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Augustine: "Whereas Matthew relates that there were two who were afflicted with dæmons, but Mark and Luke mention only one, you must understand that one of them was a person of note, for whom all that country was in grief, and about whose recovery there was much care, whence the fame of this miracle was the more noised abroad."
In the top centre of the picture, Christ sits in judgement on a white throne surrounded by angels, Mary, John, and the saints. Christ is shown as judge of the living and dead, his left hand pointing down to Hell, his right up to Heaven. On Christ's right hand is paradise, with angels leading the saved through a beautiful garden into a shining city.
Raimi offered director Edgar Wright to direct Drag Me to Hell which Wright turned down as he was filming Hot Fuzz and felt that "If I did it, it would just feel like karaoke." [15] After the previous three Spider-Man films, Raimi came back to the script of Drag Me to Hell, wanting to make a simpler and lower-budget film. [16]
The central panel shows Jesus sitting in judgment on the world, while St Michael the Archangel weighs souls: he sends the damned towards Hell (the sinner in St. Michael's right-hand scale pan is a donor portrait of Tommaso Portinari); the left hand panel shows the saved being guided into heaven by St Peter and the angels.
In Christian theology, the Harrowing of Hell (Latin: Descensus Christi ad Inferos, "the descent of Christ into Hell" or Hades) [a] is the period of time between the Crucifixion of Jesus and his resurrection. In triumphant descent, Christ brought salvation to the souls held captive there since the beginning of the world. [1]
Showing Christ "hovering" above the tomb was an Italian innovation of the Trecento, and remained mostly found in Italian art until the late 15th century. One of the claimants to be the earliest surviving works to show this iconography is the well-known fresco by Andrea da Firenze in the Spanish Chapel of the Basilica of Santa Maria Novella in ...
The various versions of the Man of Sorrows image all show a Christ with the wounds of the Crucifixion, including the spear-wound. Especially in Germany, Christ's eyes are usually open and look out at the viewer; in Italy the closed eyes of the Byzantine epitaphios image, originally intended to show a dead Christ, remained for longer.
In art the Instruments either surrounded an image of Christ in andachtsbilder subjects such as the Man of Sorrows, or might appear by themselves - often the image of Christ's face on the Veil of Veronica was the focal point of the image. In both cases the purpose of the representations was to symbolize the sufferings of Christ during his Passion.