<b> <i>Piet</i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><i>à</i>,</span></b> it takes the image of the dead body
laid across the lap of a parent.</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_CgFpmWHBl-REDMr-hpTFhNI1jKjr5QhHpMx9D2aZt4mOl0zwUEpFC92dGhynbizWsNLus9_TMJjiJTlJWQvQ3XPqZrX_wUs_nsnr8yuMY4TY2YCX596N2yvdwz__RfREHqM-KFTlXa90d81IjX5BQiEcR-pPMuySuOT0NDiHfBM-BHB5WzNQVee5/s3575/1515_Pieta%20without%20Donors_French,%20c.%201515_New%20York,%20Metropolitan%20Museum%20of%20Art_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="3000" data-original-width="3575" height="538" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_CgFpmWHBl-REDMr-hpTFhNI1jKjr5QhHpMx9D2aZt4mOl0zwUEpFC92dGhynbizWsNLus9_TMJjiJTlJWQvQ3XPqZrX_wUs_nsnr8yuMY4TY2YCX596N2yvdwz__RfREHqM-KFTlXa90d81IjX5BQiEcR-pPMuySuOT0NDiHfBM-BHB5WzNQVee5/w640-h538/1515_Pieta%20without%20Donors_French,%20c.%201515_New%20York,%20Metropolitan%20Museum%20of%20Art_1.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pietà<br />French, c. 1515<br />New York, Metropolitan Museum of Art</td></tr></tbody></table><div class="MsoNormal"><o:p></o:p><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7fNIW2Tf5LQK55yldexUhyDPQV9uen_gIdObk6eF29tHRO1tmtR_EOJIUdoDWu83Cmu_r9zsZrgqsWc2M2S6TadretGIO21NoxlFSjYY2TrZuHGijx_tXZ57qeEdcBiPCedgJrza8gWnWxfJf5fGJxTGxiNtQ6EX7R_55G3xfQuxzwQCLFgldzyG0/s1500/1440_Master%20of%20the%20Darmstadt%20Passion_German,%20c.%201440-1450_Berlin,%20Gemaeldegalerie%20der%20Staatliche%20Museen%20zu%20Berlin_Page_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1500" data-original-width="806" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7fNIW2Tf5LQK55yldexUhyDPQV9uen_gIdObk6eF29tHRO1tmtR_EOJIUdoDWu83Cmu_r9zsZrgqsWc2M2S6TadretGIO21NoxlFSjYY2TrZuHGijx_tXZ57qeEdcBiPCedgJrza8gWnWxfJf5fGJxTGxiNtQ6EX7R_55G3xfQuxzwQCLFgldzyG0/w344-h640/1440_Master%20of%20the%20Darmstadt%20Passion_German,%20c.%201440-1450_Berlin,%20Gemaeldegalerie%20der%20Staatliche%20Museen%20zu%20Berlin_Page_1.jpg" width="344" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of the Darmstadt Passion, The Sorrow of God<br />German, c. 1440-1450<br />Berlin, Gemaeldegalerie der Staatliche Museen zu Berlin<br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5tgiWmdtoduS37SlE0vmznirszU831kLHmRvmJbdhWhr8BoWsE3jUSd__oB60eyC4tPxOeY3jRl1ipJJA-6OMEh3rdgbOVPC57ookPiszYv9n5p-V02O-Sh5pmFHFuCXf6XPsDlxXalqEOxrELGHTHy3kxOZdRTA43acyA31JMecZq1_tLQ-dh87f/s1491/1450_Jean%20le%20Ravernier%20and%20Follower_From%20a%20Book%20of%20Hours%20with%20Additional%20Prayers_Flemish%20(Oudenaarde),%20c.%201450-1460_The%20Hague,%20Koninklijk_MS%20KB%2076%20F%202,%20fol.%2054r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1491" data-original-width="1423" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5tgiWmdtoduS37SlE0vmznirszU831kLHmRvmJbdhWhr8BoWsE3jUSd__oB60eyC4tPxOeY3jRl1ipJJA-6OMEh3rdgbOVPC57ookPiszYv9n5p-V02O-Sh5pmFHFuCXf6XPsDlxXalqEOxrELGHTHy3kxOZdRTA43acyA31JMecZq1_tLQ-dh87f/w610-h640/1450_Jean%20le%20Ravernier%20and%20Follower_From%20a%20Book%20of%20Hours%20with%20Additional%20Prayers_Flemish%20(Oudenaarde),%20c.%201450-1460_The%20Hague,%20Koninklijk_MS%20KB%2076%20F%202,%20fol.%2054r.jpg" width="610" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jean le Ravernier and Follower, The Sorrow of God<br />From a <u><i>Book of Hours</i></u> with Additional Prayers<br />Flemish (Oudenaarde), c. 1450-1460<br />The Hague, Koninklijk Bibliotheek<br />MS KB 76 F 2, fol. 54r</td></tr></tbody></table><br />
<br />
<br /><br /></div>
<div class="MsoNormal">
From the <span style="color: #6fa8dc;"><i><a href="https://imaginemdei.blogspot.com/2012/04/meditation-on-passion-man-of-sorrows.html" target="_blank"><b><span style="color: #9fc5e8;">Man of Sorrows</span></b></a></i><span style="color: #6fa8dc;">,</span></span> it takes the image of the dead
Christ, sometimes supported by Mary and/or John and sometimes by angels.</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6r2WIKJxiqEo7FHb_masTm2TcHFIdykZqVj7Ax7pcgJDh3jakUp43mrkE5ZaulNAlrx0yi731XuGhhxnhbCGgtoEZgUgSW2aoy8hCpGez1EFveUch_Zg2gffgfb4DscM7XFr51LOJUkEY9nUuJoer6Ckdwn8JQKQqpoRFNnsHpRp84kMj3dIkL8Db/s1390/1455_Giovanni%20Bellini%20with%20Virgin%20and%20SJE_Italian,%20c.%201455_Bergamo,%20Accaemia%20Carrara.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1390" data-original-width="1057" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6r2WIKJxiqEo7FHb_masTm2TcHFIdykZqVj7Ax7pcgJDh3jakUp43mrkE5ZaulNAlrx0yi731XuGhhxnhbCGgtoEZgUgSW2aoy8hCpGez1EFveUch_Zg2gffgfb4DscM7XFr51LOJUkEY9nUuJoer6Ckdwn8JQKQqpoRFNnsHpRp84kMj3dIkL8Db/w486-h640/1455_Giovanni%20Bellini%20with%20Virgin%20and%20SJE_Italian,%20c.%201455_Bergamo,%20Accaemia%20Carrara.jpg" width="486" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Giovanni Bellini, The Man of Sorrows with the Virgin Mary and Saint John the Evangelist<br />Italian, c. 1455<br />Bergamo, Accademia Carrara</td></tr></tbody></table><div class="MsoNormal"><br />
<br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibRNA1fHbhFCgpcMFT4YLqR50jYd6xfGiVrQXgihz1edZ5YE_1bCrBAGxT2045RcUWDJAR23ChTbwnybMPJi0Eu2V1TKe5sWAFYR-00x6kG3xQvnX2ofnk56PYJpeVtbyflBHpSpShThxwESbMBv-pdlth7OOWubr9X2JVQcCx8l4gMwDp9X-xXshM/s569/1433_Master%20of%20Flamalle_Flemish,%20c.%201433-1435_St.%20Petersburg,%20State%20Hermitage%20Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="569" data-original-width="375" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibRNA1fHbhFCgpcMFT4YLqR50jYd6xfGiVrQXgihz1edZ5YE_1bCrBAGxT2045RcUWDJAR23ChTbwnybMPJi0Eu2V1TKe5sWAFYR-00x6kG3xQvnX2ofnk56PYJpeVtbyflBHpSpShThxwESbMBv-pdlth7OOWubr9X2JVQcCx8l4gMwDp9X-xXshM/w422-h640/1433_Master%20of%20Flamalle_Flemish,%20c.%201433-1435_St.%20Petersburg,%20State%20Hermitage%20Museum.jpg" width="422" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Flamalle, The Sorrow of God<br />Flemish, c. 1433-1435<br />St. Petersburg, State Hermitage Museum</td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2bzvElIUBswPg7C_Y0ZTelpkaFE0Wj-Lwd06WwnRDf1_jboS9W6v5KftSoKTs-B6cVyxWOQ891GGFTdrorRMLFl8u-AwB7FX0bQloenp7Vdy3zI5mNt_NtVKXtd2xySzwGkncbUGFvkRYTsxDMiZN0BVuHsbcn2-OAGstCusZUSMSQyacla9fl_iA/s341/1470_Robinet%20Testard_From%20a%20Book%20of%20Hours_French%20(Poitiers),%20c.%201470-1480_New%20York,%20Pierpont_MS%20M1001,%20fol.%20148r_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="341" data-original-width="240" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2bzvElIUBswPg7C_Y0ZTelpkaFE0Wj-Lwd06WwnRDf1_jboS9W6v5KftSoKTs-B6cVyxWOQ891GGFTdrorRMLFl8u-AwB7FX0bQloenp7Vdy3zI5mNt_NtVKXtd2xySzwGkncbUGFvkRYTsxDMiZN0BVuHsbcn2-OAGstCusZUSMSQyacla9fl_iA/w450-h640/1470_Robinet%20Testard_From%20a%20Book%20of%20Hours_French%20(Poitiers),%20c.%201470-1480_New%20York,%20Pierpont_MS%20M1001,%20fol.%20148r_1.jpg" width="450" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Robinet Testard, The Sorrow of God<br />From a <i><u>Book of Hours</u></i><br />French (Poitiers), c. 1470-1480<br />New York, Pierpont Morgan Library<br />MS M1001, fol. 148r</td></tr></tbody></table><br /><br /><br /><br /><br /></div>
<div class="MsoNormal">
From the <i><span style="color: #6fa8dc;"><a href="https://imaginemdei.blogspot.com/2020/06/the-holy-trinity-throne-of-grace.html" target="_blank"><b>Throne of Grace</b></a></span></i> image, it takes the inclusion of
the dead Christ with the images of Father and Holy Spirit.<o:p></o:p><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigOyjdrlHwhSG4By2A7yn8qFeYCK1rVg9W51JcqYZf5kjAl4j7RuiGZQnw6xc32vmCh9IX8yNiOzRGZ9PBDDjXU7XWolkzwiuw3QViHkOANGKoOpvCIDmseWkeQzb5r2wUdS1DeunK8DM/s1600/1325_Attributed+to+Jean+le+Noir_From+Epistolary+of+the+Sainte-Chapelle_French+%2528Paris%2529%252C+c.+1325-1375_London%252C+British+Library_MS+Yates+Thompson+34%252C+fol.+116v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1055" data-original-width="962" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigOyjdrlHwhSG4By2A7yn8qFeYCK1rVg9W51JcqYZf5kjAl4j7RuiGZQnw6xc32vmCh9IX8yNiOzRGZ9PBDDjXU7XWolkzwiuw3QViHkOANGKoOpvCIDmseWkeQzb5r2wUdS1DeunK8DM/s640/1325_Attributed+to+Jean+le+Noir_From+Epistolary+of+the+Sainte-Chapelle_French+%2528Paris%2529%252C+c.+1325-1375_London%252C+British+Library_MS+Yates+Thompson+34%252C+fol.+116v.jpg" width="582" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Attributed to Jean le Noir, The Throne of Grace<br />
From <u><i>Epistolary</i></u> of the Sainte-Chapelle<br />
French (Paris), c. 1325-1375<br />
London, British Library<br />
MS Yates Thompson 34, fol. 116v</td></tr>
</tbody></table>
<br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ6bim9g8pOb9XVUQ822ix9JSSFm0oXkik84-sV0vDANcv-1w8Ps1j3wu3sanECd3Si-bGPxFR0-gAYFl8oYQS0lw8c-wr0MEoqd2sZybRZX1Cy3J21boNcBYZAlMYDxZF3DASKNU6A6QvbPQwPVd0FRx5_d3F9VsML6fk4_eQiXaNvQuYVLOzXmbc/s584/1445_From%20a%20Book%20of%20Hours_Dutch%20(Haarlem),%20c.%201445-1460_New%20York,%20Pierpont_MS%20M1031,%20fol.%2052v_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="584" data-original-width="377" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ6bim9g8pOb9XVUQ822ix9JSSFm0oXkik84-sV0vDANcv-1w8Ps1j3wu3sanECd3Si-bGPxFR0-gAYFl8oYQS0lw8c-wr0MEoqd2sZybRZX1Cy3J21boNcBYZAlMYDxZF3DASKNU6A6QvbPQwPVd0FRx5_d3F9VsML6fk4_eQiXaNvQuYVLOzXmbc/w414-h640/1445_From%20a%20Book%20of%20Hours_Dutch%20(Haarlem),%20c.%201445-1460_New%20York,%20Pierpont_MS%20M1031,%20fol.%2052v_1.jpg" width="414" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Sorrow of God<br />From a <i><u>Book of Hours</u></i><br />Dutch (Haarlem), c. 1445-1460<br />New York, Pierpont Morgan Library<br />MS M 1031, fol. 52v</td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJKPNUUdtr45Hwb-UUT484ecxwznxNK0OOUY3KFfIWf1rCVpYFqi71eR731VEARcAm62ptlJ8yI6Vjr3hzHuV5pq-_Nu-Pui6QtEH0rINJNkOVmBO9JK__5N3HqXvEMLPKvEp6G8gI0ZTk45_ZhK_5-SU1kzA_uMxIlTATyxpQlPpaSo_O1a0f-gGp/s3957/1500_Master%20of%20the%20Holy%20Kinship_Exterior%20Side%20of%20Double%20Faced%20panel_German,%20c.%201500_Private%20Collection,_1.png" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="3957" data-original-width="2880" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJKPNUUdtr45Hwb-UUT484ecxwznxNK0OOUY3KFfIWf1rCVpYFqi71eR731VEARcAm62ptlJ8yI6Vjr3hzHuV5pq-_Nu-Pui6QtEH0rINJNkOVmBO9JK__5N3HqXvEMLPKvEp6G8gI0ZTk45_ZhK_5-SU1kzA_uMxIlTATyxpQlPpaSo_O1a0f-gGp/w466-h640/1500_Master%20of%20the%20Holy%20Kinship_Exterior%20Side%20of%20Double%20Faced%20panel_German,%20c.%201500_Private%20Collection,_1.png" width="466" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td class="tr-caption">Master of the Holy Kinship, The Sorrow of God<br />Exterior Side of Double Faced panel<br />German, c. 1500<br />Private Collection<br /><br /></td></tr></tbody></table></td></tr></tbody></table><br /><br /><br /><br /><br /><br /></div>
<div class="MsoNormal">
<h4 style="text-align: left;">
The Sorrow of God</h4>
<o:p></o:p></div>
<div class="MsoNormal">
Where the Sorrow of God image often departs from the other image types is in
the relationship between God the Father and the spectator.<span style="mso-spacerun: yes;"> </span>The images of the <b>Piet<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">à</span></b> present Mary’s grief at the
death of her son, but her grief is something we view as outsiders.<span style="mso-spacerun: yes;"> </span>Her mourning takes place within time and is directed toward the dead body
lying in her lap or on the ground before her. <span style="mso-spacerun: yes;"> </span>Her sorrow is contained in the picture plane
or the space within a sculpture.<span style="mso-spacerun: yes;"> </span>We
approach it as bystanders, closed out of the sorrowing group.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhRih2m6c1ibjzvOy2tHJ0I9Onr9Q-BD6_gI5kofFtdimMkOfg-uwqTm5AVlh4giUrSGrYtP-4gfcJ1gYHlg-Y-xMVl636jgtwVQSHPXpYiK8kKepL-HLS-hM1MnfIVWMjJpavfsO2C7ZmgMp4QH-y6PLsWTz9UvyQ9XvYT-mqaOH7So_i1L6mllLU/s1425/1500_Jean%20Hey%20(Master%20of%20Moulins),%20with%20Saints%20John%20Evangelist%20and%20Mary%20Mag_French,%20c.%201500_Paris,%20Musee%20du%20Louvre.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1425" data-original-width="1072" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhRih2m6c1ibjzvOy2tHJ0I9Onr9Q-BD6_gI5kofFtdimMkOfg-uwqTm5AVlh4giUrSGrYtP-4gfcJ1gYHlg-Y-xMVl636jgtwVQSHPXpYiK8kKepL-HLS-hM1MnfIVWMjJpavfsO2C7ZmgMp4QH-y6PLsWTz9UvyQ9XvYT-mqaOH7So_i1L6mllLU/w482-h640/1500_Jean%20Hey%20(Master%20of%20Moulins),%20with%20Saints%20John%20Evangelist%20and%20Mary%20Mag_French,%20c.%201500_Paris,%20Musee%20du%20Louvre.JPG" width="482" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Jean Hey (Master of Moulins), Pieta with Saints John Evangelist and Mary Magdalene</div><div style="text-align: center;">French, c. 1500</div><div style="text-align: center;">Paris, Musée du Louvre</div></td></tr></tbody></table><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="font-family: inherit;">In the Sorrow of God images the Father holds the body of his
dead son, but he holds it in a way that presents it directly to our gaze.<span style="mso-spacerun: yes;"> </span>We do not experience it through the eyes of
Mary, as we do in the Piet<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">à, nor do we experience it as a comfortably distant moment in time</span>.<span style="mso-spacerun: yes;"> We see it in an ever new Now. </span>We are directly
confronted by it.<span style="mso-spacerun: yes;"> </span>Indeed, in many of the
later images of the Sorrow of God, the Father looks directly out at us, as if
challenging us to pay attention.<span style="mso-spacerun: yes;"> </span>We are
not invited to participate in a sympathetic viewing of the dead Jesus, but to
contemplate it as a divine offering, that has cost the Father dearly. “It
is not just an image that awakens the spectator's piety; it is primarily an
image for God's piety, of his active and victorious mercy in Christ.”<span style="color: blue;"><u><b><sup>6</sup></b></u></span></span></div><div class="MsoNormal"><span style="color: blue;"><span style="font-size: 15px;"><b><u><br /></u></b></span></span></div><div class="MsoNormal"><span style="color: blue;"><span style="font-size: 15px;"><b><u><br /></u></b></span></span></div><div class="MsoNormal"><span style="color: blue;"><span style="font-size: 15px;"><b><u><br /></u></b></span></span></div><div class="MsoNormal"><span style="color: blue;"><span style="font-size: 15px;"><b><u><br /></u></b></span></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgABKBktwsgUw9Dz0VTJyAyKnwpY20wCqyvegbLIU8-a3eRgGeeWD4UlXHY7ug-3OnkmYfMqH5fWL8-punNoonUnzH5V77aRZUHbomOINle8YCPJnBw6SMdfc444SZCPqMCbG6JHBPBdtbjPYTSpbSAKXzd6mNrrO5m6E_nYsr5n2c48rzBtmS2Hmck/s1221/1440_Att%20to%20the%20Dunois%20Master_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201440-1450_London,%20British%20Library_MS%20Egerton%202019,%20fol.%20203_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1221" data-original-width="798" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgABKBktwsgUw9Dz0VTJyAyKnwpY20wCqyvegbLIU8-a3eRgGeeWD4UlXHY7ug-3OnkmYfMqH5fWL8-punNoonUnzH5V77aRZUHbomOINle8YCPJnBw6SMdfc444SZCPqMCbG6JHBPBdtbjPYTSpbSAKXzd6mNrrO5m6E_nYsr5n2c48rzBtmS2Hmck/w418-h640/1440_Att%20to%20the%20Dunois%20Master_From%20a%20Book%20of%20Hours_French%20(Paris),%20c.%201440-1450_London,%20British%20Library_MS%20Egerton%202019,%20fol.%20203_1.jpg" width="418" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Attributed to the Dunois Master, The Sorrow of God<br />From a <u><i>Book of Hours</i></u><br />French (Paris), c. 1440-1450<br />London, British Library<br />MS Egerton 2019, fol. 203</td></tr></tbody></table><div class="MsoNormal"><span style="color: blue;"><span style="font-size: 15px;"><b><u><br /></u></b></span></span></div><div class="MsoNormal"><span style="color: blue;"><span style="font-size: 15px;"><b><u><br /></u></b></span></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY3vW09ZWCuDvWx8dIZjKwTU8uN96rqXINIf4w6YY2Ld1ajOQ5cyHYUeB_Op10Nq8eDx7HhjCc_s8_xOIhyphenhyphenjZX8rAcO2eVXr6nx_d6GmAAKO6TNja3D3jWaG4lc3QvU0L7DtMmuZ6njpE/s1600/1495_Master+of+Sir+George+Talbot_From+a+Book+of+Hours_Flemish+%2528Bruges%2529%252C+c.+1495-1505_New+York%252C+Pierpont_MS+M390%252C+fol.+165v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="577" data-original-width="350" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY3vW09ZWCuDvWx8dIZjKwTU8uN96rqXINIf4w6YY2Ld1ajOQ5cyHYUeB_Op10Nq8eDx7HhjCc_s8_xOIhyphenhyphenjZX8rAcO2eVXr6nx_d6GmAAKO6TNja3D3jWaG4lc3QvU0L7DtMmuZ6njpE/s640/1495_Master+of+Sir+George+Talbot_From+a+Book+of+Hours_Flemish+%2528Bruges%2529%252C+c.+1495-1505_New+York%252C+Pierpont_MS+M390%252C+fol.+165v.jpg" width="388" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Master of Sir George Talbot, The Sorrow of God<br />
From a <u><i>Book of Hours</i></u><br />
Flemish (Bruges), c. 1495-1505<br />
New York, Pierpont Morgan Library<br />
MS M390, fol. 165v<br /><br /><br /><br /></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhipuoIq4T2DiZkWmXr32TSKV-rrh3G-27FqSRSZ4q4J7ibqe6CZbL_uSxoVBUFHYvujpAxwKrpOhLXAeR2PkIhuRx9ygKdkK2MQuvZVkbq6WpSM7cu5yPIDjxlvTzyR1Xcrh1I6zoJxHc/s1600/1516_Tilman+Riemenschneider_German%252C+c.+1516_Berlin%252C+Skulpturensammlung+der+Staatliche+Meseen+zu+Berlin.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1115" data-original-width="562" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhipuoIq4T2DiZkWmXr32TSKV-rrh3G-27FqSRSZ4q4J7ibqe6CZbL_uSxoVBUFHYvujpAxwKrpOhLXAeR2PkIhuRx9ygKdkK2MQuvZVkbq6WpSM7cu5yPIDjxlvTzyR1Xcrh1I6zoJxHc/s640/1516_Tilman+Riemenschneider_German%252C+c.+1516_Berlin%252C+Skulpturensammlung+der+Staatliche+Meseen+zu+Berlin.jpg" width="322" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tilman Riemenschneider, The Sorrow of God<br />
German, c. 1516<br />
Berlin, Skulpturensammlung der Staatliche Meseen zu Berlin</td></tr>
</tbody></table>
<br />
<br /></div><div class="MsoNormal"><br /></div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
It differs from the <span style="color: #9fc5e8;"><a href="https://imaginemdei.blogspot.com/2012/04/meditation-on-passion-man-of-sorrows.html" target="_blank"><b><i>Man of Sorrows</i></b></a></span> image because, although
the figure of the dead Christ may be held before our eyes, it is held by God
the Father and usually includes the figure of the Holy Spirit, either as a dove
or as another human-like Person.<span style="mso-spacerun: yes;"> </span>Hence,
the Sorrow of God image is ultimately Trinitarian in nature.<span style="mso-spacerun: yes;"> </span>We are to contemplate the image of the
Crucified One in relation to his position as a member of the Trinity, not just
as a human being. <o:p></o:p>. In addition, in
some of these images, God the Father or the Holy Spirit are shown as speaking
to Jesus, or breathing upon him, returning him to human life.</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiriUNq6AHJ3tO5kToJc-iB_S9BcZG_D3KUT2nvjgFmfEGKwrwU7-T1jWNNCGV16YtrUuLx3suzqpQCUf8x1ZMQUJ8q9VHCC3hXFfWCyFKZSF95pv8A59gJx5If1Z-ZDl8_TUvDd_dY9g0BLbGa8N8l4D_gYk2L6fSFYN2dduQwifXH64-BOTyKMDjs/s3163/1480_Mast%20of%20Mary%20of%20Burgun_Fr%20Hrs%20of%20Mary%20of%20Burg_Flem%20(Ghent%20or%20Bruges),%20c.%201480_Berlin,%20Kupferstichkabinett%20der%20Staatliche%20Museen%20zu%20Berliln_MS%2078%20B%2012,%20fol.%2013v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="3163" data-original-width="2207" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiriUNq6AHJ3tO5kToJc-iB_S9BcZG_D3KUT2nvjgFmfEGKwrwU7-T1jWNNCGV16YtrUuLx3suzqpQCUf8x1ZMQUJ8q9VHCC3hXFfWCyFKZSF95pv8A59gJx5If1Z-ZDl8_TUvDd_dY9g0BLbGa8N8l4D_gYk2L6fSFYN2dduQwifXH64-BOTyKMDjs/w446-h640/1480_Mast%20of%20Mary%20of%20Burgun_Fr%20Hrs%20of%20Mary%20of%20Burg_Flem%20(Ghent%20or%20Bruges),%20c.%201480_Berlin,%20Kupferstichkabinett%20der%20Staatliche%20Museen%20zu%20Berliln_MS%2078%20B%2012,%20fol.%2013v.jpg" width="446" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Mary of Burgundy, The Sorrow of God<br />From <u><i>Hours of Mary of Burgundy</i></u><br />Flemish (Ghent or Bruges), c. 1480<br />Berlin, Kupferstichkabinett der Staatliche Museen zu Berlin<br />Inv. # 78 B 12, fol. 13v</td></tr></tbody></table><div class="MsoNormal"><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEg48mS20_p-SBtVdLPyNkAu0RV_HZQ-8HwCDCNOWGMLO_NGAo_1pHt0IO9xgG8QyMg6JsbxzZ4Y9ecTdTwYGcC9SfGHyhPvfZJjZA8pKag9yJVB0Gy5KNTMKUD1QCtd4DXBX5Gi_k9cc/s1600/1495_Master+of+Nicholas+von+Firmian_From+a+Book+of+Hours_Flemish+%2528Bruges%2529%252C+c.+1495-1505_New+York%252C+Pierpont_MS+M1170%252C+fol.+111v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="393" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEg48mS20_p-SBtVdLPyNkAu0RV_HZQ-8HwCDCNOWGMLO_NGAo_1pHt0IO9xgG8QyMg6JsbxzZ4Y9ecTdTwYGcC9SfGHyhPvfZJjZA8pKag9yJVB0Gy5KNTMKUD1QCtd4DXBX5Gi_k9cc/s640/1495_Master+of+Nicholas+von+Firmian_From+a+Book+of+Hours_Flemish+%2528Bruges%2529%252C+c.+1495-1505_New+York%252C+Pierpont_MS+M1170%252C+fol.+111v.jpg" width="418" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Master of Nicholas von Firmian, The Sorrow of God<br />
From a <i><u>Book of Hours</u></i><br />
Flemish (Bruges), c. 1495-1505<br />
New York, Pierpont Morgan Library<br />
MS M1170, fol. 111v<br /><br /><br /><br /><br /></td></tr>
</tbody></table>
</div><div class="MsoNormal">It differs from the <a href="https://imaginemdei.blogspot.com/2020/06/the-holy-trinity-throne-of-grace.html" target="_blank"><span style="color: #6fa8dc;"><b><i>Throne of Grace</i></b></span> </a>image in that it is an
image of pathos rather than of presentation and triumph.<span style="mso-spacerun: yes;"> </span>It is as if the Father is asking us to
understand the effects of our sin and the price of redemption.<span style="mso-spacerun: yes;"> </span>It is as if he speaks to us and says “See
what your disobedience has cost.<span style="mso-spacerun: yes;"> </span>See how
much I love you.” <o:p></o:p>It is a reminder that, as the theologian Gerald Vann suggests “the Cross…goes
on, first because though the Crucifixion was an event in time it was God who
was crucified; and … all temporal events, past, present and future, were all
equally present. It goes on, secondly,
because, while the mystery of divine pity is temporally expressed in Calvary
through the humanity of Christ, it is also eternally and constantly present in
the depths of the Godhead, not indeed in the form of suffering as humanity
knows it, but as the eternal will-to-share which is thus revealed as an aspect
of infinite love – a will-to-share which is … the true involvement of a state
of being in which the imperfections of joy or sorrow as we know them are transcended
in the fullness of creative and redeeming love.”<sup><span style="color: blue;"><b><u>7</u></b></span> </sup></div><div class="MsoNormal">
<sup></sup><br />
<sup></sup>
<sup><br /></sup>
<sup><br /></sup>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKDI1GXZvZ5jHIoQyCKzEOXYj1SSgfz5DqOT9nWC_A9Q7HB0JcneB-inaby3_9wVPrnAI0OGS1A1adjc09NzkjO7SZqSsNynMI2jagfpi_5ZJp0uKHnV1j3GX374mqiwC-zaihSrgEHS2gkHhZC51zm0UtaiDL_yaK5gpOHgH45fG-Lh1LYUhZKQXU/s3496/1430_Master%20of%20Flemalle_Flemish,%201430_Frankfurt,%20Stadelsches%20Kunstinstitut.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="3496" data-original-width="1447" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKDI1GXZvZ5jHIoQyCKzEOXYj1SSgfz5DqOT9nWC_A9Q7HB0JcneB-inaby3_9wVPrnAI0OGS1A1adjc09NzkjO7SZqSsNynMI2jagfpi_5ZJp0uKHnV1j3GX374mqiwC-zaihSrgEHS2gkHhZC51zm0UtaiDL_yaK5gpOHgH45fG-Lh1LYUhZKQXU/w264-h640/1430_Master%20of%20Flemalle_Flemish,%201430_Frankfurt,%20Stadelsches%20Kunstinstitut.jpg" width="264" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Flemalle, The Sorrow of God<br />Flemish, 1430<br />Frankfurt, Stadelsches Kunstinstitut</td></tr></tbody></table><br />
<sup><br /><br /></sup>
<sup><br /></sup>
<sup></sup><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaXw8mGkm3RXaSDcQKvVWrUXm429iwYdNehhBxRDwFFzwaAZrtMnSqvQjGO7iiwLTTTldrKl0WRYJN-fJJeyMzlkUzDNL9YCvjxrLDj8lI2mvl8AY005XkS2T0CK-u9Y0HgYIjRnl74xvuUNpy-Vx8-imE6l0sI-UTsLY1QMKeUESU8XLP4Sz9w6H9/s963/1500_Follower%20of%20the%20Master%20of%20Flemalle_German,%20c.%201500_Private%20Collection.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="963" data-original-width="662" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaXw8mGkm3RXaSDcQKvVWrUXm429iwYdNehhBxRDwFFzwaAZrtMnSqvQjGO7iiwLTTTldrKl0WRYJN-fJJeyMzlkUzDNL9YCvjxrLDj8lI2mvl8AY005XkS2T0CK-u9Y0HgYIjRnl74xvuUNpy-Vx8-imE6l0sI-UTsLY1QMKeUESU8XLP4Sz9w6H9/w440-h640/1500_Follower%20of%20the%20Master%20of%20Flemalle_German,%20c.%201500_Private%20Collection.jpg" width="440" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td class="tr-caption"><span style="font-family: inherit;">Follower of the Master of Flemalle, The Sorrow of God<br />German, c. 1500<br />Private Collection<br /></span><br /><br /></td></tr></tbody></table></td></tr></tbody></table><br /><sup></sup>
<sup></sup><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6YwKQ7uW5-AY62n7LCoEpP6sXb1VuhVPr10adnQp7x2BUDKReBrEiw3PU4hBHcl65-fslpOY-Ku0cCeNLHQBWtQpVLNbtTQAE8_zTKIxJejmxlUuQRxtlRlRngQyDm9_YgpWwROD1HldfkCqamokXuXyBmGYyfwrpw3GbTnu5pvw5uoQmT0A-5OvA/s1500/1510_Colijn%20de%20Coter_Flemish,%20c.%201510-1515_Paris,%20Musee%20du%20Louvre.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1500" data-original-width="1068" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6YwKQ7uW5-AY62n7LCoEpP6sXb1VuhVPr10adnQp7x2BUDKReBrEiw3PU4hBHcl65-fslpOY-Ku0cCeNLHQBWtQpVLNbtTQAE8_zTKIxJejmxlUuQRxtlRlRngQyDm9_YgpWwROD1HldfkCqamokXuXyBmGYyfwrpw3GbTnu5pvw5uoQmT0A-5OvA/w456-h640/1510_Colijn%20de%20Coter_Flemish,%20c.%201510-1515_Paris,%20Musee%20du%20Louvre.JPG" width="456" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Colijn de Coter, The Sorrow of God</div><div style="text-align: center;">Flemish, c. 1510-1515</div><div style="text-align: center;">Paris, Musée du Louvre</div></td></tr></tbody></table><br /><sup></sup>
<sup><br /></sup>
<br /><br /></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpXT9Ny8i-mx9ks_hop8IRfnXnXSB6CngLX54Q4nf7FbDmkV5dVGaC6wEiOgQo793WtOxB9jtYSkueMzF4TvcjSf7EvbTDv3Bq3KOccom_-3fy3hz3YvqCrPyOyk8PRhgHY9WYqcuhhAE/s1600/1511_Albrecht+Duerer_German%252C+1511%252BNew+York%252C+Metropolitan+Museum+of+ARt.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1166" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpXT9Ny8i-mx9ks_hop8IRfnXnXSB6CngLX54Q4nf7FbDmkV5dVGaC6wEiOgQo793WtOxB9jtYSkueMzF4TvcjSf7EvbTDv3Bq3KOccom_-3fy3hz3YvqCrPyOyk8PRhgHY9WYqcuhhAE/s640/1511_Albrecht+Duerer_German%252C+1511%252BNew+York%252C+Metropolitan+Museum+of+ARt.jpg" width="466" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Albrecht D<span style="font-family: "times new roman" , serif; font-size: 10pt; line-height: 107%;">ü</span>rer, The Sorrow of God<br />
German, 1511<br />
New York, Metropolitan Museum of Art</td></tr>
</tbody></table>
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The point of
the image is not ambiguous, for, in some of the later images, especially those
in prints, the text of John 3:16-17 is included in the image.<span style="mso-spacerun: yes;"> </span>We are reminded that <i style="mso-bidi-font-style: normal;">“God so loved the world that he gave his only Son, so that everyone who
believes in him might not perish but might have eternal life.<span style="mso-spacerun: yes;"> </span>For God did not send his Son into the world
to condemn the world, but that the world might be saved through him.”</i><span style="mso-spacerun: yes;"> </span>The images make this offering of love very
clear.<span style="mso-spacerun: yes;"> </span>We are being challenged by it, we
are shown this offering of the Divine Love and we are gently urged to respond
to it in love.<br />
<o:p></o:p></div>
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<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyPnYLck9gvH_ZqA22Wz9mz__JCVZIuj0ruqLt-b8bDrD9_WAEQsPis-8f3MPjC0PAeiuPoPFjOPtKYMs3upWj0mw1opweA9sHXbA2YVwtEa-epWt23Ef5cUJI_JwE3V3SmXgRtqQdBVQ/s1600/1600_Hieronymus+Wierix_Flemish%252C+c.+1600-1619_Amsterdam%252C+Rijksmuseum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1183" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyPnYLck9gvH_ZqA22Wz9mz__JCVZIuj0ruqLt-b8bDrD9_WAEQsPis-8f3MPjC0PAeiuPoPFjOPtKYMs3upWj0mw1opweA9sHXbA2YVwtEa-epWt23Ef5cUJI_JwE3V3SmXgRtqQdBVQ/s640/1600_Hieronymus+Wierix_Flemish%252C+c.+1600-1619_Amsterdam%252C+Rijksmuseum.jpg" width="472" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hieronymus Wierix, The Sorrow of God with Quotation from John 3:16-17<br />
Flemish, c. 1600-1619<br />
Amsterdam, Rijksmuseum</td></tr>
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In later images, the Father takes on what is almost a gesture of pleading with the viewer to avail themselves of the grace gained by so much suffering.</div><div class="MsoNormal" style="margin-bottom: 0in;"><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE0daoJy5GunnoKuppGjfdr2gdsTgAfwrvP3VxAaxeK_MHwtHShG0zNmTd5WoiGB5uUWoXujA_HBuV4lL1wxcXq2wMd9zPo1IP_doLkPUpxWi1h5wXmlfDq022pt8gItifI-oj6TZ6Rr4/s1600/1560_Johann+Saderler+After+Maarten+van+Heemskerck_Dutch.+c.+1560-1600_Amsterdam%252C+Rijksmuseum.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1158" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE0daoJy5GunnoKuppGjfdr2gdsTgAfwrvP3VxAaxeK_MHwtHShG0zNmTd5WoiGB5uUWoXujA_HBuV4lL1wxcXq2wMd9zPo1IP_doLkPUpxWi1h5wXmlfDq022pt8gItifI-oj6TZ6Rr4/s640/1560_Johann+Saderler+After+Maarten+van+Heemskerck_Dutch.+c.+1560-1600_Amsterdam%252C+Rijksmuseum.jpg" width="462" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Johann Saderler after Maarten van Heemskerck, The Sorrow of God<br />
Dutch. c. 1560-1600<br />
Amsterdam, Rijksmuseum<br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKGZeie_U4al389P6r3of0DbvqJGapZkDJktp7YWBl6hJ7iGfar7El9gm-dvECVjQozZGZImjsWpwv65FPGLSIEMoBCmxuCuSmFqOg-PbrgRvJGjDZoAJ4wOgu7CDzbKxJmox7RuHhiq4TqDhmu2QMsvmo5PfdyiC2Q-i3fl1tfyjo6vJLK4XXNEfc/s2548/1563_Federico%20Zuccari_Italian,%20c.%201563_Rome,%20church%20of%20Santissima%20Trinita%20dei%20Monti,%20Pucci%20Chapel_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1400" data-original-width="2548" height="352" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKGZeie_U4al389P6r3of0DbvqJGapZkDJktp7YWBl6hJ7iGfar7El9gm-dvECVjQozZGZImjsWpwv65FPGLSIEMoBCmxuCuSmFqOg-PbrgRvJGjDZoAJ4wOgu7CDzbKxJmox7RuHhiq4TqDhmu2QMsvmo5PfdyiC2Q-i3fl1tfyjo6vJLK4XXNEfc/w640-h352/1563_Federico%20Zuccari_Italian,%20c.%201563_Rome,%20church%20of%20Santissima%20Trinita%20dei%20Monti,%20Pucci%20Chapel_1.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Federico Zuccari, The Sorrow of God<br />Italian, c. 1563<br />Rome, Church of Santissima Trinita dei Monti, Pucci Chapel<br /><br /></td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_CG1ZwiEj7myu0mN9QyOh_zjU_l4jFa8bBMipDlGC8zo0918Qo24rwNLmOH2NQYvfAzjHeBA6QxPMB0Cdbd0qWiz6Y1euSJvE_r3cIV4cHJnqqQ-RwStlYsG3OidjYUb3mNP_Cz2G1STfqDVRRwDKAT1x0_OSq-GonhQQgizq4KI1f7MWCD3AyqdH/s640/1620_Peter%20Paul%20Rubens_Flemish,%20c.%201620_Antwerp,%20Koninklijk%20Museum%20voor%20Schone%20Kunsten-!.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="608" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_CG1ZwiEj7myu0mN9QyOh_zjU_l4jFa8bBMipDlGC8zo0918Qo24rwNLmOH2NQYvfAzjHeBA6QxPMB0Cdbd0qWiz6Y1euSJvE_r3cIV4cHJnqqQ-RwStlYsG3OidjYUb3mNP_Cz2G1STfqDVRRwDKAT1x0_OSq-GonhQQgizq4KI1f7MWCD3AyqdH/w608-h640/1620_Peter%20Paul%20Rubens_Flemish,%20c.%201620_Antwerp,%20Koninklijk%20Museum%20voor%20Schone%20Kunsten-!.jpg" width="608" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Peter Paul Rubens, The Sorrow of God<br />Flemish, c. 1620<br />Antwerp, Koninklijk Museum voor Schone Kunsten<br /><br /></td></tr></tbody></table><br /></td></tr>
</tbody></table>
<br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixNjow0JnfmVdsLsuBw-y4Mxt-EpEhMxsAyufvsZ679YRMpxsNxW8VRqcNkbYW1nihpECcIar5W3OojqLDDcZPazJwYMRr7-vMjue9uKFI52c-dlGVh-E3XafhzAXSmKEGo9rTaRWbMs8/s1600/1755_Corrado+Giaquinto_Italian%252C+c.+1755-1756%252BMadrid%252C+Museo+Nacional+del+Prado.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1297" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixNjow0JnfmVdsLsuBw-y4Mxt-EpEhMxsAyufvsZ679YRMpxsNxW8VRqcNkbYW1nihpECcIar5W3OojqLDDcZPazJwYMRr7-vMjue9uKFI52c-dlGVh-E3XafhzAXSmKEGo9rTaRWbMs8/s640/1755_Corrado+Giaquinto_Italian%252C+c.+1755-1756%252BMadrid%252C+Museo+Nacional+del+Prado.jpg" width="518" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Corrado Giaquinto, The Sorrow of God<br />
Italian, c. 1755-1756<br />
Madrid, Museo Nacional del Prado</td></tr>
</tbody></table>
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This
heightened concentration on the participation of the Father in the suffering of
the Son represents one of the powerful currents of thought and of Christian
devotion active in late medieval Europe.<span style="mso-spacerun: yes;">
</span>Between the apparent serenity of the “high” middle ages, which is
generally reckoned to be the twelfth and thirteenth centuries and the
disturbed, somewhat fretful world of the fifteenth century lies the fourteenth
century.<span style="mso-spacerun: yes;"> </span>The fourteenth century saw
several of the worst catastrophes to hit Europe in all of history.<span style="mso-spacerun: yes;"> </span>These included:<span style="mso-spacerun: yes;"> </span>serious famine, the failure of the last
crusades, fraternal wars within Europe, instability in the Church and, worst of
all, the Black Death, the great plague that wiped out huge numbers of
people.<span style="mso-spacerun: yes;"> </span>Perhaps in response to these
disturbances nominalist philosophers developed a new philosophical theory that
challenged the long tradition of idealism, going back to Plato.<span style="mso-spacerun: yes;"> </span>Where the tradition believed in the existence
of universal or “ideal” concepts, the new philosophy of nominalism held that
there were no universals, only particular instances of being.<span style="mso-spacerun: yes;"> </span>This was deeply disturbing to the way in
which individuals saw the world.<span style="mso-spacerun: yes;"> </span>Also, during
this period the Church, which had been functioning at a high level, commanding
respect from rulers and people throughout Europe, fell into serious dysfunction,
with the removal of the Pope from Rome to Avignon in southern France and
subsequent control of the papacy by the French kings, then later with several
sets of anti-popes establishing their courts in places other than Rome and
drawing allegiance from different countries, making for a chaotic and disunited
Church.<span style="mso-spacerun: yes;"> </span><br />
<br />
The general instability led
people to seek new ways of relating to God and to each other with the formation
of various lay communities, some associated with established religious orders,
some independently under the authority of their local bishop.<span style="mso-spacerun: yes;"> </span>Among these new movements were the Beguines,
communities of lay women, and the Brothers and Sisters of the Common Life, communities
sometimes composed of men only, sometimes of women and sometimes of whole families.<span style="mso-spacerun: yes;"> </span>Most of these new organizations, collectively known as the<i> Devotio</i> <i>Moderna,</i> were active in Northern Europe, especially in the Low Countries and Germany, which also was the region in which the image of
