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Raphael (UK: / ˈ r æ f eɪ ə l / RAF-ay-əl, US: / ˈ r æ f i ə l, ˈ r eɪ f-/ RA(Y)F-ee-əl; "God has healed") [a] is an archangel first mentioned in the Book of Tobit and in 1 Enoch, both estimated to date from between the 3rd and 2nd century BCE.
Raphael, Nicholas, and Irene of Lesbos (Greek: Ραφαήλ, Νικόλαος και Ειρήνη) are venerated as saints and neomartyrs in the Eastern Orthodox Church. [ 1 ] [ 2 ] According to a 20th-century legend, they lived on the island of Lesbos in the 15th century and were killed by Turkish raiders in April 1463.
The marriage scene has been painted by, among others, Giotto, Perugino, Raphael, Ventura Salimbeni (1613, his last painting), Domenico Ghirlandaio (1485-1490, at the Tornabuoni Chapel), Bernardo Daddi (now in the Royal Collection), Pieter van Lint (1640, Antwerp Cathedral), Tiburzio Baldini, Alfonso Rivarola, Francesco Caccianiga, Niccolò ...
According to Marino Sanuto the Younger's diary, in 1519 Raphael offered to transport an obelisk from the Mausoleum of August to St. Peter's Square for 90,000 ducats. [56] According to Marcantonio Michiel , Raphael's "youthful death saddened men of letters because he was not able to furnish the description and the painting of ancient Rome that ...
In the Catholic Church, three archangels are mentioned by name in its Biblical canon: Michael, Gabriel, and Raphael. Raphael appears in the deuterocanonical Book of Tobit, where he is described as "one of the seven angels who stand ready and enter before the glory of the lord of spirits", [17] a phrase recalled in Revelation 8:2–6.
Raphael at the Vatican (French: Raphaël au Vatican) is an 1832 history painting by the French artist Horace Vernet. It depicts an encounter in Rome between the Renaissance artists Raphael and Michelangelo. It is in the collection of the Louvre, in Paris. [1] [2]
Vienna version, 192 x 122 cm Paris version, 178 x 122 cm. Saint Margaret and the Dragon is the title shared by two paintings of Saint Margaret by the Renaissance painter Raphael, both executed in about 1518.
It was painted c. 1507–1509, towards the end of Raphael's sojourn in Florence, and shows the young artist in a transitional phase. The depiction of religious passion in the painting is still reminiscent of Pietro Perugino , but the graceful contrapposto of Catherine's pose is typical of the influence of Leonardo da Vinci on Raphael, and is ...