...Name: Instructor: Course: Date: The entombment of Christ was painted by Caravaggio for the church of Santa Maria, owned by Saint Phillip Neri. The painting is in the counter-reformation style which started roughly around 1520. Italian Art had begun to sink into mannerism by striving for effect and its high sophistication. Pressure from the Catholic Church to put a leash on religious imagery greatly affected Italian art, resulting in decrees concerning religious images during the Council of Trent in the year 1563. This had a significant impact on Church-funded paintings. Of all paintings done by Caravaggio, this painting is essentially the most monumental. The painting consists of a group of figures and objects that are strictly symmetrical and built up from a stone slab that is jutting from the background in a diagonal alignment. The painting comes from the Chiesa Nuova church altar in Rome and was dedicated to the Pieta. The painting is a lamentation whose focal point is the mourning Mary, mother of Jesus, as well as a secondary event in the descent of Jesus’ corpse from the cross and his entombment. This painting perfectly distinguishes Caravaggio’s work from the Renaissance art, especially in his refusal to portray human beings as heroic, beautiful, and sublime. Instead, Caravaggio preferred to have figures that were bent, stooped, reclining, or cowering. This was in step with the Vatican’s directive to show more human submission to God in their works. Therefore...
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...“THE GODFATHER IS A STAGGERING TRIUMPH...THE DEFINITIVE NOVEL ABOUT A SINISTER FRATERNITY OF CRIME...” --Saturday Review “YOU CAN’T STOP READING IT, AND YOU’LL FIND IT HARD TO STOP DREAMING ABOUT IT!” --New York Magazine THE GODFATHER THE GODFATHER Mario Puzo Copyright © Mario Puzo 1969 All rights reserved For Anthony Cleri THE GODFATHER BOOK I Behind every great fortune there is a crime. --BALZAC Chapter 1 Amerigo Bonasera sat in New York Criminal Court Number 3 and waited for justice; vengeance on the men who had so cruelly hurt his daughter, who had tried to dishonor her. The judge, a formidably heavy-featured man, rolled up the sleeves of his black robe as if to physically chastise the two young men standing before the bench. His face was cold with majestic contempt. But there was something false in all this that Amerigo Bonasera sensed but did not yet understand. “You acted like the worst kind of degenerates,” the judge said harshly. Yes, yes, thought Amerigo Bonasera. Animals. Animals. The two young men, glossy hair crew cut, scrubbed clean-cut faces composed into humble contrition, bowed their heads in submission. The judge went on. “You acted like wild beasts in a jungle and you are fortunate you did not sexually molest that poor girl or I’d put you behind bars for twenty years.” The judge paused, his eyes beneath impressively thick brows flickered slyly toward the sallow-faced Amerigo Bonasera, then lowered to a stack of probation reports...
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...2012 Doing business in a more transparent world C O M PA R I N G R E G U L AT I O N F O R D O M E S T I C F I R M S I N 1 8 3 E C O N O M I E S © 2012 The International Bank for Reconstruction and Development / The World Bank 1818 H Street NW Washington, DC 20433 Telephone 202-473-1000 Internet www.worldbank.org All rights reserved. 1 2 3 4 08 07 06 05 A copublication of The World Bank and the International Finance Corporation. This volume is a product of the staff of the World Bank Group. The findings, interpretations and conclusions expressed in this volume do not necessarily reflect the views of the Executive Directors of The World Bank or the governments they represent. The World Bank does not guarantee the accuracy of the data included in this work. Rights and Permissions The material in this publication is copyrighted. Copying and/or transmitting portions or all of this work without permission may be a violation of applicable law. The World Bank encourages dissemination of its work and will normally grant permission to reproduce portions of the work promptly. For permission to photocopy or reprint any part of this work, please send a request with complete information to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923, USA; telephone: 978-750-8400; fax: 978-750-4470; Internet: www.copyright.com. All other queries on rights and licenses, including subsidiary rights, should be addressed to the Office of the Publisher, The World Bank, 1818...
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