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Updated: September 19, 2025
Some of Titian's famous pictures are: his own portrait; "Flora," "Holy Family and St. Bridget," "The Last Judgment," "The Entombment," "The Magdalene," "Bacchanal," "St. Sebastian," "Bacchus and Ariadne," and "The Sleeping Venus." English 1775-1851 Pupil of the Royal Academy If the occupation of a shepherd produced a poet, no less did an artist of the first water come out of a barber shop.
The ancient Greek practice of burning the dead had died out under the Antonines. Of old, the objects used to deck the pyre had also been on show here; now there was nothing to be seen but what related to interment or entombment. Side by side with the marble sarcophagus, or those of coarser stone, were wooden coffins and mummy-cases, with a place at the head for the portrait of the deceased.
On the way the old monk suffered severely in both soul and body. It seemed like treason, like a rejection of his pure and pious purposes, that Heaven itself barred the path along which he was wearily wandering to win it a soul. The entombment of the magnificent coffin of Frau Maria Ortlieb under the pavement of the family chapel was over.
We should like to let all our good deserts be seen. We fancy that we are exceptions and that something supernatural is going to come along. But the quiet peace of the truth fixes us. The impossible becomes again the impossible. We are as silent as silence itself. We stayed lonely on the seat until evening. Our hands and faces shone like gleams of storm in the entombment of the calm and the mist.
Immediately below the Virgin, on the right, is the figure of St. Thomas, with hands outstretched, receiving the mystic girdle: below is the entombment; Mary lies extended on a pall above a sarcophagus. In the centre stands Christ, holding in his arms the emancipated soul; he is attended by eight angels. St. John is at the head of the Virgin, and near him an angel swings a censer; St.
Therefore, perhaps, it is, that in the early pictures we have before us, not so much a scene or action, as a sort of mysterious rite; it is not the Virgin dead or dying in her bed; she only slumbers in preparation for her entombment; while in the later pictures, we have a death-bed scene with all the usual dramatic and pathetic accessories.
The Entombment, which went to Madrid with the mythological pieces just now discussed, serves to show how vivid was Titian's imagination at this point, when he touched upon a sacred theme, and how little dependent he was in this field on the conceptions of his earlier prime.
The killing and entombment of the royal servants is of the highest anthropological interest, for it throws a vivid light upon the manners of the time. It shows the primeval Egyptians as a semi-barbaric people of childishly simple ways of thought. The king was dead. For all his kingship he was a man, and no man was immortal in this world. But yet how could one really die? Shadows, dreams, all kinds of phenomena which the primitive mind could not explain, induced the belief that, though the outer man might rot, there was an inner man which could not die and still lived on. The idea of total death was unthinkable. And where should this inner man still live on but in the tomb to which the outer man was consigned? And here, doubtless it was believed, in the house to which the body was consigned, the ghost lived on. And as each ghost had his house with the body, so no doubt all ghosts could communicate with one another from tomb to tomb; and so there grew up the belief in a tomb-world, a subterranean Egypt of tombs, in which the dead Egyptians still lived and had their being. Later on the boat of the sun, in which the god of light crossed the heavens by day, was thought to pass through this dead world between his setting and his rising, accompanied by the souls of the righteous. But of this belief we find no trace yet in the ideas of the Ist Dynasty. All we can see is that the sahus, or bodies of the dead, were supposed to reside in awful majesty in the tomb, while the ghosts could pass from tomb to tomb through the mazes of the underworld. Over this dread realm of dead men presided a dead god, Osiris of Abydos; and so the necropolis of Abydos was the necropolis of the underworld, to which all ghosts who were not its rightful citizens would come from afar to pay their court to their ruler. Thus the man of substance would have a monumental tablet put up to himself in this necropolis as a sort of pied-
The enamelled chasse or reliquary, with scenes of Becket’s murder and entombment, and its dark but doubtful stain, has already been described among the treasures of the cathedral. Some four miles from Hereford is yet another memorial still remaining in a well-preserved window of painted glass at Credenhill, a part of which represents the murdered Becket.
One of these is the Madonna del Baldacchino, in the Pitti Gallery. The other, The Entombment, painted for the church of S. Francesco at Perugia, is now in the Borghese Gallery at Rome. This is the first of Raphael's compositions in which an historical subject is dramatically developed; but in this respect the task exceeded his powers.
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