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<i>The History of the True Cross</i> or <i>The Legend of the True Cross</i> is a sequence of frescoes painted by Piero della Francesca in the Basilica of San Francesco in Arezzo. It is his largest work, and generally considered one of his finest, and an early Renaissance masterpiece.<br/><br/> Its theme, derived from the popular 13th century book on the lives of saints by Jacopo da Voragine, the <i>Golden Legend</i>, is the triumph of the True Cross – the legend of the wood from the Garden of Eden becoming the Cross on which Jesus Christ was crucified. This work demonstrates Piero’s advanced knowledge of perspective and colour, his geometric orderliness and skill in pictorial construction.
<i>The History of the True Cross</i> or <i>The Legend of the True Cross</i> is a sequence of frescoes painted by Piero della Francesca in the Basilica of San Francesco in Arezzo. It is his largest work, and generally considered one of his finest, and an early Renaissance masterpiece.<br/><br/> Its theme, derived from the popular 13th century book on the lives of saints by Jacopo da Voragine, the <i>Golden Legend</i>, is the triumph of the True Cross – the legend of the wood from the Garden of Eden becoming the Cross on which Jesus Christ was crucified. This work demonstrates Piero’s advanced knowledge of perspective and colour, his geometric orderliness and skill in pictorial construction.
Andrei Rublev (Russian: Андре́й Рублёв), also transliterated Andrey Rublyov, born in the 1360s, died 29 January 1427 or 1430 although 17 October 1428, is considered to be the greatest medieval Russian painter of Orthodox icons and frescoes.<br/><br/> Little information survives about the life of Rublev. It is not known where he was born. Rublev probably lived in the Trinity-St. Sergius Lavra near Moscow under Nikon of Radonezh, who became hegumen after the death of Sergii Radonezhsky (1392).<br/><br/> The first mention of Rublev is in 1405 when he decorated icons and frescos for the Cathedral of the Annunciation of the Moscow Kremlin in company with Theophanes the Greek and Prokhor of Gorodets. His name was the last of the list of masters as the junior both by rank and by age. Theophanes was an important Byzantine master who moved to Russia, and is considered to have trained Rublev.
The Nuremberg Chronicle is an illustrated world history. Its structure follows the story of human history as related in the Bible; it includes the histories of a number of important Western cities. Written in Latin by Hartmann Schedel, with a version in German translation by Georg Alt, it appeared in 1493. It is one of the best-documented early printed books. It is classified as an incunabulum – that is, a book, pamphlet, or broadside that was printed (not handwritten) before the year 1501 in Europe. It is also one of the first to successfully integrate illustrations and text.<br/><br/> Latin scholars refer to it as Liber Chronicarum (Book of Chronicles) as this phrase appears in the index introduction of the Latin edition. English speakers have long referred to it as the Nuremberg Chronicle after the city in which it was published. German speakers refer to it as Die Schedelsche Weltchronik (Schedel's World History) in honour of its author. The illustrations in many copies were hand-coloured after printing.
Bernard of Clairvaux, O.Cist (1090 – August 20, 1153) was a French abbot and the primary builder of the reforming Cistercian order.<br/><br/> After the death of his mother, Bernard sought admission into the Cistercian order. Three years later, he was sent to found a new abbey at an isolated clearing in a glen known as the Val d'Absinthe, about 15 km southeast of Bar-sur-Aube. According to tradition, Bernard founded the monastery on 25 June 1115, naming it Claire Vallée, which evolved into Clairvaux. There Bernard would preach an immediate faith, in which the intercessor was the Virgin Mary. <br/><br/> In the year 1128, Bernard assisted at the Council of Troyes, at which he traced the outlines of the Rule of the Knights Templar, who soon became the ideal of Christian nobility.