So why do we put a tree into our homes and beautify its branches with ornaments and lights? Where do we see that in the Bible's description of Christ's birth?
Apparently in Germany fir trees were decorated with natural things like apples, roses or candies. Prince Albert married to Queen Victoria of England shared the tradition with his family, a event report throughout the island. English citizens seeking to emulate their beloved Queen copied(All things Christmas).
One article introducing the possible origins for the tree discussed a Middle Ages play where the Paradise Tree, decked with apples, symbolized the Tree of Life. The play depicts Adam and Eve's fall, a situation resolved with the coming of Christ. People wanting their own "Paradise Tree" brought their own into their homes (All about Jesus Christ).
One tradition credits Martin Luther as the first to decorate a Christmas tree with candles. As he walked and enjoyed the snow shimmering on the trees, he decided to imitate the scene in his home. Bringing in a fir tree, he lighted candles in honor of our Savior's birth (All about Jesus Christ).
There are several possible sources for this common tradition. I like to think of it related to the "Paradise Tree", which ties our original sin and this day of Christ's birth, the resolution to humanity's problem.
http://www.allthingschristmas.com/traditions.html
All about http://www.allaboutjesuschrist.org/origin-of-the-christmas-tree-faq.htm
Thursday, December 25, 2008
Monday, December 15, 2008
History Doesn't Always Create...
...a new event. It is also a story of continuation, where traditions continue. They are a beautiful aspect of life.
One such tradition continues in our family, it is a beautiful thing, that brings back memories of wonderful times past. It unifies the years and ties them with tradition's shimmering ribbon. It is making Christmas cookies....
To be continued at historyavenue.blogspot.com....
One such tradition continues in our family, it is a beautiful thing, that brings back memories of wonderful times past. It unifies the years and ties them with tradition's shimmering ribbon. It is making Christmas cookies....
To be continued at historyavenue.blogspot.com....
Saturday, December 13, 2008
Origins of our Christmas Tradition
Where did Christmas come from?
For everything there is a reason and there are lots of leads for this tradition.
According to the History Channel website, Europeans celebrated during the Winter solstice since it hailed the coming of better weather. At the time, supplies were abundant for feasts since farmers saved on resources by killing cattle, or beer matured.
In ancient cultures before the time of Christ, there were several beliefs connected with the Winter solstice. It was both a time to rejoice the coming of longer daylight and a time of fear of dead spirits. Apparently it was thought the dead were closest to the living, and rumors especially in Germany ran rampant about frightening encounters (Óðindís 2000).
During the Roman era, celebration continued with Saturnalia, since Saturn was the god of agriculture. This was a month long celebration. Another festivity with Mithra, god of the sun, landed on December 25th.
Admist this darkness came the light. In the 4th century, the church wanted to celebrate Christ's birth, and the date of December 25th was chosen by Pope Julius I. It was called the Feast of the Nativity. It mixed with the old ways of Roman traditions were the peasants took control during the season as in the 4th century the poor folks recieved goods from the rich.
What about America?
Because the English Puritains outlawed Christmas given the pagan origins it tried to replace, the Pilgrims did not celebrate it, rather they opposed it's observance. Only those in Jamestown did partake of the festivities. After our independence British customs weren't popular and only in 1870 did the holiday become official.
This declaration only came out of various changes in society. Apparently riots occured amongst lower classes during this time causing a desire to implement different customs. Washington Irving a writer, depicted Christmas in a different light with the more classic family traditions we know today. Charles Dickens with his A Christmas Carol reconnected the old ways of charity from the well to do toward the lower classes, a concept our people and the Brits warmly embraced. Consequently families adopted this holiday and welcomed the "excuse" to give gifts to their children. As the practice increased today's traditions incremented and became today's Christmas.
Reflections: Although the origins are quite pagan, nevertheless, we can rejoice on the change in perspective and direction of the holiday. I am amazed at the threads connecting our ways to those of our ancestors in the past.
http://www.history.com/content/christmas/the-real-story-of-christmas/home
An Ancient Holiday, Saturnalia, Irving Reinvents Christmas,A Christmas Carol
Óðindís. http://home.earthlink.net/~wodensharrow/yule.html
For everything there is a reason and there are lots of leads for this tradition.
According to the History Channel website, Europeans celebrated during the Winter solstice since it hailed the coming of better weather. At the time, supplies were abundant for feasts since farmers saved on resources by killing cattle, or beer matured.
In ancient cultures before the time of Christ, there were several beliefs connected with the Winter solstice. It was both a time to rejoice the coming of longer daylight and a time of fear of dead spirits. Apparently it was thought the dead were closest to the living, and rumors especially in Germany ran rampant about frightening encounters (Óðindís 2000).
During the Roman era, celebration continued with Saturnalia, since Saturn was the god of agriculture. This was a month long celebration. Another festivity with Mithra, god of the sun, landed on December 25th.
Admist this darkness came the light. In the 4th century, the church wanted to celebrate Christ's birth, and the date of December 25th was chosen by Pope Julius I. It was called the Feast of the Nativity. It mixed with the old ways of Roman traditions were the peasants took control during the season as in the 4th century the poor folks recieved goods from the rich.
What about America?
Because the English Puritains outlawed Christmas given the pagan origins it tried to replace, the Pilgrims did not celebrate it, rather they opposed it's observance. Only those in Jamestown did partake of the festivities. After our independence British customs weren't popular and only in 1870 did the holiday become official.
This declaration only came out of various changes in society. Apparently riots occured amongst lower classes during this time causing a desire to implement different customs. Washington Irving a writer, depicted Christmas in a different light with the more classic family traditions we know today. Charles Dickens with his A Christmas Carol reconnected the old ways of charity from the well to do toward the lower classes, a concept our people and the Brits warmly embraced. Consequently families adopted this holiday and welcomed the "excuse" to give gifts to their children. As the practice increased today's traditions incremented and became today's Christmas.
Reflections: Although the origins are quite pagan, nevertheless, we can rejoice on the change in perspective and direction of the holiday. I am amazed at the threads connecting our ways to those of our ancestors in the past.
http://www.history.com/content/christmas/the-real-story-of-christmas/home
An Ancient Holiday, Saturnalia, Irving Reinvents Christmas,A Christmas Carol
Óðindís. http://home.earthlink.net/~wodensharrow/yule.html
Friday, December 12, 2008
"Yourstory"
Each of us in our own lives make history. "Yourstory".
Christmas is a time to make some memorable history with family and friends. Wednesday marked an new twist to our traditional Christmas tree event. We usually went to Home Depot and froze (even in California) and picked out the best tree, another sister and I being the strongest in our opinions (:o!
This year, we headed to Lowes, where we proved bundled enough to smile at the cold (just a smirk though). We had a special family friend join us in our annual store tree hunt. He kindly joined us in our mission and approved our final decision. Upon arriving home, we hauled the christmas decor up the steps onto the center of our living room. As a family we enjoyed introducing my sister's special friend to our family christmas decor and traditions. The Walton's Christmas CD went on full blast and we (all tired from finishing the college quarter) proceeded to decorate with that dangerous silly mood that emerges upon completing a heavy quarter.
Oatmeal chocolate cookies came out and we indulged our tired systems to more sugar.
It was fun, exhuasting, and history making. The first courtship, the first "stranger" to join our family traditions, it was history in our own family.
Friday, December 5, 2008
The Renaissance: A Short History
For my awesome history class on Western Civilization, I had to read a book and write a report. I chose The Renaissance: A Short History by Paul Johnson, a historian I have grown to appreciate for his conservative viewpoint.
The book is an excellent read especially for historians like me who like the nitty gritty details of why and where and what! He provides an background to the Renaissance unlike one I'd ever read, so extensive and detailed in its scope. The author points out how universities established in the 1200’s, the adoption of Aristotle’s ideas, economic progress and technological advances established a platform for the rebirth to emerge successfully (Johnson 9, 10-21). The book then addresses select areas, literature and scholarship, sculpture, architecture and art concluding with the period’s proliferation and end. Within each area, Paul Johnson relates the background, work, and impact of various personas in their specific area.
The amount of information and detail was impressive. In describing the Rebirth’s background the author utilized examples requiring in depth research. Describing the effects of Charlemagne’s attempt to encourage learning he discusses two “books” or codices one before and the other after Charlemagne’s reign (Johnson 7). When compared, they reveal the effects of Charlemagne’s influence (Johnson 7). Such a detail is hard to get from any regular textbook.
The book is short but full of delightful historic information. I whole-heartedly recommend it to any wanting a good overview on this influential age.
Johnson, Paul. The Renaissance A Short History. New York: A Modern Library, 2000.
The book is an excellent read especially for historians like me who like the nitty gritty details of why and where and what! He provides an background to the Renaissance unlike one I'd ever read, so extensive and detailed in its scope. The author points out how universities established in the 1200’s, the adoption of Aristotle’s ideas, economic progress and technological advances established a platform for the rebirth to emerge successfully (Johnson 9, 10-21). The book then addresses select areas, literature and scholarship, sculpture, architecture and art concluding with the period’s proliferation and end. Within each area, Paul Johnson relates the background, work, and impact of various personas in their specific area.
The amount of information and detail was impressive. In describing the Rebirth’s background the author utilized examples requiring in depth research. Describing the effects of Charlemagne’s attempt to encourage learning he discusses two “books” or codices one before and the other after Charlemagne’s reign (Johnson 7). When compared, they reveal the effects of Charlemagne’s influence (Johnson 7). Such a detail is hard to get from any regular textbook.
The book is short but full of delightful historic information. I whole-heartedly recommend it to any wanting a good overview on this influential age.
Johnson, Paul. The Renaissance A Short History. New York: A Modern Library, 2000.
Monday, December 1, 2008
Thursday, November 27, 2008
Comments on Jerry Stuart's program
"Five kernels of corn". This is mind boggling. Mr. Jerry Stuart on KGMI radio described the difficult conditions our forefathers faced upon setting in America. Their food rations lowered to the dismal 5 kernels of corn at one point, until things improved with Squanto's help in agriculture.
The next year in December 1621 they decided to hold the Thanksgiving feast. Their first course: 5 kernels of corn. It was a reminder of what they'd been through and what God had lead them out of.
I think this is a very biblical practice, so many Psalms look back on past circumstances and how the Lord brought them out onto green pastures. How many times I focus on just the five kernels and forget the green pastures and feasting periods in the present and the past. What an example for our ancestors to pass down to us.
Thank you Lord for blessing our nation with such a rich history of precious examples! May we never forget to look back on what you have done for our fathers.
The next year in December 1621 they decided to hold the Thanksgiving feast. Their first course: 5 kernels of corn. It was a reminder of what they'd been through and what God had lead them out of.
I think this is a very biblical practice, so many Psalms look back on past circumstances and how the Lord brought them out onto green pastures. How many times I focus on just the five kernels and forget the green pastures and feasting periods in the present and the past. What an example for our ancestors to pass down to us.
Thank you Lord for blessing our nation with such a rich history of precious examples! May we never forget to look back on what you have done for our fathers.
This plaque marks the spot where the Pilgrims found some corn hidden under the ground. They saw this as a blessing and intended to use it as seed for planting gardens. You can see how grateful they were by simply reading the plaque.
