It is our goal for this project to analyze the symbols within art that represent the Trinity as a means of better understanding this genre. In order to do this we have complied a variety of paintings, mosaics, frescoes, and sarcophagi from Rome, Florence, Venice, Siena, Paris, and London. As we began our research we quickly discovered that there was more to this type of art than a simple hand gesture and that there is much more to be considered in regard to a piece of art such as the patron, the location, the time period, or even the medium. It is through all of these things that we have learned that Trinitarian Art is much more complex than we originally thought and that in reality it is a very helpful way to understand art as a whole.
Hi! I am 5’7” with brown hair. I enjoy candle-lit dinners followed by a long walk on the beach and a romantic kiss goodnight. Who am I? Well, in all seriousness, I am Joe. I am currently a junior at Geneva College with a major in Student Ministry. Considering the number of courses I have taken that revolve around Scripture for my major I have come to greatly admire the work of Paul, thus for my individual research paper I have chosen to look at the life of St. Paul and his importance as made clear by San Paulo Fuori le Mura. Furthermore, I analyzed Trinitarian Theology as interpreted by Paul in the book of Romans.
With a strong love for Gerard Butler, and a passion for children my life is simply a fairytale. Okay so maybe it isn’t exactly a fairytale, but I wouldn’t have it any other way. I’m Beth, and currently I am a sophomore at Roberts-Wesleyan College studying Social Work. While in Florence I was given the opportunity to see the magnificent Masaccio painting of the Trinity located in Santa Maria Novella. After this experience I developed an interest in the life of Masaccio, so I have decided to make that the topic of my individual research paper.
After my daily stroll through Trastevere I enjoy reading People Magazine and eating Magnum bars but only on Thursdays of course, with my other half. You may have guessed it by now, I’m Rebekah. I attend Judson University with a major in Communication with an emphasis in Business. With training in communication I have come to appreciate the things that often go unnoticed. Raphael’s famous painting The School of Athens often overshadows its complementary painting Disputation of the Sacraments because of this fact I have chosen to look at the latter of the two paintings as well as its placement in the Vatican Museum.
Hey y’all! While I may not have succeeded in converting a large number of Priests by a flirtatious wink, I have mastered the art of the nonverbal communication way of saying “Ciao!”, and that’s legit. In case you weren’t sure, I’m Kylie. I am a sophomore at Geneva College studying Political Science with the intent of being the future President of the United States. I have decided to look at the symbols of the Trinity and the history of the development of those symbols based on their Scriptural significance.
In bocca al lupo. Crepi!
Monday, November 29, 2010
Masaccio, The Man of the Hour: Beth Carson
Masaccio was born Tommaso di Ser Giovanni di Mone Cassai on December 21, 1401 in Castel San Giovanni, some 28 miles from Florence. Masaccio’s father Ser Giovanni di Mone Cassai was a notary and his mother Jacopa di Martinozzo was the daughter of an innkeeper from a nearby town.
Tommaso received the nickname Masaccio (which translated means “Big Tom,” or “Clumsy Tom”) because of his absentmindedness about worldly affairs and careless about his personal appearance. He moved to Florence in 1417 and little is known about his training, but he did join the painter’s guild in 1422. What little scholars know about Masaccio is gleaned from the few paintings that we have of his.
Masaccio was the foremost Italian painter of the Florentine Renaissance during the 15th century. Though many of his works are lost today, four of them can positively be attributed to him: a polyptych which is dispersed and some are lost, the Trinity with the Virgin, St. John the Evangelist, and Donors fresco in Santa Maria Novella, the Virgin with Saint Anne in the Uffizi Gallery, and his most notable work, the two frescos in the Brancacci Chapel of Santa Maria del Carmine. Masaccio’s most well know frescos are the Tribute Money and the
Masaccio worked on the chapel between 1424-1427/8 with Masolino da Panicale. There have been debates over whether Masolino was actually Masaccio’s teacher because they worked together for while and he was also 20 years older than Masaccio. Regardless of their relationship, they first worked with each other in 1425 to paint the polyptych of the Snow in Santa Maria Maggio. Later that same year, they started work on the Bracacci chapel.
The human figures in Tribute Money are harmoniously arranged so that the picture as a whole is balance out and his use of strong contrast between light and shadow creates an illusion of three-dimensional figures moving in space. When looking at the fresco, the viewer’s eyes are immediately drawn to Jesus because of the convergence point behind Jesus’ head. Masaccio was concerned with realistic depiction of human beings and we can see this in the individual faces. Rather than making the figures idealized, Masaccio used the peasant class of Florence as his models. In the fresco of the Expulsion of Adam and Eve from Eden, the painting not only shows the realism but the “profound sense of human emotions: the shame and dismay of the first human being as they are driven from the Garden of Paradise (Cunningham, L., & Reich, J., 1982).”
Masaccio had teachers and friends who influenced his painting styles. One such friend was Donatello who shared a respect for the human figures and this clearly influenced Masaccio in his Trinity fresco painting. Another important figure in Masaccio’s life was Brunelleschi. “From him, Masaccio learned to incorporate figures into new spatial framework. He was the first to use the techniques of artificial perspective developed by his teacher (Cunningham, L & Reich, J., 1982). “Masaccio’s weighty, dignified treatment of the human figure and his clear and orderly depiction of space, atmosphere, and light renewed the idiom of the early 14th-century Florentine painter
His fresco that he painted for the Dominican Church of Santa Maria Novella of the Trinity with the Virgin, St. John the Evangelist, and Donors summarizes a few characteristics of Renaissance during that time. Their interest in lifelike portraits can be seen in the depictions of two members of the Lenzi family, Lorenzo and his wife who commissioned the work. Unlike the medieval paintings where the donors are anonymous, the two Lenzi figures kneeling at the bottom of the fresco have a prominent presence in the fresco (Benton, J., & Yanni, R., 2005). Down near Jesus’ feet is Mary who is looking out toward the viewers while John the Baptist is looking at Mary. Below is an open tomb with a skeleton and these haunting words, "IO FUI GIA QUEL CHE VOI SIETE E QUEL CH'IO SONO VOI ANCO SARETE" (I once was what you are now; what I am you shall be). This can be seen as a reference to Adam, whose sin brought the downfall of humankind and a reminder to the audience that their time on earth will come to an end. It is only through their faith in the Trinity that they can be saved.
Masaccio’s use of linear lines give the impression that the chapel is receding into the walls and right below the cross is the vanishing point, five feet from the ground, which is approximately at eye level for viewers. The painting has an intense geometrical clarity based on the pyramid, with God as the apex of the triangle formed with the lines of donors and saints of the end of the base line (Cunningham, L., & Reich, J., 1982).
One reason I was so taken by Masaccio’s fresco was his eye for details. The intricate lines in the ceiling made the fresco realistic and I felt like I was a part of the painting, looking up at the Trinity. Masaccio drew away from other artist of that time by giving God the Father a human form. There is so much detail that God the Father even has toenails! This was unusual at the time because many artists did not depict God in a human form but as hand. The depiction of God as a hand made him seem impersonal and abstract from our lives, whereas Masaccio’s depiction made him seem like he was a human and interested in what is happening with the humans. The viewers get a glimpse of the Humanism that is soon to appear in the Renaissance.
His use of vibrant colors and light add to the splendor of the fresco and it takes your breath away when you look up at it. “He used light to give dimension to the contour and achieved a classic sense of proportion. At the same time he created a diversity of character within a unified group and emphasized the range of emotional expression in heroic individuals (Columbia Electronic Encyclopedia, 2010)”.
Masaccio died at the young age of 28 in Rome (most likely from the plague but some scholars believe he was poisoned due to his unexpected death) but his frescoes had a great impact on Florentine painting and were for generations the training school and inspiration of painters. It was not until 75 years after his death that his monumental figures and use of light was more fully appreciated by artists such as Michelangelo, Leonardo da Vinci, and Raphael to name some of the master painters of that time. Michelangelo often crossed the Arno River to study the frescos in the Brancacci chapel.
Masaccio’s paintings touch me in a way that no other painter has. His work has inspired many great artists but there is also something about his work that a simple common person could enjoy and appreciate. His choice of colors and the realistic way he portrays his human figures is the reason I love his work.
Bibliography
Benton, Janetta Rebold, and Robert DiYanni. Arts and Culture: an Introduction to the Humanities. Upper Saddle River, NJ: Pearson Prentice Hall, 2005. Print.
Cunningham, Lawrence, and John J. Reich. Culture and Values: a Survey of the Western Humanities. Fort Worth: Harcourt Brace College, 1998. Print.
Lane, Jim. "Masaccio's The Trinity." HumanitiesWeb - Welcome. 2 Jan. 1999. Web. 23 Nov. 2010. <http://www.humanitiesweb.org/human.php?
"Masaccio." Columbia Electronic Encyclopedia, 6th Edition (2010): 1. Primary Search. EBSCO. Web. 24 Nov. 2010.
Murray, Peter, and Linda Murray. The Oxford Companion to Christian Art and Architecture. Oxford: New York, 1996. Print.
Speck, James H. "Masaccio's Early Career as a Sculptor." Http://www.jstor.org. College Art Association, June 1971. Web. 23 Nov. 2010.
Tommaso received the nickname Masaccio (which translated means “Big Tom,” or “Clumsy Tom”) because of his absentmindedness about worldly affairs and careless about his personal appearance. He moved to Florence in 1417 and little is known about his training, but he did join the painter’s guild in 1422. What little scholars know about Masaccio is gleaned from the few paintings that we have of his.
Masaccio was the foremost Italian painter of the Florentine Renaissance during the 15th century. Though many of his works are lost today, four of them can positively be attributed to him: a polyptych which is dispersed and some are lost, the Trinity with the Virgin, St. John the Evangelist, and Donors fresco in Santa Maria Novella, the Virgin with Saint Anne in the Uffizi Gallery, and his most notable work, the two frescos in the Brancacci Chapel of Santa Maria del Carmine. Masaccio’s most well know frescos are the Tribute Money and the
Masaccio worked on the chapel between 1424-1427/8 with Masolino da Panicale. There have been debates over whether Masolino was actually Masaccio’s teacher because they worked together for while and he was also 20 years older than Masaccio. Regardless of their relationship, they first worked with each other in 1425 to paint the polyptych of the Snow in Santa Maria Maggio. Later that same year, they started work on the Bracacci chapel.
