The Oxford Companion to Christian Art and Architecture
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The Judeo-Christian tradition has had a profound impact on Western civilization and in particular on Western art. From the flying buttresses and soaring vaults of the Gothic cathedral, to Michelangelo's powerfully rendered frescoes in the Sistine Chapel, to the great bronze baptistery doors in Florence, to Marc Chagall's majestic tapestries for the Knesset in Jerusalem, biblical stories and Christian themes form an integral part in our artistic heritage. But today, a lack of knowledge of the Bible and of Christian doctrine, as well as of church history and of ritual, frequently prevents us from understanding--and appreciating--much of the greatest art that has ever been created.
Exquisitely designed and lavishly illustrated--with over 200 pictures, including 16 color plates--The Oxford Companion to Christian Art and Architecture offers a goldmine of information on the Judeo-Christian tradition as it applies to Western art. Here are over 1700 alphabetical entries that cover everything from Adam and Eve and the Good Samaritan, to Illuminated Books and Rose Windows, to the great popes and emperors who patronized the arts, to the major artists whose work reflects Judeo-Christian themes. Indeed, readers will find entries on virtually every aspect of the topic: detailed essays on periods and styles in art and architecture, from the Byzantine and the Coptic, to the Gothic, the Romanesque, and the Renaissance; biographical entries on major artists (Giotto, Fra Angelico, Donatello, Michelangelo, Raphael, Leonardo da Vinci, Titian, Rubens, and many more), on saints, popes, and patrons (including Saints Peter, Paul, Jerome, and Sebastian, Popes Urban VIII and Clement VII, and Emperors Charlemagne and Constantine) and on major biblical figures (such as Moses and Jesus, Mary and Joseph, Salome and Bathsheba); and briefer entries on icons and symbols (rainbow, dove, the Wheel of Fortune); on art forms influenced by Christian ideas (stained glass, mosaics, frescoes, altarpieces, and rose windows); and on general beliefs (the liturgical year, colors, vessels, Holy Week, and much more). And throughout the book, the Murrays continually interconnect the religious and the artistic. When discussing Moses, for instance, after providing an engaging account of his life, they examine the many works of art that feature Moses (they even explain why Michelangelo's Moses depicts him with "horns" on his head). Likewise, in the entry on Rembrandt (whom the Murrays call "the greatest religious painter in the Protestant tradition"), the authors focus on Rembrandt's religious works and describe how they reflect Protestant views (haloes are extremely rare, for instance, and "Catholic" subjects such as martyrdom are completely absent). Finally, the authors provide an informative glossary of architectural terms, and conclude with an extensive bibliography based on the Murrays' own personal library of art books.
Attractively illustrated, wide ranging, and informative, The Oxford Companion to Christian Art and Architecture is a unique resource on a major aspect of Western art. It is an essential work for museum-goers and for all lovers of fine painting, sculpture, and architecture.
incident from the childhood of Christ recorded in stories in various On the return journey they thought He was Dominic among the travellers, and went a day's journey before they looked for Him among the others. When they did not find and found Him, they returned Him to Jerusalem the temple, sitting 'in . among . . the them and asking them questions. And all who heard him were amazed at his understanding and his answers. And when they saw him they were astonished; and his mother
either a for ably between 319 and 322, S. Peter, and San Paolo on the fuori le site of the tomb of Mura, not begun Early Christian art and architecture until 384 (replacing a modest memorial church built over the grave of s. paul, who was beheaded nearby, outside the city walls —hence the church's name — were both huge basilicas with four aisles flanking the central nave, an apsidal end, and were approached through an atrium and a narthex. San Paolo fuori was the first to have
In — divine approval. century in the Eastern Church as a celebration of by the magi, and His remains one of the major Eastern held on the 6 January, ranking with Easter Christ's birth, His recognition baptism, and festivals, Epistle side. See gospel side. it and Pentecost in solemnity. Christmas was first celebrated in the 4th century and became, particularly in the West, the major feast celebrating the Incarnation as the manifestation of God to the world. The celebration of the
door arch, and the crenellated top are 20 later. Aelfred except the Alfred Jewel (Oxford, It is pear-shaped, of gold, enamel, and its pierced gold frame mec heht gewyrcan is inscribed had me made). covering an enamel of (Alfred Within the frame is a crystal a man holding two sceptres probably representing Christ in Majesty. The mount ends in a beast's Anglo-Saxon art and architecture mouth, gripping a socket, three Alfred's staff. which may have held successors a
his interpretation of a formidable woman Donna Olimpia like Pope Innocent's like the sails All Saints. See saints. All Souls. See souls. ALLEGORY (Gk. speaking of a war galleon. otherwise). An ALMOND. See MANDORLA. ALMS. See MERCY, WORKS ALMSHOUSE. A OF. place of refuge for the aged poor, sick. In the Middle Ages almshouses were often built by rich merchants as works of charity, sometimes for indigent members but not a hospital for the own They usually consist of small