Information and image derived from: The Pilgrims and Plymouth Colony: 1620
Continuing the Tradition
Reflecting the tradition set by President George Washington, our own current President George W. Bush publicised a historically accurate and God honoring statement, here is the first and last part of it:
" Thanksgiving is a time for families and friends to gather together and express gratitude for all that we have been given, the freedoms we enjoy, and the loved ones who enrich our lives. We recognize that all of these blessings, and life itself, come not from the hand of man but from Almighty God....On this day, let us all give thanks to God who blessed our Nation's first days and who blesses us today. May He continue to guide and watch over our families and our country always.NOW, THEREFORE, I, GEORGE W. BUSH, President of the United States of America, by virtue of the authority vested in me by the Constitution and laws of the United States, do hereby proclaim November 27, 2008, as a National Day of Thanksgiving. I encourage all Americans to gather together in their homes and places of worship with family, friends, and loved ones to strengthen the ties that bind us and give thanks for the freedoms and many blessings we enjoy."
Bush, George W. "A Proclamation by the President of the United States of America" Pilgrim Hall Museum.
" Thanksgiving is a time for families and friends to gather together and express gratitude for all that we have been given, the freedoms we enjoy, and the loved ones who enrich our lives. We recognize that all of these blessings, and life itself, come not from the hand of man but from Almighty God....On this day, let us all give thanks to God who blessed our Nation's first days and who blesses us today. May He continue to guide and watch over our families and our country always.NOW, THEREFORE, I, GEORGE W. BUSH, President of the United States of America, by virtue of the authority vested in me by the Constitution and laws of the United States, do hereby proclaim November 27, 2008, as a National Day of Thanksgiving. I encourage all Americans to gather together in their homes and places of worship with family, friends, and loved ones to strengthen the ties that bind us and give thanks for the freedoms and many blessings we enjoy."
Bush, George W. "A Proclamation by the President of the United States of America" Pilgrim Hall Museum.
Tuesday, November 25, 2008
Tuesday, November 4, 2008
Election Day
Today is a reminder of those who went before and fought for the right to elect leaders. Way back as 1215, when King John signed the Magna Carta, the foundations leading to our great nation were laid. Our founding fathers fought for the right to equal representation, we have the priviledge of practicing this battle-won right. So vote, recalling its not a hindrance, annoyance, it is a honor to respect the lives lost for the freedom to vote.
Monday, October 20, 2008
Incas!
Today a fellow classmate presented on the Inca empire who occupied the area of current day Peru.
It was facinating to hear about their advanced culture. They built 10,000 miles of stone roads, homes with stones so perfectly cut there was no need for mortar. The stone temple was sheathed in gold.
To get around their rough mountainous terrain, they built rope bridges that spanned great distances. Llamas and guinea pigs filled their protein quota.
They had so much gold, that their leader Atahaulpa offered a roomful of gold to pay his way to freedom after explorer Pizzaro captured him.
I found it sad how these explorers misused religion for their cause. While wanting to save their souls they conquered them through brutal methods. I believe this is a result of a "formal national" religion where all claim the title but aren't genuine. Where religion is really political, and is used for self-advancement. This has lead to great tarnishes in the precious world of religion.
Yet one day Christ will win the day and all the stains we poor sinners have laid upon His glorious name, will be thrust aside as His truth is established.
Resources:
Sherman, Dennis, and Joyce Salisbury. The West in the World. 2nd Ed. New York: McGraw Hill, 2006.
It was facinating to hear about their advanced culture. They built 10,000 miles of stone roads, homes with stones so perfectly cut there was no need for mortar. The stone temple was sheathed in gold.
To get around their rough mountainous terrain, they built rope bridges that spanned great distances. Llamas and guinea pigs filled their protein quota.
They had so much gold, that their leader Atahaulpa offered a roomful of gold to pay his way to freedom after explorer Pizzaro captured him.
I found it sad how these explorers misused religion for their cause. While wanting to save their souls they conquered them through brutal methods. I believe this is a result of a "formal national" religion where all claim the title but aren't genuine. Where religion is really political, and is used for self-advancement. This has lead to great tarnishes in the precious world of religion.
Yet one day Christ will win the day and all the stains we poor sinners have laid upon His glorious name, will be thrust aside as His truth is established.
Resources:
Sherman, Dennis, and Joyce Salisbury. The West in the World. 2nd Ed. New York: McGraw Hill, 2006.
Saturday, October 11, 2008
Papal Indulgence signed by Johannes Tetzel. Thank God we don't have to earn salvation through these means! Rather we come to Christ and have our complete righteousness through Him.Image from: http://theway2k.vox.com/library/photo/6a00cdf3a9bf0ecb8f00e398acd8200004.html
Saturday, August 16, 2008
Lifted up To God
The hymn verses 1-5 were written by Sarah F. Adams (1805-1848) and the last by Edward H. Bickersteth, Jr.
It is based off the Biblical story when Jacob escapes from Esau and embarks on a tumultous time in his life. Running from home, tuckered out, he lies down on bare ground with only a stony pillow to raise his head. Here his destiny lies in a cloud, circumstances both physical, spiritual, and material are harsh and discouraging. His future lies undefined, will it ever pull together? Yet here in the mist of such inner turmoil and trying circumstances, he is lifted up to God.
One of the most difficult conditions in life is enduring spiritual depression or uncertainty. Here in this difficulty, emerges a beautiful dream, a beautiful promise from God. The Lord our Shepherd, uses these spiritual lows to reach down and raise us nearer to Him. Here He brings a vision where a ladder from heaven reaches down to earth, humble earth; an analogy of God's redeeming plan of salvation that connects us to God. Jacob had just lied to his father Issac and now was facing the consequences; yet, God in compassion lifts him up to see Himself, so that Jacob awoke and said this was where God was. What a feeling! When a bubbling urge to reach God arises and you sense Him, His being, it is incredible. Oh God may you bring me nearer to Thee in times of difficulty, when the future looks grey, when things don't pan out the way I want... be my all in All, my Savior, my Shepherd, my Husband, my Father.
Sourcees:
Hymn facts: http://www.cyberhymnal.org/htm/n/m/nmgtthee.htm
Thoughts: Daughters of Destiny by Noelle Wheeler
It is based off the Biblical story when Jacob escapes from Esau and embarks on a tumultous time in his life. Running from home, tuckered out, he lies down on bare ground with only a stony pillow to raise his head. Here his destiny lies in a cloud, circumstances both physical, spiritual, and material are harsh and discouraging. His future lies undefined, will it ever pull together? Yet here in the mist of such inner turmoil and trying circumstances, he is lifted up to God.
One of the most difficult conditions in life is enduring spiritual depression or uncertainty. Here in this difficulty, emerges a beautiful dream, a beautiful promise from God. The Lord our Shepherd, uses these spiritual lows to reach down and raise us nearer to Him. Here He brings a vision where a ladder from heaven reaches down to earth, humble earth; an analogy of God's redeeming plan of salvation that connects us to God. Jacob had just lied to his father Issac and now was facing the consequences; yet, God in compassion lifts him up to see Himself, so that Jacob awoke and said this was where God was. What a feeling! When a bubbling urge to reach God arises and you sense Him, His being, it is incredible. Oh God may you bring me nearer to Thee in times of difficulty, when the future looks grey, when things don't pan out the way I want... be my all in All, my Savior, my Shepherd, my Husband, my Father.
Sourcees:
Hymn facts: http://www.cyberhymnal.org/htm/n/m/nmgtthee.htm
Thoughts: Daughters of Destiny by Noelle Wheeler
History is not our story
Thinking on History the past week for my admissions to Western and an upcoming event, I've enjoyed realizing how it is so connected to God. History is God at work, He is the author of all these events and is bringing about a wonderful final ending to the tale. Christ will come back and vanquish the enemies and bring this great big history book to an awesome end. We must be on the right side of history, the right side of the Hero or we will be defeated and imprisoned.
Thursday, July 31, 2008
The Light
Just an hour train ride away lies the small town of Wittenburg, pronounced "Vittenburg". On this one-road town lie several singular buildings marking the life and times of Martin Luther. The man who jolted the Reformation to a start in 1517 with his 95 Theses, lived and died in this small town. At one end lies his home and on the opposite end is the Castle Church where Frederick the Wise worshipped. Let us start the tour!
Martin Luther's home entrance is framed by two stone "benches or stools" with two circle coverings holding a likeness of Luther on the left and the flower of Katherine von Bora on the right. Here the couple sat as the townsfolks came by and chatted. Within the house lies a treasure trove of original personal belongings and original publishings of Martin Luther. A Vulgate Bible with his notes in red ink is visible along with his multiple sermons. His "upper room" where he talked with students remains as it was with the exception of a stove installed in his honor later on. It was thrilling to stand in this room and observe the woodwork and painting on the walls.
Down the street is Lucas Cranach's home, the artist responsible for many likeness of Luther. He was so close to him that he knew he'd been captured and not killed when Frederick the Wise captured him and enclosed him in the castle to protect his life.
The University where Luther taught and developed his thinking still stands and functions as a location to learn the German language.
Luther's church, the common people's church, stands between the town plaza and his home. It has two tall steeples (as pictured) and is a dull brown and grey rock structure. Inside are unique paintings with "lutheran" figures who stand starkly different to other figures depicted in those days of Catholic people. There is a huge alterpiece painting in the front. It is really quite large with about four rows of pews wide!
to be continued....
Martin Luther's home entrance is framed by two stone "benches or stools" with two circle coverings holding a likeness of Luther on the left and the flower of Katherine von Bora on the right. Here the couple sat as the townsfolks came by and chatted. Within the house lies a treasure trove of original personal belongings and original publishings of Martin Luther. A Vulgate Bible with his notes in red ink is visible along with his multiple sermons. His "upper room" where he talked with students remains as it was with the exception of a stove installed in his honor later on. It was thrilling to stand in this room and observe the woodwork and painting on the walls.
Down the street is Lucas Cranach's home, the artist responsible for many likeness of Luther. He was so close to him that he knew he'd been captured and not killed when Frederick the Wise captured him and enclosed him in the castle to protect his life.
The University where Luther taught and developed his thinking still stands and functions as a location to learn the German language.
Luther's church, the common people's church, stands between the town plaza and his home. It has two tall steeples (as pictured) and is a dull brown and grey rock structure. Inside are unique paintings with "lutheran" figures who stand starkly different to other figures depicted in those days of Catholic people. There is a huge alterpiece painting in the front. It is really quite large with about four rows of pews wide!
to be continued....
The Dark Side
While in Berlin on a missions trip to pass out 25,000 tracts to a darkened city, our group toured downtown Berlin. We went down to Checkpoint Charlie where the city was divided in four between the US, Britian, France, and Russia. A line two bricks wide, marks the spot where the Berlin wall stood dividing the city and families for years. A sector of the wall remains as a memorial, and it stands on a historic spot marking the roots that grew such a devisive wall. On one side stands tall with cold marble the headquarters of the German air force. Underneath, the foundations of the Nazi Secret Service headquarters remain and sit as a visible and terrible reminder of the horrors it created. Large white posters describe the events that once occured within these brick ruins, stories of torture, false trials, and deportation. In the picture you can see the brick and the posters. This was a touching and realistic display. I appreciated how close you could get to this display and how untouched it still was, letting us see the original foundations. I think this display speaks volumes, how such an evil organization sprouted the air force building just a few feet from it and the Berlin Wall above it's foundations. The trees now growing above and the new company which occupies the air force building display how the righteous will one day triumph. How the righteous man will look for the enemy who'd spread itself like a luxuriant tree and find him no more.
So in this sense the city stands as a silent testimony how evil will fall one day and Christ will triumph in the battle between the dark side and the light.
