cathedral in the hearts of man

The Gods in Art. Andre Malraux traced the evolution of the deity in his Metamorphosis of the Gods a half century ago, and effectively traced the broad contours whereby the agnostic writer clearly delineated our ambiguous and often willing acceptance of idolatry within the context of monotheism…

—Ci-dessus : L’Annonciation, par
Fra Angelico (v. 1400-1455)—Image:

Increasingly, the realm of sentiment replaces the realm of the soul, and pathos is accompanied by tenderness. Mary fondles the infant, then plays with him, finally suckles him. The Amiens Annunciation took place in the world of the Angel, but private piety suppresses that world to the point of contradicting Biblical texts. “In its Crucifixion scenes, this piety invents the swooning of the Virgin; stabat, said the text, ‘she stood upright.’…But now she becomes the swooning mother- and the little girl whom Saint Anne holds by the hand.” The Annunciation also belonged inseparably to the cathedral; but “the Pieta has no other cathedral but the hearts of men.”

—There are also strange items which hold the image of the Virgin Mary. A grilled cheese sandwich supposedly carried the face of the Virgin Mary. The creator noticed its likeness to the Virgin Mary after taking a bite. This holy sandwich was famously purchased by an online casino company.
Whether it’s exquisite jewelry or burnt toast, the image of the Blessed Virgin Mary is quite prominent in everyday life. It’s no surprise either, as the Virgin Mary is a key figure in Christianity.

* Photo : Giotto, La Vierge à l’enfant
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Where does the world of the Angel, of the Coronation, live on? Not in sculpture, which is increasingly occupied with the living- with kings and princesses, figures that are “strangers to God because they do not pray, strangers even to the church because they reign in palace halls.” The world of the Angel lives on in painting- first and unforgettably in the painting of Giotto.

Oil on canvas tansferred from wood, 109 x 80 cm (central), 103 x 33 cm (side)
The Hermitage, St. Petersburg
Bellegambe was a Flemish painter of altarpieces, known as “the master of colour”, working in Amiens and executing altarpieces for churches and abbeys of other French cities. He was influenced by Italian painting in such works as the polyptych.
On this triptych the kneeling donator is Guillaume de Bruxelles, the abbot of the cloisters of St Amandus in Valenciennes and St Trudeaux in Luttich. Accordingly, St Amandus and St Trudeaux are on the left and right wings, respectively. The triptych was commissioned when Guillaume de Bruxelles left the cloister in Valenciennes for the cloister in Luttich.
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