Discourse: the cross

University of East London

School of architecture & the visual art

Student Name: Samuel Goitom

Student number: 1015645

Module title: Visual Communication and Cultural Meaning

Module code: VT2006

Assignment title: Essay

Submission date: 15^th December 2011

Artist: Rogier van der Weyden Artist: Matthias Grünewald

Title: Descent from the Cross Title: The Crucifixion

Medium/technique: Oil on Panel Medium/technique: oil on panel

Location: Prado, Madrid, Spain Location: rue d' Unterlinden, Colmar

Completion Date: 1435 Completion Date: 1515

With Good Friday almost upon us, In modern times the inverted cross has become a symbol of blasphemy and mockery of the Christian cross and church. This popular view of the inverted cross has been fed to us through media such as horror film, heavy metal and black metal music,the ignorence and limited intelligence of most and some of these I am sad to say, being practionners of modern Satanism. To most modern Satanists the inverted cross indicates a rejection of Jesus Christ,the church and what it represents People who are sometimes sacrificed to Satan on the Black Sabbath are crucified upside down in accordance to this tradition" A true Satanist does not acknowledge the power of the church nor it's myths. There are no human crucifcition sacrifices let alone any sacrifices done on an inverted cross during the Black Mass or any Satanic ritual at that. The truth is that the inverted cross is not evil nor does it have anything to do with true Satanism aside from some Satanists wearing this symbol as a statement to show their dislike towards Christianity and it's pathetic church. Christians have used the cross symbol in their worship and even to identify themselves as Christians for hundreds of years. The question is was Jesus crucified on a cross? If not where did this come from and how did it find it's way into the Christian religion? Can we find cross worship in the period before the birth of Jesus and if so how were they used? The first crucifixion scenes didn't appear in Christian art until the 7th century by the Catholic Church. The body on the cross was not shown at that time like the fifth one seen in the row. The original cross symbol was in the form of a Tau Cross and it was so named because it looked like the letter tau or our letter “T ". The Greek term used in the earliest Bible writings but where English versions translate it to "cross") got used to execute criminals, there exists not a shred of evidence that a Biblical stauros describes a cross or even a T-shape. Regardless of whether you believe the cross as mythical or think it comes from the Bible, you will find nothing describing Jesus' execution with outstretched arms or nailed to a cross-like frame. I invite any Christian to look up the word 'cross' wherever it appears in the Bible and check the Greek version and see for yourself. I can think of no other invented symbol of religion that gives a more horrific description than a man tortured in the throe of extreme agony while nailed to two wooden planks. Today we turn to the symbol that all Christians know, love, and revere.It is the Cross, the instrument that was used to kill the Son of God. And in this lesson, Fr. John explains the history of crosses, their types, both pagan and Christian, and even the difference between crosses and crucifixes. There is a difference between a cross and a crucifix. A cross becomes a crucifix only when it bears an image of our Lord’s Sacred Body. The word “crucifix” is from the Latin crud fixus, fixed to a cross. in ancient times, crosses were used for the execution of criminals. But even among pagan nations the cross was held in religious honour. There occurs no cross in early Christian art before the middle of the 5th century, where it (probably) appears on a coin in a painting. The first clear crucifix appears in the late 7th century. Early Christians usually depicted their religion with a fish symbol (ichthus), dove, or bread of the Eucharist, but never Christ on a cross (or on a stick).

The Descent from the Cross by the Flemish painter Rogier van der Weyden. Rogier van der weyden was one of the leading Flemish painters of the Northern Ranaissance during the 15^th century. Rogier van der Weyden served a five-year apprenticeship under Robert Camping, The Merode Altarpiece was created by Robert Camping in 1426 ( Master of Flemalle), a leading painter in the city, and became a master of the Tournai Guild of St Luke – the artists’ guild – in 1432. By 1435 he had moved to Brussels, where he created four monumental pictures on the theme of justice for the Town Hall (later destroyed) which helped to earn him an international reputation. The German Cardinal Nicholas of Cusa described him as “the greatest of painters”, while Bianca Maria Sforza, Duchess of Milan, was sufficiently impressed by his work to send her own court painter, Zanetto Bugatto, to Brussels to retrain under Rogier’s supervision.Rogier van der Weyden was a greatly influential Northern artist. The Renaissance in the north has a distinctively different character than that of Italy and the southern countries.Though the styles of Northern artists vary according to geography.Along with his contemporary,jan van eyck is a Flemish painter and one of the leading Flemish painters of the Netherlandish Renaissance,jan van eyck mastered the Art of oil painting,which was a new invention.Jan van Eyck was important not only to the northern Renaissance, but to the entire Renaissance. He is credited with the invention of the oil-glazing technique, which replaced the earlier egg-tempera method. In the early years of the Renaissance

