The Expedition

After an extensive study into ancient art that spans centuries, the Archeological Society of Geneva College has found multiple depictions of miracles in the Bible. These miracles may be classified simply as supernatural acts of God in the Bible; therefore they are not limited solely to those done by Jesus and the apostles in the New Testament. The works of art that have been found use mediums ranging from 4^th century frescos in dark catacombs to elaborate gold mosaics of the Byzantine Era and beyond. This study has taken into account the many different portrayals of miracles in art throughout the ages; the reasons behind the artist’s hand, the message being portrayed, and the many different mediums used.  

Art has changed exponentially throughout the generations and this is almost entirely due to the changing culture of the time. As empires rise and fall, as new religions come and old religions go, and as the religions that are present change as the culture around them changes, so also does the art of the period. During ancient Greece and Ancient Roman times the art was primarily of the gods of the era. Many frescos were abstract; the figures in them would be portrayed as if they were not taking up space so as to show the relationship with the divine. As Christianity began to take a public form in the Roman Empire, due to Constantine, the art changed to portray many Biblical characters and stories. “They [Ancient Greek artists] created the means to communicate the ideals of Christianity as it changed and became more public. These anonymous artists, at once conventional and innovative, helped effect a transition from the ancient to the medieval world” (Art Past Art Present, 155).

This brings us to the portrayal of Biblical miracles in the Bible; however, this is not to say that before this time miracles were not portrayed in art. As we will see in many of the individual blogs, there were many frescos made before Christianity became legal. However, after the acceptance of Christianity and the start of the Catholic Church the portrayal of miracles in art began to multiply. Even after Christian art became more prominent the style of the art still changed over the years. The figure of Jesus progressed from being the Good Shepard to the powerful ruler, and eventually it became more common for the characters to have physical presence in the fresco or mosaic instead of being abstract.

According the Council of Trent the portrayal of miracles, especially in the church or in the catacombs was a way of bringing those who saw them closer to God and salvation during their time of worship. “The Mysteries of our Redemption, portrayed by paintings or other representations,” are to keep revolving in the minds of the people, “but also because the miracles which God has performed by means of the saints , and their salutary examples, are set before the eyes of the faithful; that so they may give God thanks for those things; may order their own lives and manners in imitation of the saints; and may be excited to adore and love God, and to cultivate piety” (Council of Trent, 84). They did not want art to be used as anything to be worshiped, as some used to do, but rather as a tool to create a mindset of adoration, love and piety for God.

In addition to bringing the viewer closer in their relationship with Christ, the art was also used as a way or showing the miraculous stories of the Bible to those common people who were illiterate. The continuous narrative is a perfect example of how this could happen. In The Sacrifice of Isaac, found on the Gates of Paradise, it shows the different progressions of the story in the different portions of the panel. With this any onlooker would be able to “read” the story as it unfolded on the door.

Throughout this blog our archeologists will explain the many pieces of art they have uncovered and the meanings and history behind them. They will discuss how the art has changed; the meaning of the art, their own personal responses and in some cases the history of the artist himself. These pieces of art are found all over Rome, Florence and Venice, Italy and there are also some from as far north as Paris, France. It has been a great adventure and truly a growing experience as we have drawn closer to the study of ancient art and its meanings.

Bibliography

Rome Reader. Council of Trent. Geneva College. 2010-2011. Published by Geneva College.

Wilkins, David, Schultz, Bernard, Linduff, Katheryn. Art Past Art Present. Sixth Edition. Laurence King Publishing. London. 2009. 

Meet the Team

Dr. Collett - Art Director & Aristotle Hippie

Dr. Glick - Respectable Business Man & Trained Assassin

AKA: The Most Serene Purveyor of Darkness

Dr. Palmer - Teacher & Adventure Guide 

Our very own: Animal Translator

Dr. Regalado - Historian & Culinary Extraordinaire

Boils up a Hardy Tree Bark Stew :)

Dr. Reiner - Journalist Director & Yoga Instructor

Recently Discovered Photos of the Team’s Expedition – Before Their Disappearance

Christ in the Storm on the Sea of Galilee

Date: 1914

Artist: Giorgio de Chirico

Location: Paris, France

Style: Metaphysical Art

Genre: Religious Painting

Size: 398 × 450

This modern piece of art is one of my favorites in the modern art section of the Vatican Museum. It was painted by Giorgio Chirico in 1914. Chirico was most known for his modern surrealist paintings. This is oil on wood and is located in the Modern Religious art section of the Vatican Museum. In this description of the painting I will share my interpretation of the meaning of this painting. It is my belief, that through the use of colors and changes in the brush strokes, that the artist is trying to change the viewers emotions and create an experience from this depiction of a religious story.

