Search results
Results from the WOW.Com Content Network
Andrea di Bartolo, Way to Calvary, c. 1400.The cluster of halos at the left are the Virgin Mary in front, with the Three Marys. Sebastiano del Piombo, about 1513–14. Christ Carrying the Cross on his way to his crucifixion is an episode included in the Gospel of John, and a very common subject in art, especially in the fourteen Stations of the Cross, sets of which are now found in almost all ...
The Via Dolorosa (Latin for 'Sorrowful Way', often translated 'Way of Suffering'; Arabic: طريق الآلام; Hebrew: ויה דולורוזה) is a processional route in the Old City of Jerusalem. It represents the path that Jesus took, forced by the Roman soldiers, on the way to his crucifixion.
Christ Falling on the Way to Calvary, also known as Lo Spasimo or Il Spasimo di Sicilia, is a painting by the Italian High Renaissance painter Raphael, of c. 1514–16, [1] now in the Museo del Prado in Madrid. It is an important work for the development of his style.
He had been sentenced to be crucified, and was being led along the Via Dolorosa – the pathway to the hill called Calvary. Calvary was that noted place of execution for those who had been ...
In the Roman Catholic Church, the devotion may be conducted personally by the faithful, making their way from one station to another and saying the prayers, or by having an officiating celebrant move from cross to cross while the faithful make the responses.
Altar at the traditional site of Golgotha The altar at the traditional site of Golgotha Chapel of Mount Calvary, painted by Luigi Mayer. The English names Calvary and Golgotha derive from the Vulgate Latin Calvariae, Calvariae locus and locum (all meaning "place of the Skull" or "a Skull"), and Golgotha used by Jerome in his translations of Matthew 27:33, [2] Mark 15:22, [3] Luke 23:33, [4 ...
The Wandering Jew (left) meets Christ on his way to Calvary, as depicted in the Chronica Majora. Matthew Paris included this passage from Roger of Wendover in his own history; and other Armenians appeared in 1252 at the Abbey of St Albans, repeating the same story, which was regarded there as a great proof of the truth of the Christian religion ...
Detail of the painting. The work depicts Jesus carrying the cross above a dark background, primarily with black and red tones, [13] surrounded by numerous heads. This painting focuses solely on the face and hands as a source of emotional expression, bodies being faded into the dark background. [14]