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Sextus Julius Africanus (c. 160 – c. 240; Ancient Greek: Σέξτος Ἰούλιος ὁ Ἀφρικανός or ὁ Λίβυς) was a Christian traveler and historian of the late 2nd and early 3rd centuries.
They travel to Bethlehem, where they worship the young Jesus and meet with the Virgin Mary. They lavish praise on Mary as the Mother of Mothers and the most queenly of queens. A servant travelling with them skilled in painting makes a portrait of the pair to bring back to the temple. [2] Warned by an angel about Herod, the Magi return to Persia.
Thallus or Thallos (Greek: Θαλλός), perhaps a Samaritan, [1] was an early historian who wrote in Koine Greek.He wrote a three-volume history of the Mediterranean world from before the Trojan War to the 167th Olympiad, 112–108 BC, or perhaps to the 217th Olympiad (AD 89-93) or 207th Olympiad (AD 49-52).
Gibbon was followed, some decades later, by German theologian David Strauss, who argued in his book Das Leben Jesu, kritisch bearbeitet (The Life of Jesus, Critically Examined) that the crucifixion darkness was a literary creation to solemnize the tragic death of the Jesus. [53]
C. Cervara Altarpiece; Chigi Altarpiece; Christ Crucified (Velázquez) Christ of Saint John of the Cross; Christ on the Cross (Murillo) Crucifix (Cimabue, Arezzo)
Julius Africanus was a celebrated orator in the reign of Nero, [1] and seems to have been the son of the Julius Africanus, of the Gallic state of the Santoni (in present-day France), who was condemned by Tiberius in 32 AD. [2] Quintilian, who had heard Julius Africanus, spoke of him and Domitius Afer as the best orators of their time. The ...
The city of Nicopolis was founded on the ruins of Emmaus in early 3rd century, after Julius Africanus, who said he had interviewed descendants of Jesus' relatives, headed an embassy to Rome and had an interview with the Roman emperor Elagabalus on behalf of Emmaus, then a small Palestinian village (κώμη). [28] St.
The Mocking of Christ measures 25.8 cm × 20.3 cm × 1.2 cm (10.16 in × 7.99 in × 0.47 in) and depicts the mocking of Jesus prior to his crucifixion. [2] The work is painted with egg tempera on a gold leaf background, on a thinned and slightly bowed poplar panel prepared with layers of gesso ground in which a canvas is embedded.