Cover Popcorn Ceiling

Passion of Christ in art

Last Supper by Leonardo da Vinci, 1495-1498

tempera and oil on plaster, 460 x 880 cm

Milan, Church of Santa Maria delle Grazie
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The statue in San Pietro in Vaticano Romanel 1498 AD Michelangelo, only 22 years, signing a contract, guaranteed by Jacopo Galli, with the French Cardinal of San Dionigi for the construction within a year, a Pieta of marble destined to be placed in the Basilica of San Pietro.
The Pietà Michelangelo was born on a block of marble quarries in Carrara personally chosen, where the artist represents the isolated figures of the Virgin Mary holding in her arms the body of Christ just taken down from the cross, according to an iconography that at that period, had found wide acceptance beyond Alpi.Nelle intentions of the sculptor, the Madonna is probably the whole of humanity and as such, in the words of the "Divine Comedy" of Dante, she is the "Virgin Mother, daughter of your son." The figure of Christ are absent signs of the Passion, Michelangelo, in fact, does not pursue the objective representation of death but expresses his own religious vision in the left face of the Son, and yet peaceful witness of communion between man and God sanctified by the sacrifice of Salvatore.Si said that Michelangelo, not usually sign their works, having casually heard some visitors say that Lombardi was the work of Mercy Hunchback of Milan, has entered the same night at the Basilica of San Pietro, and engraved on the inscription: "Angelus Bonarotus Florentinus Faciebat"

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Michelangelo was a careful reader of the poet Dante, from which he realized that the sacred, removing themselves from history, there is neither the past nor in the future and the only possible temporal relationship is to the contemporary vision. So Mary is the daughter of God and his mother, the latter emphasized the Michelangelo to sculpt in the womb of the Virgin that subtly appears swollen from under her dress as women who are breastfeeding. With the figure of Jesus Michelangelo reiterated his faith in the greatness and dignity of man and his neo-Platonic ideal of beauty he saw in contemplation, a means to elevate the soul to God A very high and deep spirituality surrounding the work and This raises the slightest movement, so the drapery falls and becomes a gentle rhythm that includes the two monumental figures.
An important role is that of marble cleaned with such finesse that it becomes translucent and the same material seems to be a spiritual sublimation and a waxy softness, which seemed miraculous to Vasari:
"a stone from the beginning without any perfection , it is never reduced to that perfection that nature is wont to be in trouble in the flesh. "
The light caresses the surface clean without encountering sharp edges or breaks and creates a more true of the natural. No description can do justice to the real beauty of this eternal work, which has been admired by humanity for five centuries and even today is offered to us thanks to the genius of Michelangelo

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In the Divine Comedy is seen the figure of Mary in the mystery of redemption. The fundamental thesis of Dante's masterpiece, which lends itself to various levels of reading, from the descriptive to the symbolic, allegorical and metaphorical, is the exaltation of the mediating role of the Virgin: it goes to God through Christ, but to Christ through Mary . The proof of this thesis is made up of Dante's journey, a parable of man's earthly pilgrimage towards heaven. Dante's story is the history of man, fall, grace, sin and purification, pilgrimage, history, sealed by the most beautiful prayer to the Virgin Mother, who directs all things, protects the soul with its active presence as a mediator. Yet this otherworldly journey of Dante towards the last health, to Heaven for the sight of God, is for Mary and Mary. It begins in Hell, where she is a woman of mercy which calls for the conversion goes through the purification of Purgatory, where Mary is a woman of virtue to be imitated, comes the glory of heaven in the glorious sign of Virgo. Fantastic Journey in the three kingdoms of the afterlife that winds with unsolicited helper presence of Mary in Hell, with its exemplary purified in purgatory, and closes in a perfect circle in Heaven with the requested maternal intercession.

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Prayer to the Virgin Mary of Dante Alighieri

Virgin mother, daughter of thy Son, Humble and high beyond
creature,
fixed term of the eternal counsel.
You ', whom the nobility
human nature so that its factor
not disdain to make himself its creature.
Within thy womb rekindled was the love
By heat in eternal peace
So this flower has germinated. Here
if 'we
noonday torch of charity, and below there among the mortal
If 'fount of hope.
Donna, if 'so big and so powerful,
That, he who wishes grace and not recourse to thee,
his desire would fly without wings. Your kindness

no succor to those who ask, but oftentimes
Freely might question the precursor. In
you mercy, in thee is pity,
In thee magnificence, in thee unites
Although in creature of goodness!

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San Zeno Altarpiece - Crucifixion 1456-1459,

Tempera su tavola, cm 67 x 93, Parigi, Musée du Louvre

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Cristo morto Andrea Mantegna,
tempera su tela ,Milano, Pinacoteca di Brera.

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Giovanni Domenico Tiepolo, Cristo,
alla colonna,XVIII sec, Museo del Prado, Madrid.

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Kirk Richards, the path of suffering,
1990, St Anthony's Hospice, Amarillo.

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Diego Velasquez, Christ After the Flagellation contemplated by
cristiana1628 soul-29 National
Gallery, London.

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Hieronymus Bosch, Crowning with Thorns, 1510, Monastery of St.
Lorenzo de El Escorial, Madrid.
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Cerza Mateo the Younger Ecce homo, 1665,

Museum of Fine Arts, Budapest.

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Washing of the Feet From the Gospel of John

"Jesus rose from supper, laid aside his garments

and took a towel, wrapped it around his waist.

Then he poured water into a basin and began to wash the disciples 'feet and

to wipe them with the' towel he was wearing.

He came to Simon Peter, who said

'Lord, dost thou wash my feet?'.

Giotto 1300 - 1305)

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Nikolai Ge (or Gay), Judas leaves the upper room

or Last Supper, 1863, Galleria tretjakow, Mosca.

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Luis de Morales, Ecce homo con Addolorata,

1550-75, Museo, Malaga.

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Carl Bloch, Gesù agonizzante nel

Gethsemaniconfortato dall'angelo.

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Francisco de zurbaràn, l'agnello di Dio,1635-1640.

Museo del Prado, Madrid.

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Sia Platone nel Timeo che Pascal nei pensieri avevano riconosciuto all'uomo la cpacità di elevarsi con il pensiero al di sopra delle cose,di conoscerle, interpretarle e trasmetterle to others, until his word, message, comunicazione.La more meaningful elevation of man is found in the passion of Christ has always been an important and essential reference for the man immersed in a world of light and darkness. This event has certainly troubled minds and consciences to have caused pain, awe, conversioni.Gesù, despite being the son of God, in His passion has been in meat and heard in his soul and suffering extreme pain and many were those who were inspired by this event, philosophers, theologians, writers and poets, painters and sculptors, musicisti.Ecco works by painters who have approached this issue.
Images taken from Google, information obtained several books that I have at home.