the Sorrow of God was most popular. Among the contributions made by these groups is one of the most well-known devotional books of all time, <u>The Imitation of Christ</u>, written by Thomas a Kempis and still in use today. Among the techniques of prayer which the followers of the <i>Devotio Moderna</i> popularized was that of mentally placing oneself at a scene from the Bible. This type of focused meditation may have contributed to the rise of images such as the Sorrow of God.</div><div class="MsoNormal" style="margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="margin-bottom: 0in;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmMZTMfFxSFh9B3s5Enf-E--dq5gtUopykdB8YNIzh2qTjTVe-1dU5g_lh7hnKsunQlih8cBu8-tS4-A4ieZt29lPXMh4vTMtPdjesGJuP1pbUHZkR8qjXmn-OYWRlPAFedZ21PHjz0nauVVYxvgwsaWpnIPSr9rZc6h5NushZGr92YHbjXVzjXCjN/s1066/1415_Master%20of%20Saint%20Lawrence_German,%20c.%201415-1430_Cologne,%20Wallraf-Richartz-Museum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1066" data-original-width="744" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmMZTMfFxSFh9B3s5Enf-E--dq5gtUopykdB8YNIzh2qTjTVe-1dU5g_lh7hnKsunQlih8cBu8-tS4-A4ieZt29lPXMh4vTMtPdjesGJuP1pbUHZkR8qjXmn-OYWRlPAFedZ21PHjz0nauVVYxvgwsaWpnIPSr9rZc6h5NushZGr92YHbjXVzjXCjN/w446-h640/1415_Master%20of%20Saint%20Lawrence_German,%20c.%201415-1430_Cologne,%20Wallraf-Richartz-Museum.jpg" width="446" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Sorrow of God<br />German, c. 1415-1430<br />Cologne, Wallraf-Richartz-Museum</td></tr></tbody></table><div class="MsoNormal" style="margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="margin-bottom: 0in;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigYxbKYEIC18bM6qwg-SXYNVZD6BYWsqIONDXhxt2iKXY4_jrlATBXk-x61UpMiFSEJY8n8wquci23DoDNFBrFM4wWmG9J3G1sQk5OICYcRC0FCGdKN1qA9c99bXUDfKh_lHa7Pd3lgp7stVeaaNoSl_X2uJZmHCNay9Si6-j1dA7m5PJdKP2B6s49/s660/1440_Dunois%20Master_From%20the%20Dunois%20Hours_French%20(Paris),,%20c.%201440-1450_London,%20British%20Library_MS%20Yates%20Thompson%203,%20fol.%20152v%20(2).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="660" data-original-width="488" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigYxbKYEIC18bM6qwg-SXYNVZD6BYWsqIONDXhxt2iKXY4_jrlATBXk-x61UpMiFSEJY8n8wquci23DoDNFBrFM4wWmG9J3G1sQk5OICYcRC0FCGdKN1qA9c99bXUDfKh_lHa7Pd3lgp7stVeaaNoSl_X2uJZmHCNay9Si6-j1dA7m5PJdKP2B6s49/w474-h640/1440_Dunois%20Master_From%20the%20Dunois%20Hours_French%20(Paris),,%20c.%201440-1450_London,%20British%20Library_MS%20Yates%20Thompson%203,%20fol.%20152v%20(2).jpg" width="474" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Dunois Master, The Sorrow of God<br />From the <i><u>Dunois Hours</u></i><br />French (Paris), c. 1440-1450<br />London, British Library<br />MS Yates Thompson 3, fol. 152v </td></tr></tbody></table><div class="MsoNormal" style="margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="margin-bottom: 0in;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-lTmJy2P7Q6u_ZaTqwQloDsbrdyf86Dq-J9yubwBQBx3i2FpOtvXYr3siseMLFsWaHJQXgtCE77Zgv0TLN6dpL2zSSokUye23MqO0Egfq_j-o1Q-7Uto6lQyn_b4xDnP9cvVP0k7iOY85BMC37VZtmpp-SiRNBwzDNfSRcL-LMRsvkW9-shm6Tzks/s1153/1501_Ersheim%20Altarpiece_German,%20c.%201501_Hirschhorn,%20Former%20Monastery%20Church%20of%20the%20Annunciation.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1153" data-original-width="526" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-lTmJy2P7Q6u_ZaTqwQloDsbrdyf86Dq-J9yubwBQBx3i2FpOtvXYr3siseMLFsWaHJQXgtCE77Zgv0TLN6dpL2zSSokUye23MqO0Egfq_j-o1Q-7Uto6lQyn_b4xDnP9cvVP0k7iOY85BMC37VZtmpp-SiRNBwzDNfSRcL-LMRsvkW9-shm6Tzks/w292-h640/1501_Ersheim%20Altarpiece_German,%20c.%201501_Hirschhorn,%20Former%20Monastery%20Church%20of%20the%20Annunciation.jpg" width="292" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Follower of the Master of Flemalle, The Sorrow of God<br />From the Ersheim Altarpiece<br />German, c. 1500<br />Hirschhorn, Former Monastery Church of the Annunciation<br /><br /></td></tr></tbody></table><div class="MsoNormal" style="margin-bottom: 0in;"><br /></div><div class="MsoNormal" style="margin-bottom: 0in;"><o:p></o:p><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh57kNLPymHgZledtjrxVqy1JtakP92T-tt69nL7SUw7UkgsTST1ikLG14VolAJvXpBRuqUf2ObOF3-vrVX3bewdcVMOuZaqVEaA2BpRGp9pCuOv0ZoU4OcU2fZWs06feQdgBRenqatEBEjhYdhV4PPecEu6bejSOEq8teQU5v_fEFMESkrvtqGysZ8/s1920/1530_Jan%20Vermeyen_Flemish,%20c.%201530-1540_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1920" data-original-width="1632" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh57kNLPymHgZledtjrxVqy1JtakP92T-tt69nL7SUw7UkgsTST1ikLG14VolAJvXpBRuqUf2ObOF3-vrVX3bewdcVMOuZaqVEaA2BpRGp9pCuOv0ZoU4OcU2fZWs06feQdgBRenqatEBEjhYdhV4PPecEu6bejSOEq8teQU5v_fEFMESkrvtqGysZ8/w544-h640/1530_Jan%20Vermeyen_Flemish,%20c.%201530-1540_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="544" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jan Vermeyen, The Sorrow of God<br />Flemish, c. 1500<br />Madrid, Museo Nacional del Prado<br /><br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnI-DadguAX1CU91-Os9KtUZUcD4fx6iQ6bDBNEdk3TLfHDuH5gNb-H_xK29JTL_YvXExuD4ckv5IQbYsfjQ2TL-1UJh_Blyz7RBtkxhlPl_OLWX7x6VDkggK1r2QE_TuyWmyKxR4WL8WXmiSR7t4BekJWeC3vQl6lMt5IWKMHTyIACDKz0f9BPPcQ/s7834/1544_Maarten%20van%20Heemskerck_Flemish,%20c.%201544-1545_Private%20Collection.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="7834" data-original-width="5727" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnI-DadguAX1CU91-Os9KtUZUcD4fx6iQ6bDBNEdk3TLfHDuH5gNb-H_xK29JTL_YvXExuD4ckv5IQbYsfjQ2TL-1UJh_Blyz7RBtkxhlPl_OLWX7x6VDkggK1r2QE_TuyWmyKxR4WL8WXmiSR7t4BekJWeC3vQl6lMt5IWKMHTyIACDKz0f9BPPcQ/w468-h640/1544_Maarten%20van%20Heemskerck_Flemish,%20c.%201544-1545_Private%20Collection.jpg" width="468" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Maarten van Heemskerck, The Sorrow of God<br />Flemish, c. 1544-1545<br />Private Collection</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheE8kYZd4Up1m_7XV5Bt9KcekQze879nQsTJj8GtPEeAGgbbnY3PQcywLiw0r7VwlkpYv5tBK20qSRGkk-O_R1NQSH9Lnf1tyuIRTVXdhtiAYtOseHzi1gzu7pQHAthI-jLLAdfmPCmkAcCOxoUKSeCRoy6JPdPnhjIXk7lZTDFw28aW7h9Bprz2Ex/s1920/1635_Jose%20de%20Ribera_Spanish,%201635_Madrid,%20Museo%20Nacional%20del%20Prado_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1920" data-original-width="1542" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheE8kYZd4Up1m_7XV5Bt9KcekQze879nQsTJj8GtPEeAGgbbnY3PQcywLiw0r7VwlkpYv5tBK20qSRGkk-O_R1NQSH9Lnf1tyuIRTVXdhtiAYtOseHzi1gzu7pQHAthI-jLLAdfmPCmkAcCOxoUKSeCRoy6JPdPnhjIXk7lZTDFw28aW7h9Bprz2Ex/w514-h640/1635_Jose%20de%20Ribera_Spanish,%201635_Madrid,%20Museo%20Nacional%20del%20Prado_1.jpg" width="514" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jose de Ribera, The Sorrow of God<br />Spanish, 1635<br />Madrid, Museo Nacional del Prado</td></tr></tbody></table><br /><br /><br /><br /></div>
<div class="MsoNormal">
The development of this image demonstrates the enormous power of pictures to make
instantly accessible ideas that frequently require many words.<span style="mso-spacerun: yes;"> </span>The idea which the subject of this article
represents is that of John 3:16, <i style="mso-bidi-font-style: normal;">“God so
loved the world that he gave his only son”</i>.<span style="mso-spacerun: yes;">
</span>But it is even more than that, for some of these images emphasize the
aspect of the Trinity that seems hardest to understand.<span style="mso-spacerun: yes;"> </span>They present us with an image of the Father
or of the Father and the Holy Spirit in which all three figures have the same
face, reminding us that Jesus said <i style="mso-bidi-font-style: normal;">“The
Father and I are one”</i> (John 10:30).<span style="mso-spacerun: yes;">
</span>And this is a reminder to us to contemplate the way in which the love of
God has expressed itself, for in showing us the body of the dead Jesus, the
Trinity is represented as showing us its very self.<span style="mso-spacerun: yes;"> </span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9kgNGrn_nlQ4O5c7GXDABWlkVAYrmnKxnvCH-gKYerujlz1Ho3lY3si8InCENFjqgA9wrmvdDAbfl9fol64dpnCbkbiyOp3GmX7uLa4pgspHh8VTf_pQsrNnqk3819FAZXVFCmkcnEOY3YRebMTU_etpycRAMpbRBpjz8lkaVcDUCmns6CeHlzMzN/s462/1440_School%20of%20the%20Talbot%20Master,%20From%20Sept%20articles%20de%20la%20foy_French%20(Rouen),%20c.%201440-1450_%20London,%20British%20Library_MS%20Royal%2019%20A%20XXII,%20fol.%201.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="462" data-original-width="462" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9kgNGrn_nlQ4O5c7GXDABWlkVAYrmnKxnvCH-gKYerujlz1Ho3lY3si8InCENFjqgA9wrmvdDAbfl9fol64dpnCbkbiyOp3GmX7uLa4pgspHh8VTf_pQsrNnqk3819FAZXVFCmkcnEOY3YRebMTU_etpycRAMpbRBpjz8lkaVcDUCmns6CeHlzMzN/w640-h640/1440_School%20of%20the%20Talbot%20Master,%20From%20Sept%20articles%20de%20la%20foy_French%20(Rouen),%20c.%201440-1450_%20London,%20British%20Library_MS%20Royal%2019%20A%20XXII,%20fol.%201.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">chool of the Talbot Master, The Trinity Adored by a Donor<br />From <u><i>Sept articles de la foy</i></u><br />French (Rouen), c. 1440-1450_<br />London, British Library<br />MS Royal 19 A XXII, fol. 1r</td></tr></tbody></table><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh54o5NhBx2kwTVTE-4Bz4NFtoWnkx8afp00_Ld7-wCzqI1d4VcnK4gK12pd6M6vYR6sV9hH8vuZ4Zb7kyvv2Mk-1Tgaxcueyg67c3zTUbmxLYQIO4Od79UyPzivDK3dyC_rNV3WIcuIoveQnnlCawy7_-pp-55avqvZNk5745Ah2nym6-UrxWsPQPM/s568/1445_Master%20of%20Jean%20Chevrot_From%20a%20Book%20of%20Hours_Flemish%20(Bruges),%20c.%201445-1455_New%20York,%20Pierpont_MS%20M421,%20fol.%2015v_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="568" data-original-width="387" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh54o5NhBx2kwTVTE-4Bz4NFtoWnkx8afp00_Ld7-wCzqI1d4VcnK4gK12pd6M6vYR6sV9hH8vuZ4Zb7kyvv2Mk-1Tgaxcueyg67c3zTUbmxLYQIO4Od79UyPzivDK3dyC_rNV3WIcuIoveQnnlCawy7_-pp-55avqvZNk5745Ah2nym6-UrxWsPQPM/w436-h640/1445_Master%20of%20Jean%20Chevrot_From%20a%20Book%20of%20Hours_Flemish%20(Bruges),%20c.%201445-1455_New%20York,%20Pierpont_MS%20M421,%20fol.%2015v_1.jpg" width="436" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Jean Chevrot, The Trinity<br />From a <u><i>Book of Hours</i></u><br />Flemish (Bruges), c. 1445-1455<br />New York, Pierpont Morgan Library<br />MS M 421, fol. 15v<br /><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0KmOGIulCnKPJEw9359tgmOVCJwj2XkqmjUbydRT7PPdE6zmnd0om6ReavTIgsG1t3xlI2P7IMxiYLlGt-Sv6-6MFbHHqpsq-md3WKxR8IsBRViDiQ-WM-PKY4_qcgKA18p5a3aR3helKMa49swqilql7b12LTqXVs9nxhA5FELm19LgUOh43g9D4/s2000/1478_Hugo%20van%20der%20Goes,%20Trinity_Flemish,%20c.%201478-1479_Edinburgh,%20National%20Galleries%20of%20Scotland.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="953" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0KmOGIulCnKPJEw9359tgmOVCJwj2XkqmjUbydRT7PPdE6zmnd0om6ReavTIgsG1t3xlI2P7IMxiYLlGt-Sv6-6MFbHHqpsq-md3WKxR8IsBRViDiQ-WM-PKY4_qcgKA18p5a3aR3helKMa49swqilql7b12LTqXVs9nxhA5FELm19LgUOh43g9D4/w304-h640/1478_Hugo%20van%20der%20Goes,%20Trinity_Flemish,%20c.%201478-1479_Edinburgh,%20National%20Galleries%20of%20Scotland.jpg" width="304" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Hugo van der Goes, The Trinity<br />Wing from the Trinity Altarpiece<br />Flemish, c. 1478-1479<br />Edinburgh, National Galleries of Scotland<br /><br /></td></tr></tbody></table></td></tr></tbody></table><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMoxsdH5ZZK_s7Fw4ffmch_zsUg7CwE8PvTZ_wv8mf0-ZF9L0kVFIJoWfc2YgTO1lQl4QxpX-N3uuvEtlNSgzXBS2OpFKmjJWSZrAjAXC0a7S-dtHh_dpQ3_oWoz3Tf1FiuEYDFW-gPew-FuTNrQJkWUz4643KeMjLP3KVL-rkoVLD3XSnEe-VXj7t/s1920/1480_Miguel%20Ximenez_Spanish,%20c.%201480-1490_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1920" data-original-width="1895" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMoxsdH5ZZK_s7Fw4ffmch_zsUg7CwE8PvTZ_wv8mf0-ZF9L0kVFIJoWfc2YgTO1lQl4QxpX-N3uuvEtlNSgzXBS2OpFKmjJWSZrAjAXC0a7S-dtHh_dpQ3_oWoz3Tf1FiuEYDFW-gPew-FuTNrQJkWUz4643KeMjLP3KVL-rkoVLD3XSnEe-VXj7t/w632-h640/1480_Miguel%20Ximenez_Spanish,%20c.%201480-1490_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="632" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Miguel Ximenez, The Trinity<br />Spanish, c. 1480-1490<br />Madrid, Museo Nacional del Prado<br /><br /></td></tr></tbody></table><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8EEoxSyErNwXLOLKfNBgyKJDboe937EC5nD64EnqWpZ1ALCLRCtMFvlDRIsFEOv1gDudNhuDWagYkBIzWCe5qv2qpm6kEuj01tzJAfeB_G-LBPRI_fo8ySPYBhMa_BPe5hprpo8c-ox8/s1600/1495_Master+of+the+Older+Prayerbook+of+Maximilian_From+Breviary+of+Eleanor+of+Portugal_Flemich+%2528Bruges%2529%252C+c.+1495-1515_New+York%252C+Pierpont_MS+M52%252C+fol.+189v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="518" data-original-width="343" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8EEoxSyErNwXLOLKfNBgyKJDboe937EC5nD64EnqWpZ1ALCLRCtMFvlDRIsFEOv1gDudNhuDWagYkBIzWCe5qv2qpm6kEuj01tzJAfeB_G-LBPRI_fo8ySPYBhMa_BPe5hprpo8c-ox8/s640/1495_Master+of+the+Older+Prayerbook+of+Maximilian_From+Breviary+of+Eleanor+of+Portugal_Flemich+%2528Bruges%2529%252C+c.+1495-1515_New+York%252C+Pierpont_MS+M52%252C+fol.+189v.jpg" width="422" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Master of the Older Prayerbook of Maximilian,, The Trinity<br />
From <u><i>Breviary of Eleanor of Portugal</i></u><br />
Flemish (Bruges), c. 1495-1515<br />
New York, Pierpont Morgan Library<br />
MS M 52, fol. 189v<br /><br /><br /><br /></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB_oyZBmnWxNv1ha3HS4f1Wvkklo06cZrcJw-lwl4WVnJcINh5eX9Z9jPrHWYAMrI9yoEaifyXLUcgamTol_RwQXSWsr56FLLbX7clt-QzTG6vjzP_ZXTzXXtVHcgRuj8agiXELEV48is/s1600/1510-Simon+Bening_From+the+Da+Costa+Hours_Flemish+%2528Bruges%2529%252C+c.+1510-1520_New+York%252C+Pierpont+Morgan_MS+M399%252C+fol.+340v.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="477" data-original-width="345" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB_oyZBmnWxNv1ha3HS4f1Wvkklo06cZrcJw-lwl4WVnJcINh5eX9Z9jPrHWYAMrI9yoEaifyXLUcgamTol_RwQXSWsr56FLLbX7clt-QzTG6vjzP_ZXTzXXtVHcgRuj8agiXELEV48is/s640/1510-Simon+Bening_From+the+Da+Costa+Hours_Flemish+%2528Bruges%2529%252C+c.+1510-1520_New+York%252C+Pierpont+Morgan_MS+M399%252C+fol.+340v.jpg" width="462" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Simon Bening, The Trinity<br />
From the <u><i>Da Costa Hours</i></u><br />
Flemish (Bruges), c. 1510-1520<br />
New York, Pierpont Morgan Library<br />
MS M 399, fol. 340v</td></tr>
</tbody></table>
<br /></div>
<div class="MsoNormal"><br /></div><div class="MsoNormal">
These images are both a reminder and a plea.<span style="mso-spacerun: yes;"> </span>They are a reminder of the almost
inconceivable love of God for humanity and also a plea to humans to remember
and to receive that gift of love, so freely and so painfully given. <o:p></o:p>For the infinite, omnipotent and impassible Godhead of the Three in One incorporates within itself an element of what Vann called the "will-to-share" with us our experience of suffering, but in such a way that our human suffering is healed, if we but accept the gift.</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDXM30u7hiSnF37MGHi1YhG-Q3vrFETHk20wne4Ba0mr064W8QO0Lzql_KH26EIKOhkJkKpDLSLIx2rffc_qqH13m75C5xzbvZlsDpCadKjEb-1VM6ncGUYlRuoOLbzmgPi2RXQDK6-8oPWFTZk5fGk-QBdFl4tAeyjTF_bcznDTf-TBrYpw3wpBbr/s1908/1500_Jean%20Bellegambe,%20Trinity%20Triptych_Flemish,%20c.%201500_Lille,%20Palais%20des%20Beaux-Arts.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1404" data-original-width="1908" height="470" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDXM30u7hiSnF37MGHi1YhG-Q3vrFETHk20wne4Ba0mr064W8QO0Lzql_KH26EIKOhkJkKpDLSLIx2rffc_qqH13m75C5xzbvZlsDpCadKjEb-1VM6ncGUYlRuoOLbzmgPi2RXQDK6-8oPWFTZk5fGk-QBdFl4tAeyjTF_bcznDTf-TBrYpw3wpBbr/w640-h470/1500_Jean%20Bellegambe,%20Trinity%20Triptych_Flemish,%20c.%201500_Lille,%20Palais%20des%20Beaux-Arts.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jean Bellegambe, The Trinity Triptych<br />Flemish, c. 1500<br />Lille, Palais des Beaux-Arts</td></tr></tbody></table><div class="MsoNormal"><br /><br />
<br />
<div class="MsoNormal">
© M. Duffy, 2019; with additional and refreshed images, 2023<o:p></o:p></div>
<br /></div>
<div class="MsoNormal">
1.<span style="mso-spacerun: yes;"> </span>Introduction to
the First Letter of John from <u>New American Bible</u>, Revised Edition, <span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">©</span> Confraternity
of Christian Doctrine, Washington, D.C. Printed edition by Catholic Bible
Press, a Division of Thomas Nelson, Inc. Nashville and Atlanta, 1987, p. 1413.<span style="mso-spacerun: yes;"> </span>The same text is available online at <a href="http://www.usccb.org/bible/scripture.cfm?bk=1%20John&ch=">1 John 4</a><span class="MsoHyperlink"><span style="text-decoration: none; text-underline: none;">.<o:p></o:p></span></span><br />
<span class="MsoHyperlink"><span style="text-decoration: none; text-underline: none;"><br /></span></span>
<span class="MsoHyperlink"><span style="text-decoration: none; text-underline: none;">2. </span></span><span class="MsoHyperlink">Catechism
of the Catholic Church</span><span class="MsoHyperlink">, Part I, </span><span class="MsoHyperlink">§</span><span class="MsoHyperlink">2, Chapter 1, Article 1, </span><span class="MsoHyperlink">¶2,
#234. Online at: </span><a href="http://www.vatican.va/archive/ENG0015/__P17.HTM"><span style="color: blue;">http://www.vatican.va/archive/ENG0015/__P17.HTM</span></a>. In print:
United States Catholic Conference, <u>Catechism of the Catholic Church</u>,
Vatican City State, Libreria Editrice Vaticana, 1994.<br />
<br />
<div class="MsoNormal">
<span class="MsoHyperlink"><span color="windowtext"><o:p></o:p></span></span></div>
</div>
<div class="MsoNormal">
<span class="MsoHyperlink"><span color="windowtext" style="text-decoration: none; text-underline: none;">3. <i style="mso-bidi-font-style: normal;">“</i></span></span><i style="mso-bidi-font-style: normal;">The grace of
the Lord Jesus Christ and the love of God and the fellowship of the holy Spirit
be with all of you.” <span style="mso-spacerun: yes;"> </span></i>(2 Corinthians 13:13)<o:p></o:p><br />
<br /></div>
<div class="MsoNormal">
4. <span style="mso-spacerun: yes;"> </span>Introduction to the Gospel of Matthew from <u>New American
Bible</u>, Revised Edition, © Confraternity of Christian Doctrine, Washington,
D.C. Printed edition by Catholic Bible Press, a Division of Thomas Nelson, Inc.