There are many themes present within this painting that help draw out the drama and meaning of the painting. The beautiful thing about modern art is that it is painted in a way that shows the intensity of the emotions and places things from the perspective from the painter. It is how the painter views it brings life to the painting, without their understanding of humanity the painting is not as impactful. The painter allows the viewer to fill in their emotions by leaving it open to interpretation.

Within this painting there is a large contrast between bright colors and dark colors which associates with the mood of the characters in the painting. Christ is located in the foreground of the painting and is brightly clothed in orange.  His mandola is the lightest object in the painting, pointing to the holiness and calmness of Christ. The strokes of the paintings are more fluid and connected, while the strokes elsewhere are more haphazard. Christ is to be the figure in the painting that represents the divine and shows the calmness of God on Earth. While Christ is wearing a bright color, the disciples are wearing more muted clothing. The brush strokes that are used on their clothes are also shorter than those used to paint Christ. It is my interpretation that the muteness of the disciples clothing is to show their fear and lack of faith in the power of the Lord. In scripture Christ tells his disciples that they have little faith in the one that controls and created the seas.

There is movement to the right within the painting which I believe symbolizes the son of man and his position at the right hand of God. The flowing of the waves and foam push the eyes in this direction and the disciples are leaning to the right side which also brings to eye to this position. The counter movement within this painting is the disciples’ arms that are pointing out the storm to Christ who lays asleep. This counter movement represents the doubt within the disciples’ heart. It shows their lack of faith in Christ. Men understand fear and they revel in it, their arms reaching towards the storm show their desire for fear. In our minds we feel that if we fear something we are in control, but scripture tells us that we are not to fear and to put trust in the Lord. This painting depicts the desire to lean on the Lord, but to reach for something that we can comprehend and hold onto.

The final in the painting is the storm. This is the part of the painting that stumped me. It is not light but it is also not dark. It holds elements of calmness and elements of chaos, but it also seems to hold an interesting meaning. The sea during Christ’s time was a scary place in which many men would not travel for fear of losing their way or falling into evil. The sea was a representation of evil, fear and the unknown. I think what the painter is trying to explain here is that God is present everywhere and the light will be shown in dark places, but there is still darkness because as humans we have not hit the point of understanding the light and beauty of God.  That is why the disciples are reaching towards the sea, it is something that they can fear and give power too. They do not realize that the one sitting in the boat holds more power than the sea.

This painting is one that holds many interpretations and Biblical truths within the painting. This is my interpretation and now as a viewer it is your duty to evaluate and look at this painting. What does the painting mean to you? How does it affect you? What emotion do you feel when you look at it? What could certain parts of the painting mean? While this can seem cumbersome it creates a different response to the painting. For myself I am not a huge modern art fan, but this painting draws a sorrow for our human desire for control and fear, while it reminds me that I am to listen to my urge to move towards Christ in faith. This interpretation is mine. Now what is yours?

Bibliography:

"Christ and the Storm - Giorgio De Chirico - WikiPaintings.org." WikiPaintings.org - the Encyclopedia of Painting. Web. 05 Dec. 2011. <http://www.wikipaintings.org/en/giorgio-de-chirico/christ-and-the-storm-1914>.

"De Chirico Giorgio: Biography." Italica - Il Sito Dedicato Alla Lingua E Alla Cultura Italiana Di Rai International. Web. 05 Dec. 2011. <http://www.italica.rai.it/eng/principal/topics/bio/dechirico.htm>.

Who is Dr. Glick?

