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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 Horses of Neptune, illustration by Walter Crane, 1893. Horse symbolism is the study of the representation of the horse in mythology, religion, folklore, art, literature and psychoanalysis as a symbol, in its capacity to designate, to signify an abstract concept, beyond the physical reality of the quadruped animal.
The Virgin in Prayer is an oil painting by the Italian artist Giovanni Battista Salvi da Sassoferrato, painted in c. 1640–1650, and currently displayed at the National Gallery. Its dimensions are 73 by 58 cm (29 by 23 in). [1] The painting is a life-size depiction of the Virgin Mary praying in quiet devotion.
A painting that Caravaggio must have known was a very unusual Conversion which Moretto da Brescia painted for the Mint of Milan in 1540–41. This scene consists only two figures: Saul and his horse, and the horse strangely dominates the painting. [15] Moretto was probably inspired by a similar Conversion attributed to Parmigianino (1527).
Symbol Babylas of Antioch: bishop with three small boys [6] Balthazar: bearded black magus offering a covered cup to the Infant Jesus [6] Barachiel: a white rose [29] Barbara: tower (often with three windows), chalice, ciborium, cannon: Barbatus of Benevento: ordering a tree cut down [6] Barnabas: pilgrim's staff, olive branch: Basil of Ancyra
Art historian John Ward highlights the rich and complex iconography and symbolic meaning van Eyck employed to bring attention to what he saw as the co-existence of the spiritual and material worlds. In his paintings, iconographical features are typically subtly woven into the work, as "relatively small, in the background, or in the shadow ...
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God the Father turning the press and the Lamb of God at the chalice. Prayer book of 1515–1520. The image was first used c. 1108 as a typological prefiguration of the crucifixion of Jesus and appears as a paired subordinate image for a Crucifixion, in a painted ceiling in the "small monastery" ("Klein-Comburg", as opposed to the main one) at Comburg.