The human figures in Tribute Money are harmoniously arranged so that the picture as a whole is balance out and his use of strong contrast between light and shadow creates an illusion of three-dimensional figures moving in space. When looking at the fresco, the viewer’s eyes are immediately drawn to Jesus because of the convergence point behind Jesus’ head. Masaccio was concerned with realistic depiction of human beings and we can see this in the individual faces. Rather than making the figures idealized, Masaccio used the peasant class of Florence as his models. In the fresco of the Expulsion of Adam and Eve from Eden, the painting not only shows the realism but the “profound sense of human emotions: the shame and dismay of the first human being as they are driven from the Garden of Paradise (Cunningham, L., & Reich, J., 1982).”
Masaccio had teachers and friends who influenced his painting styles. One such friend was Donatello who shared a respect for the human figures and this clearly influenced Masaccio in his Trinity fresco painting. Another important figure in Masaccio’s life was Brunelleschi. “From him, Masaccio learned to incorporate figures into new spatial framework. He was the first to use the techniques of artificial perspective developed by his teacher (Cunningham, L & Reich, J., 1982). “Masaccio’s weighty, dignified treatment of the human figure and his clear and orderly depiction of space, atmosphere, and light renewed the idiom of the early 14th-century Florentine painter
His fresco that he painted for the Dominican Church of Santa Maria Novella of the Trinity with the Virgin, St. John the Evangelist, and Donors summarizes a few characteristics of Renaissance during that time. Their interest in lifelike portraits can be seen in the depictions of two members of the Lenzi family, Lorenzo and his wife who commissioned the work. Unlike the medieval paintings where the donors are anonymous, the two Lenzi figures kneeling at the bottom of the fresco have a prominent presence in the fresco (Benton, J., & Yanni, R., 2005). Down near Jesus’ feet is Mary who is looking out toward the viewers while John the Baptist is looking at Mary. Below is an open tomb with a skeleton and these haunting words, "IO FUI GIA QUEL CHE VOI SIETE E QUEL CH'IO SONO VOI ANCO SARETE" (I once was what you are now; what I am you shall be). This can be seen as a reference to Adam, whose sin brought the downfall of humankind and a reminder to the audience that their time on earth will come to an end. It is only through their faith in the Trinity that they can be saved.
Masaccio’s use of linear lines give the impression that the chapel is receding into the walls and right below the cross is the vanishing point, five feet from the ground, which is approximately at eye level for viewers. The painting has an intense geometrical clarity based on the pyramid, with God as the apex of the triangle formed with the lines of donors and saints of the end of the base line (Cunningham, L., & Reich, J., 1982).
One reason I was so taken by Masaccio’s fresco was his eye for details. The intricate lines in the ceiling made the fresco realistic and I felt like I was a part of the painting, looking up at the Trinity. Masaccio drew away from other artist of that time by giving God the Father a human form. There is so much detail that God the Father even has toenails! This was unusual at the time because many artists did not depict God in a human form but as hand. The depiction of God as a hand made him seem impersonal and abstract from our lives, whereas Masaccio’s depiction made him seem like he was a human and interested in what is happening with the humans. The viewers get a glimpse of the Humanism that is soon to appear in the Renaissance.
His use of vibrant colors and light add to the splendor of the fresco and it takes your breath away when you look up at it. “He used light to give dimension to the contour and achieved a classic sense of proportion. At the same time he created a diversity of character within a unified group and emphasized the range of emotional expression in heroic individuals (Columbia Electronic Encyclopedia, 2010)”.
Masaccio died at the young age of 28 in Rome (most likely from the plague but some scholars believe he was poisoned due to his unexpected death) but his frescoes had a great impact on Florentine painting and were for generations the training school and inspiration of painters. It was not until 75 years after his death that his monumental figures and use of light was more fully appreciated by artists such as Michelangelo, Leonardo da Vinci, and Raphael to name some of the master painters of that time. Michelangelo often crossed the Arno River to study the frescos in the Brancacci chapel.
Masaccio’s paintings touch me in a way that no other painter has. His work has inspired many great artists but there is also something about his work that a simple common person could enjoy and appreciate. His choice of colors and the realistic way he portrays his human figures is the reason I love his work.
Bibliography
Benton, Janetta Rebold, and Robert DiYanni. Arts and Culture: an Introduction to the Humanities. Upper Saddle River, NJ: Pearson Prentice Hall, 2005. Print.
Cunningham, Lawrence, and John J. Reich. Culture and Values: a Survey of the Western Humanities. Fort Worth: Harcourt Brace College, 1998. Print.
Lane, Jim. "Masaccio's The Trinity." HumanitiesWeb - Welcome. 2 Jan. 1999. Web. 23 Nov. 2010. <http://www.humanitiesweb.org/human.php?
"Masaccio." Columbia Electronic Encyclopedia, 6th Edition (2010): 1. Primary Search. EBSCO. Web. 24 Nov. 2010.
Murray, Peter, and Linda Murray. The Oxford Companion to Christian Art and Architecture. Oxford: New York, 1996. Print.
Speck, James H. "Masaccio's Early Career as a Sculptor." Http://www.jstor.org. College Art Association, June 1971. Web. 23 Nov. 2010.
The Apostle Paul: Intriguing, Influential, Honored: Joseph Younkin
“Do not conform to the pattern of this world, but be transformed by the renewing or your mind. Then you will be able to test and approve what God’s will is-his good, pleasing and perfect will” (Romans 12:2 NIV). There is no doubt that the Apostle Paul was a very influential man in Christian history. He has done a lot in shaping the Christian religion into what it is today. He has lived a fascinating life, and is held in very high esteem by the church, in particular, the Catholic Church. The Catholic Church has constructed many monuments in honor of St. Paul, one in particular being San Paolo Fuori le Mura, or St. Paul’s Outside the Walls. This basilica is magnificent and has a very rich history. One of the reasons that St. Paul is held in such high esteem by the Christian religion is because of his theology. This great apostle has shaped many of the beliefs of the Christian church, including beliefs and views of the Trinity.
St. Paul was a man who led a very interesting and exciting life. He has lived through many experiences and has also experienced God in an unbelievable way. Paul was originally born with the name “Saul” in the year 10 AD (Rayment). Paul was born in Tarsus and when he was about fourteen years old he was sent to Jerusalem to train to become a Rabbi. At the same time he was training to become a Rabbi, he was also trained to become a tent maker (Rayment). By the time Paul became an adult, he was a man who was very firm in his convictions. He was very intolerable of any kind of heresy against the Jewish religion. The main type of heresy at the time of Paul was Christianity. Paul took an active role in persecuting Christians. He was the overseer of the murder of the first martyr Stephen. After the martyrdom of Stephen, Paul went on a mission to Damascus to further the persecution of the Christians. It was on this road to Damascus that Paul’s life would be changed. On the road to Damascus Paul was confronted by Jesus in a vision who then asked Paul why he was persecuting Him. This vision of Christ had made Paul a Christian. A lot of what is known about the life of St. Paul can be found in the book of Acts in the Bible. Throughout his life, Paul went on three different missionary journeys, spreading the gospel throughout most of the world. After his third missionary journey Paul was arrested. He was then kept under house arrest for two years before he finally invoked his right as a Roman citizen for a trial before the emperor (Rayment). It is unclear what the results of the trial before the emperor were, but sometime around 64 AD Paul was put to death, many believe by decapitation. After the death of Paul, his body was buried and a small shrine was built over the grave site; this was the start of San Paolo Fuori le Mura (Sacred).
Many years after the death of Paul a small church was constructed where the shrine was, over the grave site. The first church was built in the year 324 AD by Emperor Constantine (Sacred). In the year 386 AD Emperor Theodosius destroyed the first church and started the construction of a much larger basilica (Sacred). The basilica was then completed in the year 395 AD under Emperor Honorius. The basilica that stands in the spot today is heavily restored, but looks much like the basilica that was completed in the 4th century (Sacred). Throughout the years the care of the basilica was entrusted to the care of many orders of monks (Sacred). In the year 1823 there was a fire at the basilica (Sacred). The fire was started by a workman who was repairing the lead on the roof. This fire completely burned the entire basilica. The basilica was rebuilt, however, with the help of the whole world. The entire world contributed to the rebuilding of the basilica. One work of art that happened to survive the great fire is the great mosaic in the apse. The mosaic that is seen in the basilica today is the same one that survived the fire. This mosaic is a work of Trinitarian art. It depicts Christ, making the sign for the Trinity, surrounded by four apostles. When looking at the mosaic, to the right, Christ’s left is St. Peter; and to the left, Christ’s right is St. Paul. There is no doubt that this basilica was build to commemorate Paul because of the great effect that he had on the Christian religion. He was an excellent missionary and revealed some great Biblical truths, especially when looking at the theology of the Trinity.
One of the many reasons that Paul was so revered as a key figure in Christian history is because of the theology that he presented. Paul was an expert at presenting theology and Biblical truths in a way that was easy to understand and live by. One particular theological idea that Paul touches on is the theology of the Trinity. Paul’s theology of the Trinity becomes clear when looking at the book of Romans in the Bible. Throughout the book of Romans, particularly in chapter eight, Paul addresses what the Trinity is, and furthermore he specifically addresses who or what the Holy Spirit is. Also, Paul addresses throughout his epistles, specifically in Romans again, the nature of the relationship between the other two parts of the Trinity, Father and Son. It becomes clear by reading the epistles of Paul that the Trinity is indeed the union of three persons in one, the Father, the Son, and the Holy Spirit.
One of the major Trinitarian theological ideas that can be taken from Paul when looking at his letter to the Romans is the nature of the relationship between God the Father and Christ the Son. One major misconception that people have when they think of this relationship between the Father and the Son is that the Father “did something” to the Son. Based on what is known about Trinitarian theology however, this would not be true. In Romans 8:32 it says “He who did not spare his own Son, but gave him up for us all…” (NIV Bible). When reading this passage through the lens Trinitarian theology one can see that instead of the Father giving up the Son, He is in fact giving of himself, showing the kind of selfless sacrifice that all Christians should strive to show (Daly).
The other Trinitarian theological matter that is discussed by Paul in the book of Romans is the question of who the Holy Spirit is. There are a lot of varying positions regarding this topic, whether the Holy Spirit is the Spirit of God the Father, or the Spirit of God the Son, or a completely different person altogether. One answer to this question can be found in the book of Romans, more specifically, chapter one and chapter eight. The answer to this question appears to be a combination of all the varying positions. The Spirit is interchangeably the Spirit of God, the Spirit of Christ, and the Spirit of the one who raised Christ from the dead (Watson). A few good verses to look at regarding the question of who the Spirit is are Romans 1:4 “and who through the Spirit of holiness was declared with power to be the Son of God…” (NIV Bible); and Romans 8:9 “You, however, are controlled not by the sinful nature but by the Spirit, if the Spirit of God lives in you. And if anyone does not have the Spirit of Christ, he does not belong to Christ” (NIV Bible). By looking at these verses, it appears to be that the Spirit is a combination of the Spirit of God and of Jesus and also of its own. This is one of the mysteries that makes God such a Holy Triune Being.