Nashville and Atlanta, 1987, pp.1057-1061.
The same text is available online at <a href="http://www.usccb.org/bible/scripture.cfm?bk=Matthew&ch=">The Gospel
According to Matthew</a>.<br />
<div class="MsoNormal">
<o:p></o:p></div>
<br />
5. A description of
the Iconclass system of iconographic classification may be read at <a href="http://www.iconclass.nl/home">Iconclass Description</a>.<span style="mso-spacerun: yes;"> </span>The system itself can be accessed at the <a href="http://www.iconclass.org/help/outline">Iconclass website</a>.<o:p></o:p><br />
<br />
6. Boespflug,
François (trans. Cuneen, Joseph). “The
Compassion of God the Father in Western Art”, <u>CrossCurrents</u>, Volume 42, Winter
1992/1993, p. 500.<br />
<div class="MsoNormal">
<o:p></o:p></div>
<br />
7. Vann, Gerald, O.P.
<u>The Pain of Christ and the Sorrow of God</u>, New York, Alba House, 1994, p.
91.<br />
<br />
<div class="MsoNormal">
<o:p></o:p></div>
</div>
<div class="MsoNormal">
<h4 style="text-align: left;">
Further reading:</h4>
<o:p></o:p><div class="MsoNormal">Boespflug, François and Cuneen, Joseph. “The Compassion of God the Father in Western
Art”, <u>CrossCurrents</u>, Volume 42,
Winter 1992/1993, pp. 487-503.<o:p></o:p><br />
<br /></div>
</div>
<div class="MsoNormal">
Schiller, Gertrud.<span style="mso-spacerun: yes;"> </span><u>Iconography
of Christian Art, Volume 2, The Passion of Jesus Christ</u>.<span style="mso-spacerun: yes;"> </span>Translated by Janet Seligman.<span style="mso-spacerun: yes;"> </span>Greenwich, CT; New York, Graphic Society, 1977
and subsequent, pp. 219-224.<o:p></o:p><br />
<br /></div>
<div class="MsoNormal">
Vann, Gerald, O.P.<span style="mso-spacerun: yes;">
</span><u>The Pain of Christ and the Sorrow of God</u>. <span style="mso-spacerun: yes;"> </span>New York, Alba House, 1994, pp. 75-97.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"><br /></span>
<span style="mso-spacerun: yes;"><br /></span></div>
<br />
<div style="border: 1pt solid windowtext; mso-border-alt: solid windowtext .5pt; mso-element: para-border-div; padding: 1pt 4pt;">
<div class="MsoNormal" style="border: none; mso-border-alt: solid windowtext .5pt; mso-padding-alt: 1.0pt 4.0pt 1.0pt 4.0pt; padding: 0in;">
Scripture texts in this
work are taken from the New American Bible, revised edition © 2010, 1991, 1986,
1970 Confraternity of Christian Doctrine, Washington, D.C. and are used by
permission of the copyright owner. All Rights Reserved. No part of the New
American Bible may be reproduced in any form without permission in writing from
the copyright owner.<o:p></o:p></div>
</div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_e3POB7aboA9LxOW7yzPBOdnNI655c7su0fpu03zoVABx1dEfn_RR16pGTcDy0_6Danp5bTnuZOdJ3kwBYtqJQNqSiBTw8-ApBZnIlEa32Lvseg9cAHIc2JrJDM1mMSfQFU-QQ0iMWnM/s1600/585_Rabbula-pentecost_Syria_c.585_Florence_Laurentian+%25282%2529.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1002" data-original-width="955" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_e3POB7aboA9LxOW7yzPBOdnNI655c7su0fpu03zoVABx1dEfn_RR16pGTcDy0_6Danp5bTnuZOdJ3kwBYtqJQNqSiBTw8-ApBZnIlEa32Lvseg9cAHIc2JrJDM1mMSfQFU-QQ0iMWnM/s640/585_Rabbula-pentecost_Syria_c.585_Florence_Laurentian+%25282%2529.jpg" width="608" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-size: 12.8px;">
Pentecost</div>
<div style="font-size: 12.8px;">
From the <i><u>Rabbula Gospels</u></i></div>
<div style="font-size: 12.8px;">
Syrian, c.585</div>
<div style="font-size: 12.8px;">
Florence, Laurentian Library</div>
</td></tr>
</tbody></table>
<div style="text-align: left;">
</div>
Images of the descent of the Holy Spirit at Pentecost abound in the history of art. From relatively early times through the Renaissance and into the modern era this is a subject that continues to inspire artists.<br />
<br />
There is a reasonable amount of consistency in the iconography of the scene, probably since the description of the event indicates a fairly circumscribed setting:<br />
<br />
<em>“When the time for Pentecost was fulfilled, they were all in one place together. And suddenly there came from the sky a noise like a strong driving wind, and it filled the entire house in which they were. Then there appeared to them tongues as of fire, which parted and came to rest on each one of them. And they were all filled with the Holy Spirit and began to speak in different tongues, as the Spirit enabled them to proclaim.”</em><br />
Acts 2:1-4<br />
<br />
Although there is a consistency, there are some differences in iconography. One of them is the inclusion of Mary among the disciples. The previous chapter of Acts says that among the disciples who gathered in the upper room following the ascension of Jesus were “<em>Mary the mother of Jesus, and his brothers”</em> (Acts 1:14). Therefore, it is reasonable that she would still have been there on the day of Pentecost. Most depictions include her, indeed most center on her.<br />
<br />
However, there are some that do not, especially from the earliest images, right through into the high Middle Ages.</div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkb0fA9LIqkNq0LvyeREWUeNXqXb1YmiAaENHaVtCPonYLCEphB3a5ztcUihMGyXei1mnN94J5Ph1toTf2iVoU8QLIe3N_znKzfRt72bClVKf-FS9ShEeFGLiRcU_SozsVRS7W7cnkw8uG9G7Phf6cocsLMQ1SRb_ItZEYvSbx22nipT5gBw3cW9au/s1539/850_Sacramentary%20of%20Drogo_French_Metz_c.850_BNF_Latin%209428_78.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1353" data-original-width="1539" height="562" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkb0fA9LIqkNq0LvyeREWUeNXqXb1YmiAaENHaVtCPonYLCEphB3a5ztcUihMGyXei1mnN94J5Ph1toTf2iVoU8QLIe3N_znKzfRt72bClVKf-FS9ShEeFGLiRcU_SozsVRS7W7cnkw8uG9G7Phf6cocsLMQ1SRb_ItZEYvSbx22nipT5gBw3cW9au/w640-h562/850_Sacramentary%20of%20Drogo_French_Metz_c.850_BNF_Latin%209428_78.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pentecost<br />From the <i><u>Sacramentary of Drogo</u></i><br />French (Metz), c. 850<br />Paris, Bibliotheque nationale de France<br />MS Latin 9428, fol. 78</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWDPefRLdnN_dgywRiMJNNhHybsrEhgRBwPX5MOVav_ZXIQE5LFB-eoFKAxeeubdIna0I9MRfJ7uU3uxylQgntQfWlqSTEaB5c72qxn-JQVxOR6YC98BzM5NY8Onxur1UW7rIlQjLSd7r11DgTuPqBqXNiHZcD4BUy9d6UTE_dMlrUDUORTmE_9Iul/s818/980_%C3%A9vang%C3%A9liaire%20de%20poussay_German_Reichenau_c980_BNF_Latin%2010514_69v.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="818" data-original-width="621" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWDPefRLdnN_dgywRiMJNNhHybsrEhgRBwPX5MOVav_ZXIQE5LFB-eoFKAxeeubdIna0I9MRfJ7uU3uxylQgntQfWlqSTEaB5c72qxn-JQVxOR6YC98BzM5NY8Onxur1UW7rIlQjLSd7r11DgTuPqBqXNiHZcD4BUy9d6UTE_dMlrUDUORTmE_9Iul/w486-h640/980_%C3%A9vang%C3%A9liaire%20de%20poussay_German_Reichenau_c980_BNF_Latin%2010514_69v.jpg" width="486" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pentecost<br />From the <u><i>Gospel Book</i></u> of Poussay<br />German (Reichenau), c. 980<br />Paris, Bibliotheque nationale de France<br />MS Latin 10514, fol. 69v</td></tr></tbody></table><br /><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAx2hYKLqn8radfStdmIfwuNK5QF-iEn1eG3z2yZxwb2Ue6w_G1YGA-R1HSJ3pR5D8sKrzFTuFEs5sufJsOBwc4p89hCNAMY7Sdi5uyI56geEd99inUOdnngi6_68DkZ0n9gHfU9QPeftsyGZDRCZKSeEBmKrHL2NCulOf4G7FqMakK_KkQF6jbvJI/s891/1020_Sacramentray%20from%20Treves_German_Reichenau_c1020-40_BNF_Latin%2018005_94v.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="891" data-original-width="672" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAx2hYKLqn8radfStdmIfwuNK5QF-iEn1eG3z2yZxwb2Ue6w_G1YGA-R1HSJ3pR5D8sKrzFTuFEs5sufJsOBwc4p89hCNAMY7Sdi5uyI56geEd99inUOdnngi6_68DkZ0n9gHfU9QPeftsyGZDRCZKSeEBmKrHL2NCulOf4G7FqMakK_KkQF6jbvJI/w482-h640/1020_Sacramentray%20from%20Treves_German_Reichenau_c1020-40_BNF_Latin%2018005_94v.jpg" width="482" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pentecost<br />From a <u><i>Sacramentary</i></u><br />German (Reichenau), c. 1020-1040<br />Paris, Bibliotheque national de France<br />MS Latin 18005, fol. 94v</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO4jsbkl6Ksqs6YnmYHQOPBFDoxS298MVNEx4PFn9b07x6HpDOR1Kl8iPurc3fE5loC4Mx6lENjaAxCmPah3tfo6O-Myp0DXnQ8aM8vgHTbYsr_y_OspG_crMCbL-N--gTgLsHpWXieegeBlIGezuVLUR4b4V83YHh_tTBEnmi2BEruYVcTYQ53_4F/s3236/1030_From%20a%20Benedictional_German%20(Regensburg),%20c.%201030-1040_LA,%20Getty_MS%20Ludwig%20VII%201,%20fol.%2047v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="3236" data-original-width="2553" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO4jsbkl6Ksqs6YnmYHQOPBFDoxS298MVNEx4PFn9b07x6HpDOR1Kl8iPurc3fE5loC4Mx6lENjaAxCmPah3tfo6O-Myp0DXnQ8aM8vgHTbYsr_y_OspG_crMCbL-N--gTgLsHpWXieegeBlIGezuVLUR4b4V83YHh_tTBEnmi2BEruYVcTYQ53_4F/w504-h640/1030_From%20a%20Benedictional_German%20(Regensburg),%20c.%201030-1040_LA,%20Getty_MS%20Ludwig%20VII%201,%20fol.%2047v.jpg" width="504" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pentecost<br />From a <u><i>Benedictional</i></u><br />German (Regensburg), c. 1030-1040<br />Los Angeles, J. Paul Getty Museum<br />MS Ludwig VII 1, fol. 47v</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQQW2t6giKhzEefphO8brZz3Kn7fDsYwu6POJe4Ipd5EV-Fmsqnq_7KGoGTFB-Dnssn3ulQsS0Qb6E-TlNwtFWxn2zPj7einSSW0pzbl4Yxr1cEsnpLXwEEWJ60gMcKguslrXxPeECoQATJR9FyaYD06zTlIvGf2K8aYYxN-dQY6uoBSg9vGLMxsQ1/s453/1045_Lectionary_Austria_Sankt%20Peter_Salzburg_1045-55_Morgan_g44.103ra.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="453" data-original-width="402" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQQW2t6giKhzEefphO8brZz3Kn7fDsYwu6POJe4Ipd5EV-Fmsqnq_7KGoGTFB-Dnssn3ulQsS0Qb6E-TlNwtFWxn2zPj7einSSW0pzbl4Yxr1cEsnpLXwEEWJ60gMcKguslrXxPeECoQATJR9FyaYD06zTlIvGf2K8aYYxN-dQY6uoBSg9vGLMxsQ1/w568-h640/1045_Lectionary_Austria_Sankt%20Peter_Salzburg_1045-55_Morgan_g44.103ra.jpg" width="568" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pentecost<br />From a <u><i>Lectionary</i></u><br />Austria (Sankt Peter, Salzburg), c. 1045-1055<br />New York, Pierpont Morgan Library<br />MS G 44, fol.103r<br /><br /></td></tr></tbody></table></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsPomUhSi11VqLQ2TpgLqPXNB5krNBHcvsJsPP2NwGhquhsYENCCRi0nq8nljJvTSoUOtx0Uuy3BKEb-f4RaMBaEe5WiWo1ak4z-6QtnhzCnfzWfbtny-J9eav3ngVQdzL-jyHqTZF3GnAP17svrNqn-39YEXFuUP2Prr20KD5KUUSqRzf3PHw8tHK/s1610/1100_Gospel%20BK_Byzantine_Constantinople_1100-1199_BNF_Suppl%C3%A9ment%20grec%2027_38.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1498" data-original-width="1610" height="596" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsPomUhSi11VqLQ2TpgLqPXNB5krNBHcvsJsPP2NwGhquhsYENCCRi0nq8nljJvTSoUOtx0Uuy3BKEb-f4RaMBaEe5WiWo1ak4z-6QtnhzCnfzWfbtny-J9eav3ngVQdzL-jyHqTZF3GnAP17svrNqn-39YEXFuUP2Prr20KD5KUUSqRzf3PHw8tHK/w640-h596/1100_Gospel%20BK_Byzantine_Constantinople_1100-1199_BNF_Suppl%C3%A9ment%20grec%2027_38.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pentecost<br />From a <i><u>Gospel Book</u></i><br />Byzantine (Constantinople), c. 1100-1199<br />Paris, Bibliotheque nationale de France<br />MS Supplément grec 27, fol. 38r</td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkHsZVaXlm64Fe-xSMUJmJQFqfTIsQowgl8pOiQFZiZxr5doq6c8n9qJvDlhXc9V7r4pr2r07ByadhoC6dpLmdKK1hYU_hocigoHGXPJIVQEcRCXO8qAC-aibToInwaUcHBYcQHmvW_X_zNvFC7NM0CaTAb6rf3AoyXes2uhOCvSB7yraoVpTLvABo/s1049/1100_Gospel%20Bk_German_Prum_1100-1150_BNF_Latin%2017325_43.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1049" data-original-width="889" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkHsZVaXlm64Fe-xSMUJmJQFqfTIsQowgl8pOiQFZiZxr5doq6c8n9qJvDlhXc9V7r4pr2r07ByadhoC6dpLmdKK1hYU_hocigoHGXPJIVQEcRCXO8qAC-aibToInwaUcHBYcQHmvW_X_zNvFC7NM0CaTAb6rf3AoyXes2uhOCvSB7yraoVpTLvABo/w542-h640/1100_Gospel%20Bk_German_Prum_1100-1150_BNF_Latin%2017325_43.jpg" width="542" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div><span style="font-family: inherit;">Pentecost</span></div><div><span style="font-family: inherit;">From a <i><u>Gospel Book</u></i></span></div><div><span style="font-family: inherit;">German (Pr<span style="line-height: 14.2667px;">ü</span>m), c. 1100-1150</span></div><div><span style="font-family: inherit;">Paris, Bibliotheque nationale de France</span></div><div><span style="font-family: inherit;">MS Latin 17325, fol. 43r</span></div></td></tr></tbody></table><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><br /><br /><div dir="ltr" style="text-align: left;" trbidi="on"><div><div style="text-align: right;"><br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEoH4x7aBQTgMMWy4ekZ1Z8e8kGAV7MAD9nmPRtLpdCvffSIwPn_UEFA8N_CEv08DztZY8_tk95B_UdXVBWc0H5P6PxpH3EIKMziPN0_IUXFMWbaUDOFByef_L5ORwtLSzDGbVqzrNUgIV/s1600/1100_Mosaic_West+Dome_1100-50_Venice_San+Marco.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="635" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEoH4x7aBQTgMMWy4ekZ1Z8e8kGAV7MAD9nmPRtLpdCvffSIwPn_UEFA8N_CEv08DztZY8_tk95B_UdXVBWc0H5P6PxpH3EIKMziPN0_IUXFMWbaUDOFByef_L5ORwtLSzDGbVqzrNUgIV/s640/1100_Mosaic_West+Dome_1100-50_Venice_San+Marco.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pentecost , Mosaic, West Dome<br />
Byzantine, c. 1100-1150<br />
Venice, Cathedral of San Marco</td></tr>
</tbody></table>