Rogier van der Weyden’s “The Descent from the Cross” was an altarpiece as well, intended for the chapel of the Confraternity of the Archers of Leuven, who commissioned it. The shape (which looks like an inverted "T") was a traditional form for altarpieces in Northern Europe the inverted "T" could help to visually emphasize the most important scene in the altarpiece. Along these lines, the added vertical section could also accommodate particular narrative features (such as a cross, as is well demonstrated in van der Weyden's Seven Sacraments altarpiece, c. 1445-50.This monumental depiction of the deposition is more than eight feet wide, yet every last detail in it has been painted with minute care. A great frieze of death and grief, full almost to overflowing with intense human emotion, the picture is one of the treasures of the Prado in Madrid. In this painting there are ten figures in all that cover almost the entire surface of the panel. Christ’s lifeless body has been removed from the cross by the bearded Joseph of Arimathaea and Nicodemus. On the left Mary has fainted beside her son, and is supported by Christ’s favorite disciple, St. John the Evangelist and another woman. On the extreme right, St. Mary Magdalene is on the verge of fainting while resting on the shoulder of an elderly man in the rear. The other figures in the painting look on sorrowfully at their Savior, holding His body for a moment before setting it down.Rogier’s primary concern in this painting was to emphasize the forcefulness of the depiction. He deliberately breaks away from the realistic spatial depiction that had only recently been achieved in painting. The niche he paints is deep enough at the bottom of the picture to accommodate several figures. Yet, the figure’s heads are painted very close to the Cross and nearly touching the top of the panel. The painted niche offered Rogier another advantage: he could retain the gold background, which was common in medieval paintings without offending against the demands of naturalistic depiction. All the figures are brought forward by the golden back wall so that the space surrounds them closely: convincing as their actions may look individually, there would never really have been room for them all. The result is a sense of timelessness and an almost oppressive intensity.

The Descent from the Cross was painted early in Rogier’s career, between 1435 and 1443. It was probably commissioned by the Great Archers’ Guild, who had founded the chapel. The tracery in the corners of the painting, which must once have continued the shape of its original frame (now lost), has been shaped to model little crossbows. The setting is highly artificial. The feet of those who mourn Christ are set on real, cracked earth, from which grass and flowers grow, and where a skull lies – indicating that this is Golgotha, “the place of the skull” – but they also inhabit what appears to be a painted wooden box. Its gilded back wall confines the action to the shallowest of spaces. It seems that Rogier intended to imitate the painted polychrome groups of statues in similar boxes, which were produced throughout the Netherlands and during the fifteenth century as altarpieces. although it is possible that he wanted to call attention to the extraordinary, breathing realism of his art and in the process assert its superiority over sculpture. Painting in oils was still a relatively unfamiliar medium in the mid-fifteenth century and these figures, so brilliantly observed and depicted (doubtless from living models) would once have seemed almost uncannily present.

Tears glisten on the faces of the mourners, trembling pearls of water that hold and reflect light, grief made palpable. The blood that flowed straight down Christ’s feet when he was on the cross has altered direction now that he has been lifted down, deviating from its original course by some ninety degrees. His limp and pale body is echoed by that of Mary, slumped in a dead faint. His hand, which has been pierced by one of the cruelly long nails held by the servant on the ladder, is placed poignantly close to her own. They might almost be reaching out to touch one another. But death has torn her son from Mary and the energies of the painting – which has her fainting in one direction and Christ being taken in the other – dramatise the agony of their parting. This is a group which is being pulled asunder. The rhyme of Mary’s pose with that of Christ may also have been intended to symbolise the deeply empathetic nature of her suffering, and her role as co-redeemer of humanity.

