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The event (or events – see discussion below) is reported in Matthew 26, Mark 14, Luke 7, and John 12. [2] Matthew and Mark are very similar: Matthew 26:6–13. While Jesus was in Bethany in the home of Simon the Leper, a woman came to him with an alabaster jar of very expensive perfume, which she poured on his head as he was reclining at the table.
John 12 is the twelfth chapter of the Gospel of John in the New Testament of the Christian Bible.It narrates an anointing of Jesus' feet, attributed to Mary of Bethany, as well as an account of the triumphal entry of Jesus Christ into Jerusalem. [1]
Anointing of Jesus & Luke 10 Gospel Setting Character What did she do? Siblings Host Mark 14: Bethany, village in Judea unnamed woman: anointed Jesus' head none mentioned: Simon the Leper Matthew 26: Bethany, village in Judea unnamed woman: anointed Jesus' head none mentioned: Simon the Leper Luke 7: city/town in Galilee, probably Nain [note 1]: 49
An alternative explanation for the similarities is that the Luke 7 anointing and the anointing at Bethany [9] [10] [11] happened with some of the same participants, but several years apart. [12] Simon the Leper is also sometimes identified as the same person as Lazarus of Bethany, or identified as his father or brother [citation needed]. This ...
Today, the sobriety and control of Poussin's paintings can seem difficult, or remote, to audiences. But in Extreme Unction subject and style are so perfectly aligned that Poussin's stark, lyrical, line, and controlled play of light and shadow bring out the full depth of emotion that marks this momentous scene.
The life of Christ as a narrative cycle in Christian art comprises a number of different subjects showing events from the life of Jesus on Earth. They are distinguished from the many other subjects in art showing the eternal life of Christ, such as Christ in Majesty, and also many types of portrait or devotional subjects without a narrative ...
These are reflected in art by the Virgin's posture and expression. In Late Medieval and Early Renaissance depictions, the grace of the Virgin in God's sight may be indicated by rays falling on her, typically through a window, as light passing through a window was a frequent metaphor in devotional writing for her virginal conception of Jesus.
In the Gospel of John, Martha and Mary appear in connection with two incidents: the raising from the dead of their brother Lazarus (John 11) and the anointing of Jesus in Bethany (John 12:3). In the account of the raising of Lazarus, when Jesus hears of the death it is noted that "Jesus loved Martha, and her sister, and Lazarus" (John 11:5).