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The carnelian is a siliceous stone and a species of chalcedony. Its color is a flesh-hued red, varying from the palest flesh-color to a deep blood-red. It is of a conchoidal structure. Normally its color is without clouds or veins; but sometimes delicate veins of extremely light red or white are found arranged much like the rings of an agate.
The painting depicts Jesus Christ in anachronistic blue Renaissance attire, making the sign of the cross with his right hand, while holding a transparent, non-refracting crystal orb in his left, signalling his role as Salvator Mundi and representing the 'celestial sphere' of the heavens.
Customarily when she is represented as a youthful mother of her newborn child, she wears a deeply saturated blue mantle over a red garment. This mantle typically covers her head, where sometimes, one might see a linen, or later, transparent silk veil. She holds the Christ Child, or Baby Jesus, who shares her halo as well as her regal bearing.
[1] [2] West's personal Jesus piece created by Jacob cost $25,000, was the size of a man's palm and had clear diamonds for Jesus' crown of thorns, yellow and light-brown diamonds as Jesus' blond hair, aquamarines for blue eyes and small rubies for the tears of blood on his face.
Mary Magdalene's alleged skull, displayed at the basilica of Saint-Maximin-la-Sainte-Baume, in Southern France. Mary Magdalene's bone, displayed at La Madeleine, Paris. The relics of Mary Magdalene are a set of human remains that purportedly belonged to the Christian saint Mary Magdalene, one of the female followers of Jesus Christ.
Taking the majority view of scholars regarding the identity of the gems, and including the implication from the Book of Revelation that the onyx at the end of the fourth row was a sardonyx, there are four colors – red, green, yellow, and blue – each represented by a clear gem (red – carbuncle, green – heliodor, yellow – chrysolite ...
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The pigment analysis of this painting [3] reveals the use of the pigments of the baroque period such as madder lake, yellow ochre, vermilion and lead white.Vermeer did not paint the robe of Christ with his usual blue pigment of choice ultramarine (see for example The Milkmaid) but with a mixture of smalt, indigo and lead white.
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