LaurieAnnie's photos with the keyword: shrine

I peeked down this alleyway near the Vucciria open-air market in the historic center of Palermo to read the sign, which refers to the festival of St. Joseph (it was taken in March, and the feast day is very close to St. Patrick's Day, but St. Joseph is a much more popular saint in Italy.) I'm also very fascinated with the niches/shrines that can be found outside many homes, or in crossroads containing votive statues and dedications to certain saints, Mary, or Christ. I have a close-up view of the shrine seen on the left wall.

Artist: Louis-Léopold Robert (Swiss, 1794–1835) Title: Italian Couple at a Roadside Shrine Date: 1824 Medium: Oil on canvas Dimensions: 14 3/8 x 17 5/8 in. (36.5 x 44.8 cm) Classification: Paintings Credit Line: The Whitney Collection, Promised Gift of Wheelock Whitney III, and Purchase, Gift of Mr. and Mrs. Charles S. McVeigh, by exchange, 2003 Accession Number: 2003.42.50 Gallery Label: The brigands who inhabited the mountains outside of Rome were known both for their criminal ways and their profound religious devotion. Here, a young couple prays at a roadside shrine, presumably for the health of the wife who is noticeably pregnant. Robert was one of a number of artists working in Rome, including Achille-Etna Michallon, François-Joseph Navez, and Jean-Victor Schnetz, who popularized such scenes in the 1820s. Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...

Artist: Louis-Léopold Robert (Swiss, 1794–1835) Title: Italian Couple at a Roadside Shrine Date: 1824 Medium: Oil on canvas Dimensions: 14 3/8 x 17 5/8 in. (36.5 x 44.8 cm) Classification: Paintings Credit Line: The Whitney Collection, Promised Gift of Wheelock Whitney III, and Purchase, Gift of Mr. and Mrs. Charles S. McVeigh, by exchange, 2003 Accession Number: 2003.42.50 Gallery Label: The brigands who inhabited the mountains outside of Rome were known both for their criminal ways and their profound religious devotion. Here, a young couple prays at a roadside shrine, presumably for the health of the wife who is noticeably pregnant. Robert was one of a number of artists working in Rome, including Achille-Etna Michallon, François-Joseph Navez, and Jean-Victor Schnetz, who popularized such scenes in the 1820s. Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...

Title: Shrine of the Virgin Date: ca. 1300 Geography: Made in Rhine valley Culture: German Medium: Oak, linen covering, polychromy, gilding, gesso Dimensions: Overall: 14 1/2 x 13 5/8 x 5 1/8in. (36.8 x 34.6 x 13cm) closed: W. 5in. (12.7cm) Classification: Sculpture-Wood Credit Line: Gift of J. Pierpont Morgan, 1917 Accession Number: 17.190.185 On View Description: This rare devotional shrine is designed to make manifest the miracle of the Incarnation, by which God became man. Closed, it is a statuette of the enthroned Virgin Mary nursing the Christ Child. When opened, the shrine is transformed into an altarpiece showing a sculptural representation of the Trinity (the figure of Christ and the dove of the Holy Spirit are lost), mystically revealing that salvation is achieved through Christ incarnate. On the wings are painted scenes of the Nativity. Text from: www.metmuseum.org/Works_of_Art/collection_database/mediev...

Title: Shrine of the Virgin Date: ca. 1300 Geography: Made in Rhine valley Culture: German Medium: Oak, linen covering, polychromy, gilding, gesso Dimensions: Overall: 14 1/2 x 13 5/8 x 5 1/8in. (36.8 x 34.6 x 13cm) closed: W. 5in. (12.7cm) Classification: Sculpture-Wood Credit Line: Gift of J. Pierpont Morgan, 1917 Accession Number: 17.190.185 On View Description: This rare devotional shrine is designed to make manifest the miracle of the Incarnation, by which God became man. Closed, it is a statuette of the enthroned Virgin Mary nursing the Christ Child. When opened, the shrine is transformed into an altarpiece showing a sculptural representation of the Trinity (the figure of Christ and the dove of the Holy Spirit are lost), mystically revealing that salvation is achieved through Christ incarnate. On the wings are painted scenes of the Nativity. Text from: www.metmuseum.org/Works_of_Art/collection_database/mediev...

Title: Shrine of the Virgin Date: ca. 1300 Geography: Made in Rhine valley Culture: German Medium: Oak, linen covering, polychromy, gilding, gesso Dimensions: Overall: 14 1/2 x 13 5/8 x 5 1/8in. (36.8 x 34.6 x 13cm) closed: W. 5in. (12.7cm) Classification: Sculpture-Wood Credit Line: Gift of J. Pierpont Morgan, 1917 Accession Number: 17.190.185 On View Description: This rare devotional shrine is designed to make manifest the miracle of the Incarnation, by which God became man. Closed, it is a statuette of the enthroned Virgin Mary nursing the Christ Child. When opened, the shrine is transformed into an altarpiece showing a sculptural representation of the Trinity (the figure of Christ and the dove of the Holy Spirit are lost), mystically revealing that salvation is achieved through Christ incarnate. On the wings are painted scenes of the Nativity. Text from: www.metmuseum.org/Works_of_Art/collection_database/mediev...

Title: Terracotta model of a shrine Medium; Technique: Terracotta; hand-made Culture: Cypriot Period: Cypro-Archaic II Date: ca. 600–480 B.C. Dimensions: H. 3 15/16 in. (10 cm) Credit Line: The Cesnola Collection, Purchased by subscription, 1874–76 Accession Number: 74.51.1754 On View Description: The model originally had pilasters on either side of the opening. The vertical form inside is an aniconic representation of the fertility goddess Astarte. Similar depictions are known from the Levant and Cyprus. Model shrines began to be made in Cyprus during the Chalcolithic period and, due to Phoenician influence, were produced in particular quantity during the Archaic period. All of the excavated examples come from tombs. Text from: www.metmuseum.org/Works_of_Art/collection_database/greek_...

