its aim is to move the view ascension is not spiritual. the veil of fun a siena is the high point of the renaissance this work shows have images from the classical era survived into christendom the godlike figures in the heroes return an allegorical form complementing the christian images. there. at the beginning of the sixteenth century the foundation was laid for the new st peter s basilica in rome it was intended as a proof that christendom the classical era. in the mid seventeenth century a sculpture was made for the church of sun. it had the same aim to
of the lower church began in the early thirteenth century together with thomas aquinas francis of assisi was considered the main renewal of the christian doctrine of salvation no building from the late middle ages bad as great a testament to the spirit of renewal as that of the highest church of assisi. its name is dominated by jaw toes world famous francisco s but the real secret is to be found in the older decorated transepts of the knave what is here translated pictorially is the virgin mary s bodily ascension to heaven and her final exaltation over the angels.
in the mid seventeenth century a sculpture was made for the church of sun. it had the same aim to illustrate the ultimate triumph of christendom. the sculpture. was a successor to me handle on who s late what the end of the renaissance and the beginning of the baroque. the motif of the ecstasy of saint teresa is a variation of the enunciation also depicted by frau and jellicoe but with benny there was a decisive transformation. to rezone is pro-trade in dramatic form many many attempts to make the ecstasy tangible. groan her eyes are twisted a body is open. from now on the story of salvation and the motifs derived from it were presented