The painter shows that suffering in the cross with the unparalleled realism of his art, embodies it unforgettably; and in the figures of those who grieve at Christ’s death he offers his audience a group of role models, so to speak, for their own responses. the women in white headdresses that enfold their weeping faces, the men holding back the tears as they help to lower the dead body, forgetting their furs and finery.The faces of John (to the left) and Joseph of Arimathea (under the cross in the centre) are filled with solemn contemplation, as is that of the splendidly dressed man holding Christ’s feet. The Magdalen, to the extreme right, is in a paroxysm of grief, staring at those same bloodied feet and clenching her hands together in a way that suggests her crying is also a form of prayer. They are part of the scene and yet also detached from it, in the sense that they seem to feel this moment, of their separation from Christ, as the beginning of a new stage in their lives – almost as a kind of alienation. They are like sleepwalkers caught in an oppressively claustrophobic dream. Perhaps this was Rogier van der Weyden’s way of indicating his belief that the consequences of Christ’s death can never be escaped from, or forgotten. The eternity of grief, atonement and contemplation that he

Matthias Grunewald, 1480-1528, one of Germany’s famous artists in art history painted one of his famous paintings the "Isenheim Altarpiece", in 1510 - 1515. In is painting it is clear that Matthias Grunewald had developed since the Renaissance, The German Renaissance, part of the Northern Renaissance, was a cultural and artistic movement that spread among German thinkers in the 15th and 16th centuries, which originated from the Italian Renaissance in Italy. This was a result of German artists who had traveled to Italy to learn more and become inspired by the Renaissance movement. The German Renaissance pushed classical thinking, arts, and the natural sciences to the forefront during this period of thinking with Germany. This also made scientists focus more energy on the world around them and focus less on the heavens. This was a major turning point in history. It has two sets of movable wings. When both wings are closed "The Crucifixion" is the main center panel. Victims were usually beaten and tortured and then forced to carry their own cross to the crucifixion site.

The Roman cross was formed of wood, typically with a vertical stake and a horizontal cross beam near the top."The Crucifixion" shows Jesus Christ hanging on the cross in excruciating pain indicated by his constricted grasping hands and fingers. Even the horizontal beam of the cross looks tired as it sags with the weight of Christs’ body adding to the mood of the moment. Christ’s battered dying body is greatly distorted by his outstretched limbs over the Cross. The darkened red blood forms a brilliant contrast to the pale diseased green of His flesh. The torment and torture is seen through the anguished look on Christ’s face as well as the arrangement of His hands and feet where the stakes were driven through. Matthias Grunewald uses the heavily highlighted Mary figure as a starting point compositionally, moving the viewer's eye in a circular rotation around the composition. On the left of Christ is Mary who dressed in the garments of a widow, fainting in the arms of St. John the Evangelist. Below the two is a smaller figure of St Mary Magdalene with her vessel of ointment, kneeling down and looking up to Christ while wringing her hands in sorrow. The figures on the left mourn the death of the human body of Christ and John the Baptist points to Jesus Christ as the Savior of mankind. The figures are both active, showing emotion on the right of the Cross, stands St. John the Baptist with the ancient symbol of the lamb carrying the cross and pouring out its blood into the chalice of the Holy Communion. St. John stands there with his finger pointed towards Christ, and over him are written words that he speaks (according to the gospel of St. John)

The Renaissance patrons wanted art that showed joy in human beauty and life's pleasures. Renaissance art is more lifelike than the art of the Middle Ages. Renaissance artists studied perspective, or the differences in the way things look when they are close to something or far away. The Renaissance artists painted in a way that showed these differences. Michelangelo Buonarroti of Florence was one of the greatest artists of all time. Michelangelo was a "Renaissance Man" of many talents. He was a sculptor, a painter, and an architect. When Michelangelo carved a statue of Moses, he included veins and muscles in the arms and legs. Michelangelo was a devout Christian, and the church was his greatest patron.

Giotto was one of the first to paint in this new style. and purposely returned to the principles of medieval and primitive painters, who varied the size of their figures according to their importance in the picture. This distinction can be seen when you compare the hands of St. Mary Magdalene directly under the Cross to those of Christ to become fully aware of this amazing difference in the figures dimensions. It is obvious that Grunewald intended for the viewer to notice the Savior more than any other figure due to the fact that He is larger in size and particularly more detailed. Just as Grunewald gave up the sight of beauty for the sake of the spiritual lesson, he also disregarded the new demand for correct proportions, since this helped him to express the spiritual truth of the words of St. Johns.