<br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj48S7_Nmt1yssdTDeHGA7mNaHxuR7HHiEbH7xL9w286dbghGOH8f5mIwDvjbfeCx117858OT9ynxOmWCBQ4Gm06oYPEiDon_73t1UDZV1cR8L7itysFcaHULanqey_9TSQCKGhrY9HLT4Ppd89KpwSxCRMNbWo24hig_fFOy29-5J2ev6LyLd0_-R6/s2389/1150_Plaque%20champleve%20on%20copper%20gilt_Meuse_S.%20Netherlandish_c.1150-75_Met_Cloisters.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2389" data-original-width="2363" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj48S7_Nmt1yssdTDeHGA7mNaHxuR7HHiEbH7xL9w286dbghGOH8f5mIwDvjbfeCx117858OT9ynxOmWCBQ4Gm06oYPEiDon_73t1UDZV1cR8L7itysFcaHULanqey_9TSQCKGhrY9HLT4Ppd89KpwSxCRMNbWo24hig_fFOy29-5J2ev6LyLd0_-R6/w634-h640/1150_Plaque%20champleve%20on%20copper%20gilt_Meuse_S.%20Netherlandish_c.1150-75_Met_Cloisters.jpg" width="634" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pentecost<br />Plaque with champleve enamel on copper gilt<br />French (Meuse Region), c.1150-1175<br />New York, Metropolitan Museum of Art, Cloisters Collection</td></tr></tbody></table><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd40Zy2WL7KhCM4YUgbwtreuYHpZCmgpvJMzloB8MUkq0QwBU6ptnINCjRIZL8_N5FUu0lq8IwPK5FiTA-NWCvfKcm1oplf4nHnt-EEKyYc3LNQUmMgeIWJD0KWtGsfWkQ5ljdUKar6dF5lLeIp8GqlLVsTfNNGaOwYR8uaTrOK-i3vXzwtrMpF8W7/s1231/1180_Klosterneuburg_c.1180.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1231" data-original-width="927" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd40Zy2WL7KhCM4YUgbwtreuYHpZCmgpvJMzloB8MUkq0QwBU6ptnINCjRIZL8_N5FUu0lq8IwPK5FiTA-NWCvfKcm1oplf4nHnt-EEKyYc3LNQUmMgeIWJD0KWtGsfWkQ5ljdUKar6dF5lLeIp8GqlLVsTfNNGaOwYR8uaTrOK-i3vXzwtrMpF8W7/w482-h640/1180_Klosterneuburg_c.1180.jpg" width="482" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: start;">Nicholas of Verdun, Pentecost</span><br style="text-align: start;" /><span style="text-align: start;">From the Klosterneuburg Altar</span><br style="text-align: start;" /><span style="text-align: start;">French (Meuse Region), c. 1180-1181</span><br style="text-align: start;" /><span style="text-align: start;">Klosterneuburg (Austria), Abbey Church</span></td></tr></tbody></table><br /><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6hcSdMIaN2jm8DvWzVS58UEWBxzGibSQ_qAa4Y2tE_7M_H6FgK6qvvjXT7YrHvsJlDbe3ZjI6AbwB8TVpwx7aJHDdRWImjKCy3B6eHJn_Met4qa899VgXmpK5loHSKdF-EAL8hQlmXCTieddiua7cPVCIlXCsiFXlDAx44um_cdcVpLsa3BLH4Lj1/s540/1160_Altar%20from%20Stavelot_Meuse_1160-1170_Paris_Cluny.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="225" data-original-width="540" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6hcSdMIaN2jm8DvWzVS58UEWBxzGibSQ_qAa4Y2tE_7M_H6FgK6qvvjXT7YrHvsJlDbe3ZjI6AbwB8TVpwx7aJHDdRWImjKCy3B6eHJn_Met4qa899VgXmpK5loHSKdF-EAL8hQlmXCTieddiua7cPVCIlXCsiFXlDAx44um_cdcVpLsa3BLH4Lj1/w640-h266/1160_Altar%20from%20Stavelot_Meuse_1160-1170_Paris_Cluny.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">P<span>entecost, from the Stavelot Altarpiece</span><br /><span>French (Meuse Region), c. 1160-1161</span><br /><span>Paris, <span style="line-height: 14.2667px;">Mus</span><span style="line-height: 14.2667px;">é</span><span style="line-height: 14.2667px;">e</span> de Cluny, Mus<span style="line-height: 14.2667px;">é</span><span style="line-height: 14.2667px;">e national du Moyen Age</span></span></span></td></tr></tbody></table><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8ab30DPbyUi7vgfJOTHiGIu_7Ox-uPBtabc4qkCKtcq5-RDDiOcmh4sBifJCfD13YAhiT6Pr8l0ysmyVdG69EtfiGklexbxn1B2KvkspwKXFa5MS0zLuq8K21jIM1UOw9fPUBKuHSNHHZfS5lSmxGxx42o4PYl2QqtfP5YSmoa7sjaC8D09u8fP3b/s1934/1200_Psalter_French_Paris_1200-25_BNF_Nouvelle%20acquisition%20latine%201392_13.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1466" data-original-width="1934" height="486" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8ab30DPbyUi7vgfJOTHiGIu_7Ox-uPBtabc4qkCKtcq5-RDDiOcmh4sBifJCfD13YAhiT6Pr8l0ysmyVdG69EtfiGklexbxn1B2KvkspwKXFa5MS0zLuq8K21jIM1UOw9fPUBKuHSNHHZfS5lSmxGxx42o4PYl2QqtfP5YSmoa7sjaC8D09u8fP3b/w640-h486/1200_Psalter_French_Paris_1200-25_BNF_Nouvelle%20acquisition%20latine%201392_13.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pentecost<br />From a <u><i>Psalter</i></u><br />French (Paris), c. 1200-1225<br />Paris, Bibliotheque nationale de France<br />MS Nouvelle acquisition latine 1392, fol. 13r<br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicOdcyM2gLoqT6BB9Nk8c8UtHaXUmWWog2_fHH22JUMbkxDbo1EJlc3JvlP6z4l3zBuYRkfoA6cIr_4w7a8wwwir5YZFm6FuulArHcNdhl7R_-f8tbhIWX4XJiJMkUP4zPm_kUOnKSvZyTURqFD6dScPlJTjG6-Nb6ngunBnU92z4rn6Haw3q8lBfu/s1254/1304_Giotto_1304-06_Arena%20Chapel.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1254" height="612" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicOdcyM2gLoqT6BB9Nk8c8UtHaXUmWWog2_fHH22JUMbkxDbo1EJlc3JvlP6z4l3zBuYRkfoA6cIr_4w7a8wwwir5YZFm6FuulArHcNdhl7R_-f8tbhIWX4XJiJMkUP4zPm_kUOnKSvZyTURqFD6dScPlJTjG6-Nb6ngunBnU92z4rn6Haw3q8lBfu/w640-h612/1304_Giotto_1304-06_Arena%20Chapel.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Giotto, Pentecost<br />Italian, c. 1304-1306<br />Padua, Arena/Scrovegni Chapel<br /><br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaMaaxoxmWgJznl64corUPBXnI-gKkkmR7E-E7LqgoXKn4DSC9sQGcP2f-_XQmxHjDkqiL-gxe5eY40x2y5Jmb5WdEbJ9fdoppIPzZKVn4A7bmvjILr6ITsXZJ5RY_WgIetX3ArVOYw6s20sb5WMREtdD-g9S49Z6VlsyU80aQAIgkmPqd9rWdiIts/s1903/1440_Bartolommeo%20di%20Tommaso%20da%20Foligno_c.1440_Minneapolis_Minneapolis%20Institute%20of%20Arts%20(4).jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1903" data-original-width="730" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaMaaxoxmWgJznl64corUPBXnI-gKkkmR7E-E7LqgoXKn4DSC9sQGcP2f-_XQmxHjDkqiL-gxe5eY40x2y5Jmb5WdEbJ9fdoppIPzZKVn4A7bmvjILr6ITsXZJ5RY_WgIetX3ArVOYw6s20sb5WMREtdD-g9S49Z6VlsyU80aQAIgkmPqd9rWdiIts/w246-h640/1440_Bartolommeo%20di%20Tommaso%20da%20Foligno_c.1440_Minneapolis_Minneapolis%20Institute%20of%20Arts%20(4).jpg" width="246" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: left;">Bartolommeo di Tommaso da Foligno, Pentecost</span><br style="text-align: left;" /><span style="text-align: left;">Italian, c.1440</span><br style="text-align: left;" /><span style="text-align: left;">Minneapolis, Minneapolis Institute of Arts</span></td></tr></tbody></table><br /><br /><br /><br /><br />
In the later years of the twelfth century, around the same time that the world began to see numerous churches dedicated to "Notre Dame" Mary's presence among the disciples on Pentecost began to receive visual attention. Indeed, once introduced, she became the dominant figure in the composition.</div><br /><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXf88ChPSHeyBelPTOB_K14OQ1MvrodAkz8wegZCq4aFCegOHLF7ILA2-8pTePyh1Pqj2QXRgInkwJumSNmUt1UABLrE1Sb-pug08Qpk901YEW3SzDoOwyXrvTFvdUwSxOesKhQjszenEYD0jUC3lzvZLrmVKx67Bh9AEetPONBIxjacWvn030ovxj/s878/1195_Ingeborg%20Psalter_Ile%20de%20France_c1195_Northern%20France_Musee%20Conde_ChantillyMS%201695_32v.2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="878" data-original-width="612" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXf88ChPSHeyBelPTOB_K14OQ1MvrodAkz8wegZCq4aFCegOHLF7ILA2-8pTePyh1Pqj2QXRgInkwJumSNmUt1UABLrE1Sb-pug08Qpk901YEW3SzDoOwyXrvTFvdUwSxOesKhQjszenEYD0jUC3lzvZLrmVKx67Bh9AEetPONBIxjacWvn030ovxj/w446-h640/1195_Ingeborg%20Psalter_Ile%20de%20France_c1195_Northern%20France_Musee%20Conde_ChantillyMS%201695_32v.2.jpg" width="446" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span>Pentecost<br />From the <u><i>Ingeborg Psalter</i></u></span><br /><span>French (Ile de France), c. 1195</span><br /><span>Chantilly, <span>Mus</span><span style="line-height: 19.26px;">é</span><span style="line-height: 19.26px;">e Condé</span></span><br /><span>MS 1695, fol. 32v<br /><br /><br /></span></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibRJDyycdW2OL0H7MXc1sFokphbYkODsqPmDia5iWkd0UZ7zvt6dzLHn815Bnknl-XYtdoPX8VYxXpoOUUiG3mW7yPIFsKH3_KrItyrMnEoV5V9zBA4yIk8vRN5NJR8Bdiu_IML-OP3-6T6uJlVU3cjERYbqiIuqR-AV3pi8hHJK-HcvPhZMDYRRoD/s904/1285_Livre%20d'images%20de%20madame%20marie_Belgian_Hainaut_c.1285-90_BNF_Nouvelle%20acquisition%20fran_aise%2016251_50.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="904" data-original-width="619" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibRJDyycdW2OL0H7MXc1sFokphbYkODsqPmDia5iWkd0UZ7zvt6dzLHn815Bnknl-XYtdoPX8VYxXpoOUUiG3mW7yPIFsKH3_KrItyrMnEoV5V9zBA4yIk8vRN5NJR8Bdiu_IML-OP3-6T6uJlVU3cjERYbqiIuqR-AV3pi8hHJK-HcvPhZMDYRRoD/w438-h640/1285_Livre%20d'images%20de%20madame%20marie_Belgian_Hainaut_c.1285-90_BNF_Nouvelle%20acquisition%20fran_aise%2016251_50.jpg" width="438" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: left;">Pentecost</span><br style="text-align: left;" /><span style="text-align: left;">From the <i><u>Livre d'images de madame marie</u></i></span><br style="text-align: left;" /><span style="text-align: left;">Belgian (Hainaut), c.1285-1290</span><br style="text-align: left;" /><span style="text-align: left;">Paris, Bibliotheque nationale de France</span><br style="text-align: left;" /><span style="text-align: left;">MS Nouvelle acquisition française 16251, fol. 50r</span></td></tr></tbody></table><br /><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBLeYrX7fG1q4e5hskBek7DUxH2eofgofD6Gm7tJ2AAz40BZOlZxQwiyoMzNIU6Dlo7kWhHC_DTeYcXzM4Cf8YXuV5hgc4u-G5-qRdtKVApauaLFU6iYHH-q9x9PhpFlJ86Ga2F5ISBspIQdJsBdfwijRVDuZdTG7YGjuEV71jlxRBryh8Uzm9isPO/s794/1308_Duccio%20Pentecost_1308-11_Siena_Museo%20dell'Opera%20del%20Duomo.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="700" data-original-width="794" height="564" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBLeYrX7fG1q4e5hskBek7DUxH2eofgofD6Gm7tJ2AAz40BZOlZxQwiyoMzNIU6Dlo7kWhHC_DTeYcXzM4Cf8YXuV5hgc4u-G5-qRdtKVApauaLFU6iYHH-q9x9PhpFlJ86Ga2F5ISBspIQdJsBdfwijRVDuZdTG7YGjuEV71jlxRBryh8Uzm9isPO/w640-h564/1308_Duccio%20Pentecost_1308-11_Siena_Museo%20dell'Opera%20del%20Duomo.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"><span style="text-align: left;">Duccio, Pentecost (panel from the Maestà altarpiece)</span><br style="text-align: left;" /><span style="text-align: left;">Italian, c. 1308-1311</span><br style="text-align: left;" /></span><span style="text-align: left;"><span style="font-family: inherit;">Siena, Museo dell'Opera del Duomo</span><br /><br /><br /></span></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUbsUsPl2gWZGaNS_tRGSgYWTwEpbP2lg0zNiZF7JdqP52Zm17PyFdj9HB6mXHpjYW65KQ2wmEANcxCXC64zKtiefxm76Uw80W0y_UYBAEBV3IQNepnCARSO4RUOMTwt08E6bT_USR-O74ixa76plKtIPmvwspkxAX5n9BBvlvjvEJejfmLKjF_41e/s794/1335_Taddeo%20Gaddi_1335-40_Berlin_Staatliche%20Museen.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="794" data-original-width="636" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUbsUsPl2gWZGaNS_tRGSgYWTwEpbP2lg0zNiZF7JdqP52Zm17PyFdj9HB6mXHpjYW65KQ2wmEANcxCXC64zKtiefxm76Uw80W0y_UYBAEBV3IQNepnCARSO4RUOMTwt08E6bT_USR-O74ixa76plKtIPmvwspkxAX5n9BBvlvjvEJejfmLKjF_41e/w512-h640/1335_Taddeo%20Gaddi_1335-40_Berlin_Staatliche%20Museen.jpg" width="512" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td class="tr-caption">Taddeo Gaddi, Pentecost<br />Italian, c. 1335-1340<br />Berlin, Gemäldegalerie der Staatliche Museen zu Berlin<br /><br /></td></tr></tbody></table><br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNF-SEa4WDktTlx8Vd4RXBCmGVhgMFzjytxPGsa6o0iehg-GMBv3zAzHaBUDAAJ70h50dNvJTdJ0sNunmF5P_vezhqno6IH8Ha6ApnLR7Dpq7ACx-dSOko84olOqvMDUIwFH9jRJPhYQnEIXP0h-xBUjzDRjRGx9dAO5eAmNsOisQ85NyeS9PEkC4V/s952/1366_Andrea%20da%20Firenze_1366-67_Florence_S.Maria%20Novella_Cappellone%20degli%20Spangnoli.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNF-SEa4WDktTlx8Vd4RXBCmGVhgMFzjytxPGsa6o0iehg-GMBv3zAzHaBUDAAJ70h50dNvJTdJ0sNunmF5P_vezhqno6IH8Ha6ApnLR7Dpq7ACx-dSOko84olOqvMDUIwFH9jRJPhYQnEIXP0h-xBUjzDRjRGx9dAO5eAmNsOisQ85NyeS9PEkC4V/w640-h550/1366_Andrea%20da%20Firenze_1366-67_Florence_S.Maria%20Novella_Cappellone%20degli%20Spangnoli.jpg" /></a></div><div><br /><div style="text-align: center;">Andrea da Firenze, Pentecost</div><div style="text-align: center;">Italian, c. 1366-1367</div><div style="text-align: center;">Florence, Church of Santa Maria Novella, Cappellone degli Spangnoli</div><div style="text-align: center;"><br /></div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPnQhFauOjc1WnkPFwQqEtCk5ZpSOwz-wNW-lsd2dc8geVfj2t601U-50A6amxT5ChMobWtlaizm30LOcUN3-1MiS7wudlHmvM0Z-e4ZuBy8OsqKeW_wtbMLwPltLkeUjPDsj8EJD6Vxfds6Wx9Hoi5r8Ze-B6bGdoxRYwVwXwwwLz8ZE0Hjac0ilc/s1264/1385-Giovanni%20di%20Benedetto%20&%20Workshop_Italian,%20c.%201385-1390_Paris,%20BNF_MS%20Latin%20757,%20fol.%20334v.jpeg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1264" data-original-width="881" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPnQhFauOjc1WnkPFwQqEtCk5ZpSOwz-wNW-lsd2dc8geVfj2t601U-50A6amxT5ChMobWtlaizm30LOcUN3-1MiS7wudlHmvM0Z-e4ZuBy8OsqKeW_wtbMLwPltLkeUjPDsj8EJD6Vxfds6Wx9Hoi5r8Ze-B6bGdoxRYwVwXwwwLz8ZE0Hjac0ilc/w446-h640/1385-Giovanni%20di%20Benedetto%20&%20Workshop_Italian,%20c.%201385-1390_Paris,%20BNF_MS%20Latin%20757,%20fol.%20334v.jpeg" width="446" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Giovanni di Benedetto and Workshop, Pentecost<br />From a <i><u>Missal</u></i><br />Italian, c. 1385-1390<br />Paris, Bibliotheque nationale de France<br />MS Latin 757, fol. 334v</td></tr></tbody></table><div><br /></div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoPAk_stdZhxUUia8a0Q56B6no0hFAHd1ez4wKnYSAyewAMINcpaVDHJMGf6xB-gA3z24-nOcBBJ3gm-01hs5fs_CjTX0LG6f4xLsklWQTQ-abtAf_abhxRj1IrHc7-fZ0JDjGPUpuMk5PUsmwUmHAbGZEafh_HVg6Bc-z42OFiD_gPi9m9rdRhhHF/s1720/1400_ma%C3%AEtre%20de%20jean%20de%20papeleu_bible%20historiale_guiard%20des%20moulins_French_Paris_1400-25_BNF_Fran%C3%A7ais%20157_240.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1619" data-original-width="1720" height="602" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoPAk_stdZhxUUia8a0Q56B6no0hFAHd1ez4wKnYSAyewAMINcpaVDHJMGf6xB-gA3z24-nOcBBJ3gm-01hs5fs_CjTX0LG6f4xLsklWQTQ-abtAf_abhxRj1IrHc7-fZ0JDjGPUpuMk5PUsmwUmHAbGZEafh_HVg6Bc-z42OFiD_gPi9m9rdRhhHF/w640-h602/1400_ma%C3%AEtre%20de%20jean%20de%20papeleu_bible%20historiale_guiard%20des%20moulins_French_Paris_1400-25_BNF_Fran%C3%A7ais%20157_240.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of Jean de Papeleu, Pentecost<br />From a <i><u>Bible historiale</u></i> by Guiard des Moulins<br />French (Paris), c. 1400-1425<br />Paris, Bibliotheque nationale de France<br />MS Français 157, fol. 240r</td></tr></tbody></table><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinDX52JQAaQZuXveDAiCPlpU_uOkySmpkVusZsWzIUSD1VWPvKcVEy5hpwdoe_C10KMB4o7uDg-PhBlHiEaOYoxgmUslPvoBdvKy87Miq_HeHJSNSa_OHOqzz-uXgHHEIVLYO_FyWuSQgAA4Fcb30S8iYkAGkVNbafuoZ_Ay5KF62OA3ut7H8G_b1C/s4386/1460_Girolamo%20da%20Cremona_Cutting%20from%20a%20Liturgical%20Book_Italian,%20c.%201460-1470_Los%20Angeles,%20J.%20Paul%20Getty%20Museum_MS%2055,%2094r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="4386" data-original-width="2820" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinDX52JQAaQZuXveDAiCPlpU_uOkySmpkVusZsWzIUSD1VWPvKcVEy5hpwdoe_C10KMB4o7uDg-PhBlHiEaOYoxgmUslPvoBdvKy87Miq_HeHJSNSa_OHOqzz-uXgHHEIVLYO_FyWuSQgAA4Fcb30S8iYkAGkVNbafuoZ_Ay5KF62OA3ut7H8G_b1C/w412-h640/1460_Girolamo%20da%20Cremona_Cutting%20from%20a%20Liturgical%20Book_Italian,%20c.%201460-1470_Los%20Angeles,%20J.%20Paul%20Getty%20Museum_MS%2055,%2094r.jpg" width="412" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Girolamo da Cremona, Pentecost<br />Cutting from a Liturgical Book<br />Italian, c. 1460-1470<br />Los Angeles, J. Paul Getty Museum<br />MS 55, 94r</td></tr></tbody></table><div><br /></div><div><br /></div><div><br /></div><div><br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAEWvGwN-2BVyjTBGYT55eISbyTJqdLg2NZn7Mu1gGDrEb0iGj5tQNIamU_j2zzTvgAV20l5nGOGqjsrdsFFT9fjaplQSWcgaYpr3u3PXXviqeSVTYWIbqMua0QMZdAqefrUImeMqRUtG/s1600/1472_Konstanz_Minster+%2526+Our+Lady.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAEWvGwN-2BVyjTBGYT55eISbyTJqdLg2NZn7Mu1gGDrEb0iGj5tQNIamU_j2zzTvgAV20l5nGOGqjsrdsFFT9fjaplQSWcgaYpr3u3PXXviqeSVTYWIbqMua0QMZdAqefrUImeMqRUtG/s640/1472_Konstanz_Minster+%2526+Our+Lady.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pentecost<br />
German, 1472<br />
Konstanz, Minster of Our Lady<br /><br /><br /></td></tr>
</tbody></table>
