Mythology: 2018-05-06

01 Antique Religious Carvings - Sculptures from the Bible, with footnotes, 9

Late 15th century carved wooden figure of the Virgin of Mercy, presumably Central German

Detail

The crowned Virgin is depicted in contrapposto, wearing a long richly draped gold cloak and holding the nude Christ Child in Her left arm, the right arm would have formerly held a sceptre, which is now lacking. Two angels to the left and right of the Virgin extend Her cloak to shelter fourteen figures kneeling in prayer. On the left we see a Pope, Cardinal, Bishop, monks, and a nun as representatives of the ecclesiastical caste, and on the right the worldly order is depicted in the guise of a King, knight, and soldiers. More on this carving

Late 15th century carved wooden figure of the Virgin of Mercy, presumably Central German

The Virgin of Mercy is a subject in Christian Art, showing a group of people sheltering for protection under the outspread cloak, or pallium, of the Virgin Mary. It was especially popular in Italy from the 13th to 16th centuries, often as a specialised form of votive portrait, and is also found in other countries and later art, especially Catalonia and Latin America. In Italian it is known as the Madonna della Misericordia (Madonna of Mercy). More on The Virgin of Mercy

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01 Antique Religious Carvings - Ivory Sculptures from the Bible, with footnotes, 8

A late 14th century French carved ivory relief of the Crucifixion

A diptych is any object with two flat plates attached at a hinge. From the Middle Ages many panel paintings took the diptych form, as small portable works for personal use; Eastern Orthodox ones may be called "travelling icons". Although the tryptych form was more common, there were also ivory diptychs with religious scenes carved in relief, a form found first in Byzantine art before becoming very popular in the Gothic period in the West, where they were mainly produced in Paris. These suited the mobile lives of medieval elites. More on diptychs

High-relief depiction with a plain border, formerly the right wing of a hinged diptych. The piece depicts numerous figures attendant at the Crucifixion. We see Christ being offered the sponge and Longinus with the lance below him. The mourning Virgin is depicted on the left with Saint John and Mary Magdalene, two prophets are seen on the right, and in the upper arches we see two angels with symbols of the sun and moon.. More on this carving

When ivory reappeared in northern Europe in the mid-thirteenth century, artists and patrons quickly renewed the art of ivory carving. Instead of a revival of earlier forms, however, the Gothic period saw the revival of a new range of ivory object types: statuettes and statuette groups for the church or the private home; small paneled objects called diptychs (two panels), triptychs (three panels), and polyptychs (many panels) with scenes in low relief that unfold for private meditation; and luxury objects for personal use, such as combs, mirror backs, writing tablets, and caskets. The golden age of Gothic ivory carving spanned a century and a half, from about 1230 to 1380, at which point the supply of ivory to northern Europe again dwindled. More on Ivory Carving in the Gothic Era

The crucifixion of Jesus occurred in 1st century Judea, most probably between the years 30 and 33 AD. Jesus' crucifixion is described in the four canonical gospels, referred to in the New Testament epistles, attested to by other ancient sources, and is established as a historical event confirmed by non-Christian sources.

According to the canonical gospels, Jesus, the Christ, was arrested, tried, and sentenced by Pontius Pilate to be scourged, and finally crucified by the Romans. Jesus was stripped of his clothing and offered wine mixed with gall to drink, before being crucified. He was then hung between two convicted thieves and according to Mark's Gospel, died some six hours later. During this time, the soldiers affixed a sign to the top of the cross stating "Jesus of Nazareth, King of the Jews" in three languages. They then divided his garments among them, but cast lots for his seamless robe. After Jesus' death they pierced his side with a spear to be certain that he had died. More on the crucifixion

01 Antique Religious Carvings - Ivory Sculptures from the Bible, with footnotes, 7

Late 14th century French carved ivory diptych with the Annunciation and the Crucifixion

The panel on the left depicts the annunciation to Mary with the angel Gabriel and the dove of the Holy Spirit and on the right the Crucifixion with the Virgin and John the Baptist, both scenes beneath Gothic arch borders. More on this carving