The Apostle Paul was a very influential man when it comes to the shaping of the Christian religion as it is know today. St. Paul has lived a very fascinating life, one of adventure and danger, along with spreading the Gospel to wherever his adventures took him. St. Paul has also weighed in heavily when it comes to theological matters. He has done a lot to make Biblical truths something that can be understood today. He has helped to define and identify the nature of the Trinity. It becomes clear how important this man was in Christian history when looking at the many monuments constructed for him around Rome, this great Apostle has a basilica that was build in his honor. “Do not conform to the pattern of this world, but be transformed by the renewing or your mind. Then you will be able to test and approve what God’s will is-his good, pleasing and perfect will” (Romans 12:2 NIV).
Bibliography
Daly, Robert J. "Images of God and the imitation of God: problems with atonement." Theological Studies (2007): 36-51.
"NIV Bible." Grand Rapids: Zondervan, 2006.
http://www.biblestudyinfo.com/paul/biography.shtml.
Sacred Destinations. www.sacred-destinations.com. 2005. 21 November 2010 http://www.sacred-destinations.com/italy/rome-san-paolo-fuori-le-mura.
Watson, Francis. "The triune divine identity: reflections on Pauline God-language, in disagreement with J. D. G. Dunn." Journal for the Study of the New Testament (2000): 99-124.
Rayment, W.J. www.biblestudyinfo.com. 2003. 21 November 2010
St. Paul was a man who led a very interesting and exciting life. He has lived through many experiences and has also experienced God in an unbelievable way. Paul was originally born with the name “Saul” in the year 10 AD (Rayment). Paul was born in Tarsus and when he was about fourteen years old he was sent to Jerusalem to train to become a Rabbi. At the same time he was training to become a Rabbi, he was also trained to become a tent maker (Rayment). By the time Paul became an adult, he was a man who was very firm in his convictions. He was very intolerable of any kind of heresy against the Jewish religion. The main type of heresy at the time of Paul was Christianity. Paul took an active role in persecuting Christians. He was the overseer of the murder of the first martyr Stephen. After the martyrdom of Stephen, Paul went on a mission to Damascus to further the persecution of the Christians. It was on this road to Damascus that Paul’s life would be changed. On the road to Damascus Paul was confronted by Jesus in a vision who then asked Paul why he was persecuting Him. This vision of Christ had made Paul a Christian. A lot of what is known about the life of St. Paul can be found in the book of Acts in the Bible. Throughout his life, Paul went on three different missionary journeys, spreading the gospel throughout most of the world. After his third missionary journey Paul was arrested. He was then kept under house arrest for two years before he finally invoked his right as a Roman citizen for a trial before the emperor (Rayment). It is unclear what the results of the trial before the emperor were, but sometime around 64 AD Paul was put to death, many believe by decapitation. After the death of Paul, his body was buried and a small shrine was built over the grave site; this was the start of San Paolo Fuori le Mura (Sacred).
Many years after the death of Paul a small church was constructed where the shrine was, over the grave site. The first church was built in the year 324 AD by Emperor Constantine (Sacred). In the year 386 AD Emperor Theodosius destroyed the first church and started the construction of a much larger basilica (Sacred). The basilica was then completed in the year 395 AD under Emperor Honorius. The basilica that stands in the spot today is heavily restored, but looks much like the basilica that was completed in the 4th century (Sacred). Throughout the years the care of the basilica was entrusted to the care of many orders of monks (Sacred). In the year 1823 there was a fire at the basilica (Sacred). The fire was started by a workman who was repairing the lead on the roof. This fire completely burned the entire basilica. The basilica was rebuilt, however, with the help of the whole world. The entire world contributed to the rebuilding of the basilica. One work of art that happened to survive the great fire is the great mosaic in the apse. The mosaic that is seen in the basilica today is the same one that survived the fire. This mosaic is a work of Trinitarian art. It depicts Christ, making the sign for the Trinity, surrounded by four apostles. When looking at the mosaic, to the right, Christ’s left is St. Peter; and to the left, Christ’s right is St. Paul. There is no doubt that this basilica was build to commemorate Paul because of the great effect that he had on the Christian religion. He was an excellent missionary and revealed some great Biblical truths, especially when looking at the theology of the Trinity.
One of the many reasons that Paul was so revered as a key figure in Christian history is because of the theology that he presented. Paul was an expert at presenting theology and Biblical truths in a way that was easy to understand and live by. One particular theological idea that Paul touches on is the theology of the Trinity. Paul’s theology of the Trinity becomes clear when looking at the book of Romans in the Bible. Throughout the book of Romans, particularly in chapter eight, Paul addresses what the Trinity is, and furthermore he specifically addresses who or what the Holy Spirit is. Also, Paul addresses throughout his epistles, specifically in Romans again, the nature of the relationship between the other two parts of the Trinity, Father and Son. It becomes clear by reading the epistles of Paul that the Trinity is indeed the union of three persons in one, the Father, the Son, and the Holy Spirit.
One of the major Trinitarian theological ideas that can be taken from Paul when looking at his letter to the Romans is the nature of the relationship between God the Father and Christ the Son. One major misconception that people have when they think of this relationship between the Father and the Son is that the Father “did something” to the Son. Based on what is known about Trinitarian theology however, this would not be true. In Romans 8:32 it says “He who did not spare his own Son, but gave him up for us all…” (NIV Bible). When reading this passage through the lens Trinitarian theology one can see that instead of the Father giving up the Son, He is in fact giving of himself, showing the kind of selfless sacrifice that all Christians should strive to show (Daly).
The other Trinitarian theological matter that is discussed by Paul in the book of Romans is the question of who the Holy Spirit is. There are a lot of varying positions regarding this topic, whether the Holy Spirit is the Spirit of God the Father, or the Spirit of God the Son, or a completely different person altogether. One answer to this question can be found in the book of Romans, more specifically, chapter one and chapter eight. The answer to this question appears to be a combination of all the varying positions. The Spirit is interchangeably the Spirit of God, the Spirit of Christ, and the Spirit of the one who raised Christ from the dead (Watson). A few good verses to look at regarding the question of who the Spirit is are Romans 1:4 “and who through the Spirit of holiness was declared with power to be the Son of God…” (NIV Bible); and Romans 8:9 “You, however, are controlled not by the sinful nature but by the Spirit, if the Spirit of God lives in you. And if anyone does not have the Spirit of Christ, he does not belong to Christ” (NIV Bible). By looking at these verses, it appears to be that the Spirit is a combination of the Spirit of God and of Jesus and also of its own. This is one of the mysteries that makes God such a Holy Triune Being.
The Apostle Paul was a very influential man when it comes to the shaping of the Christian religion as it is know today. St. Paul has lived a very fascinating life, one of adventure and danger, along with spreading the Gospel to wherever his adventures took him. St. Paul has also weighed in heavily when it comes to theological matters. He has done a lot to make Biblical truths something that can be understood today. He has helped to define and identify the nature of the Trinity. It becomes clear how important this man was in Christian history when looking at the many monuments constructed for him around Rome, this great Apostle has a basilica that was build in his honor. “Do not conform to the pattern of this world, but be transformed by the renewing or your mind. Then you will be able to test and approve what God’s will is-his good, pleasing and perfect will” (Romans 12:2 NIV).
Bibliography
Daly, Robert J. "Images of God and the imitation of God: problems with atonement." Theological Studies (2007): 36-51.
"NIV Bible." Grand Rapids: Zondervan, 2006.
http://www.biblestudyinfo.com/paul/biography.shtml.
Sacred Destinations. www.sacred-destinations.com. 2005. 21 November 2010 http://www.sacred-destinations.com/italy/rome-san-paolo-fuori-le-mura.
Watson, Francis. "The triune divine identity: reflections on Pauline God-language, in disagreement with J. D. G. Dunn." Journal for the Study of the New Testament (2000): 99-124.
Rayment, W.J. www.biblestudyinfo.com. 2003. 21 November 2010
A Hand, A Cross, and A Dove…The Trinity?: Kylie Gardner
The Trinity is a Biblically based, theological foundation of Christianity that explains the nature of God taking the form of three independent beings but still existing as one God. For centuries people have tried to understand this concept that seems to be impossible yet confirmed by Scripture as truth. Due to its mysterious nature the desire to somehow represent this relationship has led to much artwork that depicts the three parts as one whole. Trinitarian artwork does a significant job of portraying the relationship between the three parts of the Trinity through its use of symbols and gestures.
In order to best understand Trinitarian artwork, one must understand the symbols that are used as representations of the Trinity. The three main symbols of this union are the use of triangular objects or groupings of three objects, the depiction of the three parts as Father being hands typically, Son on a cross, and Holy Spirit as a dove, and the use of hand gestures. Through the use of these symbols certain pieces of art take on a new form with profound meanings.
The most common and easily understood representation of the Trinity is the use of triangles or groupings of three objects. Because the Trinity actually means “the unity of Father, Son, and Holy Spirit as three persons in one Godhead according to Christian dogma…from Latin trinus meaning threefold” (Merriam-Webster’s Dictionary). It is inherent that due to the nature of the word “trinity” the depiction of this union would be centered around the number three. Associated with this number, and thus the Trinity, is the use of triangles. Many altarpieces have a triangular top that represents the Trinity and also points the gaze of the viewer to the heavens. The use of groupings of three objects also allows the viewer to understand that the Trinity exists as one despite the three different parts. Each part of the grouping holds a different meaning but together they complete the significance of the whole picture. This aspect of Trinitarian art truly provides the basis for understanding just how the Trinity works within Christian dogma.
Another way to depict the Trinity is by portraying each part as separate beings with the use of their individual symbols. Typically the Father is represented as two hands reaching down from the top of the painting, with no connection to a body. The symbolism here is based on the idea that the hand of God is in all things, especially in the sacrifice of His perfect son in order to bring salvation to the world (NIV, John 3.6). By including this symbol in paintings the artist is implying that God serves as the controller of all things. It is obvious that this symbol has a significant meaning greater than the idea of simply portraying hands. God, as the Father and creator, has hands that have shaped the world and continue to influence life. By representing Him as hands, it becomes clear that God has His hand in the world as a means of guiding and directing.
