By Better Homes and Gardens Books, Carol Dahlstrom
Книга 2001 move sew Designs - the fundamental Reference booklet - золотая энциклопедия рукоделия, служит дополнением в библиотеке каждого вышивающего крестиком. Проекты для различных вариантов вышивки - алфавит, цветы, природа, спорт, дети, младенцы, Рождество, животные и многое другие
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Extra resources for 2001 Cross Stitch Designs - The Essential Reference Book
By motioning towards the animal AESTHETIC SYMBIOSIS AND SPIRITUAL QUEST 33 that epitomizes the thirst for Christ, Grunewald, she claims, reveals to us what he thinks is the content of the conversation between the two hermits: the right way to live one's dedication to God. As many scholars have pointed out, Griinewald has painted the hermitabbot Antony as a portrait of the abbot Guido Guersi, the Antonite precept who commissioned the altarpiece, while his hermit Paul is his own selfportrait. This choice seems particularly interesting when one considers how much the garments of the two men distinguish them.
The vermilion-colored headdress was characteristic of the lower clergy in Rome. The position of this creature, which is mostly hidden behind the thrice vicious sparrow/monk, reminded contemporary viewers that the hypocriticial lower Roman clergy covered the monks' back and supported them in their idle and indulgent lifestyle. Both its mien and its spatial relationship to the creature at the very same spot in Baldung's woodcut, classify this beast as an epitome of the vice of SLOTH. In front of the fallen saint, cringing on the floor, an atrocious-looking giant toad with ring armor and the head of a bird of prey has snapped Saint Antony's hand and threatens to make him lose his walking stick and rosary.
The toad was known as a symbol of avarice. What is more, this beast's appearance is similar to that in Baldung Grien's woodcut, and is placed in the AESTHETIC SYMBIOSIS AND SPIRITUAL QUEST 31 same position at the bottom of the group. It thus seems safe to assume that Grunewald, too, had the Deadly Sin of AVARICE in mind. At the left fringe of the painting, exactly opposite and thus perhaps antithetical to the bleary-eyed symbol of sloth, we see a demonic creature appropriating the saint's coat.