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The front side of the Cross of Lothair (c. 1000 AD) Detail of a mosaic, Basilica of Sant' Apollinare in Classe, Ravenna (549).. A crux gemmata (Latin for jewelled cross) is a form of cross typical of Early Christian and Early Medieval art, where the cross, or at least its front side, is principally decorated with jewels.
Printable version; In other projects ... Crosses in art (1 C, 3 P) C. Christian crosses (4 C, ... Pages in category "Cross symbols"
The word cross is recorded in 11th-century Old English as cros, exclusively for the instrument of Christ's crucifixion, replacing the native Old English word rood.The word's history is complicated; it appears to have entered English from Old Irish, possibly via Old Norse, ultimately from the Latin crux (or its accusative crucem and its genitive crucis), "stake, cross".
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Christ of Saint John of the Cross has continued to generate controversy. At the time of its purchase by Honeyman, the verdict by modern art critics was that producing such a traditional painting was a stunt by an artist already famous for his surrealist art. [6] The picture was voted Scotland's favourite painting in 2006, with 29% of the vote. [11]
Crucifixion Diptych — also known as Philadelphia Diptych, Calvary Diptych, Christ on the Cross with the Virgin and St. John, or The Crucifixion with the Virgin and Saint John the Evangelist Mourning — is a diptych by the Early Netherlandish artist Rogier van der Weyden, completed c. 1460, [1] today in the Philadelphia Museum of Art. The ...
Rosso Fiorentino. Descent from the Cross. 1521.Oil on wood. 375 × 196 cm. Pinacoteca Comunale di Volterra, Italy.. The Descent from the Cross (Greek: Ἀποκαθήλωσις, Apokathelosis), or Deposition of Christ, is the scene, as depicted in art, from the Gospels' accounts of Joseph of Arimathea and Nicodemus taking Christ down from the cross after his crucifixion (John 19, John 19:38–42).
The cross is an outstanding and moving example of the Crucifixion of Jesus, closely related to the slightly earlier life-size wooden Gero Cross in Cologne, which was a crucial work in developing the Western image of the dead crucified Christ, whose head is slumped to his shoulder, and whose sagging body forms a S shape, showing the marks of his ...