From the M subprogramuma. The Crucifixionb. Nivardus of Milanc. C. 1000 - 1025d. Ottonian, Fleury, Francee. Tempera colors, gold and silver on parchmentf. 9 1/8 x 7 1/16 in. g. picture attached: crucifixion_sarahhess.jpgFrom the Texta. Tunc Crucifixerant XPI, from the Book of Kells, fol. 124rb. Artist unknownc. C. late ordinal to early 9th centuryd. Hiberno-Saxon, Irelande. Illuminated manuscript on vellumf. 9 1/2 x 13 in. g. page 335, figure 9.24Personal ExperienceI walked into the Getty Museum of Los Angeles and the prime(prenominal) function I saw was the French Manuscript flash of the midpoint Ages Exhibit in the North Pavilion. I went to the Getty with this render whole in mind. I developed an interest in the lighten up manuscripts from our textbook, specifically of insular art and upon learning of the demonstrate by the Getty Center Website, chose to attend. I chose The Crucifixion because of the gold border engage and the use of Christ on the cross as the garner T. I had seen something similar yet different through our texts sectionalization on Tunc Crucifixerant XPI, from the Book of Kells, which I chose for comparison. Analysis of the Museum PieceThe Crucifixion by Nivardus of Milan is legal judgment to have been created 1000-25 AD. It is comprised of tempera paint on parchment.
The folio is a page from a sacramentary and contains the first words of the appeals recited during the preparation of the complainer feed and wine for the Eucharist. The Latin words Te igitur (you, therefore) approach the prayer for the sacrament. The T is represented by saviour in t he guileless crucifixion pose on a woody c! ross, dressed(p) in only a red garment slung stuffy his waist. His head is encased in a golden mandorla. the Nazarene? body is not portrayed as slight, but preferably as muscular with his open eyes... If you want to get a full essay, order it on our website:
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