Christ, the Son in the Trinity, can be portrayed in a variety of different ways but the most common is the depiction of Him as the sacrificial servant sent to die on the cross. Christ is often seen as being on the cross in order to demonstrate His willingness to die for the sins of the world and to set the world free (NIV, Galatians 5:1). By showing Christ on a cross the artist is not only portraying His ultimate act of love and redemption, but it also shows His humanness. An important part of understanding the Trinity is understanding that Christ is the incarnate of God the Father. Christ’s humanness is seen in His death on the cross. He did in fact die, which is an act of humanity, and more than that it shows that He felt pain. Often Christ has a grimacing look on His face showing just how painful His current situation is. The representation of Christ as a man on a cross goes farther than a simple depiction of an act of love and forgiveness, it also demonstrates the very nature of Christ as both divine and human.
The third part of the Trinity is the Holy Spirit. The Holy spirit is often overlooked within the Trinity because it is not typically depicted as a human form instead it is shown as a dove. But this symbol is far more important than many people would assume as they view a piece of artwork. The dove is used in the Bible as a representation of God’s spirit, later to be known as the Holy Spirit (NIV, Matthew 3:16). By understanding that the dove represents the Holy Spirit not only do viewers have the opportunity to see the Trinity in its entirety, but it also allows them to understand other biblical references to doves more clearly. In the story of Noah’s ark Noah sends out a dove to see if the waters have been dried up and it is safe to go out onto the land or not (NIV, Genesis 8:8). By understanding that the dove is used as a representation of the Holy Spirit, then this story becomes even more significant as it demonstrates that God never left Noah’s side. The different symbols associated to the three beings of the Trinity help provide an understand of God’s nature and His working in the world.
While the depiction of the three parts of the Trinity based on their individual symbols is commonly used in Trinitarian art, another way to demonstrate the Trinity is by using hand gestures. In artwork where Christ is depicted He is often doing something significant with His hands, and frequently these gestures are an indication of the Trinity. There are two main hand gestures done by Christ to demonstrate the Trinity. When Christ’s hand is making the gesture for “3” by touching his index finger to his thumb, leaving three fingers facing upward, He is implying the Trinity. The two fingers that are touching imply His nature as being both human and divine while the three fingers that are being held up demonstrate the Trinity. By seeing this gesture in artwork one is able to identify the painting or mosaic as being Trinitarian in nature.
The second gesture is very similar to the first. Instead of the thumb and index finger touching, in this gesture His ring finger is touching His thumb. Again the two touching fingers represent the dual nature of Christ and the three remaining up demonstrate the three parts of the Trinity. The difference between this gesture and that of the other gesture is that the latter can be used to also indicate a sign of benediction. This is evident in the painting entitled The Virgin and Child, by an unknown artist. Within this painting the child, Jesus, is making this gesture and it has been interpreted to mean the Trinity as well as a sign of benediction. Considering this dual meaning, it becomes clear that the trinity as well as Christ’s dual nature is often seen not only as a sign of God’s nature but also implies a blessing. By understanding this interpretation, Trinitarian art becomes much more meaningful and profound.
In her article entitled, “Symbols in Art” , Colleen Carroll explains, “Symbols can represent ideas, concepts, beliefs doctrines and feelings. Symbols can have powerful meaning and evoke strong emotion, such as the crucifix in Christianity or the Star of David in Judaism.” (Arts and Activities, 2006-07) This statement could not be more true, and while it seems to be simple, what it explains is much more complex. The symbols that artists use in their paintings are not random or by chance, each one represents something significant that adds to the meaning of the painting. Carroll argues, “For a symbol to have meaning, it's important to understand what it represents.” Without a clear understanding of what a symbol represents, it is impossible to truly comprehend the painting or piece of art. This holds true in Trinitarian art. By understand the symbols used in this genre it is easy to see their significance.
Trinitarian art, like all artwork, is filled with meanings that are deeper than what is seen on the canvas. In order to truly grasp the meaning behind Trinitarian art it is necessary to understand the symbols and their connections to the Trinity. The Trinity is very complex and the use of art in representing the three parts can be used as a tool to better understanding such a complex doctrine of Christianity. Artwork is used to express emotions and feelings of the artist, but it is also used to inform and instruct. Trinitarian artwork does just that, it aides in the understanding of a belief in Christianity that is hard to understand because of our humanness.
The symbols of Trinitarian art did not come into being just by chance, instead they hold significance in history and most notably in Scripture. The scriptural basis for the symbols cannot be overlooked and in fact should be used in gaining a more well-rounded understanding of the Trinity as a whole.
The Trinity is complex and confusing, but with the use of artwork that displays this relationship it is easier to understand, at least to a larger degree than before, what exactly the Trinity is and its place in Christian doctrine. Through symbols, Trinitarian art is able to explain things that may not otherwise be explainable. It is only through an understanding of these symbols, however, that one is able to truly know Trinitarian art.
Bibliography
Carroll, Colleen. "Symbols in Art." Arts and Activities. Sep. 2006: 27-8. Print.
New International Version. Grand Rapids: Zondervan Publishing House, 1996. http://www.nationalgallery.org.uk/paintings/italian-umbrian- the-virgin-and-child.
"The Virgin and Child." The National Gallery. The National Gallery of London, n.d. Web. 29 Nov 2010.
"Trinity." Merriam-Webster's Online Dictionary. Merriam-Webster, Incorporated, 2010. Web. 29 Nov 2010. http://www.merriam-webster.com/dictionary/trinity.
In order to best understand Trinitarian artwork, one must understand the symbols that are used as representations of the Trinity. The three main symbols of this union are the use of triangular objects or groupings of three objects, the depiction of the three parts as Father being hands typically, Son on a cross, and Holy Spirit as a dove, and the use of hand gestures. Through the use of these symbols certain pieces of art take on a new form with profound meanings.
The most common and easily understood representation of the Trinity is the use of triangles or groupings of three objects. Because the Trinity actually means “the unity of Father, Son, and Holy Spirit as three persons in one Godhead according to Christian dogma…from Latin trinus meaning threefold” (Merriam-Webster’s Dictionary). It is inherent that due to the nature of the word “trinity” the depiction of this union would be centered around the number three. Associated with this number, and thus the Trinity, is the use of triangles. Many altarpieces have a triangular top that represents the Trinity and also points the gaze of the viewer to the heavens. The use of groupings of three objects also allows the viewer to understand that the Trinity exists as one despite the three different parts. Each part of the grouping holds a different meaning but together they complete the significance of the whole picture. This aspect of Trinitarian art truly provides the basis for understanding just how the Trinity works within Christian dogma.
Another way to depict the Trinity is by portraying each part as separate beings with the use of their individual symbols. Typically the Father is represented as two hands reaching down from the top of the painting, with no connection to a body. The symbolism here is based on the idea that the hand of God is in all things, especially in the sacrifice of His perfect son in order to bring salvation to the world (NIV, John 3.6). By including this symbol in paintings the artist is implying that God serves as the controller of all things. It is obvious that this symbol has a significant meaning greater than the idea of simply portraying hands. God, as the Father and creator, has hands that have shaped the world and continue to influence life. By representing Him as hands, it becomes clear that God has His hand in the world as a means of guiding and directing.
Christ, the Son in the Trinity, can be portrayed in a variety of different ways but the most common is the depiction of Him as the sacrificial servant sent to die on the cross. Christ is often seen as being on the cross in order to demonstrate His willingness to die for the sins of the world and to set the world free (NIV, Galatians 5:1). By showing Christ on a cross the artist is not only portraying His ultimate act of love and redemption, but it also shows His humanness. An important part of understanding the Trinity is understanding that Christ is the incarnate of God the Father. Christ’s humanness is seen in His death on the cross. He did in fact die, which is an act of humanity, and more than that it shows that He felt pain. Often Christ has a grimacing look on His face showing just how painful His current situation is. The representation of Christ as a man on a cross goes farther than a simple depiction of an act of love and forgiveness, it also demonstrates the very nature of Christ as both divine and human.
The third part of the Trinity is the Holy Spirit. The Holy spirit is often overlooked within the Trinity because it is not typically depicted as a human form instead it is shown as a dove. But this symbol is far more important than many people would assume as they view a piece of artwork. The dove is used in the Bible as a representation of God’s spirit, later to be known as the Holy Spirit (NIV, Matthew 3:16). By understanding that the dove represents the Holy Spirit not only do viewers have the opportunity to see the Trinity in its entirety, but it also allows them to understand other biblical references to doves more clearly. In the story of Noah’s ark Noah sends out a dove to see if the waters have been dried up and it is safe to go out onto the land or not (NIV, Genesis 8:8). By understanding that the dove is used as a representation of the Holy Spirit, then this story becomes even more significant as it demonstrates that God never left Noah’s side. The different symbols associated to the three beings of the Trinity help provide an understand of God’s nature and His working in the world.
While the depiction of the three parts of the Trinity based on their individual symbols is commonly used in Trinitarian art, another way to demonstrate the Trinity is by using hand gestures. In artwork where Christ is depicted He is often doing something significant with His hands, and frequently these gestures are an indication of the Trinity. There are two main hand gestures done by Christ to demonstrate the Trinity. When Christ’s hand is making the gesture for “3” by touching his index finger to his thumb, leaving three fingers facing upward, He is implying the Trinity. The two fingers that are touching imply His nature as being both human and divine while the three fingers that are being held up demonstrate the Trinity. By seeing this gesture in artwork one is able to identify the painting or mosaic as being Trinitarian in nature.
The second gesture is very similar to the first. Instead of the thumb and index finger touching, in this gesture His ring finger is touching His thumb. Again the two touching fingers represent the dual nature of Christ and the three remaining up demonstrate the three parts of the Trinity. The difference between this gesture and that of the other gesture is that the latter can be used to also indicate a sign of benediction. This is evident in the painting entitled The Virgin and Child, by an unknown artist. Within this painting the child, Jesus, is making this gesture and it has been interpreted to mean the Trinity as well as a sign of benediction. Considering this dual meaning, it becomes clear that the trinity as well as Christ’s dual nature is often seen not only as a sign of God’s nature but also implies a blessing. By understanding this interpretation, Trinitarian art becomes much more meaningful and profound.
In her article entitled, “Symbols in Art” , Colleen Carroll explains, “Symbols can represent ideas, concepts, beliefs doctrines and feelings. Symbols can have powerful meaning and evoke strong emotion, such as the crucifix in Christianity or the Star of David in Judaism.” (Arts and Activities, 2006-07) This statement could not be more true, and while it seems to be simple, what it explains is much more complex. The symbols that artists use in their paintings are not random or by chance, each one represents something significant that adds to the meaning of the painting. Carroll argues, “For a symbol to have meaning, it's important to understand what it represents.” Without a clear understanding of what a symbol represents, it is impossible to truly comprehend the painting or piece of art. This holds true in Trinitarian art. By understand the symbols used in this genre it is easy to see their significance.