Germany: land of contrasts
Berlin, Germany. This is a city rich with history, stories that contrast starkly. I was blessed this last month to visit and learn about this city's past and hear the stories and see the places where Godly and devilish things occured. This is the land of Luther and it is the land of Adolf Hitler. Hitler has left a city marked and scared with people whose faces are hardened by hardship, sorrow and darkness. According to the Pergamum Museum display, the stories of Daniel in Babylon are "mythos", myths. The truth is a myth, yet there stand cathedrals full of architectural beauty products of those who believed these "mythos". They are products of Martin Luther's teaching, the Gospel of faith in Jesus Christ.
Berlin holds the historic sites of the old Nazi Secret Service headquarters and holds the home and church of Martin Luther in Wittenberg. The German people refute both and stand lost without a foundation, without a comforting rock of strength. How difficult to minister in a land hardened to the truth.
Berlin holds the historic sites of the old Nazi Secret Service headquarters and holds the home and church of Martin Luther in Wittenberg. The German people refute both and stand lost without a foundation, without a comforting rock of strength. How difficult to minister in a land hardened to the truth.
Thursday, June 19, 2008
Pioneer Strength
I've been reading Daughters of Destiny. It is a collection of short stories of women who excelled or displayed great talent in a specific area either courage, lyrics, or another area.
One story in particular caught my attention, the story of Elizabeth Jameson. She married a young man who'd fought in the War for Independence; they settled for awhile as a young couple farming. Eventually they decided to move west, packed up thier belongings and headed out. As they attempted a river crossing the raft logs unbanded and Mr. Jameson washed into the river and drowned. Elizabeth holding her baby is dragged down river. With great effort Elizabeth manages to wash ashore bringing herself and her baby safely on shore. Her remarkable resilience allowed her to walk upstream find the ox cart with their supplies still waiting to be crossed over and bring them to a spot hidden from Indians. She built a little hut and established herself in the area deciding it safer to wait for another party traveling through than traverse the forest through its dangers. Planting potatoes and another crop she provided well for their future. One day, picking blackberries she left her babe on the ground as she picked. Turning around she realized her babe fixedly looking at something, as she neared the spot she saw it: a huge reptile stood coiled hissing at her dear child. A blow with a stick turned the snake's attention to herself and she stood transfixed in fear as it threatened to strike. Lifting a hasty prayer she proceeded to place a glove on her arm. The snake struck and she caught it around the neck. With her hands she closed its' jaws but it wraped its body around her waistline. With great courage she managed to saw its head of with a knife and tossed the head far from her. It wasn't over, the body continued to tighten around her almost suffocating her; eventually the coils loosened and she pried free. After about two months other settlers found them but instead of taking them with them, they decided to settle in that scenic area. The settlement grew and Elizabeth eventually remarried.
This is a remarkable account of courage and resilence on the part of woman raised in a wealthy household. Read Daughters of Destiny for more thrilling, exemplary, stories in history.
Wheeler, Nicole. Daughters of Destiny. Mantle Ministries. 2001
One story in particular caught my attention, the story of Elizabeth Jameson. She married a young man who'd fought in the War for Independence; they settled for awhile as a young couple farming. Eventually they decided to move west, packed up thier belongings and headed out. As they attempted a river crossing the raft logs unbanded and Mr. Jameson washed into the river and drowned. Elizabeth holding her baby is dragged down river. With great effort Elizabeth manages to wash ashore bringing herself and her baby safely on shore. Her remarkable resilience allowed her to walk upstream find the ox cart with their supplies still waiting to be crossed over and bring them to a spot hidden from Indians. She built a little hut and established herself in the area deciding it safer to wait for another party traveling through than traverse the forest through its dangers. Planting potatoes and another crop she provided well for their future. One day, picking blackberries she left her babe on the ground as she picked. Turning around she realized her babe fixedly looking at something, as she neared the spot she saw it: a huge reptile stood coiled hissing at her dear child. A blow with a stick turned the snake's attention to herself and she stood transfixed in fear as it threatened to strike. Lifting a hasty prayer she proceeded to place a glove on her arm. The snake struck and she caught it around the neck. With her hands she closed its' jaws but it wraped its body around her waistline. With great courage she managed to saw its head of with a knife and tossed the head far from her. It wasn't over, the body continued to tighten around her almost suffocating her; eventually the coils loosened and she pried free. After about two months other settlers found them but instead of taking them with them, they decided to settle in that scenic area. The settlement grew and Elizabeth eventually remarried.
This is a remarkable account of courage and resilence on the part of woman raised in a wealthy household. Read Daughters of Destiny for more thrilling, exemplary, stories in history.
Wheeler, Nicole. Daughters of Destiny. Mantle Ministries. 2001
Friday, June 13, 2008
Ruth Was Known For Excellence
"Now, my daughter, do not fear. I will do for you whatever you ask, for all my people in the city know that you are a woman of excellence" Ruth 3:11 NAS
Development and Historians
BLOWN AWAY!
I just attended two sessions of Camp Logos and I am blown away with technology and the information available at our fingertips. The world is changing and our beloved books are changing as well as the digital world digitizes these volumes. Logos is working on photographing the dead sea scrolls and digitizing them so that they are available to search and read. This is an incredible way to preserve these ancient resources; yet, I am a bit saddened. As books are scanned and created in to computer files, the real deal is left on the shelf to yellow. People no longer curl up with their thick comfy books, nope, instead they blow up the zoom and sit with their laptops to read. It makes studying way easier and faster, but I am a history lover. I will always like the old volumes with their yellowing pages, their feel in your hand. I will always want to see the dead sea scrolls myself with my own two eyes.... There is nothing like seeing the real thing.
Nevertheless Logos and the world of digital books is an incredible development, thankfully there will always be people like me to preserve those old things people leave on the shelf to gather cowwebs. Someone still finds them facinating.
I just attended two sessions of Camp Logos and I am blown away with technology and the information available at our fingertips. The world is changing and our beloved books are changing as well as the digital world digitizes these volumes. Logos is working on photographing the dead sea scrolls and digitizing them so that they are available to search and read. This is an incredible way to preserve these ancient resources; yet, I am a bit saddened. As books are scanned and created in to computer files, the real deal is left on the shelf to yellow. People no longer curl up with their thick comfy books, nope, instead they blow up the zoom and sit with their laptops to read. It makes studying way easier and faster, but I am a history lover. I will always like the old volumes with their yellowing pages, their feel in your hand. I will always want to see the dead sea scrolls myself with my own two eyes.... There is nothing like seeing the real thing.
Nevertheless Logos and the world of digital books is an incredible development, thankfully there will always be people like me to preserve those old things people leave on the shelf to gather cowwebs. Someone still finds them facinating.
Good Read: George Washington - Paul Johnson
"George Washington is the best-documented figure in the entire eighteenth century.But he remains remote and mysterious" writes author Paul Johnson as he sets the stage before exploring the world of this great man. Historian Paul Johnson is a British historian who has written "A History of the American People" a thick volume covering early America to the present. I recently picked up his new title on George Washington and throughly enjoyed it. Finally a historian who is looking at the facts and brings out the qualities of this man with balance not over sentimentalizing while not bashing his character. I appreciated his handle on the topic.
Concerning slavery and Washington's opinion on the topic, Mr. Johnson had some interesting sources and revelations. George Washington disliked the practice and hoped to see it slowly recede from the American scene. In his will he decreed his slaves be given freedom once his wife passed away and made it clear they were not to be sold or transported out of Virginia. Apparently in those days this was a remarkable thing for a Virginian to decree.
He had a remarkable interest in land and the development of navigation and unity within it. He owned plenty and constantly explored new ways to utilize it. Mount Vernon housed several experiments on agriculture and the like as he possessed great curiosity.
These were a few topics broached in the biography. The book is a through yet simple and short book by a trustworthy historian. I recommend it!
Johnson, Paul. George Washington:The Founding Father. HarperCollins Publishers, New York 2005.
Concerning slavery and Washington's opinion on the topic, Mr. Johnson had some interesting sources and revelations. George Washington disliked the practice and hoped to see it slowly recede from the American scene. In his will he decreed his slaves be given freedom once his wife passed away and made it clear they were not to be sold or transported out of Virginia. Apparently in those days this was a remarkable thing for a Virginian to decree.
He had a remarkable interest in land and the development of navigation and unity within it. He owned plenty and constantly explored new ways to utilize it. Mount Vernon housed several experiments on agriculture and the like as he possessed great curiosity.
These were a few topics broached in the biography. The book is a through yet simple and short book by a trustworthy historian. I recommend it!
Johnson, Paul. George Washington:The Founding Father. HarperCollins Publishers, New York 2005.
Saturday, May 3, 2008
Homeschooling in America
George Washington: “My mother was the most beautiful woman I ever saw. All I am I owe to my mother. I attribute all my success in life to the moral, intellectual and physical education I received from her.”
This is what our first national leader states about his mother and implies about home education. It speaks volumes to the effects mothers at home have on their children's characters and intellectual development. My mother heard on the radio today a remarkable story about Thomas Edison. I researched him and found a website with his biography. Apparently his teacher decided his broad forehead showed his brains were scattered or "'addled'" (Beals). The youngster according to the radio broadcast said he would never go back to school again. And he didn't. Rather, his mother took him under her wing and taught him "'the three R's'" and from Bible. with this he took off. Soon enough he'd surpassed his parents and began learning from a tutor. This didn't go so well and he began to teach himself. Everything he did is remarkable for a boy his age. This illustrates the principle that education doesn't depend on the teaching system of today. A child can excel outside of the system and expand his own learning through independent work.
Talking to a classmate on homeschooling, she commented how one must be textbook savvy. This is true, often homeschooling depends heavily on textbooks given the parents limited knowledge on every topic needed to learn. But this develops in the child great work habits... learning to take information from the book and working on his own to gain knowledge. It builds self-initiative skills as well. Also a child can develop without peer pressure and can focus on studying instead of complying with the pressure from his classmate.
To conclude, homeschooling has deep history roots and recommendations from men as fine and as far back as George Washington. It raises the mother in the eyes of the child, she is not only their mother she is their educator as well.
http://www.brainyquote.com/quotes/authors/g/george_washington.html Retrieved April 30th, 2008
http://www.thomasedison.com/biography.html Retrieved May 3rd 2008
This is what our first national leader states about his mother and implies about home education. It speaks volumes to the effects mothers at home have on their children's characters and intellectual development. My mother heard on the radio today a remarkable story about Thomas Edison. I researched him and found a website with his biography. Apparently his teacher decided his broad forehead showed his brains were scattered or "'addled'" (Beals). The youngster according to the radio broadcast said he would never go back to school again. And he didn't. Rather, his mother took him under her wing and taught him "'the three R's'" and from Bible. with this he took off. Soon enough he'd surpassed his parents and began learning from a tutor. This didn't go so well and he began to teach himself. Everything he did is remarkable for a boy his age. This illustrates the principle that education doesn't depend on the teaching system of today. A child can excel outside of the system and expand his own learning through independent work.
Talking to a classmate on homeschooling, she commented how one must be textbook savvy. This is true, often homeschooling depends heavily on textbooks given the parents limited knowledge on every topic needed to learn. But this develops in the child great work habits... learning to take information from the book and working on his own to gain knowledge. It builds self-initiative skills as well. Also a child can develop without peer pressure and can focus on studying instead of complying with the pressure from his classmate.
To conclude, homeschooling has deep history roots and recommendations from men as fine and as far back as George Washington. It raises the mother in the eyes of the child, she is not only their mother she is their educator as well.
http://www.brainyquote.com/quotes/authors/g/george_washington.html Retrieved April 30th, 2008
http://www.thomasedison.com/biography.html Retrieved May 3rd 2008
Thursday, April 24, 2008
I am still alive. Just buried under a pile of homework deadlines. Did get to research on the Massachusetts School Law of 1647 and the Ole' Deluder Satan Act of 1642. Here's what I wrote: Its not cited, and most of it is from a bunch of books or websites. sooo...