My name is Caleb Glick and I am all business, meaning that I am a business major, certainly not that I am serious all the time, as demonstrated by my photographs. I am a Businessman and occasionally a Samaria Assassin for our clan of talented Doctors. I am scraping by hoping one day to exhibit my love for cooking by opening my own restaurant. And yet I have other loves that compete for my attention and career interests, such as music. Traveling throughout Europe with this group of archeologists has exposed me to a whole new world. Whether I pursue a career in international business, restaurant management, or the lofty field of stage performance, I trust that God will lead me down the right path for my life and that God will use me to further the Kingdom in mighty ways. 

Dr. Regalado's Profile

My name is Dr. Kathryn Regalado and I am a Dr of history and have spent the last three months searching for paintings that show the miracles within the Church all throughout Italy. I am the historian of our group of writers. I have my degree in European studies with an emphasis on the Ancient Roman history. While the pieces of art mentioned on my page are not all ancient art they show the importance of looking throughout the ages at the depictions that we as humans have shown. I believe that it is extremely important that we know where we have come from as humans and the easiest way to see the progression of our history is through art. The importance of history is seen in how we develop through the ages and without art and literature we would not have an accurate understanding of our humanity. As a historian it is important to look throughout all of history and desire to seek the knowledge of man. History is the most important gift that we are given to further our knowledge of our future.

Wedding at Cana

Room: 35 - The Tintoretto and Barocci Room Uffizi


Artist: Andrea Boscoli


Period: 1560-1606/7


Type: Oil on canvas


Dimensions: 127.5x191


Notes: Signed at the foot of the chest. At the Uffizi since 1975.

The Gospel According to John

Chapter 2

1 On the third day there was a wedding in Cana in Galilee, and the mother of Jesus was there.
2 Jesus and his disciples were also invited to the wedding.
3 When the wine ran short, the mother of Jesus said to him, "They have no wine."
4 (And) Jesus said to her, "Woman, how does your concern affect me? My hour has not yet come."
5 His mother said to the servers, "Do whatever he tells you."
6 Now there were six stone water jars there for Jewish ceremonial washings, each holding twenty to thirty gallons.
7 Jesus told them, "Fill the jars with water." So they filled them to the brim.
8 Then he told them, "Draw some out now and take it to the headwaiter." So they took it.
9 And when the headwaiter tasted the water that had become wine, without knowing where it came from (although the servers who had drawn the water knew), the headwaiter called the bridegroom
10 and said to him, "Everyone serves good wine first, and then when people have drunk freely, an inferior one; but you have kept the good wine until now."
11 Jesus did this as the beginning of his signs in Cana in Galilee and so revealed his glory, and his disciples began to believe in him.
12 After this, he and his mother, (his) brothers, and his disciples went down to Capernaum and stayed there only a few days.            


Many people have an idea of who Christ was and what he did. He was a man that died on a cross for the sins of the world and now we can find redemption and grace in his name. But what many people sometimes look over is the start of his ministry. Holidays celebrate His birth and his resurrection but what about the beginning of his ministry, what was he doing that would make him worthy of dying for the sins of the world? This painting of the Wedding of Cana is an illustration of the first miracle that Christ did in his ministry. In this analysis we are going to address what this passage of Scripture is talking about and how the painter uses these verses to illustrate this miracle.


This first verse in the gospel of John sets the scene as a wedding in Cana and Mary, Jesus’ mother was invited and Jesus and his disciples were asked to attend as well (verse 1-3). When at the wedding the wine runs out. In the Jewish culture if a household was to run out of  wine at the wedding feast was a disgrace to the new couple and the father’s house. It showed a lack of wealth and presented the couple as one that was not prepared for the future. With being said, from the text we can assume that Mary was helping with the wedding festivities in some way because she was addressed with the problem of running out of wine. When she tells her son that they are out of wine he tells her “my hour has not yet come” telling his mother that his time of ministry is not to begin yet (Biblegateway). When Mary tells the servant that they are to listen to everything that Christ says she is to allowing her son to reveal himself to others but in a quiet setting. Nowhere in this text is there an announcement publically that Jesus was the one that made water into wine. No it says at the end that the servants and disciples knew that he was the one responsible for the miracle. I found it interesting that the first people that Jesus revealed his God nature to were servants at a wedding. In my opinion I think this shows that Christ came into a world that was not expecting him and when he showed up and performed a miracle and was not showy about it he proclaimed the humility of his kingdom and how it was for the least of these.


