Posted: May 07, 2015 2:23 am
iskander wrote:Clive Durdle wrote:French Revolution?
A picture is worth a thousand words, so a well known saying says. This painting tells us of the desperate struggle for a new beginning. It manifest the same longing that has informed every rebellion of the enslaved, from Spartacus to the Peasant Revolt of 381, and many others everywhere on this planet where and when men and women have dared to hope.
In this painting the chain binding them was the policy of forced ignorance of the gospels, and their symbolic stoning tell us of the fear and hatred that the enforcer of that policy had incurred .
http://www.royalcollection.org.uk/colle ... t-allegory
John Wesley, William Tyndale, Jan Hus and many others is the background of the story described in the painting.
Nice pic Iskander.
- Description
The subject of this grisaille refers to the English Reformation, formally marked by the Act of Supremacy of 1534, whereby Henry VIII broke away from the Church of Rome and was established as the head of the Church of England. This painting was in the collection of Henry VIII who owned at least two other anti-papal pictures. The composition depicts a pope sprawled on the ground, flanked by two female figures who are labelled ‘AVARA’ (avarice) and ‘YPOCRYSIS’ (hypocrisy). The figures on the ground are being stoned by the four evangelists, each with halos, wo are labelled (left to right) ‘IOANNES’, ‘MATHEVS’, ‘LVCAS’ and ‘M[A-R]CVS’. On the ground in front of the figures are a cardinal’s hat and a document with four seals (presumably a Papal Bull).
The city seen in the distance at the left may be Jerusalem. Above the city is a burning candle, which contrasts with another in the immediate foreground that has been extinguished by a cooking pan. These candles have been interpreted as symbolising the true light of the Gospels and the false doctrine of Rome. Historically, the pope should be Paul III, but the depicted likeness is closer to Julius II; a specific identification may not have been intended at all.
The painting has been executed in grisaille (tones of grey) with highlights in gold. The composition bears a striking resemblance to three identical woodcuts illustrating scenes of stoning in the Coverdale Bible of 1535, the first Bible to be issued in English. Girolamo da Treviso is known to have been in England in the service of Henry VIII between 1538 and his death in the siege of Boulogne in 1544. The picture is not listed in the royal inventory of 1542 and may therefore be dated between 1542 and the artist’s death.
It seems that the 16th century theme was of certain people (the Tetrarchy of Apostles) reacting against the utterly corrupt church industry slash organisation depicted as the CEO Pope suitably sub-titled.
Another facet in the multi-faceted history at the time of that pic is the production of a One True English Bible. The English Kings decided it was time to commission their own [utterly corrupt] "church organisation slash industry" in a break-away move from the utterly corrupt RCC and the CEO Pope.
- WIKI: http://en.wikipedia.org/wiki/King_James_Version
The first was the Great Bible commissioned in the reign of King Henry VIII (1535), and the second was the Bishops' Bible of 1568.[3] In January 1604, King James I convened the Hampton Court Conference where a new English version was conceived in response to the perceived problems of the earlier translations as detected by the Puritans,[4] a faction within the Church of England.[5] The translation is considered a towering achievement in English literature, as both beautiful and scholarly.
It is important to be able to slowly step back through time, century by century, from the present back towards the beginning of the entire "nation of Christians" somewhere in antiquity. In taking the tourist shuttle straight back to 1st century Judea we often are missing a great deal of the intervening key scenery of historical events.