<br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioNiWpLUX6krR-Tne48vk8Ye6a-I854WCMx4ZCjWeovtlUVe9Op3hbqgZKI16Tt1wAars8y1CBtvnTBceffDdE5m1TOb-s9ohCZ8M0z54PotgiA3J_A1zLhAZOknMQTkAzF5u8aVydkAOwYjcGEIx5uy2a0E4DGDyBwdzMui7YJ1C79SjlGkmTsxZP/s3000/1490_French_Picardy_from%20High%20Altar%20of%20Charterhouse%20of%20Saint-Honore_Thuison-les-Abbeville_1490-91_Chicago_AI.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="3000" data-original-width="1287" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioNiWpLUX6krR-Tne48vk8Ye6a-I854WCMx4ZCjWeovtlUVe9Op3hbqgZKI16Tt1wAars8y1CBtvnTBceffDdE5m1TOb-s9ohCZ8M0z54PotgiA3J_A1zLhAZOknMQTkAzF5u8aVydkAOwYjcGEIx5uy2a0E4DGDyBwdzMui7YJ1C79SjlGkmTsxZP/w274-h640/1490_French_Picardy_from%20High%20Altar%20of%20Charterhouse%20of%20Saint-Honore_Thuison-les-Abbeville_1490-91_Chicago_AI.jpg" width="274" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pentecost<br />From the High Altar of the Charterhouse of Saint-Honoré<br /><span>French (Picardy, </span>Thuison-les-Abbeville), c. 1490-1491<br />Chicago, Art Institute<br /><br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-Of__CiBaI6NAXyCAIaMUSb07nWm_Am6EPFcaq1pgcwsTN_NnC_9acx-FlCpg7GRiMo4i2_rpHE6XPlYREdd96UOHkkRk1mHxWXN4F1IQHQyoMjCkPYhAGYhkMvIGzYtMcSm-9eBtiP6_NYKffGUjPFxfWNrnH8xZPXPc-8Ki8nMBB3_AqT4FIsk7/s1383/1503_Jean%20Bourdichon_Grandes%20Heures%20of%20Anne%20d%20Bretagne_France%20(Tours)_1503-08_BNF_Latin%209474_49v.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1383" data-original-width="901" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-Of__CiBaI6NAXyCAIaMUSb07nWm_Am6EPFcaq1pgcwsTN_NnC_9acx-FlCpg7GRiMo4i2_rpHE6XPlYREdd96UOHkkRk1mHxWXN4F1IQHQyoMjCkPYhAGYhkMvIGzYtMcSm-9eBtiP6_NYKffGUjPFxfWNrnH8xZPXPc-8Ki8nMBB3_AqT4FIsk7/w416-h640/1503_Jean%20Bourdichon_Grandes%20Heures%20of%20Anne%20d%20Bretagne_France%20(Tours)_1503-08_BNF_Latin%209474_49v.jpg" width="416" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jean Bourdichon, Pentecost<br />From the <u><i>Grandes Heures of Anne d Bretagne</i></u><br />French (Tours), c. 1503-1508<br />Paris, Bibliotheque nationale de France<br />MS Latin 9474, fol. 49v</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1KebWYzQdlPFAZKRJkCUZ9deOS8uv_6_8QZFwVDJNMq5AUeAGHikjFT3begUggC8-Eb4VWhZHjCrs5x7ssHXgDtIknIn6elU-gll3dy71OG2GAaInwD7ufrr7n7o-jE4SBfKTMDZBbZLzeVfBeDXTC_eBg8_iCIgBETTHcrahCM33EjESD4wAwMz_/s400/1506_Michael%20Wolgemut_From%20the%20High%20Altar_German,%20c.%201506-1508_Schwabach,%20Evangelical%20Parish%20Church%20of%20Saint%20John%20and%20Saint%20Martin.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="400" data-original-width="352" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1KebWYzQdlPFAZKRJkCUZ9deOS8uv_6_8QZFwVDJNMq5AUeAGHikjFT3begUggC8-Eb4VWhZHjCrs5x7ssHXgDtIknIn6elU-gll3dy71OG2GAaInwD7ufrr7n7o-jE4SBfKTMDZBbZLzeVfBeDXTC_eBg8_iCIgBETTHcrahCM33EjESD4wAwMz_/w564-h640/1506_Michael%20Wolgemut_From%20the%20High%20Altar_German,%20c.%201506-1508_Schwabach,%20Evangelical%20Parish%20Church%20of%20Saint%20John%20and%20Saint%20Martin.jpg" width="564" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Michael Wolgemut, Pentecost<br />From the High Altarpiece<br />German, c. 1506-1508<br />Schwabach, Evangelical Parish Church of Saint John and Saint Martin</td></tr></tbody></table><br /><br /> <br /><div style="text-align: center;"><a href="#"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBKS1L9beVisOW3WmtnSIDAvdesUHK3rxFslsIHMIBNO0tEIVN9bUa3eDKSe98GwtHQyPa35sgTwjTSDKUhgdkSqfc2Y-1ZRsGIYjOb9Lqei8mqazmRgEdtl1WgMf-dFiZg6lYaxO8xAlJ/s640/1510_Durer_Small+Passion_c.1510_Met.jpg" /></a></div><div style="text-align: center;">Albrecht Durer, Pentecost</div><div style="text-align: center;">Woodcut, from the <i><u>Small Passion</u></i></div><div style="text-align: center;">German, 1510</div><div style="text-align: center;">New York, Metropolitan Museum of Art</div><div><br /></div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBUO4K5rlk4G9pnLY0RMd9xdXVuHQCiWz2VNbn2PVh7P5spWM67W4kJsqf2qqDJI2zXMU2Yt-77ILhh-cpHeikyi-KvHfWdhqSFZtIwwZZ-jx80BZglyFU1i5mJ194lpecKQfgnKPqbnl8Nyq7E7vhPaEOTNYR7KIjJ9sntJlUDDI3yaAzYxA6OGmd/s3583/1510_Master%20of%20James%20IV%20of%20Scotland_From%20the%20Spinola%20Hours_Flemish%20(Ghent),%20c.%201510-1520_Los%20Angeles,%20J.%20Paul%20Getty%20Museum_MS%20Ludwig%20IX%2018,%20fol.%2031v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="3583" data-original-width="2604" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBUO4K5rlk4G9pnLY0RMd9xdXVuHQCiWz2VNbn2PVh7P5spWM67W4kJsqf2qqDJI2zXMU2Yt-77ILhh-cpHeikyi-KvHfWdhqSFZtIwwZZ-jx80BZglyFU1i5mJ194lpecKQfgnKPqbnl8Nyq7E7vhPaEOTNYR7KIjJ9sntJlUDDI3yaAzYxA6OGmd/w466-h640/1510_Master%20of%20James%20IV%20of%20Scotland_From%20the%20Spinola%20Hours_Flemish%20(Ghent),%20c.%201510-1520_Los%20Angeles,%20J.%20Paul%20Getty%20Museum_MS%20Ludwig%20IX%2018,%20fol.%2031v.jpg" width="466" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Master of James IV of Scotland, Pentecost<br />From the <i><u>Spinola Hours</u></i><br />Flemish (Ghent), c. 1510-1520<br />Los Angeles, J. Paul Getty Museum<br />MS Ludwig IX 18, fol. 31v<br /><div style="text-align: left;">This lovely illustration shows us not only the event of Pentecost, but also its aftermath. Surrounding the image of the Pentecost event we are shown the activities which it inspired the Apostles to perform. They are shown setting forth on their missionary journeys, preaching and baptizing.</div><br /><br /><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaGiPTfFmoaYMD1uC8d7yH7fdrqPnVRIQLNW0PwnmReB1JUZoSZ4GH_gSA-6Pc6ur4AA6Jhu_kgJQmtqpJOGwv6sWb1w5_yvw_idoHgetKnbOmkoF1eiLBtyRDWjl6ZS0RIGk1A3YoVqePGyUJWQK8MBUDH6iXhaf2HzfqRTLYIubnQubCDoBNweOt/s518/1528_Bernabei%20Tomaso%20Papacello_Italian,%20c.%201528-1529_Cortona,%20Cathedral%20of%20Santa%20Maria.png" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="518" data-original-width="388" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaGiPTfFmoaYMD1uC8d7yH7fdrqPnVRIQLNW0PwnmReB1JUZoSZ4GH_gSA-6Pc6ur4AA6Jhu_kgJQmtqpJOGwv6sWb1w5_yvw_idoHgetKnbOmkoF1eiLBtyRDWjl6ZS0RIGk1A3YoVqePGyUJWQK8MBUDH6iXhaf2HzfqRTLYIubnQubCDoBNweOt/w480-h640/1528_Bernabei%20Tomaso%20Papacello_Italian,%20c.%201528-1529_Cortona,%20Cathedral%20of%20Santa%20Maria.png" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bernabei Tomaso Papacello, Pentecost<br />Italian, c. 1528-1529<br />Cortona, Cathedral of Santa Maria</td></tr></tbody></table><div><br /></div><div><br /></div><div><br /></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQw3Iv51IGT88MCt8FcQ4amuek_YFGAi2RDDOTwN-L-MtM7zu6PZnK-MK8nZdwLo0n2-HYXsLUx_v8DA49a3hgjrTEuAJM1fSb1Td_EI0_cckcKXtQgkD6GiWW3XcwferxcIoQYCji7vCvZzsCkh2MY9hDxf3ioR16FBKBR6Tv0Zad03TOHhGiHS9B/s1323/1533_Hrs%20of%20Antoine%20le%20Bon_French_Lorraine_1533_BNF_Nouvelle%20acquisition%20latine%20302_45.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1323" data-original-width="889" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQw3Iv51IGT88MCt8FcQ4amuek_YFGAi2RDDOTwN-L-MtM7zu6PZnK-MK8nZdwLo0n2-HYXsLUx_v8DA49a3hgjrTEuAJM1fSb1Td_EI0_cckcKXtQgkD6GiWW3XcwferxcIoQYCji7vCvZzsCkh2MY9hDxf3ioR16FBKBR6Tv0Zad03TOHhGiHS9B/w430-h640/1533_Hrs%20of%20Antoine%20le%20Bon_French_Lorraine_1533_BNF_Nouvelle%20acquisition%20latine%20302_45.jpg" width="430" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: left;">Pentecost</span><br style="text-align: left;" /><span style="text-align: left;">From the <i><u>Hours of Antoine le Bon</u></i></span><br style="text-align: left;" /><span style="text-align: left;">French (Lorraine), 1533</span><br style="text-align: left;" /><span style="text-align: left;">Paris, Bibliotheque nationale de France</span><br style="text-align: left;" /><span style="text-align: left;">MS Nouvelle acquisition latine 302, fol. 45r</span></td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx5TA4uMP7G_GS_QPh2J-CFqQc2tYegvBJmLKU2NWX279jcKsF0hPMQDQJSY00o449RmqJWujd3zcWDUmtzngdBcvetjSs4fTmnwkWL3_JM-N7-9H7olR4q8uIyOHMSpbBxmS6q59L2kgORpv_McFX2-4_qrq4JwVbtRadWcZ9TzPIE60iAAEWnj-y/s661/1600_Giovanni%20Battista%20Ricci_c.1600_Rome_San%20Marcello%20al%20Corso.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="423" data-original-width="661" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx5TA4uMP7G_GS_QPh2J-CFqQc2tYegvBJmLKU2NWX279jcKsF0hPMQDQJSY00o449RmqJWujd3zcWDUmtzngdBcvetjSs4fTmnwkWL3_JM-N7-9H7olR4q8uIyOHMSpbBxmS6q59L2kgORpv_McFX2-4_qrq4JwVbtRadWcZ9TzPIE60iAAEWnj-y/w640-h410/1600_Giovanni%20Battista%20Ricci_c.1600_Rome_San%20Marcello%20al%20Corso.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Giovanni Battista Ricci, Pentecost<br />Italian, c.1600<br />Rome, Church of San Marcello al Corso</td></tr></tbody></table><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirQQxIQe5feI7S8tvMjivDHXxqQZuA1J5dQL7OHaY6quhWlFlwZxMDtUoipIRixix5Yemozm04B9F6jquHJrJ_tiXvKGsdMV61D8bz1gERTjXsSg33I8kFeGA8ZLtChWj5ydZ-RkEwunpM_SsYq5IpQA0G7s80dbAu-mR3n6xWAPxVHAkrTuEknFKH/s1217/1696_Giovanni%20Battista%20Brenni_1696-97_Ebrach_Kreis%20Bamberg_Parish%20Church%20of%20Sts%20Mary,%20John%20Evang%20and%20Nicholas.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1217" height="632" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirQQxIQe5feI7S8tvMjivDHXxqQZuA1J5dQL7OHaY6quhWlFlwZxMDtUoipIRixix5Yemozm04B9F6jquHJrJ_tiXvKGsdMV61D8bz1gERTjXsSg33I8kFeGA8ZLtChWj5ydZ-RkEwunpM_SsYq5IpQA0G7s80dbAu-mR3n6xWAPxVHAkrTuEknFKH/w640-h632/1696_Giovanni%20Battista%20Brenni_1696-97_Ebrach_Kreis%20Bamberg_Parish%20Church%20of%20Sts%20Mary,%20John%20Evang%20and%20Nicholas.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span><span style="font-family: inherit;">Giovanni Battista Brenni, Pentecost</span><br /><span style="font-family: inherit;">Swiss, c. 1696-1697</span><br /><span style="font-family: inherit;">Ebrach (Kreis Bamberg, Germany), Parish Church of Saints Mary, </span><span><span style="font-family: inherit;">John the Evangelist and Nicholas</span><br /><br /><br /><br /></span></span></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvO55MmMJWdr0llErBThZPgaA7gSO_Er2hwaTiJPAtRP1o2zpNmzRDX6vmyLlXR8vAZ-4PyEBuZQWdq0bhi1AKJ1BtaFZ78mPhGyvgafITRmlkM0Wt4vXLUDOV75Za1zhH59GXykIuxkg2WBtm40VUXYoCP3nioOILsToMN9aLsbjHg3tdojswCZGY/s1707/1725_Jacopo%20Amigoni_Ottobeuren_Benedictine%20monastery.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="847" data-original-width="1707" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvO55MmMJWdr0llErBThZPgaA7gSO_Er2hwaTiJPAtRP1o2zpNmzRDX6vmyLlXR8vAZ-4PyEBuZQWdq0bhi1AKJ1BtaFZ78mPhGyvgafITRmlkM0Wt4vXLUDOV75Za1zhH59GXykIuxkg2WBtm40VUXYoCP3nioOILsToMN9aLsbjHg3tdojswCZGY/w640-h318/1725_Jacopo%20Amigoni_Ottobeuren_Benedictine%20monastery.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jacopo Amigoni, Pentecost<br />Italian, <span>1725</span><br />Ottobeuren (Germany), Benedictine monastery church<br /><br /><br /><div style="text-align: left;"><br /></div></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOnOx5TcCneY1JnO9vUG7X99KhWQBSxlkA4nvVmGJlqpz1a7WakSJzLT09wnsUB_DyqpTCW0zwbAPizAx7WL2XxZm1S2P_t-kUdf7N5eK9Sis2bJ6jgXOC_8YxayHlcSs3PMVpujWBvUflIsbN6k9g8O_EbRBzpXh7JjTfZdWau-4nML7HpYWtZT-d/s822/1850_Marc%20Gabriel%20Charles%20Gleyre_Paris_Petit%20Palais_Musee%20des%20B-A%20de%20la%20Ville%20de%20Paris.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="822" data-original-width="540" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOnOx5TcCneY1JnO9vUG7X99KhWQBSxlkA4nvVmGJlqpz1a7WakSJzLT09wnsUB_DyqpTCW0zwbAPizAx7WL2XxZm1S2P_t-kUdf7N5eK9Sis2bJ6jgXOC_8YxayHlcSs3PMVpujWBvUflIsbN6k9g8O_EbRBzpXh7JjTfZdWau-4nML7HpYWtZT-d/w420-h640/1850_Marc%20Gabriel%20Charles%20Gleyre_Paris_Petit%20Palais_Musee%20des%20B-A%20de%20la%20Ville%20de%20Paris.jpg" width="420" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"><span>Marc Gabriel Charles Gleyre, Pentecost</span><br /><span>French, <span>1850</span></span><br /><span>Paris, Petit Palais, <span style="line-height: 14.2667px;">Mus</span><span style="line-height: 14.2667px;">é</span><span style="line-height: 14.2667px;">e</span> des Beaux-Arts de la Ville de Paris<br /><br /></span></span></td></tr></tbody></table><br />Around the latter part of the fifteenth century the faces of other women join that of the Virgin Mary in the group of disciples.</div><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZG02sznB2x47Pnbbb3EA0FDrrEbQ_zth6yJYvXSsYON1qJlOtJ5S-tdkKZkN0jrdYDBaKRVe_K3J7yxpCu_Vh14HpWsWoQYd5D4yxv4daXuXNEK5qXTB6vOdtxX-snGqvgbenrGe8M78sJZohGs5q5_GScWhGNvoFhy-fXGuZeNvRZSWf6rYl61P5/s2286/1400_Tres%20Riches%20Heures%20of%20Duc%20de%20Berry_Musee%20Conde_Chantilly_MS%2065_f.79r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2286" data-original-width="1684" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZG02sznB2x47Pnbbb3EA0FDrrEbQ_zth6yJYvXSsYON1qJlOtJ5S-tdkKZkN0jrdYDBaKRVe_K3J7yxpCu_Vh14HpWsWoQYd5D4yxv4daXuXNEK5qXTB6vOdtxX-snGqvgbenrGe8M78sJZohGs5q5_GScWhGNvoFhy-fXGuZeNvRZSWf6rYl61P5/w472-h640/1400_Tres%20Riches%20Heures%20of%20Duc%20de%20Berry_Musee%20Conde_Chantilly_MS%2065_f.79r.jpg" width="472" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Jean Colombe, Pentecost<br />From the <i><u>Tres Riches Heures of the Duc de Berry</u></i><br />French (Bourges), c. 1485-1489<br />Chantilly, Musée Condé<br />MS 65, fol. 79r<br /><br /></span></td></tr></tbody></table></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4ZtzLA0XlWIgMwLqJB7Wn8Tus6FddDkwdEea_yUB5P0gpOoonSmcjFhpxkRFpTP4W6xXJxjQbkzrg5w5eOs47sbHRLeAbZF7sA8MQGFR7hd1trZ8yaCgkvbg3Z7bo2b-lETJjCSjac2FY2CJLVuR_z145p6Dt-FMGZKazAE5ZHZbbhYKL2nOOltTL/s1376/1545_Titian_c.1545_Venice_S.%20Maria%20della%20Sallute.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1376" data-original-width="1000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4ZtzLA0XlWIgMwLqJB7Wn8Tus6FddDkwdEea_yUB5P0gpOoonSmcjFhpxkRFpTP4W6xXJxjQbkzrg5w5eOs47sbHRLeAbZF7sA8MQGFR7hd1trZ8yaCgkvbg3Z7bo2b-lETJjCSjac2FY2CJLVuR_z145p6Dt-FMGZKazAE5ZHZbbhYKL2nOOltTL/w466-h640/1545_Titian_c.1545_Venice_S.%20Maria%20della%20Sallute.jpg" width="466" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Titian and Workshop, Pentecost<br />Italian, c.1545<br />Venice, Church of Santa Maria della Sallute</td></tr></tbody></table><div><br /></div><div><br /></div><br /><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLKHw_kKFoS9oSCTASHzxjSvBuwVdUsTzSj-XX2HhgeHsdEALUQ9p9kqy75N09MaHzKBQ3dVLBX49QCblc8lm7v6zL1hxmLGW-JOOLQdyINPCiqymI-t4ymswZDr8PKSvOl15-pydLYJSx_rdRVW2On5Jn3cFa7q8Xv1QSAbDekC1GYihacNGN_c7Y/s562/1608_Guido%20Reni_Mysteries%20of%20the%20Faith_Vatican_Apostolic%20Palace%20(2).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="562" data-original-width="320" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLKHw_kKFoS9oSCTASHzxjSvBuwVdUsTzSj-XX2HhgeHsdEALUQ9p9kqy75N09MaHzKBQ3dVLBX49QCblc8lm7v6zL1hxmLGW-JOOLQdyINPCiqymI-t4ymswZDr8PKSvOl15-pydLYJSx_rdRVW2On5Jn3cFa7q8Xv1QSAbDekC1GYihacNGN_c7Y/w364-h640/1608_Guido%20Reni_Mysteries%20of%20the%20Faith_Vatican_Apostolic%20Palace%20(2).jpg" width="364" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Guido Reni, Pentecost<br />from series of Mysteries of the Faith<br />Italian, <span>1608</span><br />Vatican City, Apostolic Palace</span></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVVLw_hz6JnnHWB0J8-isExYFMbyw2alMJi3KJQ81ArpDZLSPTPaxybL0JE8wJDI2g7wzNDthWr5baIlovZGo8SNreOezWEHL_0EmpbKTB1Wozn7VEDKMZD6gi8ZeEQ3rzubnix_JGwfSk4r1SMdWlH1ILw5Ws1I38oCQXAwTBxC7ao66YY1V0w6EE/s1920/1615_Fray%20Juan%20Bautista%20Maino_1615-20_Prado.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1920" data-original-width="1127" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVVLw_hz6JnnHWB0J8-isExYFMbyw2alMJi3KJQ81ArpDZLSPTPaxybL0JE8wJDI2g7wzNDthWr5baIlovZGo8SNreOezWEHL_0EmpbKTB1Wozn7VEDKMZD6gi8ZeEQ3rzubnix_JGwfSk4r1SMdWlH1ILw5Ws1I38oCQXAwTBxC7ao66YY1V0w6EE/w376-h640/1615_Fray%20Juan%20Bautista%20Maino_1615-20_Prado.jpg" width="376" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Fray Juan Bautista Maino, Pentecost<br />Italian, c. 1615-1620<br />Madrid, Museo Nacional del Prado</td></tr></tbody></table><br /><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEy4umQ818MkZ76iQ8b5Jwy3In_4YrTRJ6ak7v0v-m5MMBq9hj0w_t31vuEIsJ3cMnT3JVQy6UpJAEFwDbMHRhECeGXTKtw2gFMIASSWBs06gUMqlbXG4SE4R_09GtFkviZeiu6KqGRNrKUUSJa7_MijebBsAkgvRXE-frJFZS18uI8yroulsGpWBq/s625/1620_Salomon%20de%20Bray_dwg_Dutch_ea-mid%2017thc_Met.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEy4umQ818MkZ76iQ8b5Jwy3In_4YrTRJ6ak7v0v-m5MMBq9hj0w_t31vuEIsJ3cMnT3JVQy6UpJAEFwDbMHRhECeGXTKtw2gFMIASSWBs06gUMqlbXG4SE4R_09GtFkviZeiu6KqGRNrKUUSJa7_MijebBsAkgvRXE-frJFZS18uI8yroulsGpWBq/w528-h640/1620_Salomon%20de%20Bray_dwg_Dutch_ea-mid%2017thc_Met.jpg" /></a></div><br /><div style="text-align: center;">Salomon de Bray, Pentecost</div><div style="text-align: center;">Dutch, Early-mid 17th Century</div><div style="text-align: center;">New York, Metropolitan Museum of Art</div><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgavJGQZ6PcZLm1KxEFDi_cnjz3IAe_mL1bMHC6Ez5ds-xSovhSJ1BcEvznxuVAUtDlfxuBrCrSMhFVs6gNjNYKK9QIw7nOl-s_83GHFOExW827SXP8JLlCcnL46MKmydphZxnSqL3rd2RyPT5WldiAP_I3iavlIRRg-oZrSuP9x8EIHd4UIbcLwK9o/s1436/1683_Georg%20Asam_Benedicktbeuern_Church%20of%20St.