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The single biblical account in Matthew 2 simply presents an event at an unspecified point after Jesus's birth in which an unnumbered party of unnamed "wise men" (μάγοι, mágoi) visits him in a house (οἰκίαν, oikian), not a stable. [14] The New Revised Standard Version of Matthew 2:1–12 describes the visit of the Magi in this manner:
The tune originally consisted of a 7.6.7.6.7.7.6 metre, but Monk removed the fifth phrase to create a more balanced tune. [8] Dix personally did not like the tune, which was ironic as it was later titled "Dix" as a tribute to him. [1] Despite Dix's opinion of it, the tune became popular and is used for the majority of performances of the hymn. [1]
The painting shows the three Magi or "kings" presenting their gifts to the infant Jesus, who is held by his mother. Saint Joseph stands beside her, and the manger, ox and ass of the usual depiction of the Nativity are behind this main group. Thus far the composition contains the inevitable components in a very standard arrangement. [6]
The Adoration of the Magi is an unfinished early painting by the Italian Renaissance artist Leonardo da Vinci. Leonardo was given the commission by the Augustinian monks of San Donato in Scopeto [ it ] in Florence in 1481, but he departed for Milan the following year, leaving the painting unfinished .
Matthew 2:11 is the eleventh verse of the second chapter of the Gospel of Matthew in the New Testament.The magi, dispatched by King Herod, have found the small child (not infant) Jesus and in this verse present him with gifts in an event known as the Visit of the Wise Men.
Matthew 2 is the second chapter of the Gospel of Matthew in the New Testament.It describes the events after the birth of Jesus, the visit of the magi and the attempt by King Herod to kill the infant messiah, Joseph and his family's flight into Egypt, and their later return to live in Israel, settling in Nazareth.
[4] Copy by Pieter Brueghel the Younger, Museo Correr, Venice. At 35 cm × 55 cm (14 in × 22 in) it is considerably smaller than most of Bruegel's other examples of "the crowded, high-angle, small-figure compositions of his middle years", [5] mostly with crowds of figures in a village setting. These are mostly over three times higher, at ...