Piazza Navona is a city square in Rome, Italy. It is built on the site of the Stadium of Domitian, built in 1st century AD, and follows the form of the open space of the stadium. The ancient Romans came there to watch the agones ("games"), and hence it was known as 'Circus Agonalis' (competition arena). It is believed that over time the name changed to 'in avone' to 'navone' and eventually to 'navona'. Defined as a public space in the last years of 15th century, when the city market was transferred to it from the Campidoglio, the Piazza Navona was transformed into a highly significant example of Baroque Roman architecture and art during the pontificate of Innocent X, who reigned in 1644-1655 and whose family palace, the Palazzo Pamphili, faced onto the piazza. It features important sculptural and architectural creations: in the center stands the famous Fontana dei Quattro Fiumi or Fountain of the Four Rivers (1651) by Gian Lorenzo Bernini, topped by the Obelisk of Domitian, brought here in pieces from the Circus of Maxentius; the church of Sant'Agnese in Agone by Francesco Borromini, Girolamo Rainaldi, Carlo Rainaldi and others; and the aforementioned Pamphili palace, also by Girolamo Rainaldi, that accommodates the long gallery designed by Borromini and frescoed by Pietro da Cortona. Piazza Navona has two additional fountains: at the southern end is the Fontana del Moro with a basin and four Tritons sculpted by Giacomo della Porta to which, in 1673, Bernini added a statue of a Moor, or African, wrestling with a dolphin, and at the northern end is the Fountain of Neptune created by Giacomo della Porta. The statue of Neptune in the northern fountain, the work of Antonio Della Bitta, was added in 1878 to make that fountain more symmetrical with La Fontana del Moro in the south. At the southwest end of the piazza is the ancient 'speaking' statue of Pasquino. Erected in 1501, Romans could leave lampoons or derogatory social commentary attached to the statue. During its history, the piazza has hosted theatrical events and other ephemeral activities. From 1652 until 1866, when the festival was suppressed, it was flooded on every Saturday and Sunday in August in elaborate celebrations of the Pamphilj family. The pavement level was raised in the 19th century and the market was moved again in 1869 to the nearby Campo de' Fiori. A Christmas market is held in the piazza. Text from: en.wikipedia.org/wiki/Piazza_Navona

Model shrine with nude goddess Eastern Mediterranean, 6th–3rd century B.C. Dimensions: Height x width: 26 x 14.3 cm (10 1/4 x 5 5/8 in.) Medium or Technique: Terracotta Classification: Sculpture Accession Number: 1990.605 The plaque is a mixture of Mediterranean/Near Eastern styles that characterize Phoenician art. It represents the ancient Canaanite goddess Astarte, shown nude like the Mesopotamian Ishtar, but with an Egyptian face and wig. She stands within a shrine protected by typically Near Eastern snarling lions that support Egyptian columns surmounted by heads of the Egyptian god Bes. Text from: www.mfa.org/collections/object/model-shrine-with-nude-god...

Artist: Attributed to Jean de Touyl (French, died 1349) Title: Reliquary Shrine Date: second quarter 14th century Geography: Made in Paris, France Culture: French Medium: Gilt-silver, translucent enamel, paint Dimensions: Overall (open): 10 x 16 x 3 5/8 in. (25.4 x 40.6 x 9.2 cm) Classification: Enamels-Translucent Credit Line: The Cloisters Collection, 1962 Accession Number: 62.96 On View at The Cloisters Description: This sumptuous reliquary sets the Virgin and Child, accompanied by angels, within an elaborate Gothic architectural shrine. The arches, vaults, and sculptural decorations are of gilded silver; translucent enamel panels on the wings depicting scenes from the life of the Virgin and the Infancy of Christ evoke stained-glass windows. This example, one of only four such shrines to have survived, is recorded in the eighteenth-century inventories of the convent of the Poor Clares of the Order of St. Francis at Buda (part of the modern city of Budapest), founded by Queen Elizabeth of Hungary in 1334. Text from: www.metmuseum.org/Works_of_Art/collection_database/the_cl...

Artist: Attributed to Jean de Touyl (French, died 1349) Title: Reliquary Shrine Date: second quarter 14th century Geography: Made in Paris, France Culture: French Medium: Gilt-silver, translucent enamel, paint Dimensions: Overall (open): 10 x 16 x 3 5/8 in. (25.4 x 40.6 x 9.2 cm) Classification: Enamels-Translucent Credit Line: The Cloisters Collection, 1962 Accession Number: 62.96 On View at The Cloisters Description: This sumptuous reliquary sets the Virgin and Child, accompanied by angels, within an elaborate Gothic architectural shrine. The arches, vaults, and sculptural decorations are of gilded silver; translucent enamel panels on the wings depicting scenes from the life of the Virgin and the Infancy of Christ evoke stained-glass windows. This example, one of only four such shrines to have survived, is recorded in the eighteenth-century inventories of the convent of the Poor Clares of the Order of St. Francis at Buda (part of the modern city of Budapest), founded by Queen Elizabeth of Hungary in 1334. Text from: www.metmuseum.org/Works_of_Art/collection_database/the_cl...

Shrine of Saint Anne and the Holy Kinship Wood with polychromy and gilding South Lowlands, late 15th century Accession # 25.120.201 Text from the Cloisters label.

Shrine of Saint Anne and the Holy Kinship Wood with polychromy and gilding South Lowlands, late 15th century Accession # 25.120.201 Text from the Cloisters label.