1 comments about Sphaerae Mundi: Early Globes at the Stewart Museum, Montreal.

1. From the Renaissance era down to the mid-19th century, terrestrial and celestial globes were not only instruments of science and education, but works of art and highly prized craftsmanship. In Sphaere Mundi: Early Globes At The Stewart Museum, Montreal, Edward Dahl and Jean-Francois Gauvin successfully collaborate to provide the reader with a history of the Dutch, English, French, Italian, German, and Swedish globes, drawing upon the holdings of the Stewart Museum in Montreal, Canada beginning with their earliest globe, circa 1533. The superbly written, thoroughly informative, totally engaging text is wonderfully enhanced for the reader's pleasure with 120 full color illustrations and charts the developments and changes in more than 300 years of globe making. Sphaere Mundi is "must" reading for students of cartography and non-specialist general readers with an interest in the history of science.

5 comments about On the Holy Icons.

1. 
   "The case for the icons as presented by Theodore of Studios was an amalgam of superstition, magic, and scholasticism," Adolf von Harnack
   
   
   Cult of Holy Icons:
   It was in the course of making the case for the icons that Nicephorus, Patriarch of Constantinople, spoke about the melody of theology. J. Pelikan, the eminent Orthodox expert on Church history of doctrine, wrote in the Icon entry, of his Theological Dictionary, that Harnack did recognize, and regret, that "all of orthodoxy is summarized in the cult of images."
   The Trullan Synod of constantinople in 692, stated that it was wrong to depict Christ in images or portray Him as a lamb. The seventh Ecumenical Council stated that the Church, even depicting the Lord through His human form, must not separate His divinity from His flesh, and should be brought out in the icon as well, an inconceivable Byzantine illusion! (please read carefully Fr. Coniaris', 'Introducing The Orthodox Church'; What we believe about icons, pp. 171- 177)
   
   Studios' on Icons:
   Theodore of Studios repeated, in principle the themes of his predecessor John of Damascus, on the marginal issue of icon veneration, in the midst of the 8/9th century iconoclastic controversy, adding almost no genuine theological themes.
   The allegation that iconoclasm, a serious error, alienates its followers from God-as much as any other heresy- is a medieval Byzantine eccentricity. Veneration of icons was an unqualified abuse of its early intended use by the Church of Alexandria, originally, of visual teaching on biblical themes and events for its illiterate congregations, as proven by the era of pre-icon murals in Deir Bawit, in upper Egypt. It is vital for those interested in an intelligible discussion of the theological cause roots of the debate to read God's Human Face: The Christ Icon by Christopher Schonborn, or the Brief E-Article by Myroslaw Tataryn.
   
   Icon's Theology Critique:
   "Alternatively, one might argue that Christ is God, but he is also a man. The images, then, represent his human nature only. The Orthodox explicitly reject this option as Nestorian. Daniel Clendenin writes, "It is not solely [Christ's] human nature that is portrayed in an icon (separating the human nature from the divine nature would be Nestorianism); rather, 'the total divine-human person of Christ' is portrayed." Clendenin rightly asserts that any attempt to portray only Christ's human nature does Nestorian violence to the union of that nature with the divine. ..." William J. Baldwin
   
   Theodore of Studios:
   A controversial Byzantine monastic leader (759-826) and zealous defender of the veneration of images. In 781 Theodore entered the Saccudion monastery, where his uncle Plato was the abbot, Theodore was ordained priest and succeeded his uncle. Later, he left Saccudion, and took charge of Studium monastery, at Constantinople. He reorganized the Studium and appended the rules of St. Basil with specific regulations, encouraged learning and the arts, founding a school of calligraphy.
   Theodore was a political figure, he was involved in many disputes, and denied the emperor's right to interfere in ecclesiastics, and was consequently exiled. He tried to reform the the Byzantine monastic life, which was in serious decay. He did not return to the Studium, and died without having attained his ideals.



2. St. Paul wrote in 1 Thessalonians, "And the very God of peace sanctify you wholly, and I pray God your whole spirit and soul and body be preserved blameless unto the coming of the Lord."
   