I am going to speak today about two of the earliest education laws of our country. The Massachusetts School Law of 1642 and the Old Deluder Satan Act of 1647.
First, some background information regarding these two acts. In 1630, twelve years before these two laws were enacted, three thousand Puritans came to America and founded what became the state of Massachusetts. One of their priorities after building homes and churches was to, “advance Learning and Perpetuate it to Posterity.” So six years later in 1636, Mr. John Harvard established America’s first college which became Harvard.
Continuing with their pursuit of learning, the Puritans passed the Massachusetts School Law of 1642 which mandated that all parents teach their children to read. Five years later they passed the Old Deluder Satan Act of 1647 which called every town with at least 50 families to establish a school, and towns with at least 100 families to establish a school offering higher levels of education.
The purpose of the Ole Deluder Satan Act is explained in the title. The Puritans stated their main reason in their introduction,
“It being one chief point of the old deluder, Satan, to keep men from knowledge of the Scriptures ... it is therefore ordered that every township in this jurisdiction, after the Lord has increased them to the number of fifty householders, shall appoint one within this town to teach all such children as shall go to him to read and write.... Because it is good for the welfare of this country, that youth be educated, not only in good literature, but sound doctrine.”
They believed that Satan tried to keep people from reading the Bible and they wanted to avoid this by teaching their children to read.
There were two main kinds of schools: Dame Schools and grammar Schools. Children learned to read and write at Dame schools. Their textbook after learning the alphabet was the Bible and the Book of Psalms. In 1690, the New England Primer was printed and that became one of the textbooks used. These schools were often at a lady’s home. The Grammar schools were those ones built in a community with 100 or so and their purpose was to prepare the youth for college. Those called Latin Grammar schools taught Latin, Greek, memorization and discipline. Often it was a minister who would teach at these schools. Supplies were limited so they wrote with birch bark and lumps of lead. Eventually the children used the hornbook. It had the alphabet above with the Lord’s Prayer below.
I am going to speak today about two of the earliest education laws of our country. The Massachusetts School Law of 1642 and the Old Deluder Satan Act of 1647.
First, some background information regarding these two acts. In 1630, twelve years before these two laws were enacted, three thousand Puritans came to America and founded what became the state of Massachusetts. One of their priorities after building homes and churches was to, “advance Learning and Perpetuate it to Posterity.” So six years later in 1636, Mr. John Harvard established America’s first college which became Harvard.
Continuing with their pursuit of learning, the Puritans passed the Massachusetts School Law of 1642 which mandated that all parents teach their children to read. Five years later they passed the Old Deluder Satan Act of 1647 which called every town with at least 50 families to establish a school, and towns with at least 100 families to establish a school offering higher levels of education.
The purpose of the Ole Deluder Satan Act is explained in the title. The Puritans stated their main reason in their introduction,
“It being one chief point of the old deluder, Satan, to keep men from knowledge of the Scriptures ... it is therefore ordered that every township in this jurisdiction, after the Lord has increased them to the number of fifty householders, shall appoint one within this town to teach all such children as shall go to him to read and write.... Because it is good for the welfare of this country, that youth be educated, not only in good literature, but sound doctrine.”
They believed that Satan tried to keep people from reading the Bible and they wanted to avoid this by teaching their children to read.
There were two main kinds of schools: Dame Schools and grammar Schools. Children learned to read and write at Dame schools. Their textbook after learning the alphabet was the Bible and the Book of Psalms. In 1690, the New England Primer was printed and that became one of the textbooks used. These schools were often at a lady’s home. The Grammar schools were those ones built in a community with 100 or so and their purpose was to prepare the youth for college. Those called Latin Grammar schools taught Latin, Greek, memorization and discipline. Often it was a minister who would teach at these schools. Supplies were limited so they wrote with birch bark and lumps of lead. Eventually the children used the hornbook. It had the alphabet above with the Lord’s Prayer below.
Wednesday, March 19, 2008
American Theocracies
I am currently reading The Politically Incorrect Guide to American History by Thomas E. Woods, Jr. Its been enjoyable and informative and supports the lectures by Steve Wilkens The First 350 Years (on American history).
Talking about the first American colonies both men discuss their "theocratic" aspects. Theocracy is defined in the online Merriam-Webster dictionary as a " government of a state by immediate divine guidance or by officials who are regarded as divinely guided". Wilkens described the colonies as theocratic in the latter sense where the colonists regarded their leaders as those guided by God in thier occupation. According to Mr. Wood's book, in Massachusetts only those men considered "Christians" by the church could vote. If the men voting and those elected were Christians, the colonies were indeed theocracies in the sense of being divinely guided given than that Christians have the Holy Spirit.
The colonies were not like the early Israeli nation were God through direct revelation led the nation. Although Christians have the Holy Spirit, He does not directly reveal God's will as in the early days. Thus the early colonial rulers cannot be compared to Moses who lead the Israelites under direct revelation from God. Despite this, American colonists had the Scriptures which is "sufficient for instruction"2 Tim 3:16. Thus they had a valuable guide for ruling the colonies.
Thus America had some theocratic colonies at her foundation something that would bring about immeasureable blessing upon her future destiny.
http://www.merriam-webster.com/dictionary/Theocracy
Jr. Woods, Thomas E. The Politically Incorrect Guide to American History
Talking about the first American colonies both men discuss their "theocratic" aspects. Theocracy is defined in the online Merriam-Webster dictionary as a " government of a state by immediate divine guidance or by officials who are regarded as divinely guided". Wilkens described the colonies as theocratic in the latter sense where the colonists regarded their leaders as those guided by God in thier occupation. According to Mr. Wood's book, in Massachusetts only those men considered "Christians" by the church could vote. If the men voting and those elected were Christians, the colonies were indeed theocracies in the sense of being divinely guided given than that Christians have the Holy Spirit.
The colonies were not like the early Israeli nation were God through direct revelation led the nation. Although Christians have the Holy Spirit, He does not directly reveal God's will as in the early days. Thus the early colonial rulers cannot be compared to Moses who lead the Israelites under direct revelation from God. Despite this, American colonists had the Scriptures which is "sufficient for instruction"2 Tim 3:16. Thus they had a valuable guide for ruling the colonies.
Thus America had some theocratic colonies at her foundation something that would bring about immeasureable blessing upon her future destiny.
http://www.merriam-webster.com/dictionary/Theocracy
Jr. Woods, Thomas E. The Politically Incorrect Guide to American History
Wednesday, March 12, 2008
Foreshadowing the Ultimate Murder
Art in the early ages portrayed Biblical accounts seeking to impart spiritual lessons to the viewers. Implementing this early artistic purpose in displaying Lorenzo Ghiberti’s Cain and Abel panel maintains its original function in a historically accurate presentation. For the goal of continuing art’s ancient role, the Lamentation Over the Dead Christ by Massimiliano Soldani appears to fit the mission. Individually each art piece tells their story but together they fit as puzzle pieces showing a broader picture. The Cain and Abel panel and the Lamentation chosen as display partners contain physical, historical, and thematic commonalities working together to fulfill the old religious purpose of imparting spiritual truths to the viewer. Considering their individual characteristics and unearthing their various similarities will uncover the eloquence of the two together.
Amongst acclaimed Florentine works stand Lorenzo Ghiberti’s Florence Cathedral East doors completed in 1452[1]. The doors display ten gilded bronze relief panels depicting biblical accounts with one on Cain and Abel portraying important events in the brothers’ lives. On the upper left corner is the first scene, Adam and Eve and the boys, below them are both brothers shown in their occupations: Abel overlooking his sheep and Cain plowing below him. [2] To the upper right both offer sacrifices while God looks toward Abel in favor; below them at mid-panel Cain murders his brother; at the lower right corner God addresses Cain concerning his sin. Ghiberti graduated the relief’s projection from top to bottom having the highest projection on the lower part of the panel. Such graduation timelines the story, the narrative’s first scene on the upper panel section hardly rises above the panel base while the final scene, depicting Cain and God, lands at the bottom, the region of highest relief. One middle scene, Cain at the plow, deviates from this pattern, landing on the high relief foreground to the left of the story’s final scene. The deviation emphasis Cain the sinner as the panel’s principal subject. The panel adopts the Bible account’s emphasis on Abel’s death through focusing the eye the murder and Cain’s character. Cain raises his club high above his head, his clothes swing back with momentum, his legs apart as he forcefully steps to lower the club upon his crouching sibling. In the next scene, God stretches His arm toward Cain while Cain facing the viewer turns his upper torso and face up towards God raising one arm toward Him. His hand cups straight toward God almost in retort to his Maker. The portrayal of motion through position, flying clothes, and relief graduations dynamically retells the horror story.
As Ghiberti’s panel depicted a tragic death, so Massimiliano Soldani’s sculpture portrays a poignant occurrence. The sculpture Lamentation Over the Dead Christ created in 1714, presents the dead Christ, a sorrowful Mother and attending angels and putti during Christ’s burial. The center focal point is the deceased Christ’s body resting on a lounge shaped slab with a rising back where Christ’s torso rests. Below Christ’s legs, the slab continues flat but bunched drapery on the piece raises his upper thigh leaving his lower legs to lie in a downward position. Above Christ is Mary who is swooning back and to the right side. [3] On either side of the two central figures are two angels; the angel on Christ’s left stands facing the viewer, his face turned away in grief; the angel on the right kneels on the slab his side exposed to the viewer, his torso turned to extend his half-stretched arms toward Mary. Above and slightly behind the swooning mother rises a putti holding drapery which swirls down behind her. Behind Mary’s right to the right of the latter putti is another putti facing the viewer with his body leaning inward toward the sculpture’s center. Behind the cast is the coffin, whose lid rises diagonally upward along the sculpture’s horizontal plane toward the left. The positioning and motions of each character fit together like a puzzle and help shape a triangle. A slab of rock forms the sculpture’s base line while the two angels on opposing sides and the flying putti above frame Christ and Mary in a triangular shape. Even the Christ and Mary, the central figures, form the geometrical form: their forms fitting together like a puzzle to shape the triangle. Mary’s upper body and head form the triangle pinnacle as they rise diagonally to the left. Christ’s upper body follows the same diagonal while his left arm hangs limply leftward away from the diagonal forming a lower corner. As Mary’s lower body coincides with Christ’s lower legs shaping the opposite corner it rises left diagonally till her upper body and head contour the last corner or the triangle’s peak. The coffin lid continues Mary’s bodily line diagonally past the second triangle formed by the angels, its square corner becoming a triangle right behind the left angel given its diagonal position. Although it may seem an incongruent piece, it leads the eye from Mary’s sorrow toward the angel’s grief; in addition, it accentuates the central triangle tying it with the exterior angelic triangle.
Overall the sculpture imbues the sense of dynamic sorrow presented through the medium, the character’s positions, and sculptural techniques. Though molded out of bronze, the tone is mostly a deep grey, an appropriate tone given the somber topic.[4] The triangular apex formed as Mary faints diagonally her head just above Christ’s draws the eye to see the grief and the reality of Christ’s death. As the angels on either side form the second triangle they join in mourning, one turning his face away another extending his arms toward Mary. The putti above Mary helps crest the second triangle composed of angels, and shows the sorrowful business of the moment. With the coffin lid continuing Mary’s line, one sees the dead corpse the grieving figure and the telling symbol which tells the reality of this death. The deeply carved lines into the dark bronze adds to the sense of weighty distress.
