"say that it is not accursed of God."" Art critic Peter Fuller, in 1989, described the landscape of the painting as ""a terrible image […] of the world as a god-forsaken wasteland, a heap of broken images where the sun beats"". The Scapegoat (painting) The Scapegoat (1854–56) is a painting by William Holman Hunt which depicts the ""scapegoat"" described in the Book of Leviticus. On the Day of Atonement, a goat would have its horns wrapped with a red cloth – representing the sins of the community – and be driven off. Hunt started painting on the shore of the"
"come to London to be with Hunt. Hunt wrote an outraged letter to Dickens, who claimed to be unaware that the story was based on real events. Brian Aldiss used the painting as a leitmotif in his novel ""Report on Probability A"". The Hireling Shepherd The Hireling Shepherd (1851) is a painting by the Pre-Raphaelite artist William Holman Hunt. It represents a shepherd neglecting his flock in favour of an attractive country girl to whom he shows a death's-head hawkmoth. The meaning of the image has been much debated. Hunt painted the picture when he was living and working in"
"A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids is a painting by William Holman Hunt that was exhibited at the Royal Academy in 1850 and is now in the Ashmolean Museum in Oxford. It was a companion to John Everett Millais's ""Christ in the House of His Parents"". Both artists sought to depict similar episodes from very early Christian history, portraying families helping an injured individual. Both also stressed the primitivism of the scene. Hunt's painting depicts a family of"
"The Hireling Shepherd The Hireling Shepherd (1851) is a painting by the Pre-Raphaelite artist William Holman Hunt. It represents a shepherd neglecting his flock in favour of an attractive country girl to whom he shows a death's-head hawkmoth. The meaning of the image has been much debated. Hunt painted the picture when he was living and working in close collaboration with John Everett Millais, who was painting ""Ophelia"" at the same time near the Hogsmill River near Ewell, Surrey. Both paintings depict English rural scenes, the innocence of which is disturbed by subtle but profoundly threatening violations of natural harmony."
"In line with traditional Christian theology, Hunt believed that the scapegoat was a prototype for the redemptive sacrifice of Jesus, and that the goat represented that aspect of the Messiah described in Isaiah as a ""suffering servant"" of God. Hunt had the picture framed with the quotations ""Surely he hath borne our Griefs and carried our Sorrows; Yet we did esteem him stricken, smitten of GOD and afflicted."" (Isaiah 53:4) and ""And the Goat shall bear upon him all their iniquities unto a Land not inhabited."" (Leviticus 16:22) The reaction to the painting was not as Hunt expected. In his"
"border of oak leaves and tendrils; the uppermost heads on each side are replacements, probably by Weininger in the 1860s. Below this upper section there is a gold scroll label with the Latin inscription """" (""This is a thorn from the crown / Of Our Lord Jesus Christ"") in black enamel filling the engraved letters. Below the inscription is a scene showing the mass resurrection of naked people rising from their graves on the Day of Judgement. On a green enamel mound like a hillside are four naked figures, two men and two women, emerging from tiny gold coffins whose"
"an aristocratic gentleman in a wide-brimmed Cavalier hat, teardrop earring, shimmering silver satin doublet, red breeches, and turned-down leather boots, apparently resting during a day of hunting. He is girt with a sword, with one hand resting nonchalantly on a walking stick; the other rests on his hip, holding his gloves as a sign of his sovereignty and assurance. The painting also shows a young page and Charles' picture-buying agent and favoured courtier, Endymion Porter, who is holding the horse. The horse seemingly bows its head in submission to the king. In his three years as Principal Painter in Ordinary,"
"Delacroix admired the crocodile as a ""masterpiece of execution"", remarking, however, that ""its action could have been more interesting"". The Hippopotamus and Crocodile Hunt The Hippopotamus and Crocodile Hunt is an oil painting on canvas by Peter Paul Rubens (Flemish, 1577–1640). It was commissioned in 1615 to decorate Schleißheim Palace, along with three other works depicting lion, wolf, and boar hunts. The cycle of paintings were looted from the palace during the Napoleonic Wars. Only the ""Hippopotamus and Crocodile Hunt"" was returned to Munich, at which time it was added to the collection that is now the Alte Pinakothek. Peter"
