The painting illustrates a passage in the Book of Exodus, chapter 17, which describes how Moses and his two companions watched the battle from the hill. Moses holds the Rod of God in his right hand.
And Moses said unto Joshua, Choose us out men, and go out, fight with Amalek: tomorrow I will stand on the top of the hill with the rod of God in mine hand. So Joshua did as Moses had said to him, and fought with Amalek: and Moses, Aaron, and Hur went up to the top of the hill. And it came to pass, when Moses held up his hand, that Israel prevailed: and when he let down his hand, Amalek prevailed. But Moses hands were heavy; and they took a stone, and put it under him, and he sat there on; and Aaron and Hur stayed up his hands, the one on the one side, and the other on the other side; and his hands were steady until the going down of the sun. And Joshua discomfited Amalek and his people with the edge of the sword.
Millais depicts the "going down of the sun", when the three patriarchs watch the final moments of the battle. Moses is in the middle while Aaron and Hur hold up his arms to ensure victory. Aaron, in red, is on the right. The battle below is indicated by the arrow at the bottom right.
Millais worked on the painting over many years, scraping and repainting the surface. F.G. Stephens commented that the painting depicted the conflict between the unyielding and steadfast willpower of Moses, and the physical and emotional exhaustion of his companions.[1] He also praised the vivid painting of the aged flesh of the figures. The painting contrasts dramatically in style with the contemporary religious works of Millais's former companion, William Holman Hunt, such as The Shadow of Death,[2] on which Hunt was working at the same time; however, it has been suggested that both pictures may refer to typological prefigurations of the crucifixion in scenes in which raised, outstretched arms signify both physical suffering and triumph.[3]
According to Abrahamic religions, Aaron was a prophet, a high priest, and the elder brother of Moses. Information about Aaron comes exclusively from religious texts such as the Hebrew Bible, the New Testament, and the Quran.
Aaron's rod refers to any of the walking sticks carried by Moses's brother, Aaron, in the Torah. The Bible tells how, along with Moses's rod, Aaron's rod was endowed with miraculous power during the Plagues of Egypt that preceded the Exodus. Later, his rod miraculously sprouted blossoms and almonds to symbolize God's choice of Aaron and his tribe for holy service.
Rephidim or Refidim is one of the places visited by the Israelites in the biblical account of the Exodus from Egypt.
Sir John Everett Millais, 1st Baronet, was an English painter and illustrator who was one of the founders of the Pre-Raphaelite Brotherhood. He was a child prodigy who, aged eleven, became the youngest student to enter the Royal Academy Schools. The Pre-Raphaelite Brotherhood was founded at his family home in London, at 83 Gower Street. Millais became the most famous exponent of the style, his painting Christ in the House of His Parents (1849–50) generating considerable controversy, and he produced a picture that could serve as the embodiment of the historical and naturalist focus of the group, Ophelia, in 1851–52.
The Pre-Raphaelite Brotherhood was a group of English painters, poets, and art critics, founded in 1848 by William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner who formed a seven-member "Brotherhood" modelled in part on the Nazarene movement. The Brotherhood was only ever a loose association and their principles were shared by other artists of the time, including Ford Madox Brown, Arthur Hughes and Marie Spartali Stillman. Later followers of the principles of the Brotherhood included Edward Burne-Jones, William Morris and John William Waterhouse.
A crosier or crozier is a stylized staff that is a symbol of the governing office of a bishop or abbot and is carried by high-ranking prelates of Roman Catholic, Eastern Catholic, Eastern Orthodox, Oriental Orthodox, and some Anglican, Lutheran, United Methodist and Pentecostal churches.
The Lady Lever Art Gallery is a museum founded and built by the industrialist and philanthropist William Lever, 1st Viscount Leverhulme and opened in 1922. The Lady Lever Art Gallery is set in the garden village of Port Sunlight, on the Wirral and one of the National Museums Liverpool.
Ophelia is an 1851–52 painting by British artist Sir John Everett Millais in the collection of Tate Britain, London. It depicts Ophelia, a character from William Shakespeare's play Hamlet, singing before she drowns in a river.
Hur was a companion of Moses and Aaron in the Hebrew Bible. He was a member of the Tribe of Judah. His identity remains unclear in the Torah itself, but it is elaborated in rabbinical commentary.
