Doménikos Theotokópoulos (Greek: Δομήνικος Θεοτοκόπουλος, IPA:[ðoˈminikosθeotoˈkopulos]; 1 October 1541 – 7 April 1614), most widely known as El Greco (Spanish pronunciation:[elˈgɾeko]; "The Greek"), was a Greek painter, sculptor and architect of the Spanish Renaissance. El Greco was a nickname, and the artist normally signed his paintings with his full birth name in Greek letters, often adding the word Κρής (Krḗs), which means "Cretan", in Ancient Greek.
El Greco was born in the Kingdom of Candia (modern Crete), which was at that time part of the Republic of Venice, Italy, and the center of Post-Byzantine art. He trained and became a master within that tradition before traveling at age 26 to Venice, as other Greek artists had done. In 1570, he moved to Rome, where he opened a workshop and executed a series of works. During his stay in Italy, El Greco enriched his style with elements of Mannerism and of the Venetian Renaissance taken from a number of great artists of the time, notably Tintoretto and Titian. In 1577, he moved to Toledo, Spain, where he lived and worked until his death. In Toledo, El Greco received several major commissions and produced his best-known paintings, such as View of Toledo and Opening of the Fifth Seal. (Full article...)
The following are images from various Christianity-related articles on Wikipedia.
Image 1Renaissance painting by Jerónimo Cosida depicting Jesus as a triple deity Inner text: The Father is God; the Son is God; the Holy Spirit is God (from Trinity)
Image 11A depiction of the Council of Nicaea in AD 325, at which the Deity of Christ was declared orthodox and Arianism condemned (from Trinity)
Image 12God the Father (top), and the Holy Spirit (represented by a dove) depicted above Jesus Painting by Francesco Albani (d. 1660) (from Trinity)
Image 13God the Father (top), the Holy Spirit (a dove), and the child Jesus, painting by Bartolomé Esteban Murillo (d. 1682) (from Trinity)
Image 14First page of Mark, by Sargis Pitsak (14th century): "The beginning of the gospel of Jesus Christ, the Son of God". (from Jesus in Christianity)
Image 16A compact diagram of the Trinity, known as the "Shield of Trinity". The Shield is generally not intended to be a schematic diagram of the structure of God, but it presents a series of statements about the correlation between the persons of the Trinity. (from Trinity)
Image 17The Father, The Holy Spirit, and Christ crucified, depicted in a Welsh manuscript c. 1390–1400 (from Trinity)
Image 18Representation of the Trinity in the form of the mercy seat (epitaph from 1549) (from Trinity)
Image 1913th-century depiction of the Trinity from a Roman de la Rose manuscript (from Trinity)
Image 23Atypical depiction The Son is identified by a lamb, the Father an Eye of Providence, and the Spirit a dove; the painting is by Fridolin Leiber (d. 1912). (from Trinity)
Image 29The Adoration of the Trinity by Albrecht Dürer (1511) From top to bottom: Holy Spirit (dove), God the Father and Christ on the cross (from Trinity)
The medieval cathedrals of England, which date from between approximately 1040 and 1540, are a group of twenty-six buildings that constitute a major aspect of the country's artistic heritage and are among the most significant material symbols of Christianity. Though diverse in style, they are united by a common function. As cathedrals, each of these buildings serves as central church for an administrative region (or diocese) and houses the throne of a bishop (Late Latinecclēsia cathedrālis, from the Greek, καθέδρα). Each cathedral also serves as a regional centre and a focus of regional pride and affection.
Only sixteen of these buildings had been cathedrals at the time of the Reformation: eight that were served by secular canons, and eight that were monastic. A further five cathedrals are former abbey churches which were reconstituted with secular canons as cathedrals of new dioceses by Henry VIII following the dissolution of the monasteries and which comprise, together with the former monastic cathedrals, the "Cathedrals of the New Foundation". Two further pre-Reformation monastic churches, which had survived as ordinary parish churches for 350 years, became cathedrals in the 19th and 20th centuries, as did the three medieval collegiate churches that retained their foundations for choral worship. (Full article...)
The Life of Christ as a narrative cycle in Christian art comprises a number of different subjects, which were often grouped in series or cycles of works in a variety of media, narrating the life of Jesus on earth, as 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.
... that Edo literature was influenced by British colonialism in the late 19th century, which introduced the Roman script and Christianity to the Edo people?
... that 19th-century American evangelist Dwight L. Moody was converted to Christianity in the stock room of a shoe store by his Sunday School teacher Edward Kimball?
Jesus said to them, “Come and eat breakfast.” None of the disciples dared inquire of him, “Who are you?” knowing that it was the Lord. Then Jesus came and took the bread, gave it to them, and the fish likewise. This is now the third time that Jesus was revealed to his disciples, after he had risen from the dead. So when they had eaten their breakfast, Jesus said to Simon Peter, “Simon, son of Jonah, do you love me more than these?” He said to him, “Yes, Lord; you know that I have affection for you.” He said to him, “Feed my lambs.” He said to him again a second time, “Simon, son of Jonah, do you love me?” He said to him, “Yes, Lord; you know that I have affection for you.”He said to him, “Tend my sheep.” He said to him the third time, “Simon, son of Jonah, do you have affection for me?” Peter was grieved because he asked him the third time, “Do you have affection for me?” He said to him, “Lord, you know everything. You know that I have affection for you.” Jesus said to him, “Feed my sheep. Most certainly I tell you, when you were young, you dressed yourself, and walked where you wanted to. But when you are old, you will stretch out your hands, and another will dress you, and carry you where you don’t want to go.” Now he said this, signifying by what kind of death he would glorify God. When he had said this, he said to him, “Follow me.” Then Peter, turning around, saw a disciple following. This was the disciple whom Jesus loved, the one who had also leaned on Jesus’ breast at the supper and asked, “Lord, who is going to betray You?” Peter seeing him, said to Jesus, “Lord, what about this man?” Jesus said to him, “If I desire that he stay until I come, what is that to you? You follow me.” This saying therefore went out among the brothers,† that this disciple wouldn’t die. Yet Jesus didn’t say to him that he wouldn’t die, but, “If I desire that he stay until I come, what is that to you?” This is the disciple who testifies about these things, and wrote these things. We know that his witness is true. There are also many other things which Jesus did, which if they would all be written, I suppose that even the world itself wouldn’t have room for the books that would be written.
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