In art, a Madonna is a representation of Mary, either alone or with her child Jesus. These images are central icons for both the Catholic and Orthodox churches. The word is from Italian ma donna 'my lady' (archaic). The Madonna and Child type is very prevalent in Christian iconography, divided into many traditional subtypes especially in Eastern Orthodox iconography, often known after the location of a notable icon of the type, such as the Theotokos of Vladimir, Agiosoritissa, Blachernitissa, etc., or descriptive of the depicted posture, as in Hodegetria, Eleusa, etc.
The Transfiguration of Jesus is an event described in the New Testament, where Jesus is transfigured and becomes radiant in glory upon a mountain. The Synoptic Gospels recount the occasion, and the Second Epistle of Peter also refers to it.
Early Christian art and architecture or Paleochristian art is the art produced by Christians or under Christian patronage from the earliest period of Christianity to, depending on the definition used, sometime between 260 and 525. In practice, identifiably Christian art only survives from the 2nd century onwards. After 550 at the latest, Christian art is classified as Byzantine, or of some other regional type.
A doubting Thomas is a skeptic who refuses to believe without direct personal experience – a reference to the Gospel of John's depiction of the Apostle Thomas, who, in John's account, refused to believe the resurrected Jesus had appeared to the ten other apostles until he could see and feel Jesus's crucifixion wounds.
Carolingian art comes from the Frankish Empire in the period of roughly 120 years from about 780 to 900—during the reign of Charlemagne and his immediate heirs—popularly known as the Carolingian Renaissance. The art was produced by and for the court circle and a group of important monasteries under Imperial patronage; survivals from outside this charmed circle show a considerable drop in quality of workmanship and sophistication of design. The art was produced in several centres in what are now France, Germany, Austria, northern Italy and the Low Countries, and received considerable influence, via continental mission centres, from the Insular art of the British Isles, as well as a number of Byzantine artists who appear to have been resident in Carolingian centres.
The Franks Casket is a small Anglo-Saxon whale's bone chest from the early 8th century, now in the British Museum. The casket is densely decorated with knife-cut narrative scenes in flat two-dimensional low-relief and with inscriptions mostly in Anglo-Saxon runes. Generally thought to be of Northumbrian origin, it is of unique importance for the insight it gives into early Anglo-Saxon art and culture. Both identifying the images and interpreting the runic inscriptions has generated a considerable amount of scholarship.
Saints Gervasius and Protasius are venerated as Christian martyrs, probably of the 2nd century. They are the patron saints of Milan and of haymakers and are invoked for the discovery of thieves. Their feast day in the Latin Rite of the Catholic Church is 19 June, the day marking the translation of their relics. In the Eastern Orthodox Church and in the Eastern Rites of the Catholic Church, their feast takes place on 14 October (O.S.)/24 October (N.S.), the traditional day of their death. In Christian iconography their emblems are the scourge, the club and the sword.
A lipsanotheca is a reliquary, specifically a small box containing the actual relics inside a reliquary. The term derives from Greek through Late Latin. It has also come to be applied to monumental displays of relics.
The Flagellation of Christ, sometimes known as Christ at the Column or the Scourging at the Pillar, is a scene from the Passion of Jesus frequently shown in Christian art, in cycles of the Passion or the larger subject of the Life of Christ. It is the fourth station of the modern alternate Stations of the Cross, and a Sorrowful Mystery of the Rosary. The column to which Christ is normally tied, and the rope, scourge, whip or birch are elements in the Arma Christi. The Basilica di Santa Prassede in Rome claims to possess the original column.
Catholic art is art produced by or for members of the Catholic Church. This includes visual art (iconography), sculpture, decorative arts, applied arts, and architecture. In a broader sense, Catholic music and other art may be included as well. Expressions of art may or may not attempt to illustrate, supplement and portray in tangible form Catholic teaching. Catholic art has played a leading role in the history and development of Western art since at least the 4th century. The principal subject matter of Catholic art has been the life and times of Jesus Christ, along with people associated with him, including his disciples, the saints, and motifs from the Catholic Bible.
