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The Biography of the Bible

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Author Topic: The Biography of the Bible  (Read 3128 times)
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Azrael
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« Reply #90 on: July 18, 2009, 10:09:25 pm »

during the more individualistic period that followed when the merchant princes of Italy erected their little separate courts and vied with one another in patronizing the arts and also the new learning that was brought from Greece after the fall of Constantinople in 1453.

Sculpture and painting reflected the general movement of culture in their choice of themes. During the medieval period these were drawn mainly from the lives of the saints, or from events in the Bible, both alike interpreted according to the medieval standards of asceticism; very gradually, the meager limbs and wrinkled faces of the anchoritic ideal were supplanted by the more well-rounded bodies and ruddier faces of the Renaissance. The painters, originally often monks, eventually became a professional class dependent upon private patrons rather than the Church; mythological themes tended to replace the Biblical; and the artists at last became entirely cynical, taking their mistresses as models for either a Venus or a Madonna, whichever happened to be called for. The deeply religious Michelangelo, to be sure, infused a prophetic spirit into his work, and in his statues of David and Moses, as well as in the frescoes of the Sistine Chapel, he achieved a marvelous harmony of the

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