Trinitarian art, like all artwork, is filled with meanings that are deeper than what is seen on the canvas. In order to truly grasp the meaning behind Trinitarian art it is necessary to understand the symbols and their connections to the Trinity. The Trinity is very complex and the use of art in representing the three parts can be used as a tool to better understanding such a complex doctrine of Christianity. Artwork is used to express emotions and feelings of the artist, but it is also used to inform and instruct. Trinitarian artwork does just that, it aides in the understanding of a belief in Christianity that is hard to understand because of our humanness.
The symbols of Trinitarian art did not come into being just by chance, instead they hold significance in history and most notably in Scripture. The scriptural basis for the symbols cannot be overlooked and in fact should be used in gaining a more well-rounded understanding of the Trinity as a whole.
The Trinity is complex and confusing, but with the use of artwork that displays this relationship it is easier to understand, at least to a larger degree than before, what exactly the Trinity is and its place in Christian doctrine. Through symbols, Trinitarian art is able to explain things that may not otherwise be explainable. It is only through an understanding of these symbols, however, that one is able to truly know Trinitarian art.
Bibliography
Carroll, Colleen. "Symbols in Art." Arts and Activities. Sep. 2006: 27-8. Print.
New International Version. Grand Rapids: Zondervan Publishing House, 1996. http://www.nationalgallery.org.uk/paintings/italian-umbrian- the-virgin-and-child.
"The Virgin and Child." The National Gallery. The National Gallery of London, n.d. Web. 29 Nov 2010.
"Trinity." Merriam-Webster's Online Dictionary. Merriam-Webster, Incorporated, 2010. Web. 29 Nov 2010. http://www.merriam-webster.com/dictionary/trinity.
Raphael’s Overlooked Fresco: Rebekah Street
Raphael Sanzio’s painting of “The Disputation of the Holy Sacrament” is regarded as a supreme work from the High Renaissance era that is considered classical art. This fresco demonstrates more than just a Trinitarian piece of artwork; it depicts the Church being present in heaven and on earth. Though this fresco was painted nearly five hundred years ago the meaning behind “The Disputation of the Holy Sacrament” has initiated discussion on the Trinity, the Eucharist, and the cross which are still analyzed through the church today.
Raphael Sanzio, or better known now as Raphael, was born in 1483 and later went on to become a famous Italian painter. Today he is repeatedly compared to friend and rival at the time, Michelangelo. Raphael’s life was divided into three phases that correspond with his work of that time. The first phase is from 1504-1508 when he worked in Florence. Phase two was when he worked twelve years in Rome and phase three is when he worked for two different Popes in Vatican City. After phase one Raphael moved to Rome because he was invited by the new Pope Julius II to do some commissioned work. Raphael received this commission because Raphael’s distant relative was an architect involved with the building of St. Peter’s. (Raphael - The Complete Works)Raphael was immediately commissioned to paint frescoes in the Pope’s private library located at Vatican Palace, which was the most important commission he had received to date. Before Pope Julius II, his predecessor, Alexander VI, had employed many painters who were just starting to paint the various rooms in the Vatican, such as Michelangelo who was painting the ceiling of the Sistine Chapel. Since Michelangelo was in the process of doing this work, Raphael was influenced by Michelangelo’s Sistine Chapel and secretly looked numerous times at the ceiling before it was finished. Later, after Raphael’s death, Michelangelo accused Raphael of plagiarism but though there are similarities there is no proof of this. Raphael’s greatest works at the Vatican City are in the Stanza della Segnatura, the Room of the Signatura, or what is now referred to as the “Raphael Room.” (Raphael - The Complete Works)Even though Raphael’s original commissioner Pope Julius II died, the next successor Medici Pope Leo X, continued to use him until Raphael’s death in 1520.The painting by Raphael, “The Disputation of the Holy Sacrament” played a crucial part in Catholic Church history. This painting is a part of a few stanzas,or rooms, which were being constructed by Pope Nicholas I and were partially decorated by other artists like Piero della Francesca, Andrea del Casagno, and Benedetto Bonfigli. This was until Pope Julius II wanted the frescoes throughout the Vatican in 1508 to be continued. The group of artists that were suggested to him included Perugino, Sodoma, Bramantino, Baldassare Peruzzi, Lorenzo Lotto, Giovanni Ruysch and Michele del Becca. (Rugghianti) The reason this room, where “The Disputation of the Holy Sacrament” is found, was resumed for the reason that Pope Julius did not like looking at his predecessors at every moment so he rejected the suggestions and accepted the artist Raphael, who at the time was the most prominent Florentine painter.
“The Disputation of the Holy Sacrament” was the first scene painted as a fresco by Raphael. The Stanza della Segnatura, is one of four themes covered in the frescoes: Justice, Theology, Philosophy, and Poetry. (Murray) “The Disputation of the Holy Sacrament” is above the entrance doors to the room of Theology. Sometimes this fresco is referred to as “The Dispute of the Blessed Sacrament” while some argue that it should be called “The Triumph of the Church.” (Sanzio) The painting has a curved architecture which creates an ideal arch of triumph, while bringing the attention of the viewer’s eyes towards heaven. While in the direct line of looking upward, the Eucharist, the Holy Spirit, Jesus and God are in a line. Because of this painting’s meaning, some say this painting led to an excitement of revolution through the church (Rugghianti). This fresco is placed on the opposite wall of Raphael’s famous “School of Athens” that was frescoed around the same time.
The Trinity is visibly present in the painting of “The Disputation of the Holy Sacrament.” God the Father is standing above Jesus, who is seated on the royal throne showing the holes in his hands from the cross, while below him is The Holy Spirit. Jesus is in-between Mary, his mother, and John the Baptist, his cousin and forerunner. The Trinity, plus Mary and John, form an axis creating the cross. At the sides of the Trinity is the Triumphal Church which is represented with patriarchs and prophets from the Old Testament, while alternating with martyrs and apostles in the great cloud of witnesses. Some of these people are St. Peter, St. John, St. Paul, Adam, Moses, and David. Surrounding the altar, which contains the Holy Sacrament that is embodying Christ, is the Militant Church, the church on earth that is fighting Satan. (Sanzio) Other prominent religious leaders, called the four fathers of the Latin Church, are seated on the thrones around the altar. These are St. Gregory the Great, St. Jerome, St. Ambrose, and St. Augustine. (Sanzio) The main concept Raphael is trying to convey in the fresco is that the Church embodies not only people on earth but also the people in heaven.
This painting represents “Christian victory over the transformation of the multiple philosophical tendencies shown by the “‘School of Athens.’” Instead of being in a vaulted temple like “The School of Athens” this painting uses bodies to make up the church’s architecture.(Disputation) The Eucharist when consecrated becomes the body of Christ. The Eucharist can be defined as “A sacrament and the central act of worship in many Christian churches, which was instituted at the Last Supper and in which bread and wine are consumed in remembrance of Jesus’ death.” (Eucharist) This can also be called communion. The painting shows the Trinity and the Eucharist together with the people both in heaven and on earth, jointly make up the church. This is because the church is a group of that people whom believe in those essential elements.
The Eucharist and cross both are depicted in “The Disputation of the Holy Sacrament” and are of importance to the Church. Pope Benedict XIV, in 1754 a few centuries after “The Disputation of the Holy Sacrament,” ordered that the Eucharist be displayed on all church altars. This symbol has now become prominent in the church, along with the cross. Crosses are not only in paintings but are now also in churches, carried in processionals, worn around the necks of believers, and used in popular culture to demonstrate religion. (Bell) The sign of the cross is a fundamental Christian gesture. The most common cross gesture is the large cross made from the forehead to the breastbone from shoulder to shoulder. This is usually performed with the fingertips on the right hand or with the thumb and first two fingers symbolizing the Trinity, while the other two fingers symbolize Jesus and the Holy Spirit. (Clarke) There has been some thought that people are idealizing the cross. Claudius, a bishop from the ninth century, said that “Christ ordered [his disciples] to bear the cross, not to adore it. On the other hand others think that if the cross is to be glorified so should other items like the crown of thorns. (Clarke) All in all the Eucharist in “The Disputation of the Holy Sacrament” and the cross are both elements that have risen in importance throughout the church.
Having being a Christian for over a decade, I am familiar with the Trinity. As I walk in my faith and surround myself with Christian role models I have started to understand the idea of the Trinity being three in one. After coming to Rome and being assigned the project of the Trinity, my initial thoughts were that finding depictions of the Trinity was going to be easy. Soon I realized it was not as simple as I expected. But then I learned that the Trinity could be represented with just a hand gesture. For the digital art gallery I found most of the depictions of the Trinity in artworks, specifically paintings. After viewing numerous paintings I became drawn to paintings that were not those which depicted the standard Virgin Mary holding Baby Jesus doing the Trinity sign. This is why I picked to explore more about Raphael’s “The Disputations of The Holy Sacrament.” At first glance I did not comprehend the whole scene’s importance other than it was a significant piece of artwork that was across from “The School of Athens.” By doing research and studying the painting more I have learned about how imperative every aspect is to the meaning of a religious painting.
Raphael, though only living for thirty seven years, painted “The Disputation of the Holy Sacrament” which is still discussed today. Though sometimes this fresco is overlooked, because it is in the same room as the of “The School of Athens”, “The Disputation of the Holy Sacrament” demonstrates the meaning of a church being believers both living and dead while showing important elements of a church. Even though Michelangelo claimed Raphael plagiarized his ideas, Raphael’s Trinitarian painting of “The Disputation of The Holy Sacrament” still shows the purpose of a church through the Eucharist, and the cross.
Bibliography
Bell, Daniel Orth. "New identifications in Raphael's School of Athens." Art Bulletin 77.4 (1995): 638. Academic Search Premier. EBSCO. Web. 24 Nov. 2010.Clarke, Howard W. The Gospel of Matthew and Its Readers: a Historical Introduction to the First
Gospel. Bloomington, IN: Indiana UP, 2003. 148-49. NetLibrary. Web. 16 Nov. 2010. http://www.netlibrary.com.navigator-geneva.passhe.edu/Reader/.
"Disputation over the Most Holy Sacrament." Musei Vaticani - Sito Ufficiale. Web. 16 Nov. 2010. http://mv.vatican.va/3_EN/pages/x-Schede/SDRs/SDRs_03_01_019.html.
