Poor Man's Bible - Knowledge

2639: 2531: 2060: 1059: 1675: 230: 2469: 1154: 2313: 589: 1610: 1236: 1329: 2381: 2156: 2222: 657: 1722: 1482: 445: 352: 1588:. At first appearance, the frescoed scenes of the birth and childhood of the Virgin and the life of Jesus seem simply to proceed around the walls in tiers, in a predictable sequence, with small painted panels of Old Testament motifs (rather than detailed scenes) between them. Close examination shows a rich contextuality. Scenes have been skillfully placed so that they contrast with or inform upon another, either placed in the same vertical row, or in immediate opposition across the building. Such juxtapositions include the wise men kneeling before the Infant Christ with Jesus washing the feet of Peter kneeling before the apostle Peter washing his feet and the 781: 1934: 25: 958: 1742:, made the Heaven and the Earth, also created man in his own likeness and gave to humankind also the gift of creativity. It is a lesser theme that consistently runs through religious art. There are, in particular, and understandably, many depictions of stonemasons, woodcarvers, painters and glaziers at work. There are also countless depictions of monks, musicians and scribes. As well as these are shown spinners and weavers, merchants, cooks, carters, butchers, apothecaries, furriers, bullock drivers, fishermen and shepherds. 2747: 2511:. Subsequent to this time, there are an increasing number of surviving large Crucifixes and free-standing statues, large and small, often of the Virgin and Child. Much of the wooden furniture in churches is richly decorated with carved figures, as are structural parts such as roof bosses and beams. Carved and decorated wooden screens and reredos remain from the 13th century onwards. In Germany, in particular, the skill of making carved altarpieces reached a high level in the Late 1796: 1504:. Certain characters of the Old Testament, through particular incidents in their lives, are seen to prefigure Jesus in different ways. Often their actions or temperament is set in contrast to that of Jesus. For example, according to the Bible, Adam, created in purity and innocence by God, fell to temptation and led humankind into sin. Jesus, on the other hand, lived a blameless life and died for the redemption of the sin of Adam and all his descendants. 1873: 892: 531: 256: 115: 414:, who between the years of about 1220 and 1230 travelled, for reasons unknown, in France and other parts of Europe as far as Hungary, producing drawings of motifs architectural, scientific and figural. The drawings, for the most part, are not original designs. They are drawn from buildings and artworks that he saw on his travels. In order that they might be utilized as designs for students, they were carefully annotated by a skilled 993:, was a large crucifix placed conspicuously, often suspended in the Quire or standing on a screen separating either the Quire or the sanctuary from the rest of the church. The suspended crucifix could either be painted or carved of wood. In England where rood screens have often survived without the rood itself, it was general for the crucifix to have accompanying figures of Mary the Mother of Christ and either 1816:. Often the creature was seen to represent some particular vice or virtue or was believed to have a certain characteristic which could serve as a warning or as an example to the Christian believer. "Sins of the Flesh" were often represented by human figures poking out their tongues, stroking their beards, displaying their genitals or gorging on food. 1272:. These associations are often celebrated in the decoration of the church, to encourage worshippers to emulate the piety, good works, or steadfast faith of the saint. Sometimes saints are shown together in a sort of pictorial gallery, but the depiction of narratives is also common. This may take the form of a single incident, such as 2333:, in which powdered color was mixed with egg yolk. It was applied on a white ground, the colors being built up in layers, with tiny brushstrokes, the details often finished with gold leaf. With the invention of oil painting and its introduction to Italy and other countries of Europe, it became easier to create large works of art. 847:'s henchmen while praying at a side altar in the cathedral. The King himself made a penitent pilgrimage to the cathedral. Even though much of the stained glass has been lost over the years, there still remains two windows which show some of the many healings and miracles associated with St Thomas, both before and after his death. 1718:, the various tasks and activities that were performed at certain months of the year, the tending and harvesting, the hunting and feasting, and the sitting by the fire in the long cold month of February. As most people lived in rural communities, the tasks that decked the arches and windows of the churches were all too familiar. 1957:. It is cheap compared with mosaic and stained glass, and can be extremely durable under good conditions, but liable to be damaged by damp and stained by candle smoke. Narrative murals are generally located on the upper walls of churches, while the lower walls may be painted to look like marble or drapery. They also occur on 2857:(1506–1515) shows scenes of the birth, crucifixion and glory of Christ. The sick would be placed to sleep in front of the image of the crucified Christ, in the hope of healing. Different aspects of the altarpiece would be revealed in different seasons of the year. The church in which it is housed is now open as a museum. 2205:(canopy over altar) and other objects within the church, where it often took on symbolic form such as paired doves drinking from a chalice. Capitals of columns tended to be decorative, rather than narrative. It was in Western Europe, Northern France in particular, that sculptural narrative reached great heights in the 1049:. This may be related in a continuous sequence of pictures, either in paint, mosaic, wood sculpture or stained glass, and located either around the walls of a church or, particularly in French Cathedrals, in niches in a screen that surrounds the Sanctuary, so that they might be seen by people walking around the 1998:. In one remarkable mural, in the Catacomb of the Aurelii, is the earliest image of Jesus, as he came to be commonly depicted, as a bearded, Jewish man in long robes. In this particular image he is preaching, not to a group of people but to a flock of sheep and goats, representing the faithful and the wayward. 2423:

latter 15th century, oil paintings were generally done in a meticulous manner that simulated the smoothness and luminescent layering of tempera. In the 16th century the handling of the paint became freer and painters exploited the possibility of laying paint on in broad, visible and varied brushstrokes.