When ivory reappeared in northern Europe in the mid-thirteenth century, artists and patrons quickly renewed the art of ivory carving. Instead of a revival of earlier forms, however, the Gothic period saw the revival of a new range of ivory object types: statuettes and statuette groups for the church or the private home; small paneled objects called diptychs (two panels), triptychs (three panels), and polyptychs (many panels) with scenes in low relief that unfold for private meditation; and luxury objects for personal use, such as combs, mirror backs, writing tablets, and caskets. The golden age of Gothic ivory carving spanned a century and a half, from about 1230 to 1380, at which point the supply of ivory to northern Europe again dwindled. More on Ivory Carving in the Gothic Era

The Annunciation referred to as the Annunciation to the Blessed Virgin Mary, the Annunciation of Our Lady, or the Annunciation of the Lord, is the Christian celebration of the announcement by the angel Gabriel to the Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking his Incarnation. Gabriel told Mary to name her son Yehoshua , meaning "YHWH is salvation".

According to Luke 1:26, the Annunciation occurred "in the sixth month" of Elizabeth's pregnancy. Many Christians observe this event with the Feast of the Annunciation on 25 March, an approximation of the northern vernal equinox nine full months before Christmas, the ceremonial birthday of Jesus. In England, this came to be known as Lady Day. It marked the new year until 1752. The 2nd-century writer Irenaeus of Lyon regarded the conception of Jesus as 25 March coinciding with the Passion. More The Annunciation

01 Fresco, Olympian deities, by the Old Masters, pictorial decoration of the mansions of Pompeii, with footnotes, #10a

House of Venus and Mars/ Ares and Aphrodite

Between circa 75 and circa 100 AD

Fresco on plaster

cm 99 x 90

National Archaeological Museum of Naples

Venus and Mars Fresco above shows the Roman gods Venus, goddess of love, and Mars, god of war, in an allegory of beauty and valour.

The Fresco was probably intended to commemorate a wedding, and to adorn the bedroom of the bride and groom. This is suggested by the wide format and the close view of the figures. It is widely seen as representation of an ideal view of sensuous love

Mars lifts the blue mantle of Venus, to admire its nudity characterized only by a gold chain arranged in X. Characteristic is the representation of the two sexes which provides for a brown complexion for the man and clear and delicate for the woman. Cupid plays with the weapons of Mars. The shield and the helmet reflect reflections of light. More on this mosaic

03 Carvings, Biblical Carvings & Sculpture With Footnotes 6

A carved wooden crucifix figure without cross

Republic of Benin. Late 19th to early 20th century

13 3/4"h x 11"w x 2 1/2"d.
Private collection

A brass crucifix with multiple figures

Democratic Republic of the Congo, Kongo. Late 19th to earch 20th century

11"h x 6 1/4"w x 3/4"d

Private collection

African crucifixes are the result of the adoption and almagmation of disperate relgious views. Christan iconography was first introduced to the African content in the 15th century by the Portuguese. By the early sixteenth century the king of Kongo was baptized and began a partnership with the king of Portugal. To reinforce his power and ties to the Catholic Church, prestige piece were made echoing Christian designs and symbolism. Piece are still made today that blend the traditions of African art with those of the Christian Church. More on African crucifixes

A carved wooden effigy figure of St. Antoine, a Franciscan Monk

Possibly Democratic Republic of the Congo. Late 19th to early 20th century

10 1/2"h x 3"w x 3 1/2"d

Saint Anthony of Padua (Portuguese: Santo António), born Fernando Martins de Bulhões (1195 – 13 June 1231), also known as Anthony of Lisbon, was a Portuguese Catholic priest and friar of the Franciscan Order. He was born and raised by a wealthy family in Lisbon, Portugal, and died in Padua, Italy. Noted by his contemporaries for his forceful preaching, expert knowledge of scripture, and undying love and devotion to the poor and the sick, he was the second-most-quickly canonized saint after Peter of Verona. He was proclaimed a Doctor of the Church on 16 January 1946. He is also the patron saint of lost things. More on Saint Anthony of Padua

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.