"The Fox Hunt (painting) The Fox Hunt is an 1893 oil on canvas painting by Winslow Homer. It depicts a fox running in deep snow, menaced by hungry crows. His largest single work, it has been described as ""Homer's greatest Darwinian painting, arguably his greatest painting of any kind."" ""The Fox Hunt"" was painted in Homer's studio at Prouts Neck, Maine during the winter of 1893. The painting depicts a fox foraging for food, who is in turn being hunted by crows driven to predation by hunger. At left several sprigs of red berries breach the snow, and in the"
"The Finding of the Saviour in the Temple The Finding of the Saviour in the Temple (1854–60) is a painting by William Holman Hunt intended as an ethnographically accurate version of the subject traditionally known as ""Christ Among the Doctors"", an illustration of the child Jesus debating the interpretation of the scripture with learned rabbis. The passage illustrated is from the Gospel of Luke, 2:41, which states: Every year his parents went to Jerusalem for the Feast of the Passover. When he was twelve years old, they went up to the Feast, according to the custom. After the Feast was"
"The Hippopotamus and Crocodile Hunt The Hippopotamus and Crocodile Hunt is an oil painting on canvas by Peter Paul Rubens (Flemish, 1577–1640). It was commissioned in 1615 to decorate Schleißheim Palace, along with three other works depicting lion, wolf, and boar hunts. The cycle of paintings were looted from the palace during the Napoleonic Wars. Only the ""Hippopotamus and Crocodile Hunt"" was returned to Munich, at which time it was added to the collection that is now the Alte Pinakothek. Peter Paul Rubens created the canvas oil painting entitled ""The Hippopotamus and Crocodile Hunt"" between 1615–16. The hunt takes place"
"months in prison. Hunt also painted a small-scale version of the composition in 1873. Hunt expert Judith Bronkhurst describes it as ""harder and crisper in appearance than the Manchester painting"". It was sold for £1.8 million in 1994, which at that time was the highest price paid for a Pre-Raphaelite painting. It is held in Leeds Art Gallery. The Shadow of Death The Shadow of Death is a religious painting by William Holman Hunt, on which he worked from 1870 to 1873, during his second trip to the Holy Land. It depicts Jesus as a young man prior to his"
"The Shadow of Death The Shadow of Death is a religious painting by William Holman Hunt, on which he worked from 1870 to 1873, during his second trip to the Holy Land. It depicts Jesus as a young man prior to his ministry, working as a carpenter. He is shown stretching his arms after sawing wood. The shadow of his outstretched arms falls on a wooden spar on which carpentry tools hang, creating a ""shadow of death"" prefiguring the crucifixion. His mother Mary is depicted from behind, gazing up at the shadow, having been looking into a box in which"
"occupied by a horse falling in agony, as if it had just been run through by a spear or javelin. There is a large gaping wound in the horse's side. Under the horse is a dead, dismembered, soldier. The hand of his severed right arm still grasps a shattered sword, from which a flower grows. The palm of the soldier's open left hand contains a stigmata, a symbol of martyrdom derived from the stigmata of Christ. A bare light bulb blazes in the shape of an evil eye over the suffering horse's head. To the upper right of the horse,"
"Engraved reproductions were widely hung in nurseries, schools and church buildings. The Light of the World (painting) The Light of the World (1851–53) is an allegorical painting by the English Pre-Raphaelite artist William Holman Hunt (1827–1910) representing the figure of Jesus preparing to knock on an overgrown and long-unopened door, illustrating Revelation 3:20: ""Behold, I stand at the door and knock; if any man hear My voice, and open the door, I will come in to him, and will sup with him, and he with Me"". According to Hunt: ""I painted the picture with what I thought, unworthy though I"
"wild horses at Athens. He described the subterranean tomb of the saint and states that he saw there a picture representing Hippolytus' execution. He also confirms August 13 as the date on which a Hippolytus was celebrated but this again refers to the convert of Lawrence, as preserved in the Menaion of the Eastern Orthodox Church. The latter account led to Hippolytus being considered the patron saint of horses. During the Middle Ages, sick horses were brought to St Ippolyts, Hertfordshire, England, where a church is dedicated to him. Hippolytus' principal work is the ""Refutation of all Heresies"". Of its"
"Hunt"", which disguises the king's lack of stature. To the right stands his riding master, Pierre Antoine Bourdon, Seigneur de St Antoine (with a ribbon around his neck, possibly of the Order of Saint Lazarus) who looks up at the king while holding his helmet. A large Royal coat of arms of the House of Stuart stands to the lower left of the painting – of four quarters: first and fourth the fleur-de-lys of France quartering the three lions of England, second the double tressured lion of Scotland, and third the harp of Ireland – surmounted by a large crown."