Having considered each works’ individual physical characterizations, it is necessary to consider them in light of each other. Both panel and sculpture are bronze, visible on the sculpture but hidden under the panel’s gilded finish. Placing the sculpture’s deep bronze against the panel’s brilliant gilded bronze should provide a striking contrast. Although the panel is square and the sculpture triangular, both shapes being geometrical line forms imbue congruency. The panel’s jagged mountainside stage and God’s figure where He deals with Cain combine to form a mirror reflection shape of the Lamentation. With the mountainside, a triangular silhouette, and God’s form breaking the silhouette at a diagonal, the outline reflects the sculpture’s triangular form and the coffin lid breaking in diagonally. All these features work to provide a visually congruent pair.
Consideration of each work not only includes physical characteristics but also the makers’ histories. A Biographical Dictionary of Artists and a biography on the Getty Museum website reveal important facts of Ghiberti and Massimiliano respectively. Both men worked in Florence some three hundred years apart, Ghiberti in the Early Renaissance and Soldani in the Baroque.[5] Lorenzo Ghiberti received the commission for the doors from the Arte di Calimala (cloth guild) a part of the Florentine guild power while Massimiliano Soldani worked under the Medici, the family who overruled the old Florentine guild powers.[6] Significantly, both were sculptors and enjoyed a high status within their time period.[7] The online Getty article states, “Taken with his work, Grand Duke Cosimo III de' Medici sent Soldani-Benzi to Rome to further his artistic education and in particular to learn coin-making…. returned to Florence, where he was made director of the Granducal Mint.”[8] Capturing the eye of the Medici, the talented Soldani garnered an education and position through their patronage. Ghiberti won the contest for the Florentine baptistery project and later received the job for another set of doors to the Baptistery. Thus both artists though living about three hundred years apart, lived in Florence, practiced sculpture, and gained societal approval.
Just as Ghiberti and Soldani’s lives read similarly, so thematic similarities exist between the Cain and Abel panel and the Lamentation. Ghiberti’s panel depicts the Biblical story of Cain and Abel, Adam and Eve’s sons. When Cain and Abel offered their sacrifices to God, God rejected Cain’s since it was not the proper sacrifice a revelation of his rebellious heart. Envying Abel’s favor from God, Cain murdered his brother. Abel’s death became the first human death in the Bible’s history of mankind: another consequence from Adam and Eve’s first sin. Because Adam and Eve transgressed against God, humankind became sinful. Thus, God began His plan for man’s redemption. Abel’s death, a consequence of Adam and Eve’s sin prefigured the ultimate consequence: Christ’s death: the payment for humanity’s redemption. God sent His Son into the world through the virgin Mary to live a perfect life and die for the sin of mankind. Though Christ lived without sin, God imputed humanity’s sin upon Him punishing Him with death. Soldani’s work captures the agonizing consequence of sin: death. Both art pieces join together presenting the cost of sin through two pivotal historical occurrences, one event a foreshadow of the other.
In summary, planning a display for Ghiberti’s Cain and Abel panel that allows it to impart its spiritual message brought the Lamentation and panel under analysis for similarities. Examining the pieces revealed the art works would combine artistically, historically, and thematically if displayed together. As the colors, shapes, and individual artistic qualities merge they bring delight to the viewer. Historically, both are linked together created by Florentines with akin artistic fields and societal status. As these elements merge the fusing bond is their theme. Displaying these two pieces Ghiberti’s Cain and Abel panel and Soldani’s The Lamentation Over the Dead Christ unites two history pieces to perform their rightful historical function in a fused and powerful way to teach the historical plan of God’s redemptive history. Once upon a time the murdered Abel’s blood prefigured the death of God’s Son, a death paying the price for consequences from the sin his parents committed the corruption of mankind and leading to his death. The display projects the masterful plan of forgiveness Christ completed.
References
“Their Youth and Vocations, Cain's Jealousy, Cain's Murder of Abel and Discovery: Cain and Abel: First Scene.” Enrichment. Grace Cathedral. http://www.gracecathedral.org/enrichment/features/ghiberti/R1_sc1.html (accessed March 7, 2008).
Gowing, Sir Lawrence. A Biographical Dictionary of ARTISTS, The Vineyard, Abingdon, Oxfordshire, England, New York, N.Y.: Andromeda Oxford Limited and Facts On File, Inc, 1995.
“Massimiliano Soldani-Benzi”. The Getty. The J. Paul Getty Trust. http://www.getty.edu/art/gettyguide/artMakerDetails?maker=3240
(accessed March 3, 2008).
“Monumental Sculpture from Renissance Florence: Ghiberti, Nanni di Banco, and Verrocchio at Orsanmichele”. National Gallery of Art,Washington D.C.. http://www.nga.gov/onlinetours/index.shtm (accessed January 2008).
Kleiner, Fred S., and Mamiya, Christin J. GARDNER’S ART THROUGH THE
AGES. 12th Ed., Blemont, CA,: Wadsworth /Thomson Learning, 2005.
Seattle Art Museum. “Display Information on The Lamentation of the Dead Christ.” Permanent Collection. Samuel H. Kress Collection, 61.178.
[1] Fred S. Kleiner, Christin J. Mamiya, GARDNER’S ART THROUGH THE AGES, 12th Ed., Blemont, CA,: Wadsworth /Thomson Learning,2005, pg. 572
[2] “Their Youth and Vocations, Cain's Jealousy, Cain's Murder of Abel and Discovery: Cain and Abel: First Scene,” Enrichment, Grace Cathedral, http://www.gracecathedral.org/enrichment/features/ghiberti/R1_sc1.html.
[3] Seattle Art Museum, “Display Information on The Lamentation of the Dead Christ,” Permanent Collection, Samuel H. Kress Collection, 61.178.
[4] Seattle Museum, “Display Information,”.
[5] Sir Lawrence Gowing, A Biographical Dictionary of ARTISTS, The Vineyard, Abingdon, Oxfordshire, England, New York, N.Y.: Andromeda Oxford Limited and Facts On File, Inc, 1995, pg. 245-246.
“Massimiliano Soldani-Benzi,” The Getty, The J. Paul Getty, Trust. http://www.getty.edu/art/gettyguide/artMakerDetails?maker=3240
(3 March. 2008).
[6] Gowing, A Biographical Dictionary of ARTISTS, pg. 245-246.
“Massimiliano Soldani-Benzi,” The Getty, http://www.getty.edu/art/gettyguide/artMakerDetails?maker=3240.
“Monumental Sculpture from Renissance Florence: Ghiberti, Nanni di Banco, and Verrocchio at Orsanmichele,” National Gallery of Art, Washington D.C., http://www.nga.gov/onlinetours/index.shtm (January. 2008).
[7] Gowing, A Biographical Dictionary of ARTISTS, pg. 245-246.
“Massimiliano Soldani-Benzi,” The Getty, http://www.getty.edu/art/gettyguide/artMakerDetails?maker=3240.
[8] Ibid., http://www.getty.edu/art/gettyguide/artMakerDetails?maker=3240.
Amongst acclaimed Florentine works stand Lorenzo Ghiberti’s Florence Cathedral East doors completed in 1452[1]. The doors display ten gilded bronze relief panels depicting biblical accounts with one on Cain and Abel portraying important events in the brothers’ lives. On the upper left corner is the first scene, Adam and Eve and the boys, below them are both brothers shown in their occupations: Abel overlooking his sheep and Cain plowing below him. [2] To the upper right both offer sacrifices while God looks toward Abel in favor; below them at mid-panel Cain murders his brother; at the lower right corner God addresses Cain concerning his sin. Ghiberti graduated the relief’s projection from top to bottom having the highest projection on the lower part of the panel. Such graduation timelines the story, the narrative’s first scene on the upper panel section hardly rises above the panel base while the final scene, depicting Cain and God, lands at the bottom, the region of highest relief. One middle scene, Cain at the plow, deviates from this pattern, landing on the high relief foreground to the left of the story’s final scene. The deviation emphasis Cain the sinner as the panel’s principal subject. The panel adopts the Bible account’s emphasis on Abel’s death through focusing the eye the murder and Cain’s character. Cain raises his club high above his head, his clothes swing back with momentum, his legs apart as he forcefully steps to lower the club upon his crouching sibling. In the next scene, God stretches His arm toward Cain while Cain facing the viewer turns his upper torso and face up towards God raising one arm toward Him. His hand cups straight toward God almost in retort to his Maker. The portrayal of motion through position, flying clothes, and relief graduations dynamically retells the horror story.
As Ghiberti’s panel depicted a tragic death, so Massimiliano Soldani’s sculpture portrays a poignant occurrence. The sculpture Lamentation Over the Dead Christ created in 1714, presents the dead Christ, a sorrowful Mother and attending angels and putti during Christ’s burial. The center focal point is the deceased Christ’s body resting on a lounge shaped slab with a rising back where Christ’s torso rests. Below Christ’s legs, the slab continues flat but bunched drapery on the piece raises his upper thigh leaving his lower legs to lie in a downward position. Above Christ is Mary who is swooning back and to the right side. [3] On either side of the two central figures are two angels; the angel on Christ’s left stands facing the viewer, his face turned away in grief; the angel on the right kneels on the slab his side exposed to the viewer, his torso turned to extend his half-stretched arms toward Mary. Above and slightly behind the swooning mother rises a putti holding drapery which swirls down behind her. Behind Mary’s right to the right of the latter putti is another putti facing the viewer with his body leaning inward toward the sculpture’s center. Behind the cast is the coffin, whose lid rises diagonally upward along the sculpture’s horizontal plane toward the left. The positioning and motions of each character fit together like a puzzle and help shape a triangle. A slab of rock forms the sculpture’s base line while the two angels on opposing sides and the flying putti above frame Christ and Mary in a triangular shape. Even the Christ and Mary, the central figures, form the geometrical form: their forms fitting together like a puzzle to shape the triangle. Mary’s upper body and head form the triangle pinnacle as they rise diagonally to the left. Christ’s upper body follows the same diagonal while his left arm hangs limply leftward away from the diagonal forming a lower corner. As Mary’s lower body coincides with Christ’s lower legs shaping the opposite corner it rises left diagonally till her upper body and head contour the last corner or the triangle’s peak. The coffin lid continues Mary’s bodily line diagonally past the second triangle formed by the angels, its square corner becoming a triangle right behind the left angel given its diagonal position. Although it may seem an incongruent piece, it leads the eye from Mary’s sorrow toward the angel’s grief; in addition, it accentuates the central triangle tying it with the exterior angelic triangle.
Overall the sculpture imbues the sense of dynamic sorrow presented through the medium, the character’s positions, and sculptural techniques. Though molded out of bronze, the tone is mostly a deep grey, an appropriate tone given the somber topic.[4] The triangular apex formed as Mary faints diagonally her head just above Christ’s draws the eye to see the grief and the reality of Christ’s death. As the angels on either side form the second triangle they join in mourning, one turning his face away another extending his arms toward Mary. The putti above Mary helps crest the second triangle composed of angels, and shows the sorrowful business of the moment. With the coffin lid continuing Mary’s line, one sees the dead corpse the grieving figure and the telling symbol which tells the reality of this death. The deeply carved lines into the dark bronze adds to the sense of weighty distress.
Having considered each works’ individual physical characterizations, it is necessary to consider them in light of each other. Both panel and sculpture are bronze, visible on the sculpture but hidden under the panel’s gilded finish. Placing the sculpture’s deep bronze against the panel’s brilliant gilded bronze should provide a striking contrast. Although the panel is square and the sculpture triangular, both shapes being geometrical line forms imbue congruency. The panel’s jagged mountainside stage and God’s figure where He deals with Cain combine to form a mirror reflection shape of the Lamentation. With the mountainside, a triangular silhouette, and God’s form breaking the silhouette at a diagonal, the outline reflects the sculpture’s triangular form and the coffin lid breaking in diagonally. All these features work to provide a visually congruent pair.
