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Ascension of Christ and Noli me tangere, c. 400, ivory, Milan or Rome, now in Munich.See below for a similar Ascension 450 years later.. New Testament scenes that appear in the Early Christian art of the 3rd and 4th centuries typically deal with the works and miracles of Jesus such as healings, the multiplication of the loaves or the raising of Lazarus. [3]
The resurrection of Jesus has long been central to Christian faith and Christian art, whether as a single scene or as part of a cycle of the Life of Christ. In the teachings of the traditional Christian churches, the sacraments derive their saving power from the passion and resurrection of Christ, upon which the salvation of the world entirely ...
These paintings depict "The Great Red Dragon" in various scenes from the Book of Revelation. And behold a great red dragon, having seven heads and ten horns, and seven crowns upon his heads. And his tail drew the third part of the stars of heaven, and did cast them to the earth. —
Other sculptural representations of the Nativity include ivory miniatures, carved stone sarcophagi, architectural features such as capitals and door lintels, and free standing sculptures. Free-standing sculptures may be grouped into a Nativity scene (crib, creche or presepe) within or outside a church, home, public place or natural setting. The ...
Heavenly Scene: c. 1496 — Oil on panel (pearwood) 23.1 × 17.4: London, National Gallery : 14–15 Portrait of Elector Frederick the Wise of Saxony: 1496 m lf: Tempera on canvas: 76 × 57: Berlin, Gemäldegalerie, Berlin State Museums (557C) [14] 19 Dresden Altarpiece: 1496: Tempera on canvas: 114 × 45 each wing 114 × 96.5 central panel
It depicts angels helping human souls towards heaven. The attribution to Bosch is not universally accepted. [1] It is located in the Gallerie dell'Accademia in Venice, Italy. [2] This painting is part of a polyptych of four panels entitled Visions of the Hereafter. The others are Terrestrial Paradise, Fall of the Damned into Hell and Hell.
The Hand of God, or Manus Dei in Latin, also known as Dextera domini/dei (the "right hand of God"), is a motif in Jewish and Christian art, especially of the Late Antique and Early Medieval periods, when depiction of Yahweh or God the Father as a full human figure was considered unacceptable.