"noted generally, and particularly in ""The Fox Hunt"", with the observation that the painting can be divided into three vertical panels, thereby creating ""a perfect Japanese screen"". ""The Fox Hunt"" was purchased from the artist in 1894 by the Pennsylvania Academy of the Fine Arts, after it was exhibited in the academy's annual show. The Fox Hunt (painting) The Fox Hunt is an 1893 oil on canvas painting by Winslow Homer. It depicts a fox running in deep snow, menaced by hungry crows. His largest single work, it has been described as ""Homer's greatest Darwinian painting, arguably his greatest painting"
"has a serpent. ""The Entrance Wall"" of All Souls' Chapel has three Robert Harris paintings which return to New Testament themes: ""The Raising of Dorcas,"" a memorial to Dorcas Octavia Pedder Desbrisay, in illustration of the story told in Acts 9 of the raising of Dorcas by St. Peter. ""Christ Calling St. Andrew"" to become ""a fisher of men"". The figure of Andrew is a portrait of Thomas Harris, Robert and William Harris's older brother, who died in 1904. The painting is in his memory. ""The Crucifixion of Christ,"" over the door, is in memory of William C. Harris, the"
"A Huguenot A Huguenot, on St. Bartholomew's Day, Refusing to Shield Himself from Danger by Wearing the Roman Catholic Badge. (See the Protestant Reformation in France, vol. ii., page 352) (1851-52) is the full, exhibited title, of a painting by John Everett Millais, and was produced at the height of his Pre-Raphaelite period. It was accompanied, at the Royal Academy of Arts in London in 1852, with a long quote reading: ""When the clock of the Palais de Justice shall sound upon the great bell, at daybreak, then each good Catholic must bind a strip of white linen round his"
"on his ""The Hireling Shepherd"" nearby. The flowers shown floating on the river were chosen to correspond with Shakespeare's description of Ophelia's garland. They also reflect the Victorian interest in the ""language of flowers"", according to which each flower carries a symbolic meaning. The prominent red poppy—not mentioned by Shakespeare's description of the scene—represents sleep and death. At an early stage in the painting's creation, Millais painted a water vole—which an assistant had fished out of the Hogsmill—paddling next to Ophelia. In December 1851, he showed the unfinished painting to Holman Hunt's relatives. He recorded in his diary, ""Hunt's uncle"
"contemplating a picture of two snakes swallowing each other's tail like an ouroboros. A motif added by Aldiss in the Faber edition of the novel is ""The Hireling Shepherd"", a painting by the Pre-Raphaelite artist William Holman Hunt which is thought to have multiple interpretations and possibly a hidden meaning. There are copies of the painting in the outbuildings occupied by G, S and C, and it also exists in Domoladossa's world, where it is attributed to a ""Russian-born German of British extraction"" named Winkel Henri Hunt. A detail from the painting is reproduced in black and white on the"
"that the pursuit of the animal represents mankind's spiritual quest. It also signalled that the time was nigh for the knights of the kingdom to pursue a quest. In English Folklore, the white hart is associated with Herne the Hunter. In Christianity, the white stag was partly responsible for the conversion of the martyr Saint Eustace. Eustace saw a vision of Christ between the stag's antlers and was told that he would suffer for Christ. A similar legend is associated with Saint Hubert. The White Hart was the badge of King Richard II of England, who probably derived it from"
"can be seen participating in the blood sport of cock throwing. The painting has been at the Metropolitan Museum of Art in New York City since 1919. The Metropolitan Museum of Art calls this painting a “watershed in the history of Western art” and the “first modern landscape”. A sense of distance is conveyed by the workers carrying sheaves of wheat through the clearing, the people bathing in the pond, the children playing and the ships far away. The surviving ""Months of the Year cycle"" are:""The Gloomy Day"", ""The Hunters in the Snow"", and ""The Return of the Herd"" are"
"Herne the Hunter In English folklore, Herne the Hunter is a ghost associated with Windsor Forest and Great Park in the English county of Berkshire. He is said to naturally have antlers upon his head, ride a horse, torment cattle, and rattle chains. The earliest mention of Herne comes from William Shakespeare's 1597 play ""The Merry Wives of Windsor"", and it is impossible to know how accurately or to what degree Shakespeare may have incorporated a real local legend into his work, though there have been several later attempts to connect Herne to historical figures, pagan deities, or ancient archetypes."
