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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.
The second verse of the hymn contains the line, "Till on that cross as Jesus died, the wrath of God was satisfied," which adheres to the satisfaction theory of atonement. This line has hence made the song a subject of criticism by opponents of satisfaction theory.
St. Gregory likewise notes that it "oftentimes in Scripture denotes the wrath of God and everlasting punishment." [2] The woe of the rich, echoes the words from the Magnificat in Luke 1:53, "He hath filled the hungry with good things: and the rich he hath sent empty away."
The New Testament associates the wrath of God particularly with imagery of the Last Day, described allegorically in Romans 2:5 as the "day of wrath". The wrath of God is mentioned in at least twenty verses of the New Testament. Examples are: John 3:36 – John the Baptist declares that whoever believes in the Son has eternal life; whoever does ...
Héliodore Pisan after Gustave Doré, "The Crucifixion", wood-engraving from La Grande Bible de Tours (1866). It depicts the situation described in Luke 23.. The illustrations for La Grande Bible de Tours are a series of 241 wood-engravings, designed by the French artist, printmaker, and illustrator Gustave Doré (1832–1883) for a new deluxe edition of the 1843 French translation of the ...
The image formed part of the subject of the Mass of Saint Gregory; by 1350 the Roman icon was being claimed as a contemporary representation of the vision. [5] In this image the figure of Christ was typical of the Byzantine forerunners of the Man of Sorrows, at half length, with crossed hands and head slumped sideways to the viewer's left.
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