   The iconoclastic heresy today seems silly to people outside of the Orthodox Church. Icons are either not taken seriously, or rejected as "unbiblical" in opinions based on a flawed notion of Christology. But the victory of the icononodules, such as St. Theodore the Studite, over the iconoclasts is celebrated on the first Sunday of Lent, which is called, "The Triumph of Orthodoxy." No other victory over heretical views is celebrated so loftily. Why is this?
   
   The Orthodox Church does not hold to an abstract view of salvation, or one where the soul is saved from hell. The Orthodox Church holds that the whole person is saved, his body, soul, and spirit. Recall that Christ ascended into heaven bodily! Recall that Elijah ascended into heaven bodily! And Moses was by the disciples seen at the Transfiguration on Mt. Tabor bodily!
   
   We are commanded to love God with our whole body, soul and spirit. For this reason, the Mysteries (Sacraments) of the Orthodox Church always have a physical presence as well as a spiritual and rational presence. St. Gregory the Theologian asks why did Christ come down from heaven, and clothe himself in flesh, if not to save the flesh?
   
   The Holy Icons are a physical, bodily presence of the Church on earth. Without the Icon, which reveal the Image of God both in the Lord Christ, and in the Holy Saints of the Church, there is no Church. Without a physical presence, the spirit and the soul are not present. St. Theodore the Studite says, loosely translated, "The rejection of icons is a slippery slope into atheism." The Holy Icons are a physical anchor of the Holy Mystery that is the Church on earth, just as Holy Scripture is a spiritual anchor for the mind of the Church. Take the Icons away, and the pillars of the Church crumble into dust. They are as essential to the Church as Holy Scripture, without which also there is no Church.
   
   Look at the scattering of the Protestant church that rejects Holy Icons and see the piles of dust that they fight over! Their doctrines change when the wind changes direction. They have no sense (physical again) of what Scripture means.
   
   "Without possession of the Truth, there is no true faith," writes St. Hesychios the Priest of Jerusalem. So worship God in truth and Spirit, and love God with your body, soul and spirit.



3. Written by St. Theodore the Studite during the iconoclastic controversy of the eighth-ninth century, On The Holy Icons is a powerful rebuttal of iconoclasm with profound repercussions to the present day. St. Theodore argued passionately that to reject the Christian veneration of images is to deny God's incarnation, which is what makes human salvation possible; to say the Christ cannot be portrayed is to say that He was not truly man, and humanity was not truly united with God in Him. An introduction and a select bibliography round out this enduring text, which is divided into three intense refutation of iconoclasts. A serious-minded and faithful work of theology that grappled with a pressing spiritual issue of its era and truly survives the test of time; very highly recommended for church libraries and theology reference shelves.



4. _On the Holy Icons_ by St. Theodore the Studite is an interesting, if extremely dense, treatise defending the Eastern Orthodox tradition of icon veneration. Theodore was a monk from Constantinople who managed several monasteries in the Byzantine Empire during the infamous iconoclast controversy which raged in Byzantium during the eighth and ninth centuries. This English translation (1981) from St. Vladimir's Seminary Press features an introduction by Catherine Roth where she outlines the issues behind the iconoclast controversy and the premises of Theodore's polemics from the side of Orthodoxy. Roth succinctly notes how Theodore "elaborates on the relation of the image to the prototype. The image belongs to the Aristotelian category of relative things, and so it directs the attention from itself to its prototype. The image and the prototype different in essence, but share the same likeness and are called by the same name. Insofar as the image is like its prototype, the prototype may be venerated in the image" (12). This applies to the iconoclast case that the veneration of Orthodox believers to icons is a form of or equivalent to idolatry. If an icon is venerated, Christ is still being worshiped. The actual veneration paid toward the icon is not the same as worship offered to God but an honor and form of high respect to the One who is depicted thereon. Theodore organizes his polemics into three sections. The first section gives an apology for the Orthodox position on icons, defining what exactly is being done when an Orthodox believer venerates an icon. It is similar to the same veneration paid to the sign of the cross, which was maintained by the iconoclasts. Theodore also goes to extreme length in order to prove that the Incarnate Christ was "circumscribable" and thus having the quality to be depicted using physical artistic forms. Christ was a man who lived and walked on earth, was seen by men, wore clothing, ate food and continued to do so even after His resurrection. Therefore, the Incarnate Word was of circumscribable essence and can be pictured with legitimacy. At the end of the first section, Theodore anathematizes as heretics those who deride and condemn the Orthodox veneration of icons. Theodore's second section presents a hypothetical dialogue between a heretic (iconoclast) and an Orthodox on the Biblical and patristic theology behind the issue in question. The third section goes on further to define, using specific examples from the Gospels, of Christ's ability to be circumscribed. Throughout all of the treatises, Theodore also painstakingly differentiates between icon veneration and worship of God. The honor given to the icon is honor given to Christ, and conversely, the dishonor shown toward icons is also a dishonor to Christ. Theodore uses an interesting example of Jews desecrating an icon of Christ in imitation of the sufferings undergone by Christ during His trial and crucifixion. Needless to say, the Mother of God and other saints are depicted in icons as well and veneration is shown to them. Their images are also worthy of veneration because they have partaken in God's divine grace and have become "sons of God" in a figurative sense. In all, I recommend _On the Holy Icons_ as a technical introduction to the topic for those interested in the general question of using art forms in Christian worship.