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Frequently only one aspect of Jesus' life is illustrated, most commonly his Death and Resurrection. But the theme may differ from church to church. A church located near a hospital might have windows that focus upon the miraculous healings. Another church might have aspects of Jesus' life that stress

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contains a greater number of early Gothic windows than any other English Cathedral. While the 19th century saw the removal of some of the glass to museums and private collections, with reproductions put in their place, much still remains, including the fragmentary Poor Man's Bible window (reproduced

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affecting the human nature. The number four appeared to be part of the way in which God organized his world. It related to the fact that creatures have four limbs and buildings stand firm on four supports. Consequently, groups of four people or objects are common in Christian art, demonstrating that

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and supporting the whole with rigid metal bars. Details such as facial features can be painted on the surface of the glass, and stains of bright yellow applied to enliven white areas. The effect is to add an appearance of brilliance and richness to a church interior, while the media lends itself to

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periods, decorating, in particular, the great West Fronts of the cathedrals, the style spreading from there to other countries of Europe. In England, figurative architectural decoration most frequently was located in vast screens of niches across the West Front. Unfortunately, like the frescoes and

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The first Christian sculpture took the form of sarcophagi, or stone coffins, modelled on those of non-Christian Romans which were often pictorially decorated. Hence, on Christian sarcophagi there were often small narrative panels, or images of Christ enthroned and surrounded by Saints. In Byzantine

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are often used as a background to figures, giving a glowing and sumptuous effect. Mosaic can be applied equally well to flat or curved surfaces and is often used to decorate vaults and domes. In churches where mosaic is applied extensively, it gives an impression that the interior of the church has

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Mural painting was to become a common form of enlightening decoration in Christian churches. Biblical themes rendered in mural can be found all over the Christian world. They are a more common form of church decoration in some regions than others. Painted churches are common throughout those areas

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But despite the fact that the books, at least in their earlier manuscript versions, were created for the rich, while the carvings and windows of a great church provided free entertainment and instruction to all who entered the doors, there were strong points of similarity in both subject matter and

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in stone is seemingly the most permanent way of creating images. Because stone is durable to the weather, it is the favored way of adding figurative decoration to the exteriors of church buildings, either with free-standing statues, figures that form a structural part of the building, or panels of

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which were often arranged in this manner, and were sometimes used as a source of design. In nineteenth- and early twentieth-century windows, the sections holding the major narrative are often larger and the Old Testament panels might be quite small. A similar arrangement is sometimes used in Early

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make up one of the earliest complete schemes of English 19th-century glass. It shows the Life of Jesus, the Miracles and the Parables. The set was completed and installed by Hardman of Birmingham for the consecration in 1868. A short walk away is St Mary's Catholic Cathedral with another cycle of

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was founded by the apostles and its history goes back to that time without a break. One way a church might reflect this was to have the relics of an apostle or an early martyr. There was a great trade in body parts of different religious notables. At least three churches claim to have the body of

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of the 19th and 20th centuries, much architectural sculpture that had remained reasonably intact for centuries has rapidly deteriorated and become unrecognizable in the last 150 years. On the other hand, much sculpture that is located within church buildings is as fresh as the day it was carved.

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flax, hence, the linseed oil and the canvas base are both products of the same plant which is harvested in Northern Europe. With canvas spread over a wooden frame as a base, paintings can be made very large and still light in weight, and relatively transportable though liable to damage. In the

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and other works of literature for posterity. Along with the written words of the document were often transcribed commentaries and illustrations. While talented illuminators added their own style and embellishments, the form of many pictures remained the same, and different scenes or motifs were

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has come into use in modern times to describe works of art within churches and cathedrals which either individually or collectively have been created to illustrate the teachings of the Bible for a largely illiterate population. These artworks may take the form of carvings, paintings, mosaics or

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and soon replaced tempera for this purpose. The ease with which large paintings could be created meant that not only did very large altar paintings proliferate, taking the place of polyptychs made of small panels, but because they were of relatively light weight, such pictures could be used on

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It is normal for many objects to combine several media. Oil paintings, for example, usually come in ornate frames of gilt wood. Among the most sumptuous and decorative objects that are to be found within churches are those constructed of mixed media, in which any of the above may be combined.

1706:, who put the sun to brighten the day and the moon for the night also caused the stars to shift overhead in a particular pattern which coincided with the changing seasons and could be seen as God's guidance as to when sowing and harvesting was to take place. The ancient identities of the 2344:

panels were a common art form in the Byzantine world and are the preferred method for creating icons. Because the method was very meticulous, tempera paintings are often small, and were frequently grouped into a single unit with hinged sections, known as a diptych, triptych or

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Because the nature of wood lends itself to easy working it has been a favored material for decorative fittings within churches. It can be carved, veneered and inlaid with other materials. It can be lacquered, painted or gilt. It can be used for artefacts and free-standing

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The stories of a saint's life may be based on highly reliable sources. On the other hand, some may contain fanciful elements and others may be entirely fictitious. Some of the stories are well known and the saints that they depict are easily recognized. These include St

1749:. They occupy, for the most part, places of less distinction and frequently may not be very well known. They hide in the leaves of the capitals of columns and the bosses of roofs. They form small panels on the exterior of buildings or are carved in wood beneath the 2575:

and all types of small fittings, and lent itself to being richly decorated by a number of techniques. It can be molded, hammered, twisted, engraved, inlaid and gilded. If properly maintained, metal is extremely durable. Most metal articles appearing to be gold are

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and other people associated with the church often have a place in the decorative scheme. The thematic use of such figures may be a very obvious one. There may, for example, be a row of stained glass windows showing the prophets that predicted the coming of the

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Other motifs represent the Nature of Christ, or the nature of the Church. One such is that of the pelican. It was believed that a pelican was prepared to peck its own breast in order to feed its hungry young. Thus, the pelican became a symbol for the love of

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and marble, wood and metal, often containing oil paintings as well. Some of these altarpieces create illusionistic effects, as if the viewer were having a vision. Other objects that are commonly of mixed media are devotional statues, particularly of the

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Sometimes the selection is esoteric, the choice depending on the local tradition of the church or whim of the individual who commissioned the particular work of art. Sometimes the characters depicted are easily identified because they carry particular

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in Germany dating from about 1100. Stained Glass windows were a major art form in the cathedrals and churches of France, Spain, England and Germany. Although not as numerous, there are also some fine windows in Italy, notably the rose window by

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and perhaps other oils. It is a medium which takes a long time to dry, and lends itself to varied methods and styles of application. It can be used on a rigid wooden panel, but because it remains flexible, it can also be applied to a base of

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was the body of Christian believers. But in the narrower sense it was an organization, and, particularly when under threat of heresy, humanism, division and reform, it needed to maintain and reinforce its role in offering the right way to

1638:– making the firmament (or Earth), placing the Sun, stars and Moon in the sky or creating mankind. There are many symbolic representations of the Earth, sometimes showing the four rivers that are described in Genesis as running out of 653:, above the lintel of the main entrance door. In countries where stone-carving prevails as an art, it is externally placed. In countries where murals are more common, the Last Judgement occupies the internal wall above the main door. 819:, which was very lucrative for the church involved and, if the saint was of sufficient renown, for all the churches and monasteries that sprang up along the pilgrimage route. Three of the most popular pilgrimage churches in the 606:, within a church was to show the viewer the "Way to Salvation". In order for this to be achieved, there are two major revelations by God to humankind that the viewer should be exposed to, by the means of the artistic scheme. 1710:

continued in use and were often depicted in small carvings, particularly around arched doorways, and also in stained glass where, because the pattern is cyclic, they were particularly suited to small panels in rose windows.

