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Rose window is often used as a generic term applied to a circular window, but is especially used for those found in Gothic cathedrals and churches. The windows are divided into segments by stone mullions and tracery. The term rose window was not used before the 17th century and comes from the English flower name rose. [1]
Around 1500, oil paint replaced tempera in Italy. In the 19th and 20th centuries, there were intermittent revivals of tempera technique in Western art, among the Pre-Raphaelites, Social Realists, and others. Tempera painting continues to be used in Greece and Russia where it is the traditional medium for Orthodox icons.
The Gothic art period for stained glass featured two styles for the windows, the tall, spear-like windows and the circular rose windows. These windows would line the church walls, along the nave where patrons would sit and in the main vaults of the building.
The oldest is the Dean's Window in the north transept, which dates to 1220–1235. It is an example of an Early English plate-tracery rose window. The geometric design, with concentric tiers of circular window lights, predates the geometric tracery of the later decorated style of Gothic architecture.
The rose window was made sixty years later, in 1215, after the 1195 fire, with the new cathedral's nave higher. Its centre shows Christ the Judge showing his windows, angels and the four beasts from the Book of Revelation. Above are Abraham and the Elect, whilst below are souls being weighed and the twelve apostles.
A. The Abduction of Helen (Genga) Adoration of the Christ Child (Lippi, Florence) Adoration of the Christ Child (Lotto, Kraków) Adoration of the Magi (Lorenzo Monaco)
Madonna of the Rose Bower (French: La Vierge au buisson de roses) is a monumental [2] 1473 panel painting by the German artist, Martin Schongauer, depicting Mary and Christ Child in a hortus conclusus, surrounded by roses and finches.
The Severan art period is defined by the civil war that took place during the establishment of their dynasty. To help with the transition of power and their public image, the Severan imperial family expertly preserved the earlier Antonine period in the process of associated iconography . [ 3 ]