Consideration of each work not only includes physical characteristics but also the makers’ histories. A Biographical Dictionary of Artists and a biography on the Getty Museum website reveal important facts of Ghiberti and Massimiliano respectively. Both men worked in Florence some three hundred years apart, Ghiberti in the Early Renaissance and Soldani in the Baroque.[5] Lorenzo Ghiberti received the commission for the doors from the Arte di Calimala (cloth guild) a part of the Florentine guild power while Massimiliano Soldani worked under the Medici, the family who overruled the old Florentine guild powers.[6] Significantly, both were sculptors and enjoyed a high status within their time period.[7] The online Getty article states, “Taken with his work, Grand Duke Cosimo III de' Medici sent Soldani-Benzi to Rome to further his artistic education and in particular to learn coin-making…. returned to Florence, where he was made director of the Granducal Mint.”[8] Capturing the eye of the Medici, the talented Soldani garnered an education and position through their patronage. Ghiberti won the contest for the Florentine baptistery project and later received the job for another set of doors to the Baptistery. Thus both artists though living about three hundred years apart, lived in Florence, practiced sculpture, and gained societal approval.
Just as Ghiberti and Soldani’s lives read similarly, so thematic similarities exist between the Cain and Abel panel and the Lamentation. Ghiberti’s panel depicts the Biblical story of Cain and Abel, Adam and Eve’s sons. When Cain and Abel offered their sacrifices to God, God rejected Cain’s since it was not the proper sacrifice a revelation of his rebellious heart. Envying Abel’s favor from God, Cain murdered his brother. Abel’s death became the first human death in the Bible’s history of mankind: another consequence from Adam and Eve’s first sin. Because Adam and Eve transgressed against God, humankind became sinful. Thus, God began His plan for man’s redemption. Abel’s death, a consequence of Adam and Eve’s sin prefigured the ultimate consequence: Christ’s death: the payment for humanity’s redemption. God sent His Son into the world through the virgin Mary to live a perfect life and die for the sin of mankind. Though Christ lived without sin, God imputed humanity’s sin upon Him punishing Him with death. Soldani’s work captures the agonizing consequence of sin: death. Both art pieces join together presenting the cost of sin through two pivotal historical occurrences, one event a foreshadow of the other.
In summary, planning a display for Ghiberti’s Cain and Abel panel that allows it to impart its spiritual message brought the Lamentation and panel under analysis for similarities. Examining the pieces revealed the art works would combine artistically, historically, and thematically if displayed together. As the colors, shapes, and individual artistic qualities merge they bring delight to the viewer. Historically, both are linked together created by Florentines with akin artistic fields and societal status. As these elements merge the fusing bond is their theme. Displaying these two pieces Ghiberti’s Cain and Abel panel and Soldani’s The Lamentation Over the Dead Christ unites two history pieces to perform their rightful historical function in a fused and powerful way to teach the historical plan of God’s redemptive history. Once upon a time the murdered Abel’s blood prefigured the death of God’s Son, a death paying the price for consequences from the sin his parents committed the corruption of mankind and leading to his death. The display projects the masterful plan of forgiveness Christ completed.
References
“Their Youth and Vocations, Cain's Jealousy, Cain's Murder of Abel and Discovery: Cain and Abel: First Scene.” Enrichment. Grace Cathedral. http://www.gracecathedral.org/enrichment/features/ghiberti/R1_sc1.html (accessed March 7, 2008).
Gowing, Sir Lawrence. A Biographical Dictionary of ARTISTS, The Vineyard, Abingdon, Oxfordshire, England, New York, N.Y.: Andromeda Oxford Limited and Facts On File, Inc, 1995.
“Massimiliano Soldani-Benzi”. The Getty. The J. Paul Getty Trust. http://www.getty.edu/art/gettyguide/artMakerDetails?maker=3240
(accessed March 3, 2008).
“Monumental Sculpture from Renissance Florence: Ghiberti, Nanni di Banco, and Verrocchio at Orsanmichele”. National Gallery of Art,Washington D.C.. http://www.nga.gov/onlinetours/index.shtm (accessed January 2008).
Kleiner, Fred S., and Mamiya, Christin J. GARDNER’S ART THROUGH THE
AGES. 12th Ed., Blemont, CA,: Wadsworth /Thomson Learning, 2005.
Seattle Art Museum. “Display Information on The Lamentation of the Dead Christ.” Permanent Collection. Samuel H. Kress Collection, 61.178.
[1] Fred S. Kleiner, Christin J. Mamiya, GARDNER’S ART THROUGH THE AGES, 12th Ed., Blemont, CA,: Wadsworth /Thomson Learning,2005, pg. 572
[2] “Their Youth and Vocations, Cain's Jealousy, Cain's Murder of Abel and Discovery: Cain and Abel: First Scene,” Enrichment, Grace Cathedral, http://www.gracecathedral.org/enrichment/features/ghiberti/R1_sc1.html.
[3] Seattle Art Museum, “Display Information on The Lamentation of the Dead Christ,” Permanent Collection, Samuel H. Kress Collection, 61.178.
[4] Seattle Museum, “Display Information,”.
[5] Sir Lawrence Gowing, A Biographical Dictionary of ARTISTS, The Vineyard, Abingdon, Oxfordshire, England, New York, N.Y.: Andromeda Oxford Limited and Facts On File, Inc, 1995, pg. 245-246.
“Massimiliano Soldani-Benzi,” The Getty, The J. Paul Getty, Trust. http://www.getty.edu/art/gettyguide/artMakerDetails?maker=3240
(3 March. 2008).
[6] Gowing, A Biographical Dictionary of ARTISTS, pg. 245-246.
“Massimiliano Soldani-Benzi,” The Getty, http://www.getty.edu/art/gettyguide/artMakerDetails?maker=3240.
“Monumental Sculpture from Renissance Florence: Ghiberti, Nanni di Banco, and Verrocchio at Orsanmichele,” National Gallery of Art, Washington D.C., http://www.nga.gov/onlinetours/index.shtm (January. 2008).
[7] Gowing, A Biographical Dictionary of ARTISTS, pg. 245-246.
“Massimiliano Soldani-Benzi,” The Getty, http://www.getty.edu/art/gettyguide/artMakerDetails?maker=3240.
[8] Ibid., http://www.getty.edu/art/gettyguide/artMakerDetails?maker=3240.
Final paper
Finally handed in my last paper for Art History. It compares Lorenzo Ghibert's Cain and Abel panel on a set of doors he cast in bronze with a sculpture named The Lamentation Over the Dead Christ.
The sculpture is lovely really, the topic very well expressed the grief very evident.
So I am posting the essay I did on these two pieces which tell a incredible redemptive history story.
The sculpture is lovely really, the topic very well expressed the grief very evident.
So I am posting the essay I did on these two pieces which tell a incredible redemptive history story.
Saturday, March 1, 2008
Why the Focus Today?
I am getting fed up with the new videos on history. For example, Elizabeth and the Golden Age, the new one on King Henry the 8th, even an older version on George Washington. Why can't movies focus on the moral excellencies of people instead of "affairs" or making more of a fact than should? When will people depict the nobility of our first president at war in Valley Forge? Or the fact that Queen Elizabeth was a Protestant queen who allowed the English people freedom of religion? Can't they write a proper biographical account with truth instead of playing up what will sell to today's generation? In my art history class, videos on artists tend to focus on any hints of immorality in thier lives instead of focusing on thier artistic ability or other parts of thier lives. I love movies that focus on the courage, morality, and valor of historical figures. Some of that is seen in the Gladiator movie with some exceptions. The movie Black Hawk Down on the skirmish with our soldier in Somalia also is a wonderful depiction of courage, patriotism, and brotherhood. There is such talent to portray stories in history, there are such stories of inspiration to tell, where are the people who will boldly proclaim the virtues instead of vices of our historical background?
Saturday, February 23, 2008
On the Paper
This is the paper I had to do for my art class. I had to study one art piece, describe it, and give my impressions on it. It was actually a interesting experience. The alterpiece had the unique attribute of a singular depiction of the baby Jesus. Well hope you enjoy reading it. If you don't get bored:)
Pietro Lorenzentti’s Hint at Success
Within the Seattle Art Museum’s small presentation of Renaissance art is Pietro Lorenzetti’s Virgin and Child with Saints Paul and Peter a small early work for the new artist. Lorenzetti produced the altarpiece from 1310 to 1320, early on in an artistic life beginning in 1306 and ending in 1348.[1] At first glance one might dismiss it as simply an Italian-Byzantine piece, the style prevalent before the Renissance; yet, it holds specific features signaling a promising artist on the rise. Let us examine the piece, understand and analyze it against its historical context, and determine its true value.
In order to properly consider the piece, it is necessary to place it within its historical context. The painting produced at the beginning of the 14th century lands at the dividing point between the Middle Ages and the Renaissance. During the Middle Ages, artistic knowledge gained in ancient times lay buried awaiting the age of Rebirth or Renaissance; a time of rediscovery and discovery in the arts. Giotto di Bondone (ca. 1266-1337) marks the turning point between the ages due to his advancements in the depiction of realism; He finished his Madonna Enthroned in 1310: about the time Pietro Lorenzetti began his Virgin and Child with Saints Paul and Peter. [2] Giotto portrays his Madonna with a realistic body being solid and weighty. It contrasts strongly with preceding works lacking realistic portrayals of the human form. On the eve of realism’s awakening Pietro began his altarpiece. Given Giotto’s authoritative artistic advancements is provides a standard of comparison for Lorenzetti’s piece. Though comparing it with Giotto is appropriate, it is also imperative to evaluate the piece on its own merit: the framework of Pietro’s body of work.
In order to grasp what this painting is, it requires further detailed examination. The altarpiece is a triptych containing Saint Paul on the right panel, Mary and the Child in the center, and Saint Peter on the left panel. Above each divided section rests a pinnacle or triangle shape with different figures on each. Just as the central panel depicting the Mother and Child is slightly larger than the other two, the pinnacle above it is larger than the adjacent ones. Wood framing raised about three quarters of an inch from the painting itself surrounds the entire piece, delineating the three sections and pinnacles. Behind every figure is a golden background symbolizing a heavenly or holy space. The focal point is on the mother and Child, where she looks toward the viewer and sustains the Child resting on her left arm. Christ leans toward His mother clutching her navy cloak near her bosom, watching the Apostle Peter. Apostles Paul and Peter look toward the two central figures holding their respective symbols, a sword and a set of keys. In the pinnacle above Paul is Mary Magdalene in a frontal pose looking toward the viewer, while holding a cross and jar in either arm.[3] Above Apostle Peter is the Archangel Michael holding a sword’s handle.[4] In the central pinnacle is Christ seemingly blessing the two figures below him, Mary and the Child.[5] On first sight, one might characterize the piece as Italo-Byzantine the art form dominant during the Middle Ages; yet, a closer and researched analysis reveals a different perspective.