"Eucharist: Definition from Answers.com." Answers.com: Wiki Q&A Combined with Free Online Dictionary, Thesaurus, and Encyclopedias. Web. 20 Nov. 2010. http://www.answers.com/topic/eucharist#ixzz15vrRPy6e.
Murray, Peter, and Linda Murray. The Oxford Companion to Christian Art and Architecture. Oxford: New York, 1996. NetLibrary. Web.
Raphael - The Complete Works. 2002. Web. 16 Nov. 2010. http://www.raphaelsanzio.org.
Rugghianti, Carlo L., ed. Vatican Museums Rome. New York: Newsweek, 1968. 110-12. Print.
Sanzio, Raphael. The Disputation of The Holy Sacrament. 1510. Vatican Museum, Vatican City. .
Bibliography for Artwork
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2. "All Nardo Di Cione's Oil Paintings -- Wholesale China Oil Paintings & Picture Frames."Wholesale China Oil Paintings and Wholesale China Picture Frames. Web. 20 Nov. 2010. http://www.wholesale-painting-
frame.com/allwork/Nardo%20di%20Cione.htm.
3. "Assisi Treasure Museum & F.M. Perkins Collection Assisi OnLine ® Treasure Museum & F.M. Perkins Collection Assisi Umbria Italy." Assisi Online ® Assisi Guida Turistica Informazioni Su Hotel E Ristoranti Di Assisi Mappa Della Città Di Assisi Guida Ai Monumenti Di Assisi Umbria. Web. 14 Oct.
4. "Basilica Di San Giorgio Maggiore / St. George's Basilica (Venice) - Renaissance Architecture on Waymarking.com." Www.waymaking.com. 4 Oct. 2009. Web. 20 Nov. 2010.
5. Cunningham, Lawrence, and John J. Reich. Culture and Values: a Survey of the Western Humanities. Fort Worth: Harcourt Brace College, 1998. Print.
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Jarton, Michele. The Basilica of Saint Paul Outside the Walls. Tipografia Vaticana, n.d.
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12. Miller, Malcolm B., Sonia Halliday, and Laura Lushington. Introduction. Chartres Cathedral. New York, NY: Riverside Book, 2004. Print.
13. Minneapolis Institute of Arts. "Guercino (Giovanni Francesco Barbieri) - Restoring a Masterwork II: Guercino's Erminia and the Shepherds." www.artsmia.org. 2004. Web. 14 Nov. 2010. http://minnesota.institute.art.museum/restoration-online/guercino/the-artist.cfm.
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Studies | Bible.org - Worlds Largest Bible Study Site. Web. 04 Nov. 2010. http://bible.org/article/trinity-triunity-god.
15. "Trinity with Three Members of the Datini Family." Musei Capitolini. Comune di Roma, 2006. Web. 18 Oct 2010. <http://en.museicapitolini.org
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17. "The Raphael Rooms." Ticket Museum Reservation. Web. 11 Nov. 2010. http://www.virtual-vatican-museums.com/the-raphael-raffaello-rooms.phtml.
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21 Nov 2010. <http://www.salvadordalimuseum.org/history/biography.html
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20. Szabo, Lynda. "Florence." Rome. 11 Oct 2010. Lecture.
21. "Villa Ilissia." The Byzantine and Christian Museum. Ministry of Culture and Tourism, 2010. Web. 28 Nov 2010. <http://www.byzantinemuseum.gr/en/museum/villa_ilissia
22."The Virgin and Child ." The National Gallery. The National Gallery in London, 2010. Web. 20 Nov 2010. http://nationalgallery.org.uk/paintings/italian-umbrian-the-virgin-and-child.
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2. "All Nardo Di Cione's Oil Paintings -- Wholesale China Oil Paintings & Picture Frames."Wholesale China Oil Paintings and Wholesale China Picture Frames. Web. 20 Nov. 2010. http://www.wholesale-painting-
frame.com/allwork/Nardo%20di%20Cione.htm.
3. "Assisi Treasure Museum & F.M. Perkins Collection Assisi OnLine ® Treasure Museum & F.M. Perkins Collection Assisi Umbria Italy." Assisi Online ® Assisi Guida Turistica Informazioni Su Hotel E Ristoranti Di Assisi Mappa Della Città Di Assisi Guida Ai Monumenti Di Assisi Umbria. Web. 14 Oct.
4. "Basilica Di San Giorgio Maggiore / St. George's Basilica (Venice) - Renaissance Architecture on Waymarking.com." Www.waymaking.com. 4 Oct. 2009. Web. 20 Nov. 2010.
5. Cunningham, Lawrence, and John J. Reich. Culture and Values: a Survey of the Western Humanities. Fort Worth: Harcourt Brace College, 1998. Print.
6. Dalli, Regoli Gigetta. Vatican Museums: Rome. New York: Newsweek, 1968. Print.
7. "Dogmatic Sarcophagus : Define, Explore, Discuss." 1000s of Museums Online : MuseumStuff.com. Web. 04 Nov. 2010. http://www.museumstuff.com/learn/topics/Dogmatic_Sarcophagus.
8. "Fra Filippo Lippi." Fra Filippo Lippi - The Complete Works. Web. 11 Nov. 2010
Jarton, Michele. The Basilica of Saint Paul Outside the Walls. Tipografia Vaticana, n.d.
9. Jarton, Michele. The Basilica of Saint Paul Outside the Walls. Tipografia Vaticana, n.d.
10. "Masaccio's Holy Trinity." Www.smarthistory.org. Web. 14 Oct. 2010.
11. "Meliore Di Jacopo Biography • Virtual Uffizi Gallery." Uffizi Tickets Reservations • Uffizi Gallery, Florence Italy. Web. 6 Nov. 2010. http://www.virtualuffizi.com/biography/Meliore%20di%20Jacopo.htm.
12. Miller, Malcolm B., Sonia Halliday, and Laura Lushington. Introduction. Chartres Cathedral. New York, NY: Riverside Book, 2004. Print.
13. Minneapolis Institute of Arts. "Guercino (Giovanni Francesco Barbieri) - Restoring a Masterwork II: Guercino's Erminia and the Shepherds." www.artsmia.org. 2004. Web. 14 Nov. 2010. http://minnesota.institute.art.museum/restoration-online/guercino/the-artist.cfm.
14. "The Trinity (Triunity) of God | Bible.org - Worlds Largest Bible Study Site." Free NET Bible and Thousands of Bible
Studies | Bible.org - Worlds Largest Bible Study Site. Web. 04 Nov. 2010. http://bible.org/article/trinity-triunity-god.
15. "Trinity with Three Members of the Datini Family." Musei Capitolini. Comune di Roma, 2006. Web. 18 Oct 2010. <http://en.museicapitolini.org
16. "The Pistoia Santa Trinita Altarpiece ." The National Gallery. The National Gallery in London, 2010. Web. 20 Nov 2010. http://www.nationalgallery.org.uk/paintings/francesco-pesellino-and-fra-filippo-lippi-and-workshop-the-pistoia-santa-trinita-altarpiece.
17. "The Raphael Rooms." Ticket Museum Reservation. Web. 11 Nov. 2010. http://www.virtual-vatican-museums.com/the-raphael-raffaello-rooms.phtml.
18. "Salvador Felipe Jacinto Dali I Domenech." The Dali Museum. Salvador Dali Museum, Inc, 2010. Web.
21 Nov 2010. <http://www.salvadordalimuseum.org/history/biography.html
19. Sortais, Gaston. "Andrea del Verrocchio." The Catholic Encyclopedia. Vol. 15. New York: Robert Appleton Company, 1912.29 Nov. 2010 http://www.newadvent.org/cathen/15364d.htm.
20. Szabo, Lynda. "Florence." Rome. 11 Oct 2010. Lecture.
21. "Villa Ilissia." The Byzantine and Christian Museum. Ministry of Culture and Tourism, 2010. Web. 28 Nov 2010. <http://www.byzantinemuseum.gr/en/museum/villa_ilissia
22."The Virgin and Child ." The National Gallery. The National Gallery in London, 2010. Web. 20 Nov 2010. http://nationalgallery.org.uk/paintings/italian-umbrian-the-virgin-and-child.
23. WebstersDictionary.com. Web. 05 Nov. 2010. http://www.webstersdictionary.com/
Sunday, November 28, 2010
Icon Depiction of Heavenly Liturgy
Name of Artist: Ioannis
Exact Location: The Byzantine and Christian Museum, Athens, Greece
Medium: Oil on Panel
Dimensions: Unknown
The Byzantine and Christian Museum in Athens, Greece is a beautiful building and the history of its construction is just as beautiful. The main building, Villa Ilissia, was the former residence of the Duchess of Plaisance, Sophie de Marbois-Lebrun. She ordered that this building be constructed not long after the decision to make Athens the capital of Greece to be used as her winter home.
The placement of this building is significant to the Duchess’s interest in politics. The complex is only blocks away from the royal palace, which is now the parliament building, and at the time it was located near the bank of the River Ilissos, which is now covered. Considering this placement, the Duchess was able to use her estate as a means of influencing the politics of the time. After the Duchess’s death in 1854 the building was given to the Greek state and used for a variety of things until 1926 when it was dedicated to be used as the home to the Byzantine and Christian Museum.
Icon with the Holy Trinity
Name of Artist: Thomas Bathas
Exact Location: The Byzantine and Christian Museum, Athens, Greece
Medium: Oil on Panel
Dimensions: Unknown
This painting is unique compared to most of the other paintings in this gallery. While all of these pieces of art represent the Trinity in some form or another, this painting depicts both the Father and Son in human form while also including the Holy Spirit as a dove. This is interesting because typically the Father is represented by hands or a ray of light. Furthermore, the fact that the two figures representing God and Jesus are seated next to each other provide a sense that they are in heaven as Scripture says that Jesus is seated at the right hand of God. By depicting all three parts of the Trinity in such a manner helps to provide a greater understanding of this unity that is often otherwise confusing.
Tuesday, November 23, 2010
Chartres Cathedral, The South Rose Window and Lancet
Title and Date of Work: Chartres Cathedral, The South Rose Window and Lancet, 1225
Name of Artist: Various Masons but donated by Mauclerc family
Exact Location: Chartres, France
Medium: Plain or Grisaille glass
Dimensions: 10.5 meters in Diameter
Chartres Cathedral is one of the best examples of French High Gothic style. The current Cathedral is the fifth to be on this site since the fourth century. What makes this Cathedral important is its state of preservation. It has the most original stain glass windows in any Cathedral in the world from about the thirteenth century and most are still intact even after World War Two. Each of the windows tells a different story. Famous historian Malcolm Miller says, “Just like a library one cannot read all the books in one day, therefore Chartres should be the same. No one can read all the stain glass windows in one day.”