This painting was completed somewhere between 1560 and1606. It was painted by Andrea Boscoli in oils (Uffizi).  This painting is a nice illustration of Jesus’ first miracle. Within the painting we see Christ sitting at the table pointing to the jar that a servant is holding in the middle of the painting. Sitting across from him seems to be Mary looking and watching to see if the miracle would take place. She seems anxious her left hand is grasping her seat in anticipation. Christ looks calm and the servant looks startled in amazement. These three characters in the image draw a triangle if you trace a line between each of them. This shows the power of the trinity or God. The painter does a nice job of showing that the story only impacts a few people in the scene. As Christ, Mary and the servant interact the rest of the people in the painting are oblivious to the happenings in the foregrounds of the painting. This miracle is only being seen by the three that are interacting within the painting. This painting has a joyful feel and brings life forth from the painting.


This painting creates a wonderful depiction of Jesus’ first miracle. It shows the mystery behind this miracle and the subtleness in which the miracle was completed. This story is an important story in understanding the rest of Christ’s ministry. Christ was a subtle figure in this painting but his actions are shown in the forefront. This painting presents this miracle in a beautiful way and depicts the power of Christ and his ministry.


Bibliography
“The Gospel According to John - Wedding in Cana." Vatican: the Holy See. Web. 06 Dec. 2011. <http://www.vatican.va/archive/bible/new-testament/documents/bible_john-chap-2-cana_en.html>.


"John 2 Commentary - The Glory Begins to Be Revealed - BibleGateway.com." BibleGateway.com: A Searchable Online Bible in over 100 Versions and 50 Languages. Web. 06 Dec. 2011. <http://www.biblegateway.com/resources/commentaries/IVP-NT/John/Glory-Begins-Be-Revealed>.


"Andrea Boscoli: Wedding at Cana." Uffizi Gallery, Florence. Web. 06 Dec. 2011. <http://www.virtualuffizi.com/uffizi1/cercals1.asp?Contatore=415>.

Resurrection of Lazarus

Room 8 - The Filippo Lippi Room 

Artist: Nicholas Froment

Period: Uzes 1435-Avignon 1485

Title: Resurrection of Lazarus

Type: Tempera on wood,

Dimensions: 175x200

Signed and dated 1461; presented to the monastery of Bosco ai Frati in the Mugello by Cosimo the Elder who had received it as a gift from Francesco Coppini, the Papal Legate in Flanders. At the Uffizi since 1841.

The Resurrection of Lazarus in the Christian Bible is an important miracle which shows the power that God has given his son on Earth and foreshadows the power that Christ has over death. This triptych painted by Nicholas Froment presents the Resurrection of Lazarus and the story of Mary Magdalene and Martha flanking the sides of the painting. This specific Tiptych is done in the style of the Netherlands and presents in a realistic light. Not much is known about Nicholas Froment but historians assume because of his style that he was trained in the Northern regions of France (Grayson). He was a French Painter from Avignon and created this specific piece for the Monastery of Bosco ai Frati in the Mugello region. The date on the frame of the paint states that it was done May 18, 1461 (Famous painters).  This painting has been present at the Uffizi since 1841 (Uffizi).

A triptych is a three panel painting that tells one cohesive story. While the panels can be separated and be complete by themselves when all three are together it illustrates a bigger story. This specific triptych seems to be showing the grace of the Lord towards those he loves dearly. When analyzing a triptych the most important idea to remember is that each panel connects to the other panel in a specific way. In many Triptychs painted during this era it was common to find shapes or angles within the painting to remind people of supernatural things. For example in this painting there are triangles being drawn using the positions of the people in the painting. In the center panel there is Christ standing in purple directing his praise to his father in heaven while Lazarus is under him. In the foreground of the painting standing next to Lazarus’ grave Martha is crying over the miracle that her Lord has just performed. The positioning of these three people creates, using angles, a triangle which points to the Trinity of God. While each single panel has angles that point to the trinity, when you look at the entire triptych there are angles connecting the paintings together helping to create one cohesive painting through three separate paintings.

