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The motif To die and go to heaven in HCA : The Metal Pig (1842)
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The motif To die and go to heaven in HCA : The Metal Pig (1842)

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Religious motifs : Overview. Search. About religious motifs

See also Belief in reunion with the dead, Intermediate state, Resurrection, The concept of the soul's account of good and evil being settled after death, Transformation

Keywords:

Death, faith, bliss, life, soul, mercy, angel

Example 1:

"Thank you, and bless you, you beautiful animal!" said the little boy, patting the pig as it went bump, bump, bump down the stairs with him. "Thank you, and blessings to you, too!" said the metal pig. "I've helped you, but you've helped me, because I only have the strength to run when I'm carrying an innocent child on my back! You see, now I even dare step under the rays of the lamp before the Madonna picture. I can carry you anywhere except into a church, but as long as you're with me I can stand outside and look in through the open door. Don't get down off my back! If you do I shall be dead, just as you see me every day in the Porta Rossa!" "I'll stay with you, my blessed animal," said the little boy, and then they rushed at a dizzy pace through the streets of Florence to the church of Santa Croce in the Piazza. The great folding door swung open, and the altar lights streamed through the church and out into the deserted Piazza. A strange light blazed from a sculptured tomb in the left aisle; thousands of twinkling stars formed a sort a halo around it. The tomb was surmounted by a coat of arms, a red ladder on blue ground, gleaming like fire. This was the tomb of Galileo. It is a simple monument; but the red ladder on the blue ground is a symbol of Art, meaning that the pathway to fame is always upward on a flaming ladder. All genius soars to Heaven like the prophet Elijah. Every statue on the costly sarcophagus in the right aisle of the church seemed endowed with life. Here were Michelangelo and Dante, with the laurel wreath on his brow; Alfieri and Macchiavelli rested here side by side - the pride of Italy. It is a very beautiful church, far more beautiful than, although not as large as, the marble Cathedral of Florence. It seemed as if the marble raiment moved, as if those great figures once more raised their heads in the night, mid song and music, and gazed toward the altar glowing with many lights, where the white-robed altar boys swung the golden censers, while the fragrance of incense filled the church and streamed out into the open square.

Example 2:

Many probably pass this picture unnoticing, yet it contains the essence of poetry. It is Christ descending to Hell, but He is not surrounded by souls in torment; no, these are heathen. The painting is by the Florentine Agnolo Bronzino. The expression of the children's faces is most beautiful in their certainty that they are going to Heaven. Two little ones are already embracing each other; one stretches a hand out to a companion below, and points to himself as if to say, "I am going to Heaven!" All the older people stand around doubting, or hoping, or humbly bowing in prayer to the Lord Jesus.

Comment on this quote: The picture's Italian title is "Cristo al Limbo". According to http://cgfa.sunsite.dk/bronzino/bronzino_bio.htm "Bronzino was an Italian painter who was the outstanding artist of the Tuscan High Mannerist style. His real name was Agnolo di Cosimo. As court painter to the Medici in Florence, he produced large numbers of portraits as well as religious pictures. His style, which owed much to his teacher Jacopo da Pontormo, is cold, refined, aristocratic, and technically brilliant in its rendering of surface details and colors. His religious works, such as Christ in Limbo (1552, Santa Croce, Florence), show the typical Mannerist characteristics of elongated forms and crowded, angular compositions. His portraits, while highly stylized in their long lines and elegant poses, achieve a formalized stillness that is the ultimate refinement of Mannerism's usually hectic quality. A famous example is the cool, brilliant Portrait of a Young Man (circa 1535, Metropolitan Museum, New York City). His influence on later portraiture extended to the 19th-century French master J. A. D. Ingres."
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