The life of Christ as a narrative cycle in Christian art comprises a number of different subjects showing events from the life of Jesus on Earth. They are distinguished from the many other subjects in art showing the eternal life of Christ, such as Christ in Majesty, and also many types of portrait or devotional subjects without a narrative element.
Ecclesia and Synagoga, or Ecclesia et Synagoga in Latin, meaning "Church and Synagogue", are a pair of figures personifying the Church and the Jewish synagogue, that is to say Judaism, found in medieval Christian art. They often appear sculpted as large figures on either side of a church portal, as in the most famous examples, those at Strasbourg Cathedral. They may also be found standing on either side of the cross in scenes of the Crucifixion, especially in Romanesque art, and less frequently in a variety of other contexts.
The resurrection of Jesus has long been central to Christian faith and Christian art, whether as a single scene or as part of a cycle of the Life of Christ. In the teachings of the traditional Christian churches, the sacraments derive their saving power from the passion and resurrection of Christ, upon which the salvation of the world entirely depends. The redemptive value of the resurrection has been expressed through Christian art, as well as being expressed in theological writings.
The Ascension of Jesus to Heaven as stated in the New Testament has been a frequent subject in Christian art, as well as a theme in theological writings.
The Transfiguration of Jesus has been an important subject in Christian art, above all in the Eastern church, some of whose most striking icons show the scene.
The Esquiline Treasure is an ancient Roman silver treasure that was found in 1793 on the Esquiline Hill in Rome. The hoard is considered an important example of late antique silver work from the 4th century AD, probably about 380 for the major pieces. Since 1866, 57 objects, representing the great majority of the treasure, have been in the British Museum.
The Uttoxeter Casket, also known as Philip Nelson's casket, is an Anglo Saxon reliquary from Uttoxeter, Staffordshire in the United Kingdom. As of 2017, it is held at the Cleveland Museum of Art in Ohio, United States. House-shaped and carved from a single piece of boxwood, it remains the only known surviving wood carving with such an elaborate iconographic programme from this period of British history.
The Salerno Ivories are a collection of Biblical ivory plaques from around the 11th or 12th century that contain elements of Early Christian, Byzantine, and Islamic art as well as influences from Western Romanesque and Anglo-Saxon art. Disputed in number, it is said there are between 38-70 plaques that comprise the collection. It is the largest unified set of ivory carvings preserved from the pre-Gothic Middle Ages, and depicts narrative scenes from both the Old and New Testaments. Some researchers believe the Ivories hold political significance and serve as commentary on the Investiture Controversy through their iconographies. The majority of the plaques are housed in the Diocesan Museum of the Cathedral of Salerno, which is where the group's main namesake comes from. It is supposed the ivories originated in either Salerno and Amalfi, which both contain identified ivory workshops, however neither has been definitively linked to the plaques so the city of origin remains unknown. Smaller groups of the plaques and fragments of panels are currently housed in different museum collections in Europe and America, including the Metropolitan Museum of Art in New York, the Louvre in Paris, the Museum of Fine Arts in Budapest, the Hamburg Museum of Art and Trade, and the Sculpture Collection in the Berlin State Museums.
The Magdeburg Ivories are a set of 16 surviving ivory panels illustrating episodes of Christ's life. They were commissioned by Emperor Otto I, probably to mark the dedication of Magdeburg Cathedral, and the raising of the Magdeburg see to an archbishopric in 968. The panels were initially part of an unknown object in the cathedral that has been variously conjectured to be an antependium or altar front, a throne, door, pulpit, or an ambon; traditionally this conjectural object, and therefore the ivories as a group, has been called the Magdeburg Antependium. This object is believed to have been dismantled or destroyed in the 1000s, perhaps after a fire in 1049.
The Embriachi workshop was an important producer of objects in carved ivory and carved bone, set in a framework of inlaid wood, in north Italy from around 1375 to perhaps as late as 1433, apparently moving from Florence to Venice about 1395. They are especially known for what are now called marriage caskets or wedding caskets, hexagonal or oblong caskets about a foot across, with lids that rise up in the centre. Their output of these was probably made for stock rather than individual commissions, and filled a market for gifts for betrothals and weddings. They sold mirrors framed in a similar style, though fewer of these have survived, and religious pieces both small and in a few cases very large.