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and others, are a frequent subject. The upright, standing figures particularly lent themselves to architectural decoration and they often appear in a columnar form around doorways or in tiers on the façades of cathedrals.

338:, despite the name given in the 1930s by German scholars, were much too expensive to have been owned by the poor, although the printed versions were much cheaper and many were probably shown to the poor for instruction. 1267:

Many churches and cathedrals are dedicated to a particular biblical or early Christian saint and bear the name of that saint. Other churches have been founded by or have been associated with some person who was later

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Murals occur in France, particularly in the south where the walls tend to be wider, rather than the north where the art of stained glass prevailed. In England, few examples survived the depredations of the

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Another way for the church to confirm its role was through the administration of the rites. Some churches have decorative schemes which support this role of the church, illustrating the various rites and

1017:. In many Protestant churches the crucifix has been replaced by a simple cross without a figure, symbolically representing both the redeeming sacrifice and the resurrection to new life offered by Jesus. 2259:, which although not figurative, gave a brightly patterned effect when sunlight was transmitted through them. There is a rare example of alabaster being used for a figurative subject in the Dove of the 2719:. They are often dressed in elaborate satin garments decorated with metallic braid and lace, pearls, beads and occasionally jewels and may be decked with jewelry and trinkets offered by the faithful. 355:

Details of two windows from Canterbury Cathedral illustrating different stories but repeating the two left-hand figures, the columns, table, candlestick and book. Left – Medieval; right – Victorian

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Panel paintings are those done on specially prepared wooden surfaces. Before the technique of oil painting was introduced by the Dutch masters of the 15th century, panel paintings was done using

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Jesus is made to carry his cross on the way to the execution place of Golgotha. Below: Isaac, led by his father Abraham, carries the firewood, not knowing that his father plans to sacrifice him.

691:, to be born as a human baby, to live among people and to die a cruel death to absolve the sins committed by humanity. Jesus, as depicted on the walls, domes and windows of churches, is the 2975: 1376:. Or within a carved stone screen might stand statues of those monarchs who were particularly devoted to the church. The apostles, usually twelve in number but sometimes accompanied by 1488:– The East Window of St Mary's Chilham, UK. The five scenes of the Death and Resurrection of Jesus are paired with Old Testament scenes which prefigure these events. nineteenth century 2100:

in Rome being a fine example of decorative, non-narrative Christian mosaic. A perhaps unique example of Late Roman pictorial mosaic is the magnificent apsidal mosaic of the Church of

2876:(1432). It is a Poor Man's Bible within itself, the various scenes representing the Fall of Man and the Salvation, with the Mystic Lamb of God and the enthroned Christ at its center. 3137: 2271:

and thought to date from the 9th century. Although a few panels dating from the 10th and 11th centuries exist in museums, the earliest known that are in situ are four panels of

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usually take the form of oil paintings, molded and painted plaster or carved wood set into frames and suspended on the aisle walls so that the sequence may be easily followed.

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periods. Remarkably, the best known example of such Biblical story-telling was not created for the edification of the poor but for the rich and powerful, the Ceiling of the

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carrying the Christ Child across the river, or the saint's life may be shown in a narrative sequence, similar to the way in which the life of Jesus is depicted, such as the

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enthroned with the Christ Child and surrounded by numerous saints, including some of the 1st century, and some belonging to the particular Order who commissioned the work.

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In other churches there is a focus upon an incident or incidents which particularly involve the saint to whom the church is dedicated. For example, a church dedicated to

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there is an unusual group of churches in which it is the exterior rather than the interior which is richly decorated, the large arcaded porches containing images of the

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Because it is often made of the very substance of the building which houses it, narrative stone sculpture is often found internally to be decorating features such as

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In churches that are monastic, there is often an emphasis on the saints that belonged to that particular order. It is not uncommon to see religious paintings of the

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in Rome. The earliest known figurative stained glass panel is a small head of Christ (with many fragments missing) found in a ditch near the royal abbey of

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Jesus is crucified. Below: The Israelites at the Passover slay a sacrificial lamb and paint its blood on the door lintel as a sign to the angel of the Lord.

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to fulfil its aim, the viewer needs to know and to accept the Christian premise that he/she is a sinful being and as such will be brought to trial on the

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as a very commonly used portrayal of angels. The reproduction of figures from manuscripts was particularly common in stained glass windows with various

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to a single surface of a transparent glass tile, and placing the gilt inwards towards the mortar so that it is visible but cannot be scraped. The gilt

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is in general the most significant single narrative object in the decorative scheme of any church. During the medieval period the crucifix, called the

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in the world. It also has three richly carved Gothic portals of which the stylized 12th-century figures of the western Royal Portal are the earliest.

1128:", written about the middle of the 2nd century CE. Cycles of Mary usually take the story up to the Birth of Christ, often including the visit of the 714:

and the parable of the Wise and the Foolish Bridesmaids. All this sought to confirm humankind's need to turn to Jesus to receive God's saving grace.

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named four rivers that divided the ancient world, there were four writers upon whose books the Christian Church rested. Convention provided four

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http://www.paradoxplace.com/Photo%20Pages/UK/Britain_South_and_West/Canterbury_Cathedral/Canterbury_Stained_Glass/Canterbury_Stained%20Glass.htm

479: 1188:. Surviving large-scale extensive schemes of Old Testament stories are comparatively rare. The oldest is in mosaics of the 5th century in the 2920: 2377:

lent itself to a richer and deeper quality of color than tempera, and permitted the painting of textures in ways that were highly realistic.

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were common in medieval art, they became less common in the art of the Renaissance. On the other hand, there were numerous depictions of the

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is the art of decorating solid surfaces with pieces of multi-colored stone or glass set in mortar. Golden mosaic can be created by applying

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and because of its durability was usually applied to floors, where it was at first executed in pebbles or small marble tiles. During the

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narratives. If the lead is properly maintained, stained glass is extremely durable and many windows have been in place for centuries.

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abound in the decorative carvings of capitals, wall arcading, ceiling bosses and the wooden fittings of cathedrals. Some, like the

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of ivory, gold and precious stones. Some saints' remains were reported to have healing powers. This fortunate phenomenon produced

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and the Flight to Egypt, and later usually cover later scenes from the life of Mary, especially her presence at the Crucifixion,

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windows are created by cutting pieces of colored glass to match a drawn template and setting them into place in a mesh of lead

1792:. These saints include among their number a blacksmith, a professional soldier, a doctor, a tax collector and four shoemakers. 151: 1124:, in earlier periods concentrating on her early life using additional apocryphal scenes drawn from books such as the "Infancy 2373:. With the development of oil painting, oil on panel began to replace tempera as a favored method of enhancing a church. The 2349:, depending on its number of parts. Some large altarpiece paintings exist, particularly in Italy where, in the 13th century, 2317: 1221: 668: 380:

of several sheep, one of which has a foot raised to scratch its ear, which occurs in Italy in the 13th and 14th centuries in

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works of charity and service to others. These sort of themes are particularly prevalent in 19th- and 20th-century churches.

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in Derbyshire has a particularly fine set of 20th-century bench-ends by Advent and William Hunstone, showing the rites of

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rather than wood was the preferred material for carving into small religious objects, caskets, panels and furniture, the

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Jesus is resurrected from the dead. Below: Jonah is spat out by a great fish which had swallowed him three days earlier.

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in Venice contains a series of huge oil paintings by many of Venice's best-known painters, illustrating the story of

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The underlying theme of humankind's sinfulness may be illustrated in a number of ways. Although terrifying scenes of

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ceilings, by setting them into wooden frames and without the trouble of the artist having to work laboriously on a

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Murals were a common form of wall decoration in ancient Rome. The earliest Christian mural paintings come from the

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of God's love, his grace, his mercy and his glory. This, broadly speaking, is the theme of every Poor Man's Bible.

46: 1548:. He asks his disciples Peter, James and John to wait nearby, but they fall asleep, thus "abandoning" him. Below: 2829: 2750: 2623:(1240) and reliquaries, altar frontals and other such objects. In the early 15th century the renowned sculptor, 1812:

Cathedrals are decorated with a wide variety of creatures and characters, many of which have no obvious link to

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might have above the high altar an oil painting in which Thomas sees the resurrected Jesus and proclaims him as

3455: 1898: 917: 552: 384:, wall paintings and carved stone panels. A motif of paired flying winged figures which is seen on pagan Roman 277: 147: 136: 2840:

and surrounding statues depict 150 scenes from the Old and the New Testament with over 500 different figures.

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In general, these depictions of human living are not among those elements of decoration that could be termed

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eating the fruit that they had been forbidden by God to touch. There were also depictions of the so-called

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preaching to the birds. There are many other saints whose recognition is highly localized. Among these is

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of the 19th century, stained glass returned as a major Christian art form in churches across the world.

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that the Poor Man's Bible seeks to share with the viewer is the revelation of God's plan for humanity's

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period glass tiles were used extensively for wall and vault decorations, the vault of the Mausoleum of

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and the order that he has placed upon it. God is often depicted in the act of creation as described in

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Art101B--Aguilar - Scribe Ezra Rewriting the Sacred Records, from Codex Amiatinus. early 8th century

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contains a remarkably intact and consistent scheme by a number of different painters, comprising a

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and other countries. In the 19th century, gold mosaics were applied to the domes of the chancel of

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The aspect of the Old Testament that appears most frequently in a continuous narrative form is the

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decoration of religious subjects. From the 8th century come Byzantine crucifixes and the famous

2288:, which were designed by the most famous Florentine artists of the early 15th century including 1541:, Kent, demonstrates a typical pairing of scenes such as had occurred from the medieval period. 172: 2775: 2655: 2394: 2215: 2180: 2136: 2048: 2032: 1623: 1593: 1341: 1247: 1217: 1038: 467: 327: 1937: 3460: 3420: 2814: 2800: 2496: 2481:. It is relatively robust unless finely carved, but must be protected from mold and insects. 2350: 2140: 2023:, painting on freshly laid, slightly damp plaster. Many fine examples have survived from the 1715: 1674: 1451: 1093: 1088: 1046: 588: 444: 407: 2854: 2778:, comprises one of the most complete and comprehensive frescoed Poor Man's Bibles (1376–78). 1417:

of Paris carries his own head, with which he is claimed to have walked all around the town.

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might focus on the miraculous moment at which the saint, while praying before a large panel

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is directly linked to the order of material and earthly things that God has put in place.

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In some of the most sophisticated schemes, there is not only a reference to events of the

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in Venice covers the portals, porches, walls, vaults, domes and floors. There are also a

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the use of mixed media reached a high point as great altarpieces were constructed out of

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cycle, telling of the Passion (trial and execution) of Jesus. These appear in almost all

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A common theme in the art of many churches is to show the greatness of God through his

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This Revelation is often depicted, with or without the Judgement and the rewards of

638:: a winged lion, a winged man, a winged bull and an eagle, as also described in the 2892: 2865: 2825: 2754: 2297: 2252: 2101: 2064: 1585: 1445: 1398: 1381: 1229: 1201: 1161: 998: 756:. (This crucifix before which St Francis prayed in the 12th century still exists.) 596: 63: 3385: 3106: 2380: 1481: 1328: 3415: 3126: 2869: 2771: 2695: 2671: 2608: 2559:. The metals used can range from the finest gold leaf or silver filigree to cast 2504: 2163: 2093: 2019:

Mural painting was also common in Italy, where the method employed was generally

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is a painting on the surface of a plastered wall, the term coming from the Latin

1852: 1764:, they may be masterpieces by renowned artists, such as the series of statues of 1739: 1703: 1647: 1635: 1521: 1465: 1439: 1285: 1273: 1209: 1125: 703: 639: 622:. This Day of Judgement is described by the last book of the Bible, known as the 497: 453: 394: 322: 2817:

contains an incomparable range of stained glass, including some of the earliest

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was commissioned to create series of figures for the chancel screen of the

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to paint funerary portraits. Many of these remain in excellent condition.

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The way in which the cross-referencing is achieved is usually by a simple

1496:, the narrative is set into the context of related stories drawn from the 1192:

in Rome. There are two complete frescoed schemes in Italy, one painted by

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were highly valued, and given elaborate mounts in goldsmith work. In the

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Jesus ascends to Heaven. Below: Elijah is carried up to Heaven by angels.

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through Jesus might be shown in several ways. The focus might be on his

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in Paris. By far the best known of such schemes are the one painted by

1097: 1051: 875: 859: 816: 631: 555: in this section. Unsourced material may be challenged and removed. 513: 426: 385: 280: in this section. Unsourced material may be challenged and removed. 1992:

being thrown into the sea, the three young men in the furnace and the

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artists are unknown, the movements of some are traceable, including:

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House, Canterbury Cathedral Cathedral; Canterbury, 11 The Precincts.

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Jesus, in a state of agony of mind, prays in the Garden of Gethsemane

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and are used for devotional purposes as the prompts for a series of

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Part of the role of the decorated church was to confirm the role of

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stained-glass windows. In some churches a single artwork, such as a

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The Gothic Image: Religious Art in France of the Thirteenth Century

2976:

List of regional characteristics of European cathedral architecture

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and richly decorated churches in this style can be seen throughout

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Italy, the application of stone reliefs of this nature spread to

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The Rise of the Artist in the Middle Ages and Early Renaissance

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Creatures such as hares, geese, monkeys, foxes, lions, camels,

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On the other hand, where artworks have been sponsored by major

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frequently carry a palm leaf or the instrument of their death.

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In many of the decorative schemes that illustrate the life of

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and a vision of the Lord seated on a throne borne up by four

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in which John describes many scenes, including the dreadful

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From the early Byzantine period there remains a number of

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in the 14th century and another of about the same date by

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and tools are available to assist in formatting, such as

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altarpiece of the Madonna and Child surrounded by Saints

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in Siena Cathedral and those at the base of the dome in

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pictorial reliefs. Unfortunately with the pollution and

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of Notre Dame, are well known to many. Others, like the

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The decorative schemes in churches have often reflected

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Medieval Stained Glass windows from Esslingen am Neckar

3332:, English translation of 3rd ed, 1913, Collins, London 2336:

In the 1st century a similar technique was employed in

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The Zodiac was intrinsically linked with the so-called

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has an ointment pot, Peter carries the keys of Heaven,

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has a reed cross and banner and may wear a camel-skin,

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An important form of visual narration is the so-called

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carrying a banner bearing the inscription "Behold, the

2770:, a small cubic domed church which stands next to the 2642:

Altar of the Sacrament, Wallfahrtskirche, Steinhausen.

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period, windows were often filled with thin slices of

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Mosaic was a common form of decoration throughout the

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The most common theme for the Poor Man's Bible is the

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been spread with a blanket of pictures and patterns.

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is put down a well by his own brothers and abandoned.

1519:. In this, the windows have much in common with the 1323: 843:

is an example. This archbishop was murdered by King

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One of the major purposes of an artistic scheme, or

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Self portrait of the Benedictine monk, Matthew Paris

3292:

Larousse Encyclopedia of Byzantine and Medieval Art

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Larousse Encyclopedia of Byzantine and Medieval Art

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Hardman windows dating from the 1880s to the 1930s.

2887:was the father of John the Baptist, as told in the 139:. Unsourced material may be challenged and removed. 2926:Architecture of the medieval cathedrals of England 2796:, as well as several other frescoes and artworks. 2670:. The Pala d'Oro is made of gold and is set with 1976:. They include many representations of Christ as 1855:in England, lurk underneath the folding seats or 516:, sculptor, from Nuremberg, was in Cracow in 1477 3437: 2534:Reliquary of the Twenty Martyrs, Flemish, Gothic 2429:initially became a popular method for producing 2111:Mosaic was a favorite form of decoration in the 1788:, is one of the best known statues of the Early 1220:and that created in bronze for the doors of the 1160:– Joseph in Egypt from the "Gates of Paradise", 1768:that fill the external niches of the Church of 1725:St Joseph the Carpenter from a triptych by the 494:, painter, from Maeseyck, was in Lisbon in 1428 1784:, commissioned by the armorers and now in the 326:, which are biblical picture books, either in 2921:Architecture of cathedrals and great churches 2547:can take a vast number of forms, from a tiny 2104:. The nearby church, dedicated to her sister 1120:, narrative that is often illustrated is the 3358:Art and Architecture of the Late Middle Ages 2108:, has mosaics which are Byzantine in style. 1615:The Creation of the Sun, Moon and Vegetation 1276:tied to a tree and bristling with arrows or 799:role. One point of emphasis is to show that 733:from the dead, or upon his coming in glory. 663:– The Madonna and Child with St Francis, by 500:, mason, from Cologne, was in Burgos in 1442 488:, mason, from Avignon, was in Prague in 1344 373:repeated many times and in different media. 38:, which are uninformative and vulnerable to 3037:: CS1 maint: numeric names: authors list ( 3018: 2788:, an Old Testament narrative including the 2229:, Himmelfahrtskirche, Dresden-Leuben, 1901. 1901:. Unsourced material may be challenged and 1576:events. One such scheme is that painted by 1116:Another form of biblical, and occasionally 920:. Unsourced material may be challenged and 759: 470:, from St Albans, was in Trondheim in 1248. 53:and maintains a consistent citation style. 2369:, but were once housed in the churches of 2147:, however, it was rare north of the Alps. 3051:The Book of Genesis, chapter 1 Holy Bible 2321:by Gentile da Fabriano (1423), Florence, 1921:Learn how and when to remove this message 1111: 940:Learn how and when to remove this message 571:Learn how and when to remove this message 359: 320:is not to be confused with the so-called 296:Learn how and when to remove this message 199:Learn how and when to remove this message 95:Learn how and when to remove this message 3401:The Joy of Shards- History of Mosaic Art 2745: 2637: 2529: 2467: 2379: 2311: 2220: 2154: 2058: 1932: 1794: 1720: 1673: 1608: 1480: 1327: 1234: 1152: 1081: 1057: 956: 779: 655: 587: 443: 350: 228: 1808:Gryphons, gargoyles, beasts and cherubs 969:in San Domenico's Church, Arezzo, Italy 3438: 3208:The Cathedrals and Churches of Belgium 2782:The Collegiate church of San Gimignano 2527:, when the great pulpits were carved. 1533:The nineteenth-century east window by 1476: 1262: 1196:in the Baptistery of the Cathedral of 1146:began to be substituted from the late 308: 3194:Stained Glass, an Illustrated History 2523:wood carving reached a height in the 610:The message of sorrow, guilt and fear 482:, from London, was in Avignon in 1321 3259:, Time-Life Books, Amsterdam (1967) 2766:The decoration of the Baptistery of 2722:Another mixed-media art form is the 2409:comprises ground pigment mixed with 2214:windows, they were decimated in the 1899:adding citations to reliable sources 1866: 1184:of humankind through the actions of 1167: 952: 918:adding citations to reliable sources 885: 553:adding citations to reliable sources 524: 406:There exists a folio of drawings by 401: 278:adding citations to reliable sources 249: 137:adding citations to reliable sources 108: 18: 3301:, Allen Lane, Penguin Press (1999) 3271:Padua – Baptistery of the Cathedral 3165: 2830:Collegiate church of Saint-Thiébaut 675:The message of faith, hope and love 456:, mason, was in Canterbury in 1174. 376:There is, for example a particular 45:Please consider converting them to 13: 3372:San Gimignano, Town of Fine Towers 3236:The Art of the Italian Renaissance 3083: 3072: 2988: 2738:ball heads and bottle-top crowns. 2472:Altarpiece from Chur, Switzerland. 1662:of Fire, Air, Earth and Water and 1604: 1572:, but also a cross-referencing of 14: 3472: 3379: 3285:Masterpieces of Western Sculpture 3021:"Welcome to Canterbury Cathedral" 2587:vessels, some of which, like the 2307: 1693: 1324:Prophets, apostles and patriarchs 1288:in the Church of Sant' Agostino, 835:in Kent. Churches, particularly 3299:England's Thousand Best Churches 3173:The Penguin Dictionary of Saints 2996:Ask the Pastor: Poor Man's Bible 2401: 2233: 2199:(reading lecterns), well heads, 1871: 1689:. December, January and February 1190:Basilica di Santa Maria Maggiore 890: 529: 254: 113: 23: 3278:The Beginnings of Christian Art 3142: 3131: 3120: 2551:to a large statue or elaborate 2460:in a number of large canvases. 1304:the first Christian martyr and 973: 827:in Jerusalem, the Cathedral of 811:With the relics came beautiful 540:needs additional citations for 265:needs additional citations for 124:needs additional citations for 3411:Frescoes in the Sistine Chapel 3374:, Plurigraf-Narni-Terni (1979) 3238:, Alpine Fine Arts Collection 3180:Florence, the City and its Art 3095: 3063: 3054: 3045: 3012: 3001: 2567:. Metal was commonly used for 2361:created the three magnificent 1733: 1142:, for which depictions of the 669:Church of St Francis at Assisi 583: 476:, mason, was in Naples in 1270 49:to ensure the article remains 1: 3273:, Edizioni G Deganello (1988) 3250:The Florence Baptistery Doors 3210:, T. Werner Laurie Ltd (1928) 2981: 2603:from Ireland, decorated with 2450:produced many such pictures. 1862: 1698:Linked to the theme of God's 1624:Ceiling of the Sistine Chapel 1461:Saints of a particular region 1409:has her breasts on a salver. 1020: 3248:Kenneth Clark, David Finn – 3025:www.canterbury-cathedral.org 2946:Italian Renaissance painting 2757:(Gothic, 14th century). The 2438:. Famous Venetian painters, 2139:in London, illustrating the 1204:in the Collegiate Church in 1136:and her death, known as the 825:Church of the Holy Sepulchre 506:, mason, from Paris, was in 7: 3315:, Thames and Hudson (1972) 3224:, Summerfield Press (1983) 2914: 2741: 2160:Annunciation and Visitation 1801:Notre Dame Cathedral, Paris 1702:is God's Order. The God of 1679:God's Order of the Universe 862:. The Church of St John at 520: 425:Although the names of many 10: 3477: 3406:Udine, the City of Tiepolo 3386:Gallery of Ancient Mosaics 3280:, Thames and Hudson (1966) 3252:, Thames and Hudson (1980) 3213:P. and C. Cannon Brooks – 1338:Mother Elizabeth of Russia 881: 418:and placed into a leather 245: 3416:Jacopo Robusti Tintoretto 2891:. The church also houses 2269:Lorsch-an-der-Bergstrasse 2054: 1599: 687:through sending his son, 595:– Christ in Majesty from 3269:Mgr. Giovanni Foffani – 3189:, Becocci Editore (1971) 3182:, Becocci Editore (1979) 2956:Nativity of Jesus in art 2646: 2629:Basilica di Sant'Antonio 2621:St Michael's, Hildesheim 2538: 2418:made from densely woven 2386:Crucifixion of St. Peter 2150: 1944: 760:The Apostolic Succession 744:. A church dedicated to 717:The Revelation of God's 398:being frequent sources. 222:window, has the role of 3431:The Churchmouse Website 3196:, Bracken Books (1990) 2961:Romanesque architecture 2726:, which may comprise a 2463: 2004:Eastern Orthodox Church 1592:from the Dead with the 1500:and sometimes from the 1464:Saints of a particular 1421:List of common subjects 1094:Roman Catholic churches 829:Santiago de Compostella 661:Redemption through Love 382:manuscript illumination 3290:Rene Huyghe, editor – 3175:, Penguin Books (1965) 3150:"San Zaccaria, Venice" 2824:The western façade of 2762: 2643: 2535: 2473: 2398: 2395:Santa Maria del Popolo 2326: 2275:and three prophets at 2230: 2167: 2068: 2063:Late Roman mosaics in 1941: 1804: 1738:God, who according to 1730: 1690: 1627: 1594:Resurrection of Christ 1489: 1352: 1342:Martin Luther King Jr. 1332:20th-century martyrs, 1259: 1248:St Maurus of Glanfeuil 1218:Sistine Chapel ceiling 1164: 1112:The Life of the Virgin 1074: 970: 792: 671: 599: 449: 364:In a world before the 360:Reproduction of motifs 356: 334:form. The illuminated 328:illuminated manuscript 242: 3456:Christian iconography 3396:The Catacombs of Rome 3391:Villard de Honnecourt 3360:, Omega Books (1988) 3346:, Omega Books (1988) 2799:The mosaic scheme of 2751:Saint-Thiébaut church 2749: 2658:of Venice houses the 2641: 2533: 2497:Maximianus of Ravenna 2471: 2383: 2365:that now hang in the 2351:Duccio di Buoninsegna 2318:Adoration of the Magi 2315: 2251:In Italy, during the 2224: 2158: 2062: 1936: 1798: 1724: 1716:Labours of the Months 1677: 1612: 1484: 1452:Doctors of the Church 1331: 1238: 1156: 1106:Stations of the Cross 1089:Stations of the Cross 1082:Stations of the Cross 1061: 1047:Resurrection of Jesus 986:in England, from the 960: 839:, honored their own. 789:Carrión de los Condes 783: 659: 624:Revelation of St John 591: 447: 408:Villard de Honnecourt 354: 232: 3344:The Gothic Cathedral 3311:Andrew Martindale – 3294:, Paul Hamlyn (1963) 3217:, Paul Hamlyn (1969) 3206:T. Francis Bumpus – 3091:The Gothic Cathedral 2844:Canterbury Cathedral 2680:semi-precious stones 2619:(1185), the font of 2263:, in the chancel of 2193:(bishop's thrones), 1895:improve this section 1683:Window of the Months 1502:Acts of the Apostles 1318:Domenico Ghirlandaio 1306:St Francis of Assisi 1282:Life of St Augustine 1069:, Scrovegni Chapel, 914:improve this section 841:Thomas of Canterbury 833:Canterbury Cathedral 746:St Francis of Assisi 729:, on his subsequent 549:improve this article 332:printed "block-book" 274:improve this article 239:Canterbury Cathedral 133:improve this article 16:Type of works of art 3451:Church architecture 3370:Rosella Vantaggi – 3257:The World of Giotto 3156:on August 22, 2006. 2941:Gothic architecture 2851:Isenheim Altarpiece 2776:Giusto de' Menabuoi 2761:of the main portal. 2709:Blessed Virgin Mary 2656:St. Mark's Basilica 2615:'s bronze doors at 2137:St Paul's Cathedral 1938:Moldoviţa Monastery 1477:The Reference Bible 1428:Ancestors of Christ 1350:Dietrich Bonhoeffer 1263:Lives of the Saints 1240:Lives of the Saints 1139:Death of the Virgin 1029:, the story of the 995:John the Evangelist 474:Pierre of Agincourt 3426:Churches of Venice 3171:Donald Attwater – 2994:Walter P. Snyder, 2971:List of cathedrals 2951:Manuscript culture 2855:Matthias Grünewald 2815:Chartres Cathedral 2801:St Mark's Basilica 2763: 2688:Hardstone carvings 2644: 2617:Monreale Cathedral 2536: 2474: 2399: 2327: 2286:Florence Cathedral 2277:Augsburg Cathedral 2231: 2168: 2069: 1942: 1805: 1731: 1727:Master of Flemalle 1691: 1687:Chartres Cathedral 1628: 1590:Raising of Lazarus 1550:Joseph the Dreamer 1490: 1434:Prophets of Israel 1353: 1260: 1194:Giusto de Menabuoi 1165: 1144:Assumption of Mary 1122:Life of the Virgin 1075: 971: 793: 672: 628:Book of Revelation 600: 450: 357: 243: 148:"Poor Man's Bible" 3283:Howard Hibbard – 2860:The Cathedral of 2509:Cologne Cathedral 2457:Passion of Christ 2452:Peter Paul Rubens 1985:Madonna and Child 1979:the Good Shepherd 1974:catacombs of Rome 1931: 1930: 1923: 1355:The depiction of 1334:Westminster Abbey 1168:The Old Testament 1067:Giotto di Bondone 953:The Life of Jesus 950: 949: 942: 727:sacrificial death 712:Seven Deadly Sins 581: 580: 573: 402:Transfer of ideas 306: 305: 298: 209: 208: 201: 183: 105: 104: 97: 55:Several templates 3468: 3297:Simon Jenkins – 3234:Andre Chastel – 3222:Sienese Painting 3215:Baroque Churches 3185:Luciano Berti – 3178:Luciano Berti – 3166:Further reading. 3158: 3157: 3152:. Archived from 3146: 3140: 3135: 3129: 3124: 3118: 3117: 3115: 3114: 3105:. Archived from 3099: 3093: 3087: 3081: 3076: 3070: 3067: 3061: 3058: 3052: 3049: 3043: 3042: 3036: 3028: 3016: 3010: 3005: 2999: 2992: 2893:Giovanni Bellini 2866:Ghent Altarpiece 2826:Thann, Haut-Rhin 2772:city's cathedral 2755:Thann, Haut-Rhin 2580:or gilt bronze. 2486:Byzantine period 2298:Lorenzo Ghiberti 2113:Byzantine period 2102:Santa Pudenziana 2065:Santa Pudenziana 1926: 1919: 1915: 1912: 1906: 1875: 1867: 1824:for the Church. 1586:Scrovegni Chapel 1530:panel painting. 1486:Cross references 1446:Four Evangelists 1399:John the Baptist 1382:John the Baptist 1230:Lorenzo Ghiberti 1202:Bartolo di Fredi 1162:Lorenzo Ghiberti 1063:The Resurrection 999:John the Baptist 945: 938: 934: 931: 925: 894: 886: 700:Christ the Judge 620:Day of Judgement 616:Poor Man's Bible 604:Poor Man's Bible 597:Angers Cathedral 576: 569: 565: 562: 556: 533: 525: 318:Poor Man's Bible 301: 294: 290: 287: 281: 258: 250: 235:Poor Man's Bible 224:Poor Man's Bible 214:Poor Man's Bible 204: 197: 193: 190: 184: 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926: 911: 895: 884: 770:Christ's Church 762: 677: 667:, in the Lower 649:and terrors of 640:Book of Ezekiel 636:Heavenly Beasts 612: 586: 577: 566: 560: 557: 546: 534: 523: 498:Juan de Colonia 486:Mathieu d'Arras 454:William of Sens 410:from Picard in 404: 395:Biblia Pauperum 362: 336:Biblia Pauperum 323:Biblia pauperum 314: 311:Biblia pauperum 302: 291: 285: 282: 271: 259: 248: 205: 194: 188: 185: 142: 140: 130: 118: 101: 90: 84: 81: 69: 58: 44: 28: 24: 17: 12: 11: 5: 3474: 3464: 3463: 3458: 3453: 3448: 3434: 3433: 3428: 3423: 3418: 3413: 3408: 3403: 3398: 3393: 3388: 3381: 3380:External links 3378: 3376: 3375: 3368: 3354: 3340: 3338:978-0064300322 3323: 3309: 3295: 3288: 3281: 3274: 3267: 3253: 3246: 3232: 3218: 3211: 3204: 3192:Sarah Brown – 3190: 3183: 3176: 3167: 3164: 3163: 3160: 3159: 3141: 3130: 3119: 3094: 3082: 3071: 3062: 3053: 3044: 3011: 3000: 2986: 2985: 2983: 2980: 2979: 2978: 2973: 2968: 2963: 2958: 2953: 2948: 2943: 2938: 2933: 2928: 2923: 2916: 2913: 2912: 2911: 2899: 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In 2005: 1999: 1997: 1996: 1991: 1987: 1986: 1981: 1980: 1975: 1970: 1968: 1964: 1963:vaulted roofs 1960: 1956: 1952: 1939: 1935: 1925: 1922: 1914: 1904: 1900: 1896: 1890: 1889: 1885: 1880:This section 1878: 1874: 1869: 1868: 1860: 1858: 1854: 1850: 1846: 1842: 1838: 1834: 1830: 1825: 1823: 1817: 1815: 1802: 1797: 1793: 1791: 1787: 1783: 1779: 1775: 1771: 1767: 1766:Patron Saints 1763: 1758: 1756: 1752: 1751:folding seats 1748: 1743: 1741: 1728: 1723: 1719: 1717: 1712: 1709: 1705: 1701: 1688: 1684: 1680: 1676: 1672: 1670: 1665: 1661: 1660:four elements 1657: 1653: 1649: 1645: 1641: 1637: 1633: 1625: 1621: 1617: 1616: 1611: 1597: 1595: 1591: 1587: 1583: 1579: 1575: 1574:New Testament 1571: 1570:Old Testament 1563: 1560: 1557: 1554: 1551: 1547: 1544: 1543: 1542: 1540: 1536: 1531: 1529: 1524: 1523: 1518: 1514: 1513:Old Testament 1510: 1509:juxtaposition 1505: 1503: 1499: 1498:Old Testament 1495: 1487: 1483: 1472: 1471:Devout rulers 1469: 1467: 1463: 1460: 1458: 1455: 1453: 1449: 1447: 1443: 1441: 1437: 1435: 1431: 1429: 1425: 1424: 1423: 1422: 1418: 1416: 1412: 1408: 1404: 1400: 1396: 1390: 1387: 1383: 1379: 1375: 1370: 1366: 1362: 1358: 1351: 1347: 1344:, Archbishop 1343: 1339: 1335: 1330: 1321: 1319: 1315: 1314:San Gimignano 1311: 1307: 1303: 1299: 1293: 1291: 1290:San Gimignano 1287: 1283: 1279: 1275: 1271: 1257: 1253: 1249: 1245: 1241: 1237: 1233: 1231: 1227: 1223: 1219: 1215: 1211: 1207: 1206:San Gimignano 1203: 1199: 1195: 1191: 1187: 1183: 1182: 1177: 1176: 1163: 1159: 1158:Old Testament 1155: 1151: 1149: 1145: 1141: 1140: 1135: 1131: 1127: 1123: 1119: 1109: 1107: 1103: 1099: 1095: 1091: 1090: 1079: 1072: 1068: 1064: 1060: 1056: 1055: 1053: 1048: 1044: 1040: 1036: 1032: 1028: 1018: 1016: 1012: 1008: 1004: 1000: 996: 992: 989: 985: 981: 968: 964: 959: 944: 941: 933: 923: 919: 915: 909: 908: 904: 899:This section 897: 893: 888: 887: 879: 877: 873: 869: 865: 861: 855: 853: 848: 846: 842: 838: 834: 831:in Spain and 830: 826: 822: 818: 814: 809: 807: 802: 798: 790: 786: 782: 778: 776: 771: 767: 757: 755: 751: 747: 743: 739: 734: 732: 728: 724: 720: 715: 713: 709: 705: 701: 696: 694: 690: 686: 682: 670: 666: 662: 658: 654: 652: 648: 643: 641: 637: 633: 629: 625: 621: 617: 607: 605: 598: 594: 590: 575: 572: 564: 554: 550: 544: 543: 538:This section 536: 532: 527: 526: 515: 512: 509: 505: 502: 499: 496: 493: 490: 487: 484: 481: 478: 475: 472: 469: 465: 461: 460:Matthew Paris 458: 455: 452: 451: 446: 442: 440: 439:stained glass 436: 432: 428: 423: 421: 417: 413: 409: 399: 397: 396: 391: 390:Christian art 387: 383: 379: 374: 371: 367: 353: 349: 348: 346: 339: 337: 333: 329: 325: 324: 319: 312: 300: 297: 289: 279: 275: 269: 268: 263:This section 261: 257: 252: 251: 240: 236: 231: 227: 225: 221: 220:stained-glass 216: 215: 203: 200: 192: 181: 178: 174: 171: 167: 164: 160: 157: 153: 150: – 149: 145: 144:Find sources: 138: 134: 128: 127: 122:This article 120: 116: 111: 110: 107: 99: 96: 88: 76: 75:documentation 72: 65: 64:documentation 61: 56: 52: 48: 43: 41: 37: 32:This article 30: 21: 20: 3461:Biblical art 3371: 3357: 3343: 3329: 3312: 3298: 3291: 3284: 3277: 3270: 3256: 3249: 3235: 3221: 3214: 3207: 3193: 3186: 3179: 3172: 3154:the original 3144: 3133: 3122: 3111:. 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