The Trinity is apparent in the famous South Rose Window. In this window it contains Christ, who is surrounded by adoring angels, two outer rings of twelve circles each contain the 24 Elders of the Apocalypse who are carrying musical instruments. The central lancet beneath the Rose shows the Virgin carrying the infant Christ. Then there are four lancets showing the four evangelists sitting on the shoulders of four Prophets. Chartres is also knows for its flying buttresses, having over 4,000 sculptures and the relic of Virgin Mary’s tunic worn during Jesus’ birth.
Sunday, November 21, 2010
L'Annuncio
Title and Date of Work: L’Annuncio, 1960
Name of Artist: Salvador Dali
Exact Location: The Vatican Museum, Vatican City
Medium: Oil on Canvas
Dimensions: 54 by 59cm
Salvador Dali is known for his surrealist paintings that often seem to make no sense. Considering this background, the fact that he would paint a work like this one is quite unique but it shows the variety of Trinity paintings that exist today. It is this surrealist painting that shows that the Trinity truly does defy the bounds of time.
Dali was born in Figueres, Spain. As a child he was encouraged to pursue his artistic skills and passions and even attended the San Fernando Academy of Fine Arts in Madrid. In 1925 he was recognized for his incredible talent as he gave a “one-man show” in Barcelona. His success continued to increase and it didn’t take long for him to be an internationally known artist. While doing a show in Paris he met his future lover and her husband. They continued their romance for years as she eventually became his wife. During WWII the couple escaped to the United States. The Museum of Modern Art in New York City put one of his pieces of art on display in 1941. The years following only proved to be more successful for Dali and added to his renown progress within the surrealist movement.
The Pistoia Santa Trinita Altarpiece
Title and Date of Work: The Pistoia Santa Trinita Alterpiece, 1455-60
Name of Artist: Francesco Pesellino (completed by Fra Filippo Lippi and workshop)
Exact Location: The National Gallery, London
Medium: Egg Tempera and Oil on Panel
Dimensions: 184 by 181.5cm
This altarpiece was commissioned in 1455 by a group of priests by the name of the Company of Priests of the Trinity in Pistoia, Italy. The painting was originally started by Francesco Pesellino, but he died before finishing this work, so his teacher Fra Filippo Lippi and other artists in his workshop. This was a common practice during the time of apprentices.
Before he could finish the frescoes titled, Storie della Vergine, Fra Lippi died. It was the job of his son, Filippino Lippi to finish these frescoes. Filippino also designed the funeral monument for his father, which was actually commissioned by Lorenzo de Medici. The monument was actually completed years later by an unknown Florentine sculptor.
Saturday, November 20, 2010
San Giorgio dei Greci
Name of Artist: Andrea Palladio
Exact Location: Saint George's Anglican Church, Venice
Medium: Brass and Copper
Dimensions: Unknown
Basilica di San Giorgio Maggiore is located on the little island of San Giorgio Maggiore. The basilica is one of the masterpieces of Andrea Palladio, the great italian Renaissance architect from nearby Vicenza.
Andrea Palladio was commissioned to build San Giorgio, and it was completed in 1610. Palladio designed two interlocking facades, with repeating triangles, rectangles, and columns that are carefully and harmoniously proportioned.
Founded as early as the 10th century, the interior of the church was reinterpreted by Palladio with whitewashed surfaces, stark, and unadorned but harmonious space. The main altar is flanked by two epic paintings by an elderly Tintoretto, The Fall of Manna, to the left, and the more noteworthy Last Supper, to the right, famous for its chiaroscuro.
The Trinity and Saint Romuald and Saint John the Evangelist
Title and Date of Work: The Trinity and Saint Romuald and Saint John the Evangelist (1346-1365)
Name of Artist: Nardo di Cione
Exact Location: Accademia Gallery, Florence, Italy
Medium: Tempera on Panel
Dimensions: 119in. by 83 in.
Nardo di Cione was an Italian, Byzantine style Painter. He was also a sculptor and an architect. He was born in Florence and worked there throughout his life. Nardo had two brothers who were considered to be more accomplished than he. His brothers were Andrea and Jacopo. His brothers were important members of the painters guild in Florence. Even though Nardo's brothers are noted as being more accomplished artists than he, Nardo is known for developing his own unique style. His style was described as a pronounced lyrical vein, a feeling for poetic values, strong human sympathies and great sensitivity to color as a means of subtle differentiation and soft modeling. Nardo is known for painting the frescoes of "The Last Judgement" and "Paradise and Hell" in the Cappella Strozzi in the Santa Maria Novella.
Tuesday, November 16, 2010
The Virgin and Child
Name of Artist: Unknown, part of Umbrian Diptych
Exact Location: The National Gallery, London
Medium: Egg Tempera on Wood
Dimensions: 32.4cm by 22.8cm
A diptych is “a picture or series of pictures painted on or carved on two hinged tablets ” according to Merriam-Webster’s Dictionary. This describes this painting because it actually a part of a diptych. The corresponding painting is called The Man of Sorrows. The combination of these two paintings, meaning the idea being represented, is a common feature of Italian art throughout the ages and this diptych is one of the earliest surviving examples of this famous combination. The two pieces of this diptych were actually separated until the early 1900s. They are now located in the National Gallery in London, together.
Monday, November 15, 2010
Madonna and Child and Two Angels
Title and Date of Work: Madonna and Child and Two Angels
Name of Artist: The Master of San Luccese
Exact Location: Accedemia Gallery; Florence, Italy
Medium: Gold Ground Panels
Dimensions: 65.4cm by 26.1 cm
In the center of this work we see the Madonna and Child enthroned with twelve Saints, and God the Father above. To the left we see the Adoration of the Magi with the angel of the annunciation above. To the right we see the crucifixion with the virgin annunciate above. This Trinitarian work is particularly interesting because it combines two different, but similar, symbols of the Trinity. In the very top of the center panel there is a triangle and a typical sign of the Trinity, a rounded shape with three parts, merged together into one.
Sunday, November 14, 2010
Baptism of Christ
Title and Date of Work: Baptism of Christ (1481-1482)
Name of Artist: Pietro Vannucci (better known as Perugino)
Exact Locaton: Sistine Chapel, Holy Vatican
Medium: Fresco
Dimensions: 11 feet, 2 inches by 17 feet, 9 inches
This painting is the first fresco seen from left to right on the northern wall in the Sistine Chapel. Pietro Perugino worked with Bernardino Di Betto on this fresco, and the latter is believed to have executed the landscape. If you look closely at the fresco, you can see that there are two scenes being depicted. On the right is a scene of John the Baptist preaching and on the left is the circumcision of Moses's son. The reason this painting is considered Trinitarian is because it contains the three elements that make up the Trinity: the Father, the Son, and the Holy Spirit.
The Baptism of Christ
Title and Date of Work: The Baptism of Christ, 1472-1475
Name of Artist: Andrea del Verrocchio
Exact Location: Uffizi, Florence
Medium: Oil on Wood
Dimensions: 70 inches by 59 inches
This painting is usually ascribed to Verrocchio and his pupil Leonardo da Vinci. The painting depicts Jesus being baptized by John the Baptist and the angels on the left are believed to have been done by da Vinci. This painting is considered a Trinitarian painting because it contains, Jesus, the Father is the hand up above, and the Holy Spirit is in the form of a dove.
Virgin and Child with Four Saints (Saint Geminiano, Saint John the Baptist, Saint George, and Saint Peter the Martyr)
Title and Date of Work: Virgin and Child with Four Saints (Saint Geminiano, Saint John
the Baptist, Saint George, and Saint Peter the Martyr), 1651
Name of Artist: Giovanni Francesco Barbieri, known as Guercino
Exact Location: The Louvre Museum, Paris
Medium: Oil on Canvas
Dimensions: 3.32m by 2.30m
Giovanni Francesco Barbieri was known as "Guercino," or "Squinter." He was born in the Northern Italian province of Emilia. He received his early training in Bologna at the Carracci Academy. He eventually forged his own style of art by combining Bolognese naturalism, Roman classicism, and Venetian colorism. During the years 1621-1823 he worked in Rome for Pope Gregor XV. While in Rome, Guercino completed many commissions. After Pope Gregory XV died, Guercino returned to Emilia. In 1642 he moved to Bologna, where he became the leader of the Bolognese school.
Thursday, November 11, 2010
Room of the Fire of Borgo
Title and Date of Work: Room of the Fire of Borgo (1514-1517)
Name of Artist: Raphael and his students
Exact Location: Sistine Chapel, Holy Vatican
Medium: Series of Frescoes
Dimensions: Unknown
The ‘Room of the Fire of Borgo’, was used by Pope Julius II for meetings of the tribunal the ‘Segnature Gratiae et Iustitiae’. During the time of Leone X, this room was used as a dining room and initially the task of painting the walls was given to Raffaello, but it fell to his apprentices. The frescoes show the ‘Coronation of Charles the Great’, the ‘Pledge of Leone III’, the ‘Battle of Ostia’ and the ‘Fire of Borgo’ in 847 A.D in the district near San Pietro that miraculously stopped after a solemn blessing given by the Pope. This fresco depicts the Virgin Mary in the middle, Jesus on the left and God the Father on the right of her. Above Mary's head is the dove representing the Holy Spirit. Many paintings have the father above Jesus and usually never in human form, let alone on equal level with Mary.
Saturday, November 6, 2010
Adoration of the Magi
Title and Date of Work: Adoration of the Magi, 1421-22
Name of Artist: Lorenzo Monaco
Exact Location: Uffizi Gallery, Florence
Medium: Tempera on Panel
Dimensions: 56.75 inches by 69.75 inches
He was born Piero di Giovanni but he later changed his name to Lorenzo Monaco when he joined the Camaldolese monastery of Sainta Maria degli Angeli in Florence (he later left the monastery before making a commitment). His early works show a Sienese influence, evidenced in his use of line and delicate rendering of texture. His Adoration of the Magi reflects the international Gothic style, with its elongated figures and rich colors.
Christ the Redeemer and Four Saints
Title and Date of Work: Christ the Redeemer and Four Saints, 1271
Name of Artist: Meliore di Jacopo
Exact Location: Uffizi Gallery, Florence
Medium: Tempera on Panel
Dimensions: 85cm by 210cm
This piece by Meliore di Jacopo during the 13th century is one of his only works of art. This may even be his only work. There is very little known about Meliore, it is not even known for sure who he really was. The signature on the work simply reads "Melior." The artist has been identified as Meliore dipintore, populi Sancti Jacobi tra le fosse. This is translated as Meliore the painter, of the parish of Saint Jacob between the ditches. This Meliore was also documented as being enlisted in the battle of Montaperti in 1260.