%20Benedict.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="812" data-original-width="1436" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgavJGQZ6PcZLm1KxEFDi_cnjz3IAe_mL1bMHC6Ez5ds-xSovhSJ1BcEvznxuVAUtDlfxuBrCrSMhFVs6gNjNYKK9QIw7nOl-s_83GHFOExW827SXP8JLlCcnL46MKmydphZxnSqL3rd2RyPT5WldiAP_I3iavlIRRg-oZrSuP9x8EIHd4UIbcLwK9o/w640-h362/1683_Georg%20Asam_Benedicktbeuern_Church%20of%20St.%20Benedict.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Hans Georg Asam, Pentecost<br />German, <span>1683</span><br />Benedicktbeuern, Abbey Church of St. Benedict<br /><br /></span></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_HMMwXrOYj1RD7suQSJGR-87JQ7ooC-mJU2ZdScbgO06pKnJA2soR0ppud3Gbn7SxwTfPvYTkL0dbwCfYHrjoS-apnxooiaUCo7qkmrOJQ5QJPtj_IKZJcRtZfriQLl_ElvVgGEotHNLI-4_eJpyHroMNvLKbFJN0L35FvT5bI1_fvg0zRwTf8jCX/s792/1720_Caspar%20Damian%20Asam_afer%201720_Aldersbach_Abbey%20Church.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="792" data-original-width="726" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_HMMwXrOYj1RD7suQSJGR-87JQ7ooC-mJU2ZdScbgO06pKnJA2soR0ppud3Gbn7SxwTfPvYTkL0dbwCfYHrjoS-apnxooiaUCo7qkmrOJQ5QJPtj_IKZJcRtZfriQLl_ElvVgGEotHNLI-4_eJpyHroMNvLKbFJN0L35FvT5bI1_fvg0zRwTf8jCX/w586-h640/1720_Caspar%20Damian%20Asam_afer%201720_Aldersbach_Abbey%20Church.jpg" width="586" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div><span style="font-family: inherit;">Caspar Damian Asam, Pentecost</span></div><div><span style="font-family: inherit;">German, after 1720</span></div><div><span style="font-family: inherit;">Aldersbach, Abbey Church</span></div><div><span style="font-family: inherit;"><br /></span></div></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxfJbJHp2Ey4d3KVsiNFyLZcrzJ3Daqc2kTu27NNEN9Bg3wATovbX0ZmsOSYB_iiMXhttu9NxCHSxcRp_64wm8iy28iLjlwpRLa8qiHpSxahL2lARRaAb8CKWMJQsLkcq9vGOP3O82Vi0s-6CGohdEnVqkYCeJHIoW5kHoJa9OkAFZtWulQ92l70uz/s1200/1849_Ernst%20Deger_1849-59_Stolzenfels_Schloss%20Stolzenfels.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="781" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxfJbJHp2Ey4d3KVsiNFyLZcrzJ3Daqc2kTu27NNEN9Bg3wATovbX0ZmsOSYB_iiMXhttu9NxCHSxcRp_64wm8iy28iLjlwpRLa8qiHpSxahL2lARRaAb8CKWMJQsLkcq9vGOP3O82Vi0s-6CGohdEnVqkYCeJHIoW5kHoJa9OkAFZtWulQ92l70uz/w416-h640/1849_Ernst%20Deger_1849-59_Stolzenfels_Schloss%20Stolzenfels.jpg" width="416" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div><span style="font-family: inherit;">Ernst Deger, Pentecost</span></div><div><span style="font-family: inherit;">German, 1849-1859</span></div><div><span style="font-family: inherit;">Stolzenfels, Schloss Stolzenfels</span></div></td></tr></tbody></table><br /><div><br /></div><h4 style="text-align: left;">Individual Tongues or Lines of Fire?</h4><div>Another variation is in how the event is pictured, how the “tongues as of fire” are shown. There are two predominant images. One of them shows separate “tongues of fire” appearing over the heads of each of the persons gathered.</div><div><br /></div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXI31cG9Ip-uqxaqBMuaMPN5SvMmgxX8FPyw_wNFGBIDV2t8VtEdsbzU59SCCPTImMAC-8mUJzJx5n6Q5N3FUXFSAvL7bWSq0pYDv3MGa6b7xE555EOENdDI2Zh7M-fXphOqqHLz_eTmm7SaVvZYOjNMF-V2Wyf0mWlh19ez5tC2MaXSEMeojN4GRt/s800/1310_Giotto_c.1310-1318_London,%20National%20Gallery.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="767" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXI31cG9Ip-uqxaqBMuaMPN5SvMmgxX8FPyw_wNFGBIDV2t8VtEdsbzU59SCCPTImMAC-8mUJzJx5n6Q5N3FUXFSAvL7bWSq0pYDv3MGa6b7xE555EOENdDI2Zh7M-fXphOqqHLz_eTmm7SaVvZYOjNMF-V2Wyf0mWlh19ez5tC2MaXSEMeojN4GRt/w614-h640/1310_Giotto_c.1310-1318_London,%20National%20Gallery.jpg" width="614" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"><span>Giotto, Pentecost</span><br /><span>Italian, c.1320</span><br /><span>London, National Gallery</span></span></td></tr></tbody></table><br /><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOe0KpDrKj0CUMAk4OEKiioAVeBiRXln1-8so6NDw55G7Mde_wpS9z2ilyu3wsJTgLTulL-kDmwFuvZSqZiWiuPPgyLJAmxmjj8ht5X-Bd-kWXECoX8RrxUUfg9eLJ23x0PBjqJC2-bdm4h8R99lcbT1g92sPZ_lpJFD214-oY_lgqiNme0iMIQqp-/s724/1362_Andrea%20di%20Cione_Triptych_Italian,%20c.%201362-1365_Florence,%20Galleria%20del%20Accademia.png" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="548" data-original-width="724" height="484" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOe0KpDrKj0CUMAk4OEKiioAVeBiRXln1-8so6NDw55G7Mde_wpS9z2ilyu3wsJTgLTulL-kDmwFuvZSqZiWiuPPgyLJAmxmjj8ht5X-Bd-kWXECoX8RrxUUfg9eLJ23x0PBjqJC2-bdm4h8R99lcbT1g92sPZ_lpJFD214-oY_lgqiNme0iMIQqp-/w640-h484/1362_Andrea%20di%20Cione_Triptych_Italian,%20c.%201362-1365_Florence,%20Galleria%20del%20Accademia.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Andrea di Cione, Pentecost Triptych<br />Italian, c. 1362-1365<br />Florence, Galleria del Accademia<br /><br /><br /></td></tr></tbody></table><div><br /></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgutA2KWqmuh-szQkMTzIPB0K8aI1XdFm_eUebu4ix4t5nFde6JtFvdSiLpPMt8azo23uHRuqIATzAg29BYVoG4S1ldymPnHIJb-Jybf1IBGlXSf7vNMhvewZuak8huvRxmrtYgo8qbTFGz/s1600/1470_Venturino+Mercati_Short+Hours+of+the+Holy+Spirit_BKHrs_Italian_Milan_1470-80_Morgan_g14.100v.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgutA2KWqmuh-szQkMTzIPB0K8aI1XdFm_eUebu4ix4t5nFde6JtFvdSiLpPMt8azo23uHRuqIATzAg29BYVoG4S1ldymPnHIJb-Jybf1IBGlXSf7vNMhvewZuak8huvRxmrtYgo8qbTFGz/s640/1470_Venturino+Mercati_Short+Hours+of+the+Holy+Spirit_BKHrs_Italian_Milan_1470-80_Morgan_g14.100v.jpg" width="464" /></a></td></tr><tr><td class="tr-caption">Venturino Mercati, Pentecost<br />From the <u><i>Short Hours of the Holy Spirit</i></u><br />Italian (Milan), c. 1470-1480<br />New York, Pierpont Morgan Library<br />MS G 14, fol.100v<br /><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3eUcxhlY-blJ_nOLigvm93Ew7ZI-RtAmYxeRP4tok8wsIO9QJ1UyMnVHymQXMKZfiUXgelG6W_uehH5URVLenWeCOrLC826G7kS68wEPeWh4rY0gDbuTx41VEXQMZEkMGGxp8LFTWE2elL6VZElAIFNZAUV_F2ms46V-9pH-ec93fCsYPXkgGOVpU/s1731/1437_Hans%20Multscher_German,%201437_Berlin,%20Gemaeldegalerie%20der%20Staatliche%20Museen%20zu%20Berlin.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1731" data-original-width="1600" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3eUcxhlY-blJ_nOLigvm93Ew7ZI-RtAmYxeRP4tok8wsIO9QJ1UyMnVHymQXMKZfiUXgelG6W_uehH5URVLenWeCOrLC826G7kS68wEPeWh4rY0gDbuTx41VEXQMZEkMGGxp8LFTWE2elL6VZElAIFNZAUV_F2ms46V-9pH-ec93fCsYPXkgGOVpU/w592-h640/1437_Hans%20Multscher_German,%201437_Berlin,%20Gemaeldegalerie%20der%20Staatliche%20Museen%20zu%20Berlin.jpg" width="592" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Hans Multscher, Pentecost <br />German, 1437<br />Berlin, Gemäldegalerie der Staatliche Museen zu Berlin</span><br /></td></tr></tbody></table><br /><br /><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgTAryTPaY08lCyooX8pcGlNIIjk6NP-WVYQ4e-7vWRSux3jGTmkbMAipITzWk84FR5aM0UUF5uvQXNxE5nDAna-gKDHFYSnXzkY_6YVtptzU6csCISkiBzBzktk3eK4LW1hql_s5KLNIq-TQPFRcnI2t3hDf-OAFrmTi9pZYopY_5Zp2xORtFyeQZ/s899/1480_jacques%20de%20besan%C3%A7on_jacobus%20de%20voragine,%20legenda%20aurea_French%20_Paris_c1480-90_BNF_Francais%20244_158%20(3).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="695" data-original-width="899" height="494" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgTAryTPaY08lCyooX8pcGlNIIjk6NP-WVYQ4e-7vWRSux3jGTmkbMAipITzWk84FR5aM0UUF5uvQXNxE5nDAna-gKDHFYSnXzkY_6YVtptzU6csCISkiBzBzktk3eK4LW1hql_s5KLNIq-TQPFRcnI2t3hDf-OAFrmTi9pZYopY_5Zp2xORtFyeQZ/w640-h494/1480_jacques%20de%20besan%C3%A7on_jacobus%20de%20voragine,%20legenda%20aurea_French%20_Paris_c1480-90_BNF_Francais%20244_158%20(3).jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jacques de Besançon, Pentecost<br />From the <i><u>Legenda aurea</u></i> by Jacobus de Voragine<br />French (Paris), c. 1480-1490<br />Paris, Bibliotheque nationale de France<br />MS Francais 244, fol. 158r <br /><br /></td></tr></tbody></table><div><div><div><br /><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyWsXlonDX2LBd_-bPSto2RSHae-F9lmdiFQwCVIQjusShqsMVTtSvj0GF2NKjup5cW0nh5HHMQOh-CMFv5k-3DI_zs4-QcY-VFeoFa3ZKfXffyq6Sa8e4z4Ctj16pn5jZsxdzy6Zi5qbWs2PH6OZ9QWSTaicvZs4_r0B_TJToGZ-kqpqSPOZTbaIB/s1454/1555_Martial%20Vaillant_Hrs%20of%20Francois%20II_French_c%201555-1557_BNF_Nouvelle%20acquisition%20latine%20104_72r.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyWsXlonDX2LBd_-bPSto2RSHae-F9lmdiFQwCVIQjusShqsMVTtSvj0GF2NKjup5cW0nh5HHMQOh-CMFv5k-3DI_zs4-QcY-VFeoFa3ZKfXffyq6Sa8e4z4Ctj16pn5jZsxdzy6Zi5qbWs2PH6OZ9QWSTaicvZs4_r0B_TJToGZ-kqpqSPOZTbaIB/w368-h640/1555_Martial%20Vaillant_Hrs%20of%20Francois%20II_French_c%201555-1557_BNF_Nouvelle%20acquisition%20latine%20104_72r.jpg" /></a></div><div style="text-align: center;">Martial Vaillant, Pentecost</div><div style="text-align: center;">From the <u><i>Hours of Francois II</i></u></div><div style="text-align: center;">French (Paris), c. 1555-1557</div><div style="text-align: center;">Paris, Bibliotheque nationale de France</div><div style="text-align: center;">MS Nouvelle acquisition latine 104, fol. 72r</div><div style="text-align: center;"><br /></div><br /><br /><br /><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXSJRzMqU0tUxij9OweTkl3C4mGg8qzAmxTUcAGczsgkI7xknu2oD9YMJB3M89yGbd_QxWEFRyHDH9ZMiQyOMxrWdKSLFQPxvUBr9WymG5Quiy612hky6fBzjc8GFFnC8qjryqTSbe3bD5Lq8t7m-mp2T7b6CA95mH2XOlyh2SNRrSn1J3dQo0wYSS/s1920/1600_ElGreco_c.1600_Prado.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXSJRzMqU0tUxij9OweTkl3C4mGg8qzAmxTUcAGczsgkI7xknu2oD9YMJB3M89yGbd_QxWEFRyHDH9ZMiQyOMxrWdKSLFQPxvUBr9WymG5Quiy612hky6fBzjc8GFFnC8qjryqTSbe3bD5Lq8t7m-mp2T7b6CA95mH2XOlyh2SNRrSn1J3dQo0wYSS/w294-h640/1600_ElGreco_c.1600_Prado.jpg" /></a></div><div style="text-align: center;">El Greco, Pentecost</div><div style="text-align: center;">Greco-Spanish, 1600</div><div style="text-align: center;">Madrid, Museo Nacional del Prado</div><br /><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRY2GwgJ8PmAOjVHGPZ1fWDm0BvlXfdoYWhcaBO4kahsMpRF4V5QBq3lbsEhXvzB5BqX1-epzkckVriMR5JdSLD7lShRzcG-cG3dd5B7Rp7oAkY1iey-7ev3tXx6sv091swtA0Ej54W6EVAseAPbZFeQEzxpbxknYq1__cidKvZSZn4XOVnyhoQS3a/s1920/1615_Fray%20Juan%20Bautista%20Maino_Spanish,%20c.%201615-1620_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1920" data-original-width="1459" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRY2GwgJ8PmAOjVHGPZ1fWDm0BvlXfdoYWhcaBO4kahsMpRF4V5QBq3lbsEhXvzB5BqX1-epzkckVriMR5JdSLD7lShRzcG-cG3dd5B7Rp7oAkY1iey-7ev3tXx6sv091swtA0Ej54W6EVAseAPbZFeQEzxpbxknYq1__cidKvZSZn4XOVnyhoQS3a/w486-h640/1615_Fray%20Juan%20Bautista%20Maino_Spanish,%20c.%201615-1620_Madrid,%20Museo%20Nacional%20del%20Prado.jpg" width="486" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Fray Juan Bautista Maino, Pentecost<br />Spanish, c. 1615-1620<br />Madrid, Museo Nacional del Prado</td></tr></tbody></table><br /><br /><br /><br /><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6S0OgIAPFCq5GmQYANOwQpSewqPz_PsVBb8j0YcSe7sXfpQjg5Kikh5XYmn9hCqM94sLtMFVzzp1bjnd_ce6BQI9AyC2A-R-tLf3VQuJ7rQPMWGW-grb0PQwQZ0M52yjxYl6iqIF3sSlXu11zYesAflP79JJX6VQWDa3SHkjSI28zf_H1QqDEmUH0/s650/1656_Charles%20Le%20Brun_1656-57_Louvre.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6S0OgIAPFCq5GmQYANOwQpSewqPz_PsVBb8j0YcSe7sXfpQjg5Kikh5XYmn9hCqM94sLtMFVzzp1bjnd_ce6BQI9AyC2A-R-tLf3VQuJ7rQPMWGW-grb0PQwQZ0M52yjxYl6iqIF3sSlXu11zYesAflP79JJX6VQWDa3SHkjSI28zf_H1QqDEmUH0/w540-h640/1656_Charles%20Le%20Brun_1656-57_Louvre.jpg" /></a></div><div style="text-align: center;">Charles Le Brun, Pentecost</div><div style="text-align: center;">French c. 1656-1657</div><div style="text-align: center;">Paris, Musée du Louvre</div><br /><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqZJn2F4xrY30Ns19q9SX8ZWYS-GnBaRY7Phlgmvxqhacu9Uf_oCT_JwCN3aiLwFl_kUCf5rNSAM8nBAIWS0UBYh9zlFz4BP_eABy_LEMXk430tIk3NRYPkVCDo1Dn6Y4qn-d8_sRt41H3Xcf_a9THFVnav0w9wVwtZb9Qd5BuKH_C9d5VcmhDsMZp/s1500/1732_Jean%20Restout%20I+French,%201732+Paris,%20Musee%20du%20Louvre.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="923" data-original-width="1500" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqZJn2F4xrY30Ns19q9SX8ZWYS-GnBaRY7Phlgmvxqhacu9Uf_oCT_JwCN3aiLwFl_kUCf5rNSAM8nBAIWS0UBYh9zlFz4BP_eABy_LEMXk430tIk3NRYPkVCDo1Dn6Y4qn-d8_sRt41H3Xcf_a9THFVnav0w9wVwtZb9Qd5BuKH_C9d5VcmhDsMZp/w640-h394/1732_Jean%20Restout%20I+French,%201732+Paris,%20Musee%20du%20Louvre.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"><span>Jean Restout, Pentecost</span><br /><span>French, 1732</span><br /><span>Paris, <span style="line-height: 14.2667px;">Mus</span><span style="line-height: 14.2667px;">é</span><span style="line-height: 14.2667px;">e</span> du Louvre<br /><br /><br /><br /></span></span></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCF6f7dTjBFiEbYmIVESUHnHCrD1bUbCvbNRyHV7S3Vn6FCSeQoke5Tx06GE0eMvWotPnIf0D6v0BL3AXzdtj8GVIvNqVId9tekX0FSzt_fVDzYJh9WPcbT8lRg6i7QyLz7860bKtUhv1e_eaIHGS30jeYWIv1DaHVxoEngzjnLkxr32svN3trPnLC/s814/1750_Joseph%20Ignaz%20Mildorfer_1750s_Budapest_Magyar%20Nemzeti%20Galeria.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="814" data-original-width="470" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCF6f7dTjBFiEbYmIVESUHnHCrD1bUbCvbNRyHV7S3Vn6FCSeQoke5Tx06GE0eMvWotPnIf0D6v0BL3AXzdtj8GVIvNqVId9tekX0FSzt_fVDzYJh9WPcbT8lRg6i7QyLz7860bKtUhv1e_eaIHGS30jeYWIv1DaHVxoEngzjnLkxr32svN3trPnLC/w370-h640/1750_Joseph%20Ignaz%20Mildorfer_1750s_Budapest_Magyar%20Nemzeti%20Galeria.jpg" width="370" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Joseph Ignaz Mildorfer, Pentecost <br />Austrian, c. 1750s<br />Budapest, Magyar Nemzeti Galeria<br /><br /></td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirlBGD5JV3ETT0KMbjAy7bsCBcH_TL86kc2gaY0ZottiDQQNM5FV5zgZFVwcSsgFKxgFHFPokR-dy1FlPBPOArpEMckVDGWLE-HayyFtTsTUWUoul0G8HZPj2zkHTezLKDyVN03AkljU0O_PXwhpkbEYvnfNDxnz58sBUSH6bVG_2l-_RrASlC_l5X/s816/1753_Vincenzo%20Meucci_Italian,%201753_Pistoia,%20Church%20of%20San%20Leone.png" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="482" data-original-width="816" height="378" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirlBGD5JV3ETT0KMbjAy7bsCBcH_TL86kc2gaY0ZottiDQQNM5FV5zgZFVwcSsgFKxgFHFPokR-dy1FlPBPOArpEMckVDGWLE-HayyFtTsTUWUoul0G8HZPj2zkHTezLKDyVN03AkljU0O_PXwhpkbEYvnfNDxnz58sBUSH6bVG_2l-_RrASlC_l5X/w640-h378/1753_Vincenzo%20Meucci_Italian,%201753_Pistoia,%20Church%20of%20San%20Leone.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Vincenzo Meucci, Pentecost<br />Italian, 1753<br />Pistoia, Church of San Leone</td></tr></tbody></table><br /><br /><br /><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjge01ovOsaVeA3YIH2gFwFQudZFr9eyxjEKHxUZwhzQWN2Q2Zp0yK7XeQmYlGpul9R0mgOA2YVPPWKsL05vsI0frJRflZ_bPAqz8FcjC6kteUtDEpDJAcfmwR66V4MMpImFdZUZrlznnRGhGN6eb9PTLEi73URe3zjWXRmdz9tiuOz-gErnCwUjNa4/s596/1842_Constantin%20Prevost_Lavaur_Musee%20du%20pays%20vaurais.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="596" data-original-width="335" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjge01ovOsaVeA3YIH2gFwFQudZFr9eyxjEKHxUZwhzQWN2Q2Zp0yK7XeQmYlGpul9R0mgOA2YVPPWKsL05vsI0frJRflZ_bPAqz8FcjC6kteUtDEpDJAcfmwR66V4MMpImFdZUZrlznnRGhGN6eb9PTLEi73URe3zjWXRmdz9tiuOz-gErnCwUjNa4/w360-h640/1842_Constantin%20Prevost_Lavaur_Musee%20du%20pays%20vaurais.jpg" width="360" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"><span>Constantin Prevost, Pentecost</span><br /><span>French, <span>1842</span></span><br /><span>Lavaur, <span style="line-height: 14.2667px;">Mus</span><span style="line-height: 14.2667px;">é</span><span style="line-height: 14.2667px;">e</span> du pays vaurais</span></span></td></tr></tbody></table><br /><br /></div><div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgo5TEnA7PwOo4mFeZQks_7-EnCv7kHZGfWXci3Fgmk6bpZ6_9VrLlJEGJMhj4vdnvE8SMXq7zUo8mF_STbXImSyes22_lP84-sipKzOC2OrL7VWmGTl-AGRyRvN41SYLqU_Gtj8CFbJaN/s1600/1866_Gustave+Dore.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgo5TEnA7PwOo4mFeZQks_7-EnCv7kHZGfWXci3Fgmk6bpZ6_9VrLlJEGJMhj4vdnvE8SMXq7zUo8mF_STbXImSyes22_lP84-sipKzOC2OrL7VWmGTl-AGRyRvN41SYLqU_Gtj8CFbJaN/s640/1866_Gustave+Dore.jpg" width="512" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gustave Dore, Pentecost<br />
