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The Middle Passage was the stage of the Atlantic slave trade in which millions of enslaved Africans [2] were forcibly transported to the Americas as part of the triangular slave trade. Ships departed Europe for African markets with manufactured goods (first side of the triangle), which were then traded for slaves with rulers of African states ...
One of the piece's most distinctive features is the severe angle of the composition, which, when displayed at eye level, places the theoretical viewer at the feet of the dramatically foreshortened figure. The use of perspective also creates the illusion that the face of Christ follows the viewer depending on the angle from which the piece is ...
Christ Healing the Blind Man by A. Mironov.. The Blind Man of Bethsaida is the subject of one of the miracles of Jesus in the Gospels.It is found only in Mark 8:22–26. [1] [2] The exact location of Bethsaida in this pericope is subject to debate among scholars but is likely to have been Bethsaida Julias, on the north shore of Lake Galilee.
The Head of Christ, also called the Sallman Head, is a 1940 portrait painting of Jesus of Nazareth by Warner Sallman (1892–1968). As an extraordinarily successful work of Christian popular devotional art , [ 1 ] it had been reproduced over half a billion times worldwide by the end of the 20th century. [ 2 ]
Christ after his Resurrection, with the ostentatio vulnerum, showing his wounds, Austria, c. 1500. The five wounds comprised 1) the nail hole in his right hand, 2) the nail hole in his left hand, 3) the nail hole in his right foot, 4) the nail hole in his left foot, 5) the wound to his torso from the piercing of the spear.
The passage is one of the earliest non-Christian references to the origins of Christianity [broken anchor], the execution of Christ described in the canonical gospels, and the presence and persecution of Christians in 1st-century Rome. [3] [4] There are two points of vocabulary in the passage.
The three Biblical gospels that mention the crown of thorns do not say what happened to it after the crucifixion. The oldest known mention of the crown already being venerated as a relic was made by Paulinus of Nola, writing after 409, [8] who refers to the crown as a relic that was adored by the faithful (Epistle Macarius in Migne, Patrologia Latina, LXI, 407).
The signature echoes one used by the ancient Greek artists Apelles and Polykleitos. It was the only work he ever signed. Vasari also reports the anecdote that Michelangelo later regretted his outburst of pride and swore never to sign another work of his hands. [12] [13] Fifty years later, Vasari declared the following regarding the Pietà: