Welcome to the Peddlers Donkey Blog. The humble donkey has served mankind for thousands of years. This blog is a tribute to the much misunderstood ass.
I did not start to blog through Lent and Holy week but I am glad I did. What I was going to do was just present the donkey art related to Palm Sunday and Lent. It grew into much more as I recalled works of art that met the moods of lent I was feeling. It was really a wonderful way to meditate on the whole passion of Christ. I also had a wonderful trip back in time and drew from my days at Edinboro University taking art history from George Pitluga. It was Pitluga who turned me onto the religious paintings of Dali. At that time the Dali Museum was located near Cleveland and we went over on a field trip and saw many of Salvador Dali's paintings. We also went to the Cleveland Art Museum. I don't think Dr. Pitluga was a religious man but he loved those religious works of Dali's and he always said. " I know I am not supposed to like these, the art critics all say they are bad but I love them anyway." I would like to dedicate this last week's blogging to the amazing man who brought art history alive for me in the 1970s. I recently found Dr Pitluga passed away a few years ago. I regret I never told him after college how much I appreciate the way he taught.
(The Deposition of Christ), a painting by Antonio Ciseri.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Antonio Ciseri (October 25, 1821 – March 8, 1891) was a Swiss artist.
Ciseri was born in Ronco sopra Ascona in the canton of Ticino in Switzerland. In 1833 he moved with his father to Florence. He was admitted in 1834 to the Accademia di Belle Arti, where he trained under Niccola Benvenuti. His religious paintings are Raphaelesque in their compositional outlines and their polished surfaces, but are nearly photographic in effect. He fulfilled many important commissions from churches in Italy and Switzerland. Ciseri also painted a significant number of portraits. He died in Florence on March 8, 1891.
When it was evening, there came a rich man from Arimathea, named Joseph, who was also a disciple of Jesus. He went to Pilate and asked for the body of Jesus; then Pilate ordered it to be given to him. So Joseph took the body and wrapped it in a clean linen cloth and laid it in his own new tomb, which he had hewn in the rock. He then rolled a great stone to the door of the tomb and went away. Mary Magdalene and the other Mary were there, sitting opposite the tomb.
The next day, that is, after the day of Preparation, the chief priests and the Pharisees gathered before Pilate and said, "Sir, we remember what that impostor said while he was still alive, `After three days I will rise again.' Therefore command the tomb to be made secure until the third day; otherwise his disciples may go and steal him away, and tell the people, `He has been raised from the dead,' and the last deception would be worse than the first." Pilate said to them, "You have a guard of soldiers; go, make it as secure as you can." So they went with the guard and made the tomb secure by sealing the stone.
Carl Heinrich Bloch (May 23, 1834 – February 22, 1890) was a Danish painter.
He was born in Copenhagen and studied with Wilhelm Marstrand at the Royal Danish Academy of Art (Det Kongelige Danske Kunstakademi) there.
His early work featured rural scenes from everyday life. From 1859 to 1866, Bloch lived in Italy, and this period was important for the development of his historical style.
His first great success was the exhibition of his "Prometheus Unbound" in Copenhagen in 1865. After the death of Marstrand, he finished the decoration of the ceremonial hall at the University of Copenhagen.
He was then commissioned to produce 23 paintings for the Chapel at Frederiksborg Palace. These were all scenes from the life of Christ which have become very popular as illustrations. The originals, painted between 1865 and 1879, are still at Frederiksborg Palace.
(G) The day that (G*)Jesus a(C)rrived in Jer(D*)usalem, The ad(G)venture almost (G*)over, the (C)night he hadn't (D)slept (G)Dreams and premo(G*)nitions made him (C)tired and e(D*)motional, (G)And that's why (C)Je(D)sus (G)wept.
He wasn't scared of dying, he'd made that commitment Fulfilling the old prophecy, his bargain he had kept He was due some satisfaction, but he was deeply troubled, And that's why Jesus wept.
Was this his true destiny, or could he still make changes, Someone else's nightmare into which he'd stepped? Damage limitation couldn't save the situation, And that's why Jesus wept.
In his dream he saw the crusade and all wars that would follow, Declared in his name when he thought he'd been direct Love thy neighbour, do not kill, and turn the other cheek, And that's why Jesus wept.
He (C)saw the inqui(G)sition and the (C)burning of the (G)saints, The con(C)version of the (G)innocents he (C*)swore he would pro(D)tect He (G)saw them bless the (G*)bomb that was (C)dropped on Hiro(D*)shima, And (G)that's why (C)Je(D)sus (G)wept.
Though Peter would betray him, he made him the rock On which he would build his church to sort of keep him in his debt A man about to die is allowed some confusion, And that's why Jesus wept.
He thought of his disciples, especially of Judas, The job that was ordained for him and the reward he'd collect He saw him in the tree with the silver coins around him, And that's why Jesus wept.
Then he thought about the good times when he turned the tables over, Chastised the money lenders and he earned the boy's respect He was proud of Godly anger, but ashamed of manly temper, And that's why Jesus wept.
Rumours started flying about water into wine, Sight to the blind and that he'd even raised the dead The biggest miracle was that anyone believed it, And that's why Jesus wept.
Then he mused on human nature, how fickle were the public, So ready to accept him, so quick now to reject Where were the five thousand he fed with loaves and fishes? And that's why Jesus wept.
In his dream he saw a garden with all his friends asleep, He walked away the hours until the morning crept He wondered would the nails hurt, would he be man enough? And that's why Jesus wept.
Was he supposed to bear it like a man or like a God, Would tears show a weakness or a strength by their effect? Would they be viewed as compassion or failure and self-pity? And that's why Jesus wept.
Then he saw his houses burning on both sides of a border, Saw the guiltless suffer with the guilty and the rest And when they called his name and he knew he couldn't help them, That's why Jesus wept.
Then he saw two armies marching and he heard their crucifixes Reduced to superstitious muted jangling round their necks And he heard his name intoned as they interred their companion, And that's why Jesus wept.
Then he thought about his mother and the stories she had told him, Who'd filled his dreams with angels, put voices in his head Then the scent of pine trees made him think of dear old Joseph, And that's why Jesus wept.
Am I a stone and not a sheep That I can stand, O Christ, beneath Thy Cross, To number drop by drop Thy Blood's slow loss, And yet not weep? Not so those women loved Who with exceeding grief lamented Thee; Not so fallen Peter weeping bitterly; Not so the thief was moved; Not so the Sun and Moon Which hid their faces in a starless sky, A horror of great darkness at broad noon— I, only I. Yet give not o'er, But seek Thy sheep, true Shepherd of the flock; Greater than Moses, turn and look once more And smite a rock.
Christ and Thorns Carl Heinrich Bloch (Born 23 May 1834- Died 22 February 1890) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Matthew 27: 29 And when they had platted a crown of thorns, they put it upon his head, and a reed in his right hand: and they bowed the knee before him, and mocked him, saying, Hail, King of the Jews!
Jesus in the Garden of Gethsemane, from the Trebon Altarpiece, circa 1380
he Master of the Třeboň Altarpiece, sometimes called the Master of Wittingau, was a Bohemian painter active in Prague around 1380-1390. His name is derived from an altarpiece from the church of Saint Eligius at the Augustinian convent of Třeboň (known in German as "Wittingau"). The altarpiece, a triptych, depicts Christ on the Mount of Olives, The Tomb of Christ, and the Resurrection. It has been dated to around 1380, and is today held at the Convent of St. Agnes branch of the National Gallery in Prague.
Stylistically, the Master seems to have been aware of French painting; in addition, the influence of northern Italian art may be seen in his work. He created the so-called "beautiful style", a Bohemian variant of the International Gothic style in which figures are placed in deep settings and modeled with chiaroscuro; such intensity had never before been seen in Bohemian art, but would be prominent in the work of future generations of artists. In addition, his influence can be seen in the work of other European artists of the period, most especially the Master of the Bamberg Altar.
The Sacrament of the Last Supper, c.1955 National Gallery of Art, Washington DC by Salvador Dalí. (Spanish, 1904-1989)
Dali stated that this was an "arithmetic and philosophical cosmogony based on the paranoiac sublimity of the number twelve...the pentagon contains microcosmic man: Christ"
He riseth from supper, and laid aside his garments; and took a towel, and girded himself. After that he poureth water into a bason, and began to wash the disciples' feet, and to wipe them with the towel wherewith he was girded. Then cometh he to Simon Peter: and Peter saith unto him, Lord, dost thou wash my feet? Jesus answered and said unto him, What I do thou knowest not now; but thou shalt know hereafter. Peter saith unto him, Thou shalt never wash my feet. Jesus answered him, If I wash thee not, thou hast no part with me. Simon Peter saith unto him, Lord, not my feet only, but also my hands and my head.
Jesus Washing Peter's Feet. 1852-56 by Ford Madox Brown
This picture illustrates the biblical story of Christ washing his disciples’ feet at the Last Supper. It has an unusually low viewpoint and compressed space. Critics objected to the picture’s coarseness – it originally depicted Jesus only semi-clad. This caused an outcry when it was first exhibited and it remained unsold for several years until Ford Madox Brown reworked the figure in robes.Brown was never invited to join the Pre-Raphaelite Brotherhood but he was a close associate of the group. Several members modelled for the disciples in this picture and the critic F G Stephens sat for Christ.
Ford Madox Brown (16 April 1821 – 6 October 1893) was an English painter of moral and historical subjects, notable for his distinctively graphic and often Hogarthian version of the Pre-Raphaelite style. While he was closely associated with the Pre-Raphaelite Brotherhood, he was never actually a member. Nevertheless, he remained close to Dante Gabriel Rossetti, with whom he also joined William Morris's design company, Morris, Marshall, Faulkner & Co., in 1861.
(b. ca. 1240, Firenze, d. ca. 1302, Firenze) Several frescoes in the upper church of San Francesco are attributed to Cimabue. The attribution of this fresco, located on the left wall of the church, is doubtful. Traditionally it was attributed to Cavallini. Other assumptions are that it was executed under the supervision of Cimabue, or it is the work of an unknown master strongly influenced by Cimabue, Cavallini and Torriti.
Kiss of Judas, left mural in the sanctuary of the Church of All Nations
The Church of All Nations, also known as the Church or Basilica of the Agony, is a Roman Catholic church located on the Mount of Olives in Jerusalem, next to the Garden of Gethsemane.
Jesus said to his disciples, "You know that after two days the Passover is coming, and the Son of Man will be handed over to be crucified."
Then the chief priests and the elders of the people gathered in the palace of the high priest, who was called Caiaphas, and they conspired to arrest Jesus by stealth and kill him. But they said, "Not during the festival, or there may be a riot among the people."
Then one of the twelve, who was called Judas Iscariot, went to the chief priests and said, "What will you give me if I betray him to you?" They paid him thirty pieces of silver. And from that moment he began to look for an opportunity to betray him.
On the first day of Unleavened Bread the disciples came to Jesus, saying, "Where do you want us to make the preparations for you to eat the Passover?" He said, "Go into the city to a certain man, and say to him, `The Teacher says, My time is near; I will keep the Passover at your house with my disciples.'" So the disciples did as Jesus had directed them, and they prepared the Passover meal.
When it was evening, he took his place with the twelve; and while they were eating, he said, "Truly I tell you, one of you will betray me." And they became greatly distressed and began to say to him one after another, "Surely not I, Lord?" He answered, "The one who has dipped his hand into the bowl with me will betray me. The Son of Man goes as it is written of him, but woe to that one by whom the Son of Man is betrayed! It would have been better for that one not to have been born." Judas, who betrayed him, said, "Surely not I, Rabbi?" He replied, "You have said so."
18. Now in the morning as he returned into the city, he hungered.
19. And when he saw a fig tree in the way, he came to it, and found nothing thereon, but leaves only, and said unto it, Let no fruit grow on thee henceforward for ever. And presently the fig tree withered away.
Why did Jesus curse the fig tree and miraculously cause it to wither (Matthew 21:19)?
In Matthew 21 we find that Jesus was hungry and saw a fig tree by the side of the road. As He came close to it, He saw that it had no figs on it, so He cursed it and it withered (Matthew 21:19). It may appear that Jesus is just responding in anger to the tree, cursing it in tantrum-like behavior. But this is not the case at all. One must keep in mind the broader backdrop of Jesus' teaching methodology, which often involved parables and word pictures. Scholars agree that Jesus in the present case is performing a living parable -- an acted-out parable -- to teach His disciples an important truth. His cursing of the fig tree was a dramatic "visual aid."
What important truth does the parable illustrate? Scholars have different opinions. Some say Jesus was illustrating the principle of faith to the disciples. If the disciples had such faith, they too could do such things as withering fig trees and moving mountains (Matthew 17:20). They would need such faith in the hard days to come.
Other scholars believe that since the fig tree had leaves on it (Matthew 21:19), from a distance it gave the appearance of being fruitful. But upon closer examination it became clear that there was no fruit on it at all. So perhaps Jesus' cursing of the fig tree was an acted-out parable that taught the disciples that God will judge those who give an outer appearance of fruitfulness but in fact are not fruitful at all (like the Pharisees).
Still other scholars suggest the fig tree is representative of faithless Israel. Israel professed to be faithful to God and fruitful as a nation, but in fact it was faithless and fruitless. Indeed, Israel had rejected Jesus the Messiah. Israel was thus ripe for judgment. Perhaps the withering of the fig tree foreshadowed the withering (or destruction) of Israel when Titus and his Roman warriors trampled on and destroyed Jerusalem in AD 70, ending Israel as a political entity (see Luke 21:20).
And still other scholars see significance in the fact that the account of Jesus' cleansing of the temple in Mark's Gospel (Mark 11:15-19) is sandwiched between the two sections of Scripture dealing with the fig tree (verses 12-14 and 20-25). It is suggested that perhaps Jesus was teaching that at a distance the Jewish temple and its sacrificial activities looked fine. But on closer inspection it was found to be mere religion without substance, full of hypocrisy, bearing no spiritual fruit, ripe for judgment.
I grew up in Chautauqua County, NY. I graduated from Edinboro University of Pennyslvania in 1981 with a BFA in Jewelry and Metalworking. I have been married 31 years. I currently run a small business with my husband. We both enjoy the outdoors and animals a great deal and live on a tiny farm in Western, NY.
May the frost never afflict your spuds, may the outside leaves of your cabbage always be free of worms, may the crows never pick your haystack, and may your donkey always be in foal
