The Use of Nails in the Crucifixion
These words in criticism of Fra Lippo's vivid and realistic painting of sacred subjects admirably typify the attitude of theology to art. In the ages when the masses were still unable to read, the church took advantage of the work of the painter to impart instruction in the Bible stories. But a...
| Autor principal: | |
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| Tipo de documento: | Electrónico Artículo |
| Lenguaje: | Inglés |
| Verificar disponibilidad: | HBZ Gateway |
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Publicado: |
Cambridge Univ. Press
1932
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| En: |
Harvard theological review
Año: 1932, Volumen: 25, Número: 1, Páginas: 29-45 |
| Acceso en línea: |
Volltext (JSTOR) Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
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| 520 | |a These words in criticism of Fra Lippo's vivid and realistic painting of sacred subjects admirably typify the attitude of theology to art. In the ages when the masses were still unable to read, the church took advantage of the work of the painter to impart instruction in the Bible stories. But after all, mere enlightenment is comparatively useless, sometimes even dangerous. It is always inferior to devotion. As long as the masses could be inspired by art to perform more fully their religious duties, so long was art rendering to the church the services that were its due. If the actual facts, even as recorded in the Scriptures, stood in the way of the theological object, they had to be neglected, obscured, or denied. If by a false depiction religious feeling were aroused, there could be no doubt as to the value of such depiction. | ||
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