On the left panel of the painting there is a depiction of Martha praying and showing adoration to Christ and on the right panel there is a depiction of Mary Magdalene washing Christ’s feet with her tears. The beauty of this painting is within the technique and intentionally of each position and color of subjects in the painting, but the beauty is also a strong quality of this triptych. It tells the story of how people have been changed by Christ. It shows Martha devoting herself to Christ in faith not works, Mary Magdalene having the faith of a Child and a desire to give Christ everything that she has, and Lazarus, whom Christ loved, rising from the dead at a command. It shows the power that God has to change his people from being dead in their sin to be alive in Christ.

This specific triptych points to the power and grace of Christ showed through biblical accounts. Each panel depicts a miracle of the Bible; Martha giving up the idol of herself, Mary Magdalene giving coming to repentance, and Lazarus being given life after three days. The power of this panel is the message of Christ changing those he loved and renewing them for their benefit and the benefit of Christians for the rest of history.  

Bibliography

Grayson, Marion. "The Northern Origin of Nicolas Froment's Resurrection of Lazarus Altarpiece in the Uffizi Gallery." Google Books. Web. 6 Dec. 2011. <http://www.jstor.org/pss/3049528>.

"Virtual Uffizi: the Complete Catalogue of the Uffizi Gallery in Florence Italy. Galleria Degli Uffizi." Uffizi Gallery, Florence. Web. 06 Dec. 2011. <http://www.virtualuffizi.com/uffizi1/artista1.asp>.

"Raising of Lazarus Triptych by Nicolas Froment » The Famous Artists." The Famous Artists » The Famous Artists. Web. 06 Dec. 2011. <http://www.thefamousartists.com/nicolas-froment/raising-of-lazarus-triptych>.

Moses with the Tables of the Law

Date: 1624

Artist: Guido Reni

Location: The Borghese Gallery, Rome

Medium: Oil on Canvas

Dimensions: 173 cm * 134 cm

Exodus 32:19 “When they came near the camp, Moses saw the calf and the dancing, and he burned with anger. He threw the stone tablets to the ground, smashing them at the foot of the mountain.” (2)

Note: I classify this painting as depicting a miracle because of the nature of the tablets which were inscribed by God

Exodus 31:18 “When the Lord finished speaking with Moses on Mount Sinai, he gave him the two stone tablets inscribed with the terms of the covenant, written by the finger of God.” (2)

The Baroque art movement began as a response to the religious upheaval created by the Reformation. The tense mood of the art reflects the tense reality of Europeans who lived under the threat of religious wars and persecution. The art is also dynamic and emotional with striking contrasts, also reflecting the mood of the times The Baroque movement is also a reaction against Mannerist art which had become too complex for and difficult for the average person to understand. The Catholic Church, at the Council of Trent, mandated that religious art must be clear and compelling, thereby condemning the complexity and strangeness that was Mannerism. The combination of these driving forces created the Baroque, a style of art reflecting the tumultuous times and serving as propaganda for the religion of the artists and patrons with easily understood themes.

Painted in 1624 in the heart of the baroque movement, Moses with the Tables of the Law provides an excellent example of Baroque art. The emotion in this painting is the first characteristic to jump out at the viewer. Moses is angry. His mouth is open and he is yelling. He is about to throw the tablets to the ground. The great detail in his face reveals an angry but also sad expression and aghast expression. The movement of Moses also displays the Baroque characteristic of dynamism. Opposed to the mannerist painting of Moses striking water from the rock in which he is standing still and barely scratching the rock with a stick, in this painting Moses actually has the real movement of an angry man. Baroque art rejects the artificial elegance of mannerism, and instead favor of an exaggerated and harsh depiction of reality.

Even the clouds in the background appear to charged with anger and dynamism.

In looking at the overall aesthetics of the painting, it is obvious that the painting employs tenebrism, a stark contrast between light and dark often used in Baroque paintings. Moses’ bright red sash contrast with his dark blue robe, light glimmers on one side of his face while the other is enshrouded in darkness, and streaks of light appear in the clouds during a night sky. This use of tenebrism helps to create the tense dynamic mood.

