- 06 - Veronica wipes the face of Jesus
- 07 - Jesus falls second time
- 08 - Jesus meets the women of Jerusalem
- 09 - Jesus falls under the cross
- 10 - Jesus is stripped of his garments
- 11 - Jesus is nailed to the Cross
- 12 - Jesus dies on the Cross
12 - Jesus dies on the Cross - 13 - Jesus is taken down from the Cross
13 - Jesus is taken down from the Cross - 14 - Jesus is laid in the tomb
14 - Jesus is laid in the tomb - Christmas Eve - Christmas Day
Christmas Eve - Christmas Day - Dr. Martin Luther
Dr. Martin Luther - Master of the Playing Cards. Man of Sorrows
To his [Master of the Playing Cards.] latest and most mature period must be assigned the Man of Sorrows—in some ways his finest, and certainly his most moving, plate. Not only has he differentiated between the textures of the linen loin-cloth and the coarser material of the cloak; but the column, the cross with its beautiful and truthful indication of the grain of the wood, and the ground itself, all are treated with a knowledge and a sensitiveness that is surprising. The engraver’s greatest triumph, however, is in the figure of Christ. There is a feeling for form and structure, sadly lacking in the work of his successors, and his suggestion of the strained and pulsing veins, which throb through the Redeemer’s tortured limbs, is of a compelling truth. - Master of the Year 1446. Christ Nailed to the Cross
Size of the original engraving, 4⅛ × 3¼ inches In the Royal Print Room, Berlin Chief among the engravers who show most clearly the influence of the Master of the Playing Cards is the Master of the Year 1446, so named from the date which appears in the Flagellation. His prints present a more or less primitive appearance, and were it not for this date, one might be tempted, on internal evidence, to assign them to an earlier period. In the Passion series, in particular, many of the figures are more gnome-like than human. Such creatures as the man blowing a horn, in Christ Nailed to the Cross, and the man pulling upon a rope, in the same print, recall to our minds, by an association of ideas, the old German fairy tales. - A House built on the Rock
Matthew 7:25 And the rain descended, and the floods came, and the winds blew, and beat upon that house; and it fell not: for it was founded upon a rock. - Evolution Cartoon
- Evolution Cartoon
In the beginning God created heaven and earth - Evolution Cartoon
Another Great Image that will soon be smitten! - St. Christopher, with the date 1423, from a cut in the possession of Earl Spencer
This cut is much better designed than the generality of those which we find in books typographically executed from 1462, the date of the Bamberg Fables, to 1493, when the often-cited Nuremberg Chronicle was printed. Amongst the many coarse cuts which “illustrate” the latter, and which are announced in the book itselfII.11 as having been “got up” under the superintendence of Michael Wolgemuth, Albert Durer’s master, and William Pleydenwurff, both “most skilful in the art of painting,” I cannot find a single subject which either for spirit or feeling can be compared to the St. Christopher. In fact, the figure of the saint, and that of the youthful Christ whom he bears on his shoulders, are, with the exception of the extremities, designed in such a style, that they would scarcely discredit Albert Durer himself. To the left of the engraving the artist has introduced, with a noble disregard of perspective what Bewick would have called a “bit of Nature.” In the foreground a figure is seen driving an ass loaded with 48a sack towards a water-mill; while by a steep path a figure, perhaps intended for the miller, is seen carrying a full sack from the back-door of the mill towards a cottage. To the right is seen a hermit—known by the bell over the entrance of his dwelling—holding a large lantern to direct St. Christopher as he crosses the stream. The two verses at the foot of the cut, Cristofori faciem die quacunque tueris, Illa nempe die morte mala non morieris, may be translated as follows: Each day that thou the likeness of St. Christopher shalt see, That day no frightful form of death shall make an end of thee. - St. Bridget, from an old cut in the possession of Earl Spencer
The figure writing is that of St. Bridget of Sweden, who was born in 1302 and died in 1373. From the representation of the Virgin with the infant Christ in her arms we may suppose that the artist intended to show the pious widow writing an account of her visions or revelations, in which she was often favoured with the blessed Virgin’s appearance. The pilgrim’s hat, staff, and scrip may allude to her pilgrimage to Jerusalem, which she was induced to make in consequence of a vision. The letters S. P. Q. R. in a shield, are no doubt intended to denote the place, Rome, where she saw the vision, and where she died. The lion, the arms of Sweden, and the crown at her feet, are most likely intended to denote that she was a princess of the blood royal of that kingdom. The words above the figure of the saint are a brief invocation in the German language, “O Brigita bit Got für uns!” “O Bridget, pray to God for us!” At the foot of the desk at which St. Bridget is writing are the letters M. I. Chrs., an abbreviation probably of Mater Jesu Christi, or if German, Mutter Iesus Christus. - Lady keeling and praying
Lady keeling and praying - Hand holding a small cross
- Erasmus
This great man, who was the boast and glory of his country, distinguished himself as a reformer of religion, and restorer of learning. His religion was as remote from the bigotry and persecuting spirit of the age in which he lived, as his learning was from the pedantry and barbarism of the schools.