In this famous work, Lewis conveys an imaginary, dream-like encounter between souls in hell and souls in heaven. Thus, it is in his works of fiction that his religious concerns are memorably animated. The novel’s popularity demonstrates that the means of imaginative fiction can be successfully used for religiously-motivated ends. In his biography of Lewis, Douglas Gresham argues that Lewis had the most fun with imaginative works of literature; he notes that “Lewis thrived on the imaginative portrayals of Christian doctrine envisioned by George Macdonald” (212). The imagination permits, to be sure, the exploration of things religious precisely because it involves other-worldly events and characters that fit some of the fantastic concepts in religious stories or figures.
As the governor makes Christ to wash his hands for crucifixion, it is noticeable that Christ’s apparent of innocence and those caricatures evidently being presented that Christ is no way in par with them. Unfortunately, Christ is being accused of being an evildoer and thus, going on a trial authorized by Pilate. As a picture is worth a thousand words, the spectacle of this painting is worth a story as it deeply exemplifies beauty in an ugly world by keeping the scene as realistic as possible. The work by Bosch has a significant meaning that led to the creation of the painting on Christ preparing for crucifixion. At the year of 1520, Roman governor in Judea where Christ was sent was served by a procurator named Pontius Pilate.
This paradoxical relationship between weightless and massive forms articulates the evocative effects of gravitation, heaven, and religious space in both artists’ work. In this essay, relationships between the artists’ religious imagination, spatial perception, and rejection of traditional perspective will be examined. Giotto di Bondone was a thirteenth century Florentine painter and architect whose influence is considered to have liberated Western art from Byzantine tradition, as well as stylistically initiate the Renaissance. Though he focused mainly on religious themes, Giotto was one of the first artists to possess a strong command
People believed that only religious figures were worthy of reproduction and therefore artists drew subjects mainly from Christian sources and their work revolved around painting walls of churches, palaces, and civic buildings of Italy. When the Renaissance movement began; however, new interests in knowledge became the desire to find beauty in human figures and began to perfect artwork depicting the glory of the creations of God. Christianity called for emotions and feelings and paintings of the Renaissance expressed
The Catholic Church encouraged it. In response to the Protestant Reformation, the Catholic Church thought the art should show religious themes directly and emotionally. The aristocracy
Despite all of Innocent’s lofty views of himself he still maintained a pious and clear mind. Innocent also believed that the Pope should have ultimate control over the crusades and did not want state governments or the Kings to get too much involved in the crusades. Hans Eberhard Mayer tells of Innocent III and his involvement (or un-involvement, as we later find out) in his book The Crusades. He tells how Innocent sent letters to the clergy instead of kings and governors to help rally support for the crusades. This prompted the clergy to preach that the crusades were for the poor and lowly and no longer for just anybody.
Eventually the war ended, northern Europe became predominately protestant and southern Europe remained catholic, however tensions were not completely suppressed. The Catholic Church had discussed a means to combat the Protestant reformation and win back its followers. This means was through an artistic style which communicated religious themes through splendour and extravaganza. This artistic movement came to be known as the “Baroque movement”. This world full of rich culture was reflected through artists of the time such as Michelangelo Caravaggio and Gian Lorenzo Bernini who were both artistic geniuses.
Caravaggism was a style created by Caravaggio that includes characteristics such as tenebrism, chiaroscuro, and dramatism. Tenebrism is the different shades of light used in paintings. Chiaroscuro is the extreme contrasts between lightness and darkness. Caravaggism imposed a dramatic view on its paintings as it showed the point of death or an attack rather than showing what happened after or before. This style originated in Italy during the Baroque period.
Erasmus was a Dutch Renaissance humanist, and Catholic priest. Erasmus felt strongly about humanism, which led him to reform the Catholic Church from within. The most influential man in the Reformation of the Roman Catholic Church was Martin Luther. With Luther's strong and abrasive personality, he picked up his pen to spread the truth about the corruptions of the Catholic Church. Luther spoke out against clerical celibacy, papal abuses, salvation by works, and other Catholic doctrines.
It can be argued that this was down to the work of O’Connell, as he was key in helping the movement build popularity and momentum. The Catholic Associations efforts to rebel against protestant land lords and vote with confidence for pro emancipation MP’s caused an evolution in British parliament, one which would cater to Irish nationalism, especially with the decline and downfall of Lord Liverpool, in 1829, and his replacement of George Canning, a man who was more willing to accept the ideas of Irish Nationalism, especially within the ideals of Catholic equality. Furthermore, it seems that the push from the Catholic association also bore more short term results; particularly that of the “Tory-divide” in which Canning and his followers were met with a large amount of resistance in regards to their leniency towards the Irish Catholics. This was an essential outcome to the efforts of O’Connell and his Catholic movement, as not only did it