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Baroque Trinity, Hendrick van Balen, 1620, (Sint-Jacobskerk, Antwerp) Holy Trinity, fresco by Luca Rossetti da Orta, 1738–39 (St. Gaudenzio Church at Ivrea). The Trinity is most commonly seen in Christian art with the Holy Spirit represented by a dove, as specified in the gospel accounts of the baptism of Christ; he is nearly always shown with wings outspread.
In The Vatican Museum in Rome is a carved stone sarcophagus depicting the Holy Trinity as three bearded men during the creation of Eve. [6] The majority of early Christian art depicts The Holy Spirit in an anthropomorphic form as a human with two other Identical human figures representing God the Father and Jesus Christ. They either sit or they ...
In this type of icon, Jesus Christ is depicted as an old white-haired man. The basis of this iconography is consubstantiality - the doctrine that Jesus and the Father are one. This very image of God the Father is used in New Testament Trinity icons; until the Great Synod of Moscow in 1667 it was a matter of theological debate whether the ...
The subject of The Trinity received various interpretations at different time periods, but by the 19th–20th century the consensus among scholars was the following: the three angels who visited Abraham represented the Christian Trinity, "one God in three persons" – the Father, the Son (Jesus Christ), and the Holy Spirit. [12]
It depicts a young Jesus with the Virgin Mary and Saint Joseph (the three of whom make up the Holy Family, the earthly trinity of the painting's title), together with God the Father and the Holy Spirit (who with Christ as God the Son form the Holy Trinity).
Nativity and Transfiguration of Christ, with cross haloes; the apostles, angels and prophets have plain ones (1025–50, Cologne). A cruciform halo, that is to say a halo with a cross within, or extending beyond, the circle is used to represent the persons of the Holy Trinity, especially Jesus, and especially in medieval
The iconography of the Trinity, flanked by Mary and John or including donors, is not uncommon in Italian art of the late 14th and early 15th centuries, and the association of the Trinity with a tomb also has precedents. No precedent for the exact iconography of Masaccio's fresco, combining all these elements, has been discovered, however.
La Gloria is a painting by Titian, commissioned by Charles V in 1550 or 1551 and completed in 1554. It was first given this title by José Sigüenza in 1601 — it is also known as The Trinity, The Final Judgement, Paradise, and Adoration of the Trinity.
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