Cristofano allori biography of martin luther
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File talk:The Tribuna of the Uffizi (); Zoffany,
"All the connoisseurs, diplomats and visitors to Florence portrayed are identifiable, making the painting a combination of the British eighteenth-century conversation piece or informal group portrait genre, with that of the predominantly Flemish seventeenth-century tradition of gallery views and wunderkammers. However, this inclusion of so many recognisable portraits led to criticism at the time by Zoffany's royal patrons, and by Horace Walpole, who called it ‘a flock of travelling boys, and one does not know nor care whom’.)"
However, considering all the books those Grand Tourists are reading, printcollector2@ would like to know who and whom. The "Tribuna of the Uffizi" is the penultimate scene of the play. Just off the top of my head and not digging through my database or ansträngande to be literally correct, just pushing Wiki's buttons
First inom put your Wikilist in a left, middle, right order and add my comments below the it
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Some of what I learned about Caravaggio on my tour:
The context of Caravaggio’s work enhances understanding and appreciation of his works.
Caravaggio worked during the Counter Reformation. The Protestant Reformation defines the Counter Reformation.
In , legend has it, Martin Luther nailed a printed folio sheet on the door of the Castle Church in Wittenberg. The document entitled Disputation on the Power and Efficacy of Indulgences or The Ninety-Five Theses started the Protestant Reformation. His theses criticized the selling of indulgences, certificates that reduced punishment time in purgatory for sins. He also questioned the Roman Catholic church’s ideas about purgatory and questioned the veneration of saints as it had no basis in gospel.
Protestant theology developed to include the belief that the scriptures are the sole source of faith and practice, and only God pardons sinners. It rejected Catholic theology and practices that had no basis in the gospels, including the
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Abstract
In the history of the Western world, there has always been an association between good and beautiful. Starting from a brief history of beauty, two questions arise: is beauty linked to good even in art? How important are people’s religious beliefs in aesthetic and vitality judgments? The psychology of art could answer these questions by studying people’s reactions to the images of Saints as testimonials of goodness. Moreover, the study of Saints’ paintings would allow us to investigate vitality, understood as one’s perception of a living being. The research aimed to investigate the aesthetic and vitality judgments of faces representing the dead, Saints and non-Saints. More than a hundred participants were asked to evaluate the aesthetics and vitality of these paintings; moreover, two tests assessing spirituality and religiosity were administered. Overall, these data suggest Saints were judged more beautiful than non-Saints, and non-Saints were judged more vital than Saints.