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The Sophia The Christ, also known as the Wisdom of Jesus Christ, is a Gnostic text that was first discovered in the Berlin Codex (a Codex purchased in Cairo in 1896 and given to the Berlin Museum which also contains the Gospel of Mary, the Apocryphon of John, and a summary of the Act of Peter).
The Saint Sofia Church stands in the middle of an ancient necropolis and many tombs have been unearthed both under and near the church. Some of the tombs even feature frescoes. Because Saint Sophia represents Holy Wisdom , icons within the church depict Sophia as Christ Emmanuel , a young figure of Christ seated on a rainbow.
Christ in the House of His Parents (1849–50) is a painting by John Everett Millais depicting the Holy Family in Saint Joseph's carpentry workshop. The painting was extremely controversial when first exhibited, prompting many negative reviews, most notably one written by Charles Dickens .
Pistis Sophia (Koinē Greek: Πίστις Σοφία) is a Gnostic text discovered in 1773, [1] possibly written between the 3rd [2] and 4th centuries AD. [3] The existing manuscript, which some scholars place in the late 4th century, [4] relates one Gnostic group's teachings of the transfigured Jesus to the assembled disciples, including his mother Mary, Mary Magdalene, and Martha.
The Sacred Tradition of Eastern Christianity teaches that the Virgin Mary died a natural death (the Dormition of the Theotokos, the falling asleep), like any human being; that her soul was received by Christ upon death; and that her body was resurrected on the third day after her repose, at which time she was taken up, soul and body, into heaven in anticipation of the general resurrection.
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Christ in the House of Martha and Mary by Tintoretto, 1570s. Jesus at the home of Martha and Mary, in art usually called Christ in the House of Martha and Mary, and other variant names, is a Biblical episode in the life of Jesus in the New Testament which appears only in Luke's Gospel (Luke 10:38–42), immediately after the Parable of the Good Samaritan (Luke 10:25–37). [1]
Many German and Polish 15th-century examples in wood greatly emphasise Christ's wounds. Although the subject was known in Italy, the name may have been slower to be adopted, and the Florentine diarist Luca Landucci, after describing a painting in an entry for June 1482, added "which is called by some a Pietà". [7]