Adoration of the Child with Saints
Title and Date of work: Adoration of the Child with Saints, 1463
Name of Artsist: Filippo Lippi
Exact Location: Uffizi Gallery, Florence
Medium: Tempera on Panel
Dimensions: 51.18 inches by 55.12 inches
Lippi was born in 1406 and became an orphan at a very young age. After his parents died, he was raised by his aunt, and then entered the order of the Carmelite Friars of Florence. Lippi's earliest works as a painter are found in Prato where he painted frescoes of John the Baptist and Saint Stephen for the main cathedral. Cosimo de' Medici was a very important patron for Lippi. Lippi was also the teacher of Sandro Botticelli.
Wednesday, November 3, 2010
Disputation of the Holy Sacrament
Title and Date of Work: Disputation of the Holy Sacrament 1509-1510
Name of Artist: Raffaello Sanzio da Urbino 1483-1520
Exact Location: Raffaello Rooms Vatican Museum, Vatican City
Medium: Fresco
Dimensions: 500cm by 770cm
This painting is in the Stanza della Segnatura room, also known as the Room of the Signature, in the Vatican Museum. The Disputation of the Holy Sacrament was the first artwork to be finished in the library of Julius II. Raphael wanted to not only reflect the Pope’s library with themes of philosophy, theology and poetic arts but also to bring harmony between Antiquity and Christianity.
The Disputation of the Holy Sacrament’s traditional name was the Adoration of the Sacrament in which this painting created an image of the church presented on heaven and on earth. The other three important paintings in this room are the famous The School of Athens, The Parnassus, and The Cardinal Virtues.
Name of Artist: Raffaello Sanzio da Urbino 1483-1520
Exact Location: Raffaello Rooms Vatican Museum, Vatican City
Medium: Fresco
Dimensions: 500cm by 770cm
This painting is in the Stanza della Segnatura room, also known as the Room of the Signature, in the Vatican Museum. The Disputation of the Holy Sacrament was the first artwork to be finished in the library of Julius II. Raphael wanted to not only reflect the Pope’s library with themes of philosophy, theology and poetic arts but also to bring harmony between Antiquity and Christianity.
The Disputation of the Holy Sacrament’s traditional name was the Adoration of the Sacrament in which this painting created an image of the church presented on heaven and on earth. The other three important paintings in this room are the famous The School of Athens, The Parnassus, and The Cardinal Virtues.
Allegory of the Trinity
Title and Date of Work: Allegory of the Trinity 1562
Name of Artist: Frans Floris 1517-1570
Exact Location: The Louvre Paris, France
Medium: Oil on Panel
Dimensions : 1.65m by 2.3m
This painting has a complex message not only about the trinity. The trinity forms a vertical axis in the center of the painting from God the father, The Holy Spirit and Jesus intermixed with people surrounding the trinity are quotations from the John and Matthew in the Bible. Toward the front of the painting John the Baptist invites the viewer into the painting by pointing out Christ while holding on his scroll that says, “Behold the Lamb of God.”
The hen is on the right of the painting which is strategically placed on the same axis as the trinity. The hen stands for Christ’s role in gathering and protecting the faithful. In the painting Christ appears in the landscape on the left. He is walking toward the city while carrying writing that refers to the hen. In the opposite direction it is dark which represents the road followed by the unfaithful. Not only does this painting have the trinity which is the main focus in this painting but it alludes to symbols that bring out more meanings the viewer.
Name of Artist: Frans Floris 1517-1570
Exact Location: The Louvre Paris, France
Medium: Oil on Panel
Dimensions : 1.65m by 2.3m
This painting has a complex message not only about the trinity. The trinity forms a vertical axis in the center of the painting from God the father, The Holy Spirit and Jesus intermixed with people surrounding the trinity are quotations from the John and Matthew in the Bible. Toward the front of the painting John the Baptist invites the viewer into the painting by pointing out Christ while holding on his scroll that says, “Behold the Lamb of God.”
The hen is on the right of the painting which is strategically placed on the same axis as the trinity. The hen stands for Christ’s role in gathering and protecting the faithful. In the painting Christ appears in the landscape on the left. He is walking toward the city while carrying writing that refers to the hen. In the opposite direction it is dark which represents the road followed by the unfaithful. Not only does this painting have the trinity which is the main focus in this painting but it alludes to symbols that bring out more meanings the viewer.
Dogmatic Sarcophagus
Title and Date of Work: Dogmatic Sarcophagus 320-350 A.D
Name of Artist: Unknown
Exact Location: Vatican Museum #104, Vatican
Medium: Marble
Dimensions: Large
Also known as the Trinity Sarcophagus, this is an example of early Christians sarcophagus. This was only discovered in the 19th century during the rebuilding of the Basilica di San Paolo Fuori le Mura. This sarcophagus is one of two important examples of Christian Roman sculptures of the Constantine Era. Its name comes from the references to the Dogmas of the Council of Nicea in the 4th century.
This is a double register sarcophagus, a style that was popular during the 4th century. This sarcophagus is decorated with a series of spiritual scenes. The top register depicts two books from Genesis and two miracles of Jesus. The bottom register which has six scenes shows the birth of Jesus, two about the Bible, and three for St. Peter. On the top left corner sarcophagus God the Father is depicted with two other men looking quite similar representing the Trinity. These three figures are involved in the creation of Adam and Eve. The middle figure, being God the Father, is creating Eve from the rib of Adam. This is the earliest depiction of the Trinity.
Name of Artist: Unknown
Exact Location: Vatican Museum #104, Vatican
Medium: Marble
Dimensions: Large
Also known as the Trinity Sarcophagus, this is an example of early Christians sarcophagus. This was only discovered in the 19th century during the rebuilding of the Basilica di San Paolo Fuori le Mura. This sarcophagus is one of two important examples of Christian Roman sculptures of the Constantine Era. Its name comes from the references to the Dogmas of the Council of Nicea in the 4th century.
This is a double register sarcophagus, a style that was popular during the 4th century. This sarcophagus is decorated with a series of spiritual scenes. The top register depicts two books from Genesis and two miracles of Jesus. The bottom register which has six scenes shows the birth of Jesus, two about the Bible, and three for St. Peter. On the top left corner sarcophagus God the Father is depicted with two other men looking quite similar representing the Trinity. These three figures are involved in the creation of Adam and Eve. The middle figure, being God the Father, is creating Eve from the rib of Adam. This is the earliest depiction of the Trinity.
La Pala dell’Altare
Title and Date of Work: La Pala dell’Altare 1510
Name of Artist: Tavola di B Fugual
Exact Location: Santuario Casa di Saint Catherina Siena, Italy
Medium: Oil and Gold
Dimensions : Unknown (but very large, located behind the altar)
The Trinity is defined from Webster’s dictionary as, “the union of three divine persons, the Father, Son, and Holy Spirit, in one divinity, so that all the three are one God as to substance, but three Persons (as to individuality)." The word trinity can be broken down to the word tri which means three while nity means unity. Some argue that triunity is a better term than trinity because it better expresses the idea of three in one therefore God is three in one. Some synonyms that are generally used for trinity are tri-unity, trine, triality.
This picture represents the Trinity because God the father is at the top of the painting pointing to the scene below. The scene below depicts Jesus (the son) dying on the cross. The final part of the Trinity is the dove which represents the Holy Spirit in between Jesus and the Father.
Monday, October 18, 2010
The Trinity, the Virgin and the Saints
Title and Date of Work: The Trinity, the Virgin and the Saints, 1500-1510
Name of Artist: Luca Signorelli
Exact Location: Uffizi Gallery, Florence
Medium: Tempera on Wood
Dimensions: 272cm by 180cm
This work was originally located in the Confraternità della Trinità dei Pellegrini in Cortona. The placement of this work in the Uffizi did not occur until 1919, nearly four centuries after its creation. The Uffizi Gallery is one of the main museums in Florence. Its significance comes from its connection to the Medici family.
The Medici family was once one of the most powerful families in Florence and therefore one of the most wealthy. It is known for its banking system. This family was known for its political clout and power. Due to its vast resources and connections, the Medici were able to build a ‘kingdom’ that is still recognized for being a great example of economic prosperity and success. Their ability to establish a system of banking allowed the Medici family to truly prosper in a variety of ways. As a result of their seemingly infinite wealth, this family acquired many works of art. Thanks to this family much art was preserved despite the “Burning of the Vanities” promoted by Savonarola in 1497. The Medici family had a large role in the preserving and honoring of the arts and due to that this painting, like many others, is still available today.
The Trinity: Capitoline Museum
Name of Artist: Niccolo di Pietro Gerini
Exact Location: Capitoline Museum, previously in Florence
Medium: Tempera on Panel
Dimensions: 217 cm by 89 cm
This painting was commissioned to Niccolo di Pietro Gerini by Francesco Datini. Within the painting the faces of three members of the Datini family are present- Francesco, his wife Margherita, and his adopted daughter Ginevra. The importance of the patron is seen in the placement of this family within this work. Clearly the painter wanted to recognize his patrons showing his appreciation for them, but also it demonstrates the power of the patron over the painter.
The symbolism within the painting is very clear. The depiction of God the Father, the Holy Spirit, and Jesus are relatively traditional. What is remarkable is the fact that God the Father seems to be holding up the cross upon Jesus is crucified. This demonstrates the loving relationship between God the Father and His Son. The placement of the Holy Spirit further represents the full presence of God throughout the whole event.
Sunday, October 17, 2010
Holy Trinity
Name of Artist: Masaccio
Exact Location: Santa Maria Novella, Florence
Medium: Fresco
Dimensions: 21 feet by 10 feet, 5 inches
Masaccio's fresco is simple but at the same time conveying the necessary details. If you look up at the ceiling, you can see the small squares, which are called coffers, the Corinthian and Iconic columns and capitals. For those who do not know what capitals are, they are the decorated top of a column or pilaster. Iconic columns has a scroll shape whereas the Corinthian columns have a leafy shape. He also used receding lines to draw the audience's attention to certain things. Our attention is instantly drawn to God the Father and slowly moves down to the base of the cross, there the lines disappear. This gives the viewers the impression that they are looking up at Christ.
The audience can also see the humanism in Masaccio's fresco by looking at his portrayal of God the Father. Many Renaissance artists usually painted God the Father as a hand but here, Masaccio has given the Father a body, with details that include toenails. We can see from the painting that the Father is holding up Jesus, which many artists had never done before. Some scholars contribute this to Masaccio's teacher, Brunellschi.
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