"battle, Ward proposed an allegorical treatment. Ward's painting showed the Duke of Wellington in the red uniform of a British Field Marshal with decorations and sashes, standing in a triumphal chariot accompanied by the figure of Britannia. The chariot was drawn by four white horses, led by allegorical figures. Above was a sweltering orange sun and an angel, while more allegorical symbols and characters littered the canvas. Twisted Solomonic column to the left and right sides framed the image, supporting a swagged entablature above. The painting seems to have been inspired by a 17th-century tapestry, ""Triumph of the Eucharist over"
"The Hunt in the Forest The Hunt in the Forest (also known as The Hunt by Night or simply The Hunt) is a painting by the Italian artist Paolo Uccello, made around 1470. It is perhaps the best-known painting in the Ashmolean Museum, Oxford, England. The painting is an early example of the effective use of perspective in Renaissance art, with the hunt participants, including people, horses, dogs and deer, disappearing into the dark forest in the distance. It was Uccello's last known painting before his death in 1475. The painting is featured in the ""Point of Vanishing"" episode of"
"popular during the Middle Ages. An Old English poem called ""The Harrowing of Hell"" describes Christ breaking into Hell and rescuing the Old Testament patriarchs. (The Harrowing is not the only explanation that Christians have put forth for the fate of the righteous who died before Christ accomplished the atonement) In modern literature, atonement continues to be theme. In the first of C. S. Lewis's ""Narnia"" novels, ""The Lion, the Witch and the Wardrobe"", a boy named Edmund is condemned to death by a White Witch, and the magical lion-king Aslan offers to die in Edmund's place, thereby saving him."
"is the Noronha heraldry. In the columns of the toral arch, on the side of the gospel, is a parchment letter, carried on a angel's head, with the inscription: The squat-shaped parallelepiped tombstone, rests on two aggressive lions, forming a lateral retable. The mounted rider, preceded by a batter, displays the hawk in his left hand and brings a spearman to the stirrup. Around three agitated lebrus and in the background, among the vegetation, a bird of prey. To the sides are two coats of arms, equal and symmetrical, bring by field two cats and in the border eight crescents;"
"as ""The Hireling Shepherd"" (1851) and ""The Awakening Conscience"" (1854), the artist often experienced great difficulty with painting his figures in natural poses. This is evident here in the portrayal of the soldier on the far left of the painting. Rienzi vowing to obtain justice for the death of his young brother, slain in a skirmish between the Colonna and the Orsini factions Rienzi vowing to obtain justice for the death of his young brother, slain in a skirmish between the Colonna and the Orsini factions (or simply, Rienzi) is a painting by William Holman Hunt, produced in 1849 and"
"The Light of the World (painting) The Light of the World (1851–53) is an allegorical painting by the English Pre-Raphaelite artist William Holman Hunt (1827–1910) representing the figure of Jesus preparing to knock on an overgrown and long-unopened door, illustrating Revelation 3:20: ""Behold, I stand at the door and knock; if any man hear My voice, and open the door, I will come in to him, and will sup with him, and he with Me"". According to Hunt: ""I painted the picture with what I thought, unworthy though I was, to be by Divine command, and not simply as a"
"the hoof on the amputated leg, before miraculously re-attaching the leg to the horse. The legend is depicted in a pre-Reformation carving in the Wincanton Parish Church, Slapton Church Northamptonshire, England, a tapestry in the Hospices de Beaune (Hotel Dieu) in Beaune, France as well as in a 14th-century painting attributed to Niccolo di Pietro Gerini in the Petit Palais in Avignon, France. The painting was confiscated from an Austrian collector by the Germans during WWII, and was restituted to the heirs of the original owners in March 2013 by the French Ministry of Culture. The saint is invariably depicted"
"was slaughtered for an honored guest. It was also acceptable for some kinds of sacrifices. Goat-hair curtains were used in the tent that contained the tabernacle (Exodus 25:4). Its horns can be used instead of sheep's horn to make a shofar. On Yom Kippur, the festival of the Day of Atonement, two goats were chosen and lots were drawn for them. One was sacrificed and the other allowed to escape into the wilderness, symbolically carrying with it the sins of the community. From this comes the word ""scapegoat"". A leader or king was sometimes compared to a male goat leading"