In accordance with the Council of Trent, the subject and depiction of this art is clear to the viewer. Anyone who was familiar with the Bible or at least some Bible stories would know that the painting depicts Moses coming down from Mount Sinai after receiving the law and becoming furious when he sees that the Israelites have lost faith in God so quickly and made an idol. There are no strange characters lurking in the background and Moses is not an elegant elongated figure, the message is clear and it evokes an emotional response.

Personally, I feel like the painting does great job of depicting a moment with such emotion and generating a personal response. Comparing Mannerist and Baroque art, I find Baroque to be much more engaging and enjoyable to look at, even if I do love strange art, such as mannerism. This Baroque painting of Moses compared to the Mannerist fresco of Moses does a much better job of making scripture come alive which is what I want out of religious art. I would rather not have scenes from the Bible distorted and corrupted.

     

      

Bibliography

(1) Wilkins, David G. Schultz, J. Bernard. Linduff, Katheryn M. 2001. Art Past Art Present 4^th Edition. Prentice Hall.

(2) The Holy Bibile. New Living Translation. 2^nd Edition. 2004. Tyndale House Publishers, Inc. Carol Steam, IL.

The Creation of Adam

Date:1510

Artist: Michelangelo Buonarroti

Location: The Sistine Chapel, Rome

Medium: Fresco

Dimensions: 280 cm * 570 cm

Genesis 2:7 “Then the Lord God formed man from the dust of the ground. He breathed the breath of life into the man’s nostril, and the man became a living person.” (1)

Michelangelo’s Creation of Adam painted on the ceiling of the Sistine Chapel is one of the most famous works of art in all history, and is one of my personal favorites. The symbolic story content of this piece speaks to me on so many levels. Although the fresco depicts God’s initial creation of Adam and the touch that will fill him with life and energy, I tend to think about the touch of God in my own life, and how everyone needs this touch of God in their lives in order to truly live. The way God is flying towards Adam, reaching with all his might, while Adam is lounging, limply lifting his hand to meet God’s reminds me of my own life and my pathetic effort to connect with God. I am reminded that God is doing all the work and how desperately I need him. The intensity and suspense of the painting as it is so close to the time when the two hands will meet, fills me with the desire to see the moment when they will connect and Adam will truly live. I can relate to this in my own life when I feel dead inside and need a fresh touch from God. This is my prayer/story:

God thank you so much for giving me life. I thank you so much for creating me. By you and through you all things were made. With your hands you molded Adam in your likeness. He lay there limp and lifeless. You gave life and light to everything that was made, through your touch. You breathed on man, and his lifeless form sprung to life. All was well, your creation was good. And yet sin entered the world…

And its wages are death. The touch was corrupted. What once was the good and perfect life was now infected with a terminal disease. My life source is cut off!  I need you again God! Redeem me from my sin! I am trapped. I have no power to climb out of this pit on my own. I scrape at the walls like a wounded animal, I shall never escape. My will is so weak. I am destined to despair, to weather an existence devoid of true life. I am a slave to sin. I am unholy and cannot stand within your presence oh God. The chains of sin which bind me keep me far from God’s extended hand. Who then shall deliver me from this death?

Thanks be to Jesus Christ my mighty and wonderful redeemer! You loved the world so much that you sent your only son. With your death on the cross Jesus you broke these chains and once again enabled this life giving touch. Covered by your blood, we can once again stand before the Father, reach out, and touch his life giving fingers. Thank you so much for your redeeming power in my life God. You are the source of all love, truth, and hope in my life. Without your life giving touch I am nothing and have nothing. I would be constantly descending down a dark path into an endless pit of sin and despair. You, oh Jesus, have saved my soul. And yet I am far from perfect…

The process is ongoing. Every day, every second, in every decision, and in every thought I must reach out to you God and receive your life giving touch. And yet my human will remains week, I fill my life  with garbage, and only raise a limp hand to you God. Thank you so much God for pursuing me. You are the one who is flying towards my lifeless soul that is reclining on the ground. I must seek you God! I must draw near to you God so that that you will draw near to me. I must reach out so that our fingers will touch and your abundant power and life will flow into me once again. And God let these touches change me so that I may live a life worthy of the calling I have received; give me the power and desire to follow you! I want to run the race with endurance and finish the course, so that on the day we meet face to face you will say “Well done my good and faithful servant.” So God, touch me like you touched Adam, breath life into this dry and thirsty soul once more!