5. 
   Christ, God's supreme icon:
   St. Irenaeus wrote, "When the Word of God became flesh, He showed forth the image truly, since He himself became what was His image; and He reestablished the likeness -- by rendering man altogether similar to the invisible Father." Christ is the supreme icon of God and the supreme icon of humanity divinized.
   Eastern Orthodox and Greek Byzantines refer to icons as being 'written' rather than painted, since icons are treated as theological texts, a graphical depiction of scripture. Only Christ is the true image of God. Christ is the prototypical icon: Whoever experience Christ does enter mystically into the Father's presence, in fullness. The icon's place in the church liturgical life is derived from the living personal existence, in whom the unity of the nature of God with sanctified human beings is vividly clear. Through Christ and in Christ, empowered by the Holy Spirit, human beings are called to something more. Humans are called and allowed to be images of Christ.
   
   Prelude to the Schism:
   Byzantine anthropology was based on the Cappadocians Trinitarian theology and the mystery of the Incarnation, that influenced Byzantine aesthetics and misused it in support of the iconic worship, an aspect of Orthodox tradition that sets it apart from Judaism and Protestant tradition. Eight centuries after the rise of Christianity, the Byzantines discovered an Alexandrian Greco-Roman tradition, and used it as the test of Orthodoxy. This lip service, the veneration of icons, was one of many innovations, of Byzantine corruption of Orthodoxy, that petrified Eastern Orthodoxy, and refuted its core of mystical theology, of Alexandrine orthodoxy.
   
   Theodore Repetition:
   An Imperial bureaucrat, retired into Byzantine monastic life, became abbot of a monastery in Bithynia succeeding his uncle where he migrated to the Monastery of Studios, near Constantinopole that he bares its name. Although he started his Quixotic endeavors with Constantine's divorce, and took it from there on the marginal issue of icons, his best life achievement, was introducing the minuscule letter writing for copying Greek books.
   His defense, which is basically a repetition of his predecessor Yuhanna Al- Damashky cannot convince any Protestant, or liberated Roman catholic.
   Theodore also maintains that Christ is still circumscribable after his Resurrection. While he repeats arguments previously made, such as John of Damascus' distinction between worship and veneration, saying that we worship only God, but we venerate the images of Christ and His saints. He also articulates further the connection between the Incarnation and the depiction of Christ in the Icons. The reasons are based in his very defense, the thesis which makes no sense for any thinking Christian, and can be read under the label "Schismatic" unqualified tradition. The corruption of orthodoxy, inherited from Arianism, Nestorianism, into diophysitism all come from a common root of polytheism.
   
   Reformists Biblical Defense:
   You are not Orthodox (True believing Christian) unless you obey our Lord, and only teacher, Jesus Christ, who said that He is one with the Father. After the resurrection, Jesus own disciples could not identify him in any physical resemblance to the Jesus they saw and touched, neither the Magdalene who took him for the gardener, or Luke and Clobbas on the way to Emmuas who only recognized him mystically on breaking of the bread. Even when Jesus showed himself, AGAIN, by the Sea of Tiberias; and none of his close circle: Peter, Thomas, Nathanael, the sons of Zebedee, and two others of his disciples, in total seven, until John the beloved, who for the second time comes ahead in identification by faith not His human image.
   
