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Mentioned one verse later is Makir's wife, also named Maacah. [106] "I Chronicles" [107] Mahalath – daughter of Ishmael and 3rd wife of Esau. Genesis [108] Mahalath – granddaughter of David and the first wife of King Rehoboam. II Chronicles [4] Mahlah – one of the daughters of Zelophehad Numbers, Joshua [71] [109] Mahlah – I Chronicles [60]
While the Eastern Church does not generally create three-dimensional religious art, Eleusa-style reliefs and sculptures, as well as icons, have also been used in the Western Church. The Pelagonitissa is a variant in which the infant Jesus makes an abrupt movement.
Noteworthy translation aspects in this verse are the name of Adam's wife, the future tense "will conceive" mixed with the past tense "knew", "said" and "obtained", the lack of quote marks, and translation of the Tetragrammaton. The Divine Name, Jehovah, is featured prominently throughout the Old Testament of this Bible version.
The zonah of the Hebrew Bible is a woman who is not under the authority of a man; she may be a paid prostitute, but not necessarily. In the Bible, for a woman or girl who was under the protection of a man to be called a "zonah" was a grave insult to her and her family.
Mary, the mother of Jesus in Christianity, is known by many different titles (Blessed Mother, Virgin Mary, Mother of God, Our Lady, Holy Virgin, Madonna), epithets (Star of the Sea, Queen of Heaven, Cause of Our Joy), invocations (Panagia, Mother of Mercy, God-bearer Theotokos), and several names associated with places (Our Lady of Loreto, Our Lady of Fátima).
In the Bible, Lot's wife is a figure first mentioned in Genesis 19. The Book of Genesis describes how she became a pillar of salt after she looked back at Sodom (the "looking taboo" motif in mythology and folklore). She is not named in the Bible, but is called Ado or Edith in some Jewish traditions.
An enamel plaque on the processional Cross of Mathilde, showing an image of the donor together with Mary, Seat of Wisdom. This type of Madonna image is based on the Byzantine prototype of the Chora tou Achoretou ("Container of the Uncontainable"), [5] an epithet mentioned in the Acathist Hymn and present in the Greek East by the early 11th century, when the Byzantine-inspired enamels were made ...
Catholic doctrine, still emerging when most of these were painted, has declined to specify whether Mary had died before her bodily Assumption, although the slightly varying accounts given one after the other in late versions of the Golden Legend agree that she did, and was placed in a tomb, from which she was raised up three days later. [11]
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