Bibliography

(1)  The Holy Bibile. New Living Translation. 2^nd Edition. 2004. Tyndale House Publishers, Inc. Carol Steam, IL.

The Ascension of Jesus

Date: 1150-1200

Artist: Unknown

Location: St. Mark’s Basilica, Venice

Medium: Mosaic

Dimensions: 13.8 

Acts 1:9 “After saying this, he was taken up into a cloud while they were watching, and they could no longer see him” (1)

This golden mosaic can be found in the central dome of Saint Mark’s Basilica in Venice. Being a major trading port between the East and West, Venice was highly influenced by Byzantine art, resulting in a basilica covered with highly symbolic and iconic mosaics. This particular mosaic is a depiction of the Jesus’ ascension to heaven after his resurrection .

Instead of attempting a scene with Jesus floating up to Heaven on a cloud with a crowd standing of people watching him, this mosaic features Jesus in a blue sphere surrounded by six angels, twelve men, thirteen trees, and seventeen female figures, all set against a golden background. How is this depicting the ascension of Jesus? The answer lies in the fact that this is symbolic Byzantine art and it does not place people in the physical world with a natural background, emphasizing the spiritual over the natural. The shimmering golden backdrop is intended to represent spiritual enlightenment. The only reference this mosaic makes to the natural world is through the trees that are sprinkled about the dome.

Although the scene may not look like the ascension of Jesus at first, there are several clues that can be found when examining the mosaic closer. The figure in the center, obviously Jesus, is set against a dark blue containing starry lights, painting the picture of Jesus in the sky. The four winged beings around Jesus are angels who are carrying the sphere he is floating in heavenward. This is one point where the circular design and the two dimensional aesthetics of the mosaic make the ascension a difficult scene to depict and decipher as one cannot see Jesus’ movement heavenward. However, this lack of movement in a particular direction may allude to the fact that Jesus was not just ascending into the sky but was actually leaving this temporal realm and entering into the spiritual. The last clue that Jesus is in fact ascending in this scene is the upward glances and gestures of the men, who revealed by their holiness as seen in their mandorlas are the twelve apostles.

The other symbols in this mosaic are less important to the actual act of the ascension but are still important to the message the artists were trying to send. The trees have little spiritual significance and are included to represent the Mount of Olives which is the supposed location of the ascension. The female figure between the two angels represents the Virgin Mary. While Mary probably was present at the ascension of Jesus, her presence and the inclusion of her angelic entourage largely just reflects the Catholic tradition of including her in nearly every work of art. Another instance of tradition and fascination with certain ideas is the other sixteen women located on the edge of the dome. These sixteen women personify the Virtues and Beatitudes. These sixteen ideals are split into three different categories which are the three theological virtues; faith, hope and charity, the four moral virtues; prudence, justice, fortitude, and temperance, and the other nine virtues; gentleness, contrition, abstinence, mercy, patience, chastity, modesty, constancy, and humility. The fact that personifications of these virtues are included in this scene once again shows the spiritual emphasis of this Byzantine influenced artwork.

After thinking about this type of artwork and its heavy reliance on symbolism and an emphasis on the spiritual realm, I appreciate this mosaic much more. I love how Byzantine art blends the physical world with the spiritual realm, even if the scenes depicted and their story content can be muddled. The idea that there are many spiritual powers at work in this world is often one people today overlook as they are often so intent on the temporal.

Bibliography

(1) The Holy Bibile. New Living Translation. 2^nd Edition. 2004. Tyndale House Publishers, Inc. Carol Steam, IL.

(2) http://www.basilicasanmarco.it/eng/index.bsm

(3) http://www.learner.org/courses/globalart/work/233/index.html

(4) Wilkins, David G. Schultz, J. Bernard. Linduff, Katheryn M. 2001. Art Past Art Present 4^th Edition. Prentice Hall.