   Christ Icon & Diophysitism:
   The iconoclasts had developed a more sophisticated theological attack on the Icons and their Christological meaning, in the second wave of Iconoclasm in the 8th century. Theodore "the Studite" deals with the accusation of idolatry, which although exaggerated, neither him nor John the Damuscene, could defend with any biblical support, Old or New Testament, that today Christian faithful could rely on.
   Theodore is writing in defense of the use of an illegitimate intercessor in worship, other than the life giving teaching of Christ. It seems that his education, aimed at serving the imperial court, following his father, did not give him the tools of the Damascene (Mansour Ibn Sergon).
   To the Samaritan our Lord Jesus Christ qualified the true worship of the Father as; "the true worshipers will worship the Father in Spirit and Truth." Our Lord elaborates; " God is spirit, and those who worship him MUST worship in spirit and truth." John 4:23,24
   
   On the Holy Icons:
   St. Vladimir Seminary Press periodically introduces patristic texts, on subjects that are traditional in Byzantine theology. In addition to John of Damascus defense of "Divine Images," On the Holy Icons treats the same schismatic issue of looking through the window of eternity, in icon veneration. Theodore of Studios bases the veneration theology on Damascene's "He who had created everything became 'matter'. He meets the iconoclasts' own arguments, stating that iconoclasts must be heretics, either Docetists or Monophysites (Euticians).

3 comments about Giotto: The Scrovegni Chapel, Padua (Great Fresco Cycles of the Renaissance).

1. Please fix the author's name!!! It's BRUCE Cole, not BROCK Cole. You may note a difference in their subject matter if you review Brock Cole's titles.



2. Be aware that the completion in early 2002 of the very extensive restorations of the frescoes makes this book at least partially obsolete. If you want to see what the frecoes look like now, you'll want a book published after April, 2002.



3. I first stumbled upon this book shortly after having lived in Italy for five years and drinking richly of art, history and culture. I was so pleased to have discovered this rich treasury which beautifully repoduces each and every fresco of the magnificent little Scrovegni chapel in Padua -- a renaissance Italian city near Venice and made famous by Saint Anthony.

   This little book of only 118 pages is in fact powerful enough to be a coffeetable treasure due to its stunning and colorful reproductions of the frescos and then coupled with its brilliant and succint text.

   In many ways, I found this book more satisfying than the actual visit I made to the chapel a few years earlier. Why? The chapel is small and every wall and ceiling is covered with the work of that paramount, Renaissance master, Giotto. Even still, however, it can be difficult to enjoy the detail and nuisance of many of the frescoes that are located up high or in the shadow of dim lighting. This book removes the obstacles and allows you to enter into the artistic and theological mystery of each and every fresco.

   Both novice, art historian and theological guru alike would enjoy adding this little gem to one's own library. The text provides insightful commentary into all perspectives of this chapel -- religious, artistic, and historical. A select bibliography adds even more opportunity to carry on the research.

   I was saddened to see that the price had actually gone up from the time I first purchased a copy in 1993, when the book was first published. However, I'm not surprised. Whereas one would expect most books to decrease in value until they become those "bargain books," I believe that this one will be around for a long time -- a real classic for the library.

   I highly recommend it for your collection.

No comments about Art in Japanese Esoteric Buddhism (The Heibonsha Survey of Japanese Art, 8).

No comments about The Regal Image of Richard II and the Wilton Diptych. (Studies in Medieval and Early Renaissance Art History, 21).

No comments about Illuminated Haggadot from Medieval Spain: Biblical Imagery And the Passover Holiday.

2 comments about Banners on Favorite Bible Verses.

1. I found this book not to be a very good reference resource. The drawings were very childlike. I've seen better in coloring books. Not a very good example of the entire Bible.



2. This book was helpful for a "beginner". It had step by step insturctions. It had alot of ideas with detailed pitcures. I found one that could be adapted for the project I am currently working on.

1 comments about Fra Angelico: San Marco, Florence (The Great Fresco Cycles of the Renaissance).

1. First rate elegant book on Fra Angelico.Excellent reproductions of an artist that Rothko preferred to any other artist of this period . There is a vellum transparent cover over each reproduction.This is effective in protecting the colored reproductions.

No comments about Reminders of Invisible Light: The Art of Beth Ames Swartz, 1960-2000.

No comments about Rembrandt: The Old Testament.