Stained glass in the context of "Brian Clarke"

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Stained glass in the context of Second Coming

The Second Coming (sometimes called the Second Advent or the Parousia) is the Christian and Islamic belief that Jesus Christ will return to Earth after his ascension to Heaven (the Ascension is said to have occurred about two thousand years ago). The idea is based on messianic prophecies and is part of most Christian eschatologies.

In Islamic eschatology, Jesus (ʿĪsā ibn Maryam) is also believed to return in the end times. According to Islamic belief, he will descend from Heaven to defeat the false messiah (al-Masih ad-Dajjal), restore justice, and reaffirm monotheism. His return is regarded as one of the major signs of the Day of Judgment, and he is viewed as a revered prophet, not divine, in Islamic theology.

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Stained glass in the context of Holy Spirit (Christianity)

Most Christian denominations believe the Holy Spirit, or Holy Ghost, to be the third divine Person of the Trinity, a triune god manifested as God the Father, God the Son, and God the Holy Spirit, each being God. Nontrinitarian Christians, who reject the doctrine of the Trinity, differ significantly from mainstream Christianity in their beliefs about the Holy Spirit. In Christian theology, pneumatology is the study of the Holy Spirit. Due to Christianity's historical relationship with Judaism, theologians often identify the Holy Spirit with the concept of the Ruach Hakodesh in Jewish scripture, on the theory that Jesus was expanding upon these Jewish concepts. Similar names, and ideas, include the Ruach Elohim (Spirit of God), Ruach YHWH (Spirit of Yahweh), and the Ruach Hakodesh (Holy Spirit). In the New Testament the Holy Spirit is identified with the Spirit of Christ, the Spirit of Truth, and the Paraclete (helper).

The New Testament details a close relationship between the Holy Spirit and Jesus during his earthly life and ministry. The Gospels of Matthew and Luke and the Nicene Creed state that Jesus was "conceived by the Holy Spirit, born of the Virgin Mary". The Holy Spirit descended on Jesus like a dove during his baptism, and in his Farewell Discourse after the Last Supper, Jesus promised to send the Holy Spirit to his disciples after his departure.

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Stained glass in the context of Confirmation

In Christian denominations that practice infant baptism, confirmation is seen as the sealing of the covenant created in baptism. Those being confirmed are known as confirmands. The ceremony typically involves laying on of hands.

Catholicism views confirmation as a sacrament. The sacrament is called chrismation in Eastern Christianity. In the East it takes place immediately after baptism; in the West, when a child reaches the age of reason or early adolescence, or in the case of adult baptism immediately afterwards in the same ceremony. Among those Christians who practise confirmation during their teenage years, the practice may be perceived, secondarily, as a coming of age rite.

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Stained glass in the context of Gothic art

Gothic art was a style of medieval art that developed in Northern France out of Romanesque art in the 12th century, led by the concurrent development of Gothic architecture. It spread to all of Western Europe, and much of Northern, Southern and Central Europe, never quite effacing more classical styles in Italy. In the late 14th century, the sophisticated court style of International Gothic developed, which continued to evolve until the late 15th century. In many areas, especially Germany, Late Gothic art continued well into the 16th century, before being subsumed into Renaissance art. Primary media in the Gothic period included sculpture, panel painting, stained glass, fresco and illuminated manuscripts. The easily recognisable shifts in architecture from Romanesque to Gothic, and Gothic to Renaissance styles, are typically used to define the periods in art in all media, although in many ways figurative art developed at a different pace.

The earliest Gothic art was monumental sculpture, on the walls of Cathedrals and abbeys. Christian art was often typological in nature (see Medieval allegory), showing the stories of the New Testament and the Old Testament side by side. Saints' lives were often depicted. Images of the Virgin Mary changed from the Byzantine iconic form to a more human and affectionate mother, cuddling her infant, swaying from her hip, and showing the refined manners of a well-born aristocratic courtly lady.

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Stained glass in the context of Early Netherlandish painting

Early Netherlandish painting is the body of work by artists active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance period, once known as the Flemish Primitives. It flourished especially in the cities of Bruges, Ghent, Mechelen, Leuven, Tournai and Brussels, all in present-day Belgium. The period begins approximately with Robert Campin and Jan van Eyck in the 1420s and lasts at least until the death of Gerard David in 1523, although many scholars extend it to the beginning of the Dutch Revolt in 1566 or 1568 – Max J. Friedländer's acclaimed surveys run through Pieter Bruegel the Elder. Early Netherlandish painting coincides with the Early and High Italian Renaissance, but the early period (until about 1500) is seen as an independent artistic evolution, separate from the Renaissance humanism that characterised developments in Italy. Beginning in the 1490s, as increasing numbers of Netherlandish and other Northern painters traveled to Italy, Renaissance ideals and painting styles were incorporated into northern painting. As a result, Early Netherlandish painters are often categorised as belonging to both the Northern Renaissance and the Late or International Gothic.

The major Netherlandish painters include Campin, van Eyck, Rogier van der Weyden, Dieric Bouts, Petrus Christus, Hans Memling, Hugo van der Goes and Hieronymus Bosch. These artists made significant advances in natural representation and illusionism, and their work typically features complex iconography. Their subjects are usually religious scenes or small portraits, with narrative painting or mythological subjects being relatively rare. Landscape is often richly described but relegated as a background detail before the early 16th century. The painted works are generally oil on panel, either as single works or more complex portable or fixed altarpieces in the form of diptychs, triptychs or polyptychs. The period is also noted for its sculpture, tapestries, illuminated manuscripts, stained glass and carved retables.

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Stained glass in the context of Gothic architecture

Gothic architecture is an architectural style that was prevalent in Europe from the late 12th to the 16th century, during the High and Late Middle Ages, surviving into the 17th and 18th centuries in some areas. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. It originated in the Île-de-France and Picardy regions of northern France. The style at the time was sometimes known as opus Francigenum (lit.'French work'); the term Gothic was first applied contemptuously during the later Renaissance, by those ambitious to revive the architecture of classical antiquity.

The defining design element of Gothic architecture is the pointed arch. The use of the pointed arch in turn led to the development of the pointed rib vault and flying buttresses, combined with elaborate tracery and stained glass windows.

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Stained glass in the context of Window

A window is an opening in a wall, door, roof, or vehicle that allows the exchange of light and may also allow the passage of sound and sometimes air. Modern windows are usually glazed or covered in some other transparent or translucent material, a sash set in a frame in the opening; the sash and frame are also referred to as a window. Many glazed windows may be opened, to allow ventilation, or closed to exclude inclement weather. Windows may have a latch or similar mechanism to lock the window shut or to hold it open by various amounts.

Types include the eyebrow window, fixed windows, hexagonal windows, single-hung, and double-hung sash windows, horizontal sliding sash windows, casement windows, awning windows, hopper windows, tilt, and slide windows (often door-sized), tilt and turn windows, transom windows, sidelight windows, jalousie or louvered windows, clerestory windows, lancet windows, skylights, roof windows, roof lanterns, bay windows, oriel windows, thermal, or Diocletian, windows, picture windows, rose windows, emergency exit windows, stained glass windows, French windows, panel windows, double/triple-paned windows, and witch windows.

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