The True Cross, on which our Saviour died, is said to have been discovered by St. Helena, the mother of the Emperor Constantine, at Jerusalem, in the year 326. A part of the True Cross is said to be preserved in the Church of Santa Croce (the Holy Cross), in Rome, and various other places claim to possess fragments of it or the nails used at the crucifixion. The principal varieties of crosses used in Christian art and architecture are as follows:1. The ordinary form, called the Latin cross, or crux capitata (headed cross).2. The Greek cross, having the four limbs of equal length—so named because it was much used in later Greek architecture.3. The St. Andrew’s cross, in the form of the letter X; that Apostle is said to have been crucified on one of that description.4. The Maltese cross, having four equal limbs of spreading or triangular form; it was the badge of the military and religious order of the Knights of Malta.5. The Celtic cross, common in ancient Irish architecture, having the arms connected by a circle.6. the Crux Commissa was a capital T-shaped structure, also known as St. Anthony's cross or the Tau Cross, named after the Greek letter ("Tau") that it resembles. The horizontal beam of the Crux Commissa or "connected cross" was connected at the top of the vertical stake. This cross was very similar in shape and function to the Crux Immissa.7. The Egyptian crux ansata, mentioned above. It consists of a cross with a ring or handle.8. A cross with two cross-bars is sometimes called an archipiscopal cross, or a patriarchal cross, being used in the heraldic arms of these dignitaries.

The first known conception of a Christian cross as a physical symbol began with Constantine's supposed 4th century conversion as a Christian. He allegedly had a miraculous vision in the sky of a cross composed of light with the inscription, "By this conquer." The Church father, Eusebius, described that, at night after his vision, Constantine dreamt that God commanded him to make a likeness of the sign to safeguard all engagements with the enemy. At dawn the next day Constantine allegedly told this to his army and ordered the symbol to be made in the form of a golden spear with a transverse bar (some traditions describe it as the Greek letter "X" (chi) with a "P" (rho) through it, the well-known monogram of Jesus). From then on Christian armies carried the cross symbol into battles. Christians who deny this story cannot escape the fact that the story derives from Euesbius's own writings and church fathers after him used this to support the symbol of the cross. Later on, and especially during the crusades, the cross became a permanent part of the uniform of a soldier. The army of Christianity invented the symbol of the cross to symbolize battle (a spear) to represent Jesus and to protect their killers (the army). Christianity has remained a religious and political justification for war. In December 1914 the military cross was instituted to recognize ‘distinguished services in times of war of officers of certain ranks in our army’’the majority of military crosses were awarded for gallantry,but the decoration could also be granted for ‘distinguished and meritorious service’’,many were awarded in new year and birthday honours to serving army officers.in 1917 it was decided to restrict the decoration as far as possible to the ‘Fighting Services’’,and in the same year extending it to acting and temporary Majors not above substantive rank of Captain.a further change in 1920 defined the cross as almost exclusively a bravery award ‘for gallant and distinguished services in action ‘the general conditions for the award remained like this until the review of the review of the united kingdom gallantry award in 1993,when the cross was extended to all ranks upon the obsolescence of the other ranks only gallantry decoration, For additional acts of bravery, a straight silver bar was awarded. The Cross is the most important to Christian. It symbolizes the redemption of mankind and our holy faith. It is used on our churches, schools, institutions, altars, vestments, etc., as a symbolic ornament; and when blessed, either as a cross or a crucifix, it becomes a great sacramental of our religion .Among many nations,Several flags have crosses, including all the nations of Scandinavia, whose crosses are known as Scandinavian crosses, The Nordic Cross Flag, Nordic Cross, or Scandinavian Cross is a pattern of flags usually associated with the flags of the Scandinavian countries of which it originated. All of the Nordic countries except Greenland have adopted such flags. The cross design, which represents Christianity, those flags is depicted extending to the edges of the flag with the vertical part of the cross shifted to the hoist side, rather than centre on the flag. All Scandinavian flags may be flown as gonfalons as well. Gonfalone was originally the name given to a neighbourhood meeting in medieval Florence, each neighbourhood having its own flag and coat of arms, leading to the word Gonfalone eventually becoming associated with the flag.

If you are religious or just love crosses you will be happy to know that fashion industry has many different cross symbols. They are different cross symbol all so. Is well know and is also very famous. Each of these great cross symbols has a unique meaning, Latin Roman Cross. It can be found on jewelry and on a lot of peoples wearing it. For those men and women (especially women) who wear a cross necklace, cross earrings or other crucifixion jewelry, if you think it adds to your beauty, think again. For those who know what the cross really represents, do you really think your symbol of torture will help attract the opposite sex? You will only appear a little more uncomely and even repulsive to many men. The Christian cross to many people (especially Jews) represents intolerance, narrow-mindedness, or prudishness. Of course many women wear their crosses to attract other Christians like themselves, but consider that you might also appeal to men (or women) most people use it to show their faith to their religion. Latin cross, this one is very detailed making it very useful and worth wild to use. It can be used in many things. This cross is one that many people enjoy.

Artist: Rogier van der Weyden Artist: Matthias Grünewald