Given the altarpiece’s historical context, it is essential to further analyze its qualities and discern how innovative it really is or not given the current artistic advancements. The Italio-Byzantine style is characterized as flat, linear, shallow and stylized, while dimension, linear perspective, spatial depth and realism were the budding qualities of the day. [6] In the altarpiece, there is no linear perspective utilized, nor is any background space depicted. The golden, intricately traced halos around each person are flat. Yet figures are not wholly flat, having faces and bodies with dimension. Clear shading reveals each figure’s features: soft cheeks reveal on the Madonna through lighter colors on the cheek bone darkening toward her chin line. Their drapery falls naturally creasing on the elbows, or at the waistline. Although the drapery falls quite naturally, it does not cling or reveal the body underneath. In the depiction of the risen Christ on the central pinnacle, His red robe is stylized with gold lines. Such use of golden outlines is extensive amongst the earlier art form is used to symbolize the elevated position of Christ. The greatest progress in realistically depicting weight and mass in a human form is found in the Christ Child. His arms and legs are clearly chubby portrayed through deeply shaded creases on his arms and the use of shading and creases to reveal bulk through the red drapery above His leg. His face is quite baby like, unlike the characterizations commonly showing him as a little man. The large, soft, round, shaded cheek reveals baby-fat which cushions His yet undefined chin. His position is also unique as He grabs His mother’s navy cloak, leaning onto her bosom while looking at the Saint Peter on His left. It imbues the sense of seeking protection in His mother and some apprehension toward the Saint. Mary’s expression regards the viewer almost expressing distrust and giving the sense of her maternal desire to protect her Child. Mary looks toward the viewer with an expression of sadness and tender protection over her child.
When this painting is compared to Giotto’s version of the same theme, it provides a solid basis to discern the status of the work in its time. Giotto’s Madonna is praised for bringing solidity and mass to Mary, an element he gave to the Christ Child as well. Lorenzetti’s Christ Child manifests this quality but Mary’s form is hidden in her clothing. With the use of shading to reveal bodily fat, Christ’s body reveals weight and presence. The Saints adjacent to the central panel reveal mass through the differentiating light tones on thier clothes. Yet their depiction is not as realistic as Giotto’s representation of the angels adjoining the central throne. Another major development in Giotto’s Madonna Enthroned is the spatial depth of the throne as it surrounds its occupants. The two frontal poles are painted in light white tones. These colors darken as the frame recedes toward the back of Mary and Jesus. The grey roof of the arch above them effectively encases the occupants. Spatial depth is ostensibly absent in Lorenzetti’s altarpiece. The fact that it solely depicts the characters with the golden space around them is very Medieval, as it reveals the society’s focus on the heavenly world over any earthly thing. While Giotto’s work displays these surpassing qualities Lorenzetti’s work also holds some notably surprising developments. The sad and protective expression in Mary’s eyes and the distrust in Christ’s face convey far more human emotion than Giotto’s characters. Also, the Baby’s position displays great expression, a characteristic absent in Giotto’s Christ. His position not only portrays human emotion, but it is also an untraditional pose. Most Christ Childs sit on Mary’s lap or arm uprightly, while Lorenzetti’s leans against His mother. Another noteworthy element is the Child’s baby like face. Art professor Mary Camp explained the medieval notion of the “homunculus”: the belief that Christ was conceived in Mary as a little man. Given this belief, medieval art depicted Baby Jesus as a little man.[7] This concept is evident in Giotto’s Christ Child, while Lorenzetti depicted Christ as a baby boy. This reveals Lorenzetti applied his perception of reality concerning children to his depiction of Christ. Thus, in comparing both works, human anatomical mass and spatial depiction are triumphs in Giotto’s Madonna Enthroned, while Lorenzetti’s altarpiece displays a surprising revelation of emotional expression and position and a comprehension of Christ born as a human child.
Pietro Lorenzetti (c. 1280- 1348) began to paint in 1320 to 1348 in Siena learning with his brother Ambrogio under Simone Martini.[8] Judging from Painting in Late Medieval and Renaissance Siena, Pietro produced a number of altarpieces and religious paintings during his lifetime, as it describes the various pieces he produced for cathedrals and mendicant orders.[9] Both brothers contributed to their world of art as A Biographical Dictionary of Artists points out, “the Lorenzetti brought Sienese painting to its finest flowering and European renown”.[10] Consideration of the Altarpiece already discussed in depth reveals Pietro Lorenzetti’s ability to convey emotion, a quality the Dictionary documents saying, “throughout his work there is a continuing exploration of the psychological states of his figures which was the special mark of his genius.”[11] It is this attribute which makes his altarpiece standout as he depicts the mental thought of the Virgin and Child. His future Birth of the Virgin made great advance in depicting spatial depth. He achieved this by darkening walls as they recede into the background, and differentiating between the background and foreground space through shading and some perspective. This allows his figures to have their own standing space. The altarpiece exchanged hands several times during the twentieth century possessed by several art organizations and eventually ending at the Seattle Art Museum in 1961. It is currently displayed in its Renaissance art gallery amongst other period pieces. Unfortunately being his earlier and smaller works, the altarpiece appears to receive little recognition given the difficulty is finding in depth analysis on it.
To conclude, the subject of our discussion is an unlikely one. It is not famous nor highly documented, yet it holds a nugget of revelation concerning its master Pietro Lorenzetti. In his depiction of the Virgin and Child their mental states are open to observe as the Mother’s tender, sad, protective eyes reach out and the Child grasps His mother’s clothing for safety distrustfully regarding the stranger reaching toward Him. It is this representation which crowns this little altarpiece with one element of superiority over Giottos’ formal depiction of the same Biblical characters. In spite of this gem, there are layers of old minerals mixed into the piece as it contains many Byzantine traits. Thus it is simply a beacon catching our eyes to look beyond it to this painter’s significant future.
Bibliography
,1. Overview: Virgin and Child with Saints Paul and Peter. Seattle Art Museum. http://www.seattleartmuseum.org/emuseum/code/emuseum.asp?style=single¤trecord=1&page=search&profile=objMakers&searchdesc=Pietro%20Lorenzetti&quicksearch=Pietro%20Lorenzetti&newvalues=1&newprofile=objects (accessed February 21, 2008).
2. Overview: “Who Are the Figures Portrayed in the Altarpiece?”. Seattle Art Museum. http://www.seattleartmuseum.org/emuseum/code/emuseum.asp?style=single¤trecord=1&page=search&profile=objects&searchdesc=Pietro%20Lorenzetti&quicksearch=Pietro%20Lorenzetti&newvalues=1&newprofile=objExplores (accessed February 21, 2008).
3. Camp, Mary. “Lecture notes” from Western Art15th-18th Century Art: 204 at Whatcom Community College, February 14-2008.
4. Camp, Mary. “Lecture notes” from Western Art15th-18th Century Art: 204 at Whatcom Community College, Winter 2008.
5. Kleiner, Fred S., and Mamiya, Christin J. GARDNER’S ART THROUGH THE AGES. 12th Ed., Blemont, CA,: Wadsworth /Thomson Learning, 2005.
5. Norman, Diana. Painting in Late Medieval and Renissance Siena, China: Yale University Press, 2003.
[1] Seattle Art Museum, “Overview on Virgin and Child with Saints Paul and Peter.” http://www.seattleartmuseum.org/emuseum/code/emuseum.asp?style=single¤trecord=1&page=search&profile=objMakers&searchdesc=Pietro%20Lorenzetti&quicksearch=Pietro%20Lorenzetti&newvalues=1&newprofile=objects (21 Feb.2008).
[2] Fred S. Kleiner, Christin J. Mamiya, GARDNER’S ART THROUGH THE AGES, 12th Ed., Blemont, CA,: Wadsworth /Thomson Learning,2005, pg. 528
[3] Seattle Art Museum Explore: Who Are the Figures Portrayed in the Altarpiece? http://www.seattleartmuseum.org/emuseum/code/emuseum.asp?style=single¤trecord=1&page=search&profile=objects&searchdesc=Pietro%20Lorenzetti&quicksearch=Pietro%20Lorenzetti&newvalues=1&newprofile=objExplores (21Feb. 2008).
[4] Seattle Art Museum Explore: Who Are the Figures Portrayed in the Altarpiece?
[5] Seattle Art Museum Explore: Who Are the Figures Portrayed in the Altarpiece?
[6] Mary Camp, “Lecture notes”( from Western Art15th-18th Century Art: 204 at Whatcom Community College, Winter 2008) .
[7] Mary Camp, “Lecture notes” ( from Western Art15th-18th Century Art: 204 at Whatcom Community College, February 14, 2008) .
[8] Sir Lawrence Gowing, A Biographical Dictionary of ARTISTS, The Vineyard, Abingdon, Oxfordshire, England, New York, N.Y.: Andromeda Oxford Limited and Facts On File, Inc, 1995, pg. 394
[9] Diana Norman, Painting in Late Medieval and Renissance Siena, China: Yale University Press, 2003, pg. 83, 85, 86- 88, 111-118, 108
[10] Sir Lawrence Gowing, A Biographical Dictionary of ARTISTS, The Vineyard, Abingdon, Oxfordshire, England, New York, N.Y.: Andromeda Oxford Limited and Facts On File, Inc, 1995, pg. 394
[11] Sir Lawrence Gowing, A Biographical Dictionary of ARTISTS, The Vineyard, Abingdon, Oxfordshire, England, New York, N.Y.: Andromeda Oxford Limited and Facts On File, Inc, 1995, pg. 394
Within the Seattle Art Museum’s small presentation of Renaissance art is Pietro Lorenzetti’s Virgin and Child with Saints Paul and Peter a small early work for the new artist. Lorenzetti produced the altarpiece from 1310 to 1320, early on in an artistic life beginning in 1306 and ending in 1348.[1] At first glance one might dismiss it as simply an Italian-Byzantine piece, the style prevalent before the Renissance; yet, it holds specific features signaling a promising artist on the rise. Let us examine the piece, understand and analyze it against its historical context, and determine its true value.
In order to properly consider the piece, it is necessary to place it within its historical context. The painting produced at the beginning of the 14th century lands at the dividing point between the Middle Ages and the Renaissance. During the Middle Ages, artistic knowledge gained in ancient times lay buried awaiting the age of Rebirth or Renaissance; a time of rediscovery and discovery in the arts. Giotto di Bondone (ca. 1266-1337) marks the turning point between the ages due to his advancements in the depiction of realism; He finished his Madonna Enthroned in 1310: about the time Pietro Lorenzetti began his Virgin and Child with Saints Paul and Peter. [2] Giotto portrays his Madonna with a realistic body being solid and weighty. It contrasts strongly with preceding works lacking realistic portrayals of the human form. On the eve of realism’s awakening Pietro began his altarpiece. Given Giotto’s authoritative artistic advancements is provides a standard of comparison for Lorenzetti’s piece. Though comparing it with Giotto is appropriate, it is also imperative to evaluate the piece on its own merit: the framework of Pietro’s body of work.
In order to grasp what this painting is, it requires further detailed examination. The altarpiece is a triptych containing Saint Paul on the right panel, Mary and the Child in the center, and Saint Peter on the left panel. Above each divided section rests a pinnacle or triangle shape with different figures on each. Just as the central panel depicting the Mother and Child is slightly larger than the other two, the pinnacle above it is larger than the adjacent ones. Wood framing raised about three quarters of an inch from the painting itself surrounds the entire piece, delineating the three sections and pinnacles. Behind every figure is a golden background symbolizing a heavenly or holy space. The focal point is on the mother and Child, where she looks toward the viewer and sustains the Child resting on her left arm. Christ leans toward His mother clutching her navy cloak near her bosom, watching the Apostle Peter. Apostles Paul and Peter look toward the two central figures holding their respective symbols, a sword and a set of keys. In the pinnacle above Paul is Mary Magdalene in a frontal pose looking toward the viewer, while holding a cross and jar in either arm.[3] Above Apostle Peter is the Archangel Michael holding a sword’s handle.[4] In the central pinnacle is Christ seemingly blessing the two figures below him, Mary and the Child.[5] On first sight, one might characterize the piece as Italo-Byzantine the art form dominant during the Middle Ages; yet, a closer and researched analysis reveals a different perspective.