The Shadow of Death is a religious painting by William Holman Hunt, on which he worked from 1870 to 1873, during his second trip to the Holy Land. It depicts Jesus as a young man prior to his ministry, working as a carpenter. He is shown stretching his arms after sawing wood. The shadow of his outstretched arms falls on a wooden spar on which carpentry tools hang, creating a "shadow of death" prefiguring the crucifixion. His mother Mary is depicted from behind, gazing up at the shadow, having been looking into a box in which she has kept the gifts given by the Magi.
Christ in the House of His Parents (1849–50) is a painting by John Everett Millais depicting the Holy Family in Saint Joseph's carpentry workshop. The painting was extremely controversial when first exhibited, prompting many negative reviews, most notably one written by Charles Dickens. It catapulted the previously obscure Pre-Raphaelite Brotherhood to notoriety and was a major contributor to the debate about Realism in the arts. It is now in Tate Britain in London.
A Dream of the Past: Sir Isumbras at the Ford (1857) is a painting by John Everett Millais depicting a medieval knight helping two young peasant children over a swollen river. The children are carrying heavy burdens of wood for winter fuel. Though the title refers to the medieval poem Sir Isumbras, the painting does not illustrate a scene from the original text. However Millais's friend, the writer Tom Taylor, wrote verse in a pastiche of the original poem, describing the event depicted. This was included in the original exhibition catalogue.
Peace Concluded, 1856 (1856) is a painting by John Everett Millais which depicts a wounded British officer reading The Times newspaper's report of the end of the Crimean War. It was exhibited at the Royal Academy in 1856 to mixed reviews, but was strongly endorsed by the critic John Ruskin who proclaimed that in the future it would be recognised as "among the world's best masterpieces". The central figure in the painting is a portrait of Millais's wife Effie Gray, who had previously been married to Ruskin. It is now in the Minneapolis Institute of Arts.
Isabella (1848-1849) is a painting by John Everett Millais, which was his first exhibited work in the Pre-Raphaelite style, completed shortly after the formation of the Pre-Raphaelite Brotherhood in 1848. It was first exhibited at the Royal Academy in 1849, and is now in the collection of the Walker Art Gallery in Liverpool.
Mariana is an 1851 oil-on-panel painting by John Everett Millais. The image depicts the solitary Mariana from William Shakespeare's Measure for Measure, as retold in Tennyson's 1830 poem "Mariana". The painting is regarded as an example of Millais's "precision, attention to detail, and stellar ability as a colorist". It has been held by Tate Britain since 1999.
The Knesset Menorah is a bronze Menorah 4.30 meters high, 3.5 meters wide, and weighs 4 tons. It is located at the edge of Wohl Rose Park opposite the Knesset. It was designed by Benno Elkan (1877–1960), a Jewish sculptor who escaped from his native Germany to Britain. It was presented to the Knesset as a gift from the Parliament of the United Kingdom on April 15, 1956 in honour of the eighth anniversary of Israeli independence.
A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids is a painting by William Holman Hunt that was exhibited at the Royal Academy in 1850 and is now in the Ashmolean Museum in Oxford. It was a companion to John Everett Millais's Christ in the House of His Parents. Both artists sought to depict similar episodes from very early Christian history, portraying families helping an injured individual. Both also stressed the primitivism of the scene.
Ferdinand Lured by Ariel is an 1850 painting by John Everett Millais which depicts an episode from Act I, Scene II of Shakespeare's c. 1611 play The Tempest. It illustrates Ferdinand's lines "Where should this music be? i' the air or the earth?". He is listening to Ariel singing the lyric "Full fathom five thy father lies". Ariel is tipping Ferdinand's hat from his head, while Ferdinand holds on to its string and strains to hear the song. Ferdinand looks straight at Ariel, but the latter is invisible to him.
The Staff of Moses, also known as the Staff of God is a staff mentioned in the Bible and Quran as a walking stick used by Moses. According to the Book of Exodus, the staff was used to produce water from a rock, was transformed into a snake and back, and was used at the parting of the Red Sea. Whether the staff of Moses was the same as the staff used by his brother Aaron has been debated by rabbinical scholars.
The Battle of Refidim, as described in the Bible, was a battle between the Israelites and the Amalekites, which occurred in Rephidim while the former were moving towards the Promised Land. The description of this battle can be found in the Book of Exodus.
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