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In this engraving-painting pair showing 16 reformers and 6 theologians, the men sitting around the table are identified as A John Wycliffe, B Jan Hus, C Jerome of Prague, D Ulrich Zwingli, E Martin Luther, F John Oecolampadius, G Martin Bucer, H John Calvin, I Philip Melanchthon, K Peter Martyr Vermigli, L John Knox, M Matthias Flacius, N Heinrich Bullinger, O Hieronymus Zanchi, P Theodore ...
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 Book of Job was an important influence upon Blake's writings and art; [11] Blake apparently identified with Job, as he spent his lifetime unrecognized and impoverished. Harold Bloom has interpreted Blake's most famous lyric, The Tyger , as a revision of God's rhetorical questions in the Book of Job concerning Behemoth and Leviathan. [ 12 ]
On 18 January 2010, ABC News reported Trijicon was placing references to verses in the Bible in the serial numbers of sights sold to the United States Armed Forces. [1] The "book chapter:verse" cites were appended to the model designation, and the majority of the cited verses are associated with light in darkness, referencing Trijicon's specialization in illuminated optics and night sights.
Tanner spoke of the painting as having been particularly challenging to paint. [2] The painting was purchased in 1907 by the museum. [3] It was also exhibited in Pittsburgh in 1907 and New York in 1908. [2] The painting illustrates Luke 10, verses 38–42 in the Bible, when Christ ate at the table of the sisters Martha and Mary. [2]
On a side table covered with a carpet, a still-life arrangement with napkin, salt-cellar and wine flask accompany Jacob's "tasty goat meat". The most prominent item on the table [3] is the ewer of the Amsterdam silversmith's guild, a famous silver object that itself shares a brotherly theme. Van Eeckhout's father was a member of the silversmith ...
Thou shalt not make unto thee any graven image, or any likeness of any thing that is in heaven above, or that is in the earth beneath, or that is in the water under earth: Thou shalt not bow down thyself to them, nor serve them: for I the L ORD thy God am a jealous God, visiting the iniquity of the fathers upon the children unto the third and fourth generation of them that hate me; And shewing ...
There are a number of other copies, some attributed to the artist's sons, perhaps made after the engraving, and the painting was lent to Cardinal Federico Borromeo for copying (perhaps the version now in Bergamo). [4] A version attributed to Breuegel's son Pieter Brueghel the Younger of c. 1600 is in the Philadelphia Museum of Art. [1]
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