The Incarnation of Jesus

Date: 1498-1510

Artist: Piero Di Cosimo

Location: Galleria degli Uffizi, Florence

Medium: Oil on Panel

Dimensions: 206 cm * 172 cm

Matthew 1:18 “This is how Jesus was born. His mother Mary was engaged to be married to Joseph. But before the marriage took place, While she was still a virgin, she became pregnant through the power of the Holy Spirit.” (5)

Piero Di Cosimo’s life is one of mystery with most of what is known about him coming from the Giorgio Vasari’s biography of his life, which some claim is untrustworthy. That being said some fact are known about Cosimo such as his birth date and the general events of his life. Cosimo was born to Lorenzo di Piero d’Antonio, a blacksmith, and  Mona Alessandra in Florence on January 2, 1462.

The earliest record of Cosimo’s career shows him apprenticing under Cosimo Rosselli, from who he derived his surname of Cosimo. Another early record states that by the age of twenty, Cosimo had become a member of the “Compagnia di S. Luca, the painters’ confraternity in Florence” (3). While apprenticing under Rosselli, Cosimo assisted in the painting of the Sistine chapel in 1481, possibly painting the landscape for the sermon on the mount.

In His early career, Piero displayed an interest landscape and animal life as the subjects of his paintings, which was inspired by the naturalism of Hugo van der Goes. After accompanying Rosselli to Rome, Cosimo also began to develop a taste for classical mythology which can be seen in his famous painting, Death of Procis, which depicts a satyr mourning over a nymph with a dog observing, also displays his love of animals as subjects. When Savonarola came to power in Florence, Cosimo converted the subject matter of his paintings to religious themes, in an effort to participate in the religious fervor that had gripped Florence. This painting, The Incarnation of Jesus, is an example of this return to religious themes in the life of Cosimo, and yet it still displays Cosimo‘s love of landscape. On top of these religious and mythological themes, Cosimo is noted as being an important portrait painter with his most famous portrait being of the Florentine noblewoman, Simotetta Vespucci.

In the spirit of the Renaissance Cosimo practiced a variety of artistic mediums other than painting Cosimo was also known in Florence as a prominent designer of processions and pageants. New archival research has found that Cosimo could have practiced manuscript illumination (3). In his life Cosimo had several students including Andrea Del Sarto and Jacopo Pontormo, both influential Italian mannerists.

Concerning Cosimo’s character and personal life, there is much debate. Giorgio Vasari says much about Cosimo in his “Lives,” painting him as highly eccentric, eating massive quantities of hard boiled eggs and being so pyrophobic that he rarely cooked his food.  However, according to a criticism by Louis Waldamn, “Vasari emphasized Piero's supposed eccentricities--the solitude, squalor, and impracticality of his life--as a negative foil for the more "normative" character and behavior of other artists portrayed in the Lives, and as an exemplar of the kind of life he felt artists should avoid” (2). Vasari also accused Cosimo of being antisocial which Waldman again rejects by saying about certain documents that “they afford of Piero di Cosimo as a social being, through his relations with fellow artists--such as Jacopo da Pontormo, Lorenzo di Credi, and Nicola di Giovanni Caprini--and with relatives, neighbors, and religious confraternities” (2)

Vasari says that Cosimo became extremely reclusive towards the end of his life, yet Waldman’s argument gives us hope that when he died on April 12, 1522, Cosimo was not alone.

Bibliography

(1) http://www.virtualuffizi.com/biography/Piero-di-Cosimo.htm

(2) Waldman, Louis Alexander. "Fact, Fiction, Hearsay: Notes On Vasari's Life Of Piero Di Cosimo." Art             Bulletin 82.1 (2000): 171. Academic Search Complete. Web. 3 Dec. 2011.

(3) Geronimus, Dennis. "The Birth Date, Early Life, And Career Of Piero Di Cosimo." Art Bulletin 82.1 (2000): 164. Academic Search Complete. Web. 4 Dec. 2011.

(4) http://www.nationalgallery.org.uk/artists/piero-di-cosimo

(5) The Holy Bibile. New Living Translation. 2^nd Edition. 2004. Tyndale House Publishers, Inc. Carol Steam, IL.