from <u><i>La Sainte Bible</i></u><br />
French, 1866</td></tr>
</tbody></table>
<br /><br /></div><div><br /></div><div>
The other image can best be described as bursts of energy, usually shown as lines, coming from one central point, often the dove of the Holy Spirit. The lines reach to the head of each person, and occasionally end in a tongue of fire.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm-ij6LtRogp103ov1fnYc5ZCKoGeujFb9-ZXFvp5y03Xiv1XzHobAdXQMe68yXAk-t4JhJiLZ9vN5PxnkO0hM7zFqHyq5hZyNMC_G2hM0r3SgWqsZDmcKKiwx_Dd6nrtCOXXIjxfVcUAafdlIxWNsHrmc5CccP5tDMv8taf1XSd_Xqedx97Q_jWbO/s4945/1190_From%20an%20Illustrated%20Vita%20Christi%20w%20Devotional%20Supplements_English%20(York),%20c.%201190-1200_LA,%20Getty_MS%20101,%20fol.%2091r.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="4945" data-original-width="3447" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm-ij6LtRogp103ov1fnYc5ZCKoGeujFb9-ZXFvp5y03Xiv1XzHobAdXQMe68yXAk-t4JhJiLZ9vN5PxnkO0hM7zFqHyq5hZyNMC_G2hM0r3SgWqsZDmcKKiwx_Dd6nrtCOXXIjxfVcUAafdlIxWNsHrmc5CccP5tDMv8taf1XSd_Xqedx97Q_jWbO/w446-h640/1190_From%20an%20Illustrated%20Vita%20Christi%20w%20Devotional%20Supplements_English%20(York),%20c.%201190-1200_LA,%20Getty_MS%20101,%20fol.%2091r.jpg" width="446" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pentecost<br />From an <i><u>Illustrated Vita Christi</u></i> with Devotional Supplements<br />English (York), c. 1190-1200<br />Los Angeles, J. Paul Getty Museum<br />MS 101, fol. 91r</td></tr></tbody></table><div><br /></div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXonPtJSamElTxD-rK4_HOw-hKxXSggcqf1jk2ycHF1_bbIYWEssg8L0zCohHO7YQMNnsRm55ovKh8UjzVcbU0_u8Qcc7eSYxHO4oaV9RxuEbgRr6uZBVBhRQIe9ywQaXbpZDE5fGuZMsP_HVA_Aq7K7DiXd6-RIrsA20FvrAIUqaJZFkne53ZbDH0/s758/1255_Italian,%20c.%201255_Assisi,%20Basilica%20di%20San%20Francesco,%20Upper%20Church.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="758" data-original-width="758" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXonPtJSamElTxD-rK4_HOw-hKxXSggcqf1jk2ycHF1_bbIYWEssg8L0zCohHO7YQMNnsRm55ovKh8UjzVcbU0_u8Qcc7eSYxHO4oaV9RxuEbgRr6uZBVBhRQIe9ywQaXbpZDE5fGuZMsP_HVA_Aq7K7DiXd6-RIrsA20FvrAIUqaJZFkne53ZbDH0/w640-h640/1255_Italian,%20c.%201255_Assisi,%20Basilica%20di%20San%20Francesco,%20Upper%20Church.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pentecost Window<br />Italian, c. 1255<br />Assisi, Basilica di San Francesco, Upper Church</td></tr></tbody></table><div><br /></div><div><br /></div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ3G3HTCUCR0FeJCY0zWCgOX3Kn0WrF5iVUnwL4PWPawaMC0svFB5ofQMyyWx-LvkpYQBzeozPVMrLn5iVPXfZUkasfm2XpS9cxVDS7YhTwfC-I8LC9bxtZLl2Fr0z42E_FKBXLfCh9sBocn3phoFIIHcDu5CD1VOW1beZfNlY-7ca4iSYIFOgDaKD/s1608/1420_Jean%20Fouquet_Hrs%20of%20Etienne%20Chevalier_1420_Musee%20Conde-Chantiilly_MS%2071-f.21.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1608" data-original-width="1201" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ3G3HTCUCR0FeJCY0zWCgOX3Kn0WrF5iVUnwL4PWPawaMC0svFB5ofQMyyWx-LvkpYQBzeozPVMrLn5iVPXfZUkasfm2XpS9cxVDS7YhTwfC-I8LC9bxtZLl2Fr0z42E_FKBXLfCh9sBocn3phoFIIHcDu5CD1VOW1beZfNlY-7ca4iSYIFOgDaKD/w478-h640/1420_Jean%20Fouquet_Hrs%20of%20Etienne%20Chevalier_1420_Musee%20Conde-Chantiilly_MS%2071-f.21.jpg" width="478" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"><span>Jean Fouquet, Pentecost</span><br /><span>from <u><i>Hours of Etienne Chevalier</i></u></span><br /><span>French (Tours), 1420</span><br /><span>Chantilly, <span>Mus</span><span style="line-height: 14.2667px;">é</span><span style="line-height: 14.2667px;">e Condé </span></span><br /><span>MS 71, fol.21</span></span></td></tr></tbody></table><br /><div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7b4K3fnDM8NL1ISvHwYLQ2B0JJTggbzmYOHFz0O8rUS5bnXU8ExZuElrD4zD0AilBzrcJo38tUzhAR4LHHOfVaewCyHoLjmtnPoAZiAH8-Z-gYjo9t9KHeAYkk85YpyNI5jlsoRnI08VwsCgMq8HT_ruRjfMZLJQdG85zrFDx6-RDIoN93Mvt9kCr/s497/1475_BkHrs_French_1475-99_Morgan+g4.098ra.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="497" data-original-width="336" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7b4K3fnDM8NL1ISvHwYLQ2B0JJTggbzmYOHFz0O8rUS5bnXU8ExZuElrD4zD0AilBzrcJo38tUzhAR4LHHOfVaewCyHoLjmtnPoAZiAH8-Z-gYjo9t9KHeAYkk85YpyNI5jlsoRnI08VwsCgMq8HT_ruRjfMZLJQdG85zrFDx6-RDIoN93Mvt9kCr/w432-h640/1475_BkHrs_French_1475-99_Morgan+g4.098ra.jpg" width="432" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pentecost<br />From a <i><u>Book of Hours</u></i><br />French (Rouen), c. 1475-1499<br />New York, Pierpont Morgan Library<br />MS G 4, fol. 98r<br /><br /></td></tr></tbody></table><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8nsPM9WnVHIkobnI2N1Ysv0bJVie232M_QDBO3s-5vfQrWSeUYNZQz12ySRvjwAH9LgLcFtuC_IFzTgHgLklXWteby45lAXP3mGWkb3KHVEBN2Ib6sYSEDkAkHLH3ebEs-2_Mv5-YLiA/s1600/1500_Jean+Poyer_Hours+of+Henry+VIII_France+%2528Tours%2529_1500_Morgan_h8.101v.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8nsPM9WnVHIkobnI2N1Ysv0bJVie232M_QDBO3s-5vfQrWSeUYNZQz12ySRvjwAH9LgLcFtuC_IFzTgHgLklXWteby45lAXP3mGWkb3KHVEBN2Ib6sYSEDkAkHLH3ebEs-2_Mv5-YLiA/s640/1500_Jean+Poyer_Hours+of+Henry+VIII_France+%2528Tours%2529_1500_Morgan_h8.101v.jpg" width="412" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div><span style="font-family: inherit;">
Jean Poyer, Pentecost</span></div>
<div><span style="font-family: inherit;">
from <u><i>Hours of Henry VIII</i></u></span></div>
<div><span style="font-family: inherit;">
France (Tours), 1500</span></div>
<div><span style="font-family: inherit;">
New York, Pierpont Morgan Library</span></div>
<div><span style="font-family: inherit;">
MS H 8, fol.101v</span></div><div style="font-size: 12.8px;"><br /></div><div style="font-size: 12.8px;"><br /></div>
</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaXtF4tBmwpP1ZLyswIjLXekRr2WPf6C5PU56YuSzOCNDaNZP8xyICIM7aCwcfD-ywrNdr6YMalv59qe_M27h_FkncuICgQKWO3dJrUEtqtS6lHft4kd0eYylm7CKVo8BkOXPLxexQXPfV/s1600/1508_Jan+Joest+of+Kalkar_Kleve_Parish+Church+St.+Nicholas.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaXtF4tBmwpP1ZLyswIjLXekRr2WPf6C5PU56YuSzOCNDaNZP8xyICIM7aCwcfD-ywrNdr6YMalv59qe_M27h_FkncuICgQKWO3dJrUEtqtS6lHft4kd0eYylm7CKVo8BkOXPLxexQXPfV/s640/1508_Jan+Joest+of+Kalkar_Kleve_Parish+Church+St.+Nicholas.jpg" width="529" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jan Joest of Kalkar, Pentecost<br />
Dutch, 1508<br />
Kleve, Parish Church St. Nicholas</td></tr>
</tbody></table>
<br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOiukYRErfy7j_Z7gcnbpaul-eObun6FkX0KqnYIZf5reSLFKfUFqCwl8voYxLsbTqmlf4_5GeH1UWaREwKF1xSb3G-VR1LmpSxT30NBClviQYkvsCNGWaq7bFG4jNGI-vqNKDT9EH_gGr8hOPKVpZ0XXnNIkMH4SJLHLg_dfuASujZQXtDnEf6BZ7/s1920/1514_Juan%20de%20Flandres_1514-19_Prado.jpg" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1920" data-original-width="1427" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOiukYRErfy7j_Z7gcnbpaul-eObun6FkX0KqnYIZf5reSLFKfUFqCwl8voYxLsbTqmlf4_5GeH1UWaREwKF1xSb3G-VR1LmpSxT30NBClviQYkvsCNGWaq7bFG4jNGI-vqNKDT9EH_gGr8hOPKVpZ0XXnNIkMH4SJLHLg_dfuASujZQXtDnEf6BZ7/w476-h640/1514_Juan%20de%20Flandres_1514-19_Prado.jpg" width="476" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Juan de Flandes, Pentecost<br />Flemish, c. 1514-1519<br />Madrid, Museo Nacional del Prado<br /><br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWaQvrW4ba1xIfekgarVR22IMwxndTWgP9LRcLRsJhEj_6NzdlFvkZaPrKo9MQmMANnLRENCle2IocaNNxirKRPL4cMGkWVaXosOfSl43uA0usAbxM_QEiARDvKZAyjZLeeCnxIND7LS--3_NOOUBiCDash0vSyzmGk6wYgDK1g_AxZhRvPBc3dfcH/s1200/1515_From%20an%20Altarpiece_German,%201515_Bad%20Segeberg,,%20Evangelical%20Church%20of%20Saint%20Mary%20(Former%20Augustinian%20Cloister%20Church).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="1200" data-original-width="709" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWaQvrW4ba1xIfekgarVR22IMwxndTWgP9LRcLRsJhEj_6NzdlFvkZaPrKo9MQmMANnLRENCle2IocaNNxirKRPL4cMGkWVaXosOfSl43uA0usAbxM_QEiARDvKZAyjZLeeCnxIND7LS--3_NOOUBiCDash0vSyzmGk6wYgDK1g_AxZhRvPBc3dfcH/w378-h640/1515_From%20an%20Altarpiece_German,%201515_Bad%20Segeberg,,%20Evangelical%20Church%20of%20Saint%20Mary%20(Former%20Augustinian%20Cloister%20Church).jpg" width="378" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pentecost<br />From an Altarpiece<br />German, 1515<br />Bad Segeberg, Evangelical Church of Saint Mary (Former Augustinian Cloister Church)</td></tr></tbody></table><br /><br /><br /><br /><br /><br />
Some images from the late Renaissance period on eschew either tongues of fire or distinctive rays of light for a more generalized vision of a bright glow, usually emanating from the symbolic Dove of the Holy Spirit. <br />
<br />
<br /> <br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmltP8j2Lv4sRy7gdY_XgyxHOcAA8b2UOJcRQX0-zxm_9msZIxiom_scfqjw3pzGltqJRbkTgEvNRLGTZvXvUEAWwzeqz8lMV0jnOJLb3WYiUmvIEL5nzGqx-0PRbgO8Nn_m0LXXziznY/s1600/1520_Master+of+1518_c.1520_NGD.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmltP8j2Lv4sRy7gdY_XgyxHOcAA8b2UOJcRQX0-zxm_9msZIxiom_scfqjw3pzGltqJRbkTgEvNRLGTZvXvUEAWwzeqz8lMV0jnOJLb3WYiUmvIEL5nzGqx-0PRbgO8Nn_m0LXXziznY/s640/1520_Master+of+1518_c.1520_NGD.jpg" /></a></div><div style="text-align: center;">Master of 1518, Pentecost</div><div style="text-align: center;">Flemish, c.1520</div><div style="text-align: center;">Dublin, National Gallery of Ireland</div><br /><br /><br /> <br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU36jkId9pDu-QAFkqVLv8A16LF_QSXPi-LSZXJljNPm_-0mUaYgC8d_hXo1jtpc2dtxkvj6RRlXyO5mC9wdrdetmsNK_ErB9jCd_uQk6XNjIt9CLDz6_z-YCWHsirSYfIH5laEDeAcR-MCP_lip7JMExORZ90xZp8e07WuuNUW_Qv4uoaclobA46w/s3000/1520_Wkshop%20Bernard%20van%20Orley_1520-25_Chicago_AI.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="3000" data-original-width="2348" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU36jkId9pDu-QAFkqVLv8A16LF_QSXPi-LSZXJljNPm_-0mUaYgC8d_hXo1jtpc2dtxkvj6RRlXyO5mC9wdrdetmsNK_ErB9jCd_uQk6XNjIt9CLDz6_z-YCWHsirSYfIH5laEDeAcR-MCP_lip7JMExORZ90xZp8e07WuuNUW_Qv4uoaclobA46w/w500-h640/1520_Wkshop%20Bernard%20van%20Orley_1520-25_Chicago_AI.jpg" width="500" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: left;">Workshop of Bernard van Orley, Pentecost</span><br style="text-align: left;" /><span style="text-align: left;">Flemish, 1520-1525</span><br style="text-align: left;" /><span style="text-align: left;">Chicago, Art Institute</span></td></tr></tbody></table><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi120rQoWjaORCctqNSTvHNwfEjwmuFSHLmDDxExKWcE4sQbpi2WqkqrrelF8pwHfLsiW_6GMNS0DxfzsHkIWaY_URuFS_JhlZfIoLubZWqRoBdfdhmudV9JwtyuOy67m1H_EJQXz1vIhNKPeV9spOqWV3WkH033kK48utb_UgVnyP2NIZzGqk0Xv2r/s3390/1549_Frencesco%20Salviati_1549-50_Rome_S.%20Maria%20dell'Anima,%20Chapel%20of%20Margrave%20Johann%20Albrecht%20of%20Brandenburg.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="2543" data-original-width="3390" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi120rQoWjaORCctqNSTvHNwfEjwmuFSHLmDDxExKWcE4sQbpi2WqkqrrelF8pwHfLsiW_6GMNS0DxfzsHkIWaY_URuFS_JhlZfIoLubZWqRoBdfdhmudV9JwtyuOy67m1H_EJQXz1vIhNKPeV9spOqWV3WkH033kK48utb_UgVnyP2NIZzGqk0Xv2r/w640-h480/1549_Frencesco%20Salviati_1549-50_Rome_S.%20Maria%20dell'Anima,%20Chapel%20of%20Margrave%20Johann%20Albrecht%20of%20Brandenburg.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Frencesco Salviati, Pentecost<br />Italian, c. 1549-1550<br />Rome, Church of Santa Maria dell'Anima, Chapel of Margrave Johann Albrecht of Brandenburg</td></tr></tbody></table><br /><br /><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCbIE-kFgQ0zrIeJgF9AvugBJaXG5NbURP-h8SmyrosgXAnGDh2QH7-ASR1CDIvtg7tox4A7BEyrgm_jYbw6HgFurO1j4b62xUtfupTBg_vGV2zR_kJeImsyw8yfclXjWhbcxxQ7luJBuk/s1600/1709_Jean+Jouvenet_Versailles_Chapel.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="352" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCbIE-kFgQ0zrIeJgF9AvugBJaXG5NbURP-h8SmyrosgXAnGDh2QH7-ASR1CDIvtg7tox4A7BEyrgm_jYbw6HgFurO1j4b62xUtfupTBg_vGV2zR_kJeImsyw8yfclXjWhbcxxQ7luJBuk/s640/1709_Jean+Jouvenet_Versailles_Chapel.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption">Jean Jouvenet, Pentecost<br /> French, 1709<br /> Versailles, Royal Chapel</td></tr>
</tbody></table>
<br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtX_0EJjhxEGK9Rwze1pdiXfd2akMYKZYw6UJjZpR6kHyR6sbjqg2q0qxyFXq1xWsWJ3VZbmQndNchb0rHLwGZ0w9RYRwspWa7yMwH0LKIUr70q5z9PzPcV0HscNCSs01h16BfiC-PmDkq/s1600/1757_Johann+Jakob+Zeiller_1757-64_Ottobeuren_Monastery+church+of+St.+Theodore+and+Alexander.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="435" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtX_0EJjhxEGK9Rwze1pdiXfd2akMYKZYw6UJjZpR6kHyR6sbjqg2q0qxyFXq1xWsWJ3VZbmQndNchb0rHLwGZ0w9RYRwspWa7yMwH0LKIUr70q5z9PzPcV0HscNCSs01h16BfiC-PmDkq/s640/1757_Johann+Jakob+Zeiller_1757-64_Ottobeuren_Monastery+church+of+St.+Theodore+and+Alexander.jpg" width="640" /></a></td></tr><tr><td class="tr-caption">Johann Jakob Zeiller, Pentecost<br />German, c. 1757-1764<br />Ottobeuren, Monastery Church of Saints Theodore and Alexander<br /><br /></td></tr></tbody></table><br /><br /><br />
Representations of the Pentecost event have not ceased to be produced. A relatively recent work takes us back to some of the earliest images.</div><div> <br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0QIkLXcPY4bsqYmaaNbmPVRC6ezwKGOmClrX8MWeHXOvZq_ml-0bBHc4FR1APEZtQfxY7tQryLrBtbvi-L6_-sAdukKywGfY-iv4GhYJJxZRCJXYVyFfRJACy-1JYnVhr1iQb1EiEIqAd/s1600/1972_Peter+Minchell_c.1972-76_Philadelphia_Mus+of+Art.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="483" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0QIkLXcPY4bsqYmaaNbmPVRC6ezwKGOmClrX8MWeHXOvZq_ml-0bBHc4FR1APEZtQfxY7tQryLrBtbvi-L6_-sAdukKywGfY-iv4GhYJJxZRCJXYVyFfRJACy-1JYnVhr1iQb1EiEIqAd/s640/1972_Peter+Minchell_c.1972-76_Philadelphia_Mus+of+Art.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Peter Minchell, Pentecost<br />
American, c.1972-1976<br />
Philadelphia, Museum of Art</td></tr>
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M. Duffy, 2008, revised 2016, majority of pictures renewed 2022, further updated and revised 2023.<o:p></o:p></div>
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Scripture
texts in this work are taken from the New American Bible, revised edition ©
2010, 1991, 1986, 1970 Confraternity of Christian Doctrine, Washington, D.C.
and are used by permission of the copyright owner. All Rights Reserved. No part
of the New American Bible may be reproduced in any form without permission in
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