Given the altarpiece’s historical context, it is essential to further analyze its qualities and discern how innovative it really is or not given the current artistic advancements. The Italio-Byzantine style is characterized as flat, linear, shallow and stylized, while dimension, linear perspective, spatial depth and realism were the budding qualities of the day. [6] In the altarpiece, there is no linear perspective utilized, nor is any background space depicted. The golden, intricately traced halos around each person are flat. Yet figures are not wholly flat, having faces and bodies with dimension. Clear shading reveals each figure’s features: soft cheeks reveal on the Madonna through lighter colors on the cheek bone darkening toward her chin line. Their drapery falls naturally creasing on the elbows, or at the waistline. Although the drapery falls quite naturally, it does not cling or reveal the body underneath. In the depiction of the risen Christ on the central pinnacle, His red robe is stylized with gold lines. Such use of golden outlines is extensive amongst the earlier art form is used to symbolize the elevated position of Christ. The greatest progress in realistically depicting weight and mass in a human form is found in the Christ Child. His arms and legs are clearly chubby portrayed through deeply shaded creases on his arms and the use of shading and creases to reveal bulk through the red drapery above His leg. His face is quite baby like, unlike the characterizations commonly showing him as a little man. The large, soft, round, shaded cheek reveals baby-fat which cushions His yet undefined chin. His position is also unique as He grabs His mother’s navy cloak, leaning onto her bosom while looking at the Saint Peter on His left. It imbues the sense of seeking protection in His mother and some apprehension toward the Saint. Mary’s expression regards the viewer almost expressing distrust and giving the sense of her maternal desire to protect her Child. Mary looks toward the viewer with an expression of sadness and tender protection over her child.
When this painting is compared to Giotto’s version of the same theme, it provides a solid basis to discern the status of the work in its time. Giotto’s Madonna is praised for bringing solidity and mass to Mary, an element he gave to the Christ Child as well. Lorenzetti’s Christ Child manifests this quality but Mary’s form is hidden in her clothing. With the use of shading to reveal bodily fat, Christ’s body reveals weight and presence. The Saints adjacent to the central panel reveal mass through the differentiating light tones on thier clothes. Yet their depiction is not as realistic as Giotto’s representation of the angels adjoining the central throne. Another major development in Giotto’s Madonna Enthroned is the spatial depth of the throne as it surrounds its occupants. The two frontal poles are painted in light white tones. These colors darken as the frame recedes toward the back of Mary and Jesus. The grey roof of the arch above them effectively encases the occupants. Spatial depth is ostensibly absent in Lorenzetti’s altarpiece. The fact that it solely depicts the characters with the golden space around them is very Medieval, as it reveals the society’s focus on the heavenly world over any earthly thing. While Giotto’s work displays these surpassing qualities Lorenzetti’s work also holds some notably surprising developments. The sad and protective expression in Mary’s eyes and the distrust in Christ’s face convey far more human emotion than Giotto’s characters. Also, the Baby’s position displays great expression, a characteristic absent in Giotto’s Christ. His position not only portrays human emotion, but it is also an untraditional pose. Most Christ Childs sit on Mary’s lap or arm uprightly, while Lorenzetti’s leans against His mother. Another noteworthy element is the Child’s baby like face. Art professor Mary Camp explained the medieval notion of the “homunculus”: the belief that Christ was conceived in Mary as a little man. Given this belief, medieval art depicted Baby Jesus as a little man.[7] This concept is evident in Giotto’s Christ Child, while Lorenzetti depicted Christ as a baby boy. This reveals Lorenzetti applied his perception of reality concerning children to his depiction of Christ. Thus, in comparing both works, human anatomical mass and spatial depiction are triumphs in Giotto’s Madonna Enthroned, while Lorenzetti’s altarpiece displays a surprising revelation of emotional expression and position and a comprehension of Christ born as a human child.
Pietro Lorenzetti (c. 1280- 1348) began to paint in 1320 to 1348 in Siena learning with his brother Ambrogio under Simone Martini.[8] Judging from Painting in Late Medieval and Renaissance Siena, Pietro produced a number of altarpieces and religious paintings during his lifetime, as it describes the various pieces he produced for cathedrals and mendicant orders.[9] Both brothers contributed to their world of art as A Biographical Dictionary of Artists points out, “the Lorenzetti brought Sienese painting to its finest flowering and European renown”.[10] Consideration of the Altarpiece already discussed in depth reveals Pietro Lorenzetti’s ability to convey emotion, a quality the Dictionary documents saying, “throughout his work there is a continuing exploration of the psychological states of his figures which was the special mark of his genius.”[11] It is this attribute which makes his altarpiece standout as he depicts the mental thought of the Virgin and Child. His future Birth of the Virgin made great advance in depicting spatial depth. He achieved this by darkening walls as they recede into the background, and differentiating between the background and foreground space through shading and some perspective. This allows his figures to have their own standing space. The altarpiece exchanged hands several times during the twentieth century possessed by several art organizations and eventually ending at the Seattle Art Museum in 1961. It is currently displayed in its Renaissance art gallery amongst other period pieces. Unfortunately being his earlier and smaller works, the altarpiece appears to receive little recognition given the difficulty is finding in depth analysis on it.
To conclude, the subject of our discussion is an unlikely one. It is not famous nor highly documented, yet it holds a nugget of revelation concerning its master Pietro Lorenzetti. In his depiction of the Virgin and Child their mental states are open to observe as the Mother’s tender, sad, protective eyes reach out and the Child grasps His mother’s clothing for safety distrustfully regarding the stranger reaching toward Him. It is this representation which crowns this little altarpiece with one element of superiority over Giottos’ formal depiction of the same Biblical characters. In spite of this gem, there are layers of old minerals mixed into the piece as it contains many Byzantine traits. Thus it is simply a beacon catching our eyes to look beyond it to this painter’s significant future.
Bibliography
,1. Overview: Virgin and Child with Saints Paul and Peter. Seattle Art Museum. http://www.seattleartmuseum.org/emuseum/code/emuseum.asp?style=single¤trecord=1&page=search&profile=objMakers&searchdesc=Pietro%20Lorenzetti&quicksearch=Pietro%20Lorenzetti&newvalues=1&newprofile=objects (accessed February 21, 2008).
2. Overview: “Who Are the Figures Portrayed in the Altarpiece?”. Seattle Art Museum. http://www.seattleartmuseum.org/emuseum/code/emuseum.asp?style=single¤trecord=1&page=search&profile=objects&searchdesc=Pietro%20Lorenzetti&quicksearch=Pietro%20Lorenzetti&newvalues=1&newprofile=objExplores (accessed February 21, 2008).
3. Camp, Mary. “Lecture notes” from Western Art15th-18th Century Art: 204 at Whatcom Community College, February 14-2008.
4. Camp, Mary. “Lecture notes” from Western Art15th-18th Century Art: 204 at Whatcom Community College, Winter 2008.
5. Kleiner, Fred S., and Mamiya, Christin J. GARDNER’S ART THROUGH THE AGES. 12th Ed., Blemont, CA,: Wadsworth /Thomson Learning, 2005.
5. Norman, Diana. Painting in Late Medieval and Renissance Siena, China: Yale University Press, 2003.
[1] Seattle Art Museum, “Overview on Virgin and Child with Saints Paul and Peter.” http://www.seattleartmuseum.org/emuseum/code/emuseum.asp?style=single¤trecord=1&page=search&profile=objMakers&searchdesc=Pietro%20Lorenzetti&quicksearch=Pietro%20Lorenzetti&newvalues=1&newprofile=objects (21 Feb.2008).
[2] Fred S. Kleiner, Christin J. Mamiya, GARDNER’S ART THROUGH THE AGES, 12th Ed., Blemont, CA,: Wadsworth /Thomson Learning,2005, pg. 528
[3] Seattle Art Museum Explore: Who Are the Figures Portrayed in the Altarpiece? http://www.seattleartmuseum.org/emuseum/code/emuseum.asp?style=single¤trecord=1&page=search&profile=objects&searchdesc=Pietro%20Lorenzetti&quicksearch=Pietro%20Lorenzetti&newvalues=1&newprofile=objExplores (21Feb. 2008).
[4] Seattle Art Museum Explore: Who Are the Figures Portrayed in the Altarpiece?
[5] Seattle Art Museum Explore: Who Are the Figures Portrayed in the Altarpiece?
[6] Mary Camp, “Lecture notes”( from Western Art15th-18th Century Art: 204 at Whatcom Community College, Winter 2008) .
[7] Mary Camp, “Lecture notes” ( from Western Art15th-18th Century Art: 204 at Whatcom Community College, February 14, 2008) .
[8] Sir Lawrence Gowing, A Biographical Dictionary of ARTISTS, The Vineyard, Abingdon, Oxfordshire, England, New York, N.Y.: Andromeda Oxford Limited and Facts On File, Inc, 1995, pg. 394
[9] Diana Norman, Painting in Late Medieval and Renissance Siena, China: Yale University Press, 2003, pg. 83, 85, 86- 88, 111-118, 108
[10] Sir Lawrence Gowing, A Biographical Dictionary of ARTISTS, The Vineyard, Abingdon, Oxfordshire, England, New York, N.Y.: Andromeda Oxford Limited and Facts On File, Inc, 1995, pg. 394
[11] Sir Lawrence Gowing, A Biographical Dictionary of ARTISTS, The Vineyard, Abingdon, Oxfordshire, England, New York, N.Y.: Andromeda Oxford Limited and Facts On File, Inc, 1995, pg. 394
Monday, February 4, 2008
Saturday, February 2, 2008
Reflection on Art
Cimabue, an artist began the break from Italo-Byzantine art to what revolutionized western art. He in his paintings gave greater depth to his characters and more naturalism. Giotto, one of his students took off with these changes and made even more dramatic advances. His considered the Father of Western art. He observed nature and considered nature a teacher on the seen world. His Lamention shows great emotion, movement, and images of human movement. This is very different to the common paintings of the past where images depicted stiff humans with linear flatness or non-depth.
In studing art history, I have loved the works of Jan van Eyck. He focuses on the natural depiction of our world. He paints reality. Its real. To me that is a beautiful form of painting where the world is depicted as it really is: that is talent. My favorite painting thus far... hum, I really like one of the "Virgin" Mary by Fra Fillippo Lippi. Mary is depicted quite realistically and beautifully, along with some angels with a smirk. The color pattern is lovely.
Another piece I related well to was a sculpture of Christ and Thomas. It is at the Orsanmichelle, Florence, and it exhibits remarkable use of space and motion. I love the story behind it showing Christ's merciful compassion in reaching to Thomas' weakness and showing him His wounds.
Overall the course has been instrumental, informative, and fun.
In studing art history, I have loved the works of Jan van Eyck. He focuses on the natural depiction of our world. He paints reality. Its real. To me that is a beautiful form of painting where the world is depicted as it really is: that is talent. My favorite painting thus far... hum, I really like one of the "Virgin" Mary by Fra Fillippo Lippi. Mary is depicted quite realistically and beautifully, along with some angels with a smirk. The color pattern is lovely.
Another piece I related well to was a sculpture of Christ and Thomas. It is at the Orsanmichelle, Florence, and it exhibits remarkable use of space and motion. I love the story behind it showing Christ's merciful compassion in reaching to Thomas' weakness and showing him His wounds.
Overall the course has been instrumental, informative, and fun.
Monday, January 7, 2008
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