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The Church of Our Lady of Victories (Czech: Kostel Panny Marie Vítězné), also referred as the Shrine of the Infant Jesus of Prague, in Malá Strana, the "Lesser Quarter" of Prague, is a church governed and administered by the Discalced Carmelites. The shrine is home to the famed statue called the Infant Jesus of Prague.
Version of the Theotokos of Smolensk by Dionisius (c. 1500) 12th-century plaque found in Torcello Cathedral; a full-length figure like the original in Constantinople. A Hodegetria, [a] or Virgin Hodegetria, is an iconographic depiction of the Theotokos (Virgin Mary) holding the Child Jesus at her side while pointing to him as the source of salvation for humankind.
It measures 242 × 321 cm. [1] [2] [3] The canvas depicts Mary Magdalene and Jesus Christ in a life-size two-figure composition. The painting depicts the moment in the Gospel story when Mary Magdalene recognises the risen Christ. However, he stops her impulse by telling her, "Do not cling to me, for I have not yet ascended to the Father".
Christ is holding a book in his left hand, presumably a Gospel Book. His right hand is raised in a blessing, [ 7 ] and it is Mary not he who looks directly out at the viewer. The folded together position of Mary's hands distinguishes this image as a version of the earlier type from before the development of the iconography of the Hodegetria ...
The Virgin Mary is holding baby Jesus gently in her arms while holding a pomegranate in her left hand. The pomegranate being displayed has a few different interpretations of its meaning in the religious piece. There are many replicas of the Madonna of the Pomegranate made by artists who made copies as part of their artistic training.
The Infant Jesus of Mechelen (French: l'Enfant Jésus de Malines) is an unadorned 16th-century wooden image depicting the Child Jesus holding a globus cruciger and imparting a blessing. It is now in the Louvre Museum in Paris, as a typical representative of a type of image produced in considerable numbers in 16th-century Mechelen (Malines, in ...
They usually depict the Virgin Mary with the Child Jesus, holding a scepter, keys and high crown. Her veil falls down to the ground as a bridal symbol. Above Mary, putti hold a crown of clasps over her crowned head. It was a very popular plate motif of which several casts have survived.
Millais likely used Albrecht Dürer's print Melancholia I as a source for this imagery, along with Quattrocento works. The sheep in the sheepfold seen through the door represent the future Christian flock. [1] It has been suggested that Millais was influenced by John Rogers Herbert's painting Our Saviour Subject to His Parents at Nazareth. [2]
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