Reverence and Art

Art embodying reverence for Christ and his Church
Who I Follow


Lantern slide: Photo by IFA professor Donald Posner of the Madonna of San Ludovico by Annibale Carracci (1560-1609).

(via italianartsociety)


High Altar of the Église Saint-Augustin in Paris’ 8th arrondissement. The Beaux-Arts architect Victor Baltard designed this fabulous, eclectic church.


Cenni di Francesco
The Martyrdom of Saint Bartholomew and the Miracle of the Bull
(predella panel, c. 1385)


Daniele Crespi, The Resurrection, 17th century

Op-ed by Ronald S. Lauder, president of the World Jewish Congress.

WHY is the world silent while Christians are being slaughtered in the Middle East and Africa? In Europe and in the United States, we have witnessed demonstrations over the tragic deaths of Palestinians who have been used as human shields by Hamas, the terrorist organization that controls Gaza. The United Nations has held inquiries and focuses its anger on Israel for defending itself against that same terrorist organization. But the barbarous slaughter of thousands upon thousands of Christians is met with relative indifference.


Madonna and Child with Sts Anthony Abbot and James the Greater - Giovanni Lanfranco

(via greluc)


Agnolo Bronzino

Holy Family



Juan Correa de Vivar (1510 - 16 April 1566) - Death of St Bernard


Cenni di Francesco
Martyrdom of Saints John the Baptist and Lawrence (predella panel, c. 1385)


Jacopo Robusti (Il Tintoretto), The Fall of Man, c. 1577-8


Francisco Ribalta (1565–1628)
Deposed Christ hugging St. Bernard Clairvaux (Detail)
Oil on canvas, 17th Century

(via purgatorialsociety)


Pieter Brueghel the Elder - The Tower of Babel; Museum Boijmans Van Beuningens, Rotterdam, the Netherlands; c.1565


The Luminous Mysteries of the Holy Rosary

The Baptism of Christ - Andrea del Verrocchio
The Wedding at Cana - Julius Schnorr von Carolsfeld
The Sermon on the Mount - Carl Heinrich Bloch
Transfiguration of Christ - Giovanni Bellini
The Last Supper - Juan de Juanes

(via greluc)


Today is the Feast Day of St. Bernard. In the early 1480s, Piero di Francesco del Pugliese commissioned Florentine artist Filippino Lippi to paint an altarpiece depicting the miraculous Vision of St. Bernard to decorate the Benedictine monastery at Campora, just outside Florence. Bernard, wearing the white robes of the reformed Cistercian order, sits at his writing desk. The Virgin Mary, surrounded by angels, appears to him and guides his studies. Lippi has set the scene in a rural landscape, much like that of the country retreat at Campora used by the Benedictine community from the Badia of Florence, and includes a view of Bernard’s monastery and brethren in the distance. Pugliese is shown in a half-length portrait at the lower right, perpetually in prayer and reverence to Bernard and the Virgin.  The small scroll above Bernard’s head reads Sustine et abstine — a quote from Epictetus meaning “Carry on and abstain” — a reference to Bernard’s ascetic lifestyle and devotion to the religious life.

A preparatory sketch for this altarpiece still survives — a rare occurrence of a figure drawing matching a known work. As is typical with artists’ drawings, the sketch has greater vivacity and immediacy, and the saint appears to be younger — perhaps reflecting the use of a model for the pose. Lippi uses the typical fifteenth-century technique of metalpoint, a demanding yet beautiful means of drawing that was replaced in the sixteenth century by easier-to-use chalk. Despite the unforgiving nature of the stylus, Lippi creates effortless and subtle strokes highlighted with white watercolor. Lippi has one of the largest bodies of surviving drawings among early Renaissance artists.

Filippino Lippi, Apparition of the Virgin to St. Bernard, oil on panel, 1486, formerly Santa Maria alle Campora, now Badia Fiorentina, Florence

Filippino Lippi, St. Bernard, metaipoint heightened with white gouache on peach-colored prepared paper, Florence, Gabinetto Disegni e Stampe degli Uffizi


Saint Helena With The Cross by Lucas Cranach the Elder