Jesus in the Baroque
The above image is a painting by the Baroque style artist Peter Paul Rubens entitled The Descent from the Cross. The Baroque, in context, began near the end of the 16th century with the first surge in Italy (Bazin 1964, 7). This was indeed a pivotal time in European history. About the 1530, the Renaissance began to decline and the Reformation began to develop. (Huyghe 1967, 329). According to René Huyghe, the art style of the Baroque emerged as an action against the Renaissance and the classical art form (Huyghe 1967, 329). Religious leaders of the time were looking for art that was more easily accessible and could move the masses, so Baroque art emerged as an art of the Counter Reformation (Huyghe 1967, 330). John Rupert Martin notes that the Baroque was an opposition to the form of art known as mannerism and was distinctive in four different periods (Martin 1977, 27). The first period, the “Early Baroque”, was marked by its naturalistic style, exemplified by the artist Michelangelo Merisi da Caravaggio, who some art historians note as a founder of the Baroque style (Martin 1977, 27). Caravaggio, as well as other artist at the time, under papal influence, created art that left behind the mannerist style that was symbolic of the Renaissance (Baroque 2011). The following period, known as the “High Baroque”, emphasized sensuality and colourism, expressed by Baroque artist such as Sir Peter Paul Rubens (Martin 1977, 28). Both the third and fourth periods were noted by their order, clarity, and composure that came as a reworking of the classical art form (Martin 1977, 30).
Martin notes that there was no “homogeneity of style during this period but the lack of a style is a distinguishing feature in and of itself” (Martin 1977, 26). There are, however, so common features of Baroque art and Baroque artist that set them apart from artist of Renaissance and the Reformation. According to Martin, the whole of Baroque art expresses an acceptance of the material world (Martin 1977, 30). Baroque art is meant appeal to the mind by use of the emotions (Kitson 1966, 15). The first thing to note about Baroque style art is that there is a distinction between realism and illusionism. During this time period, illusionism became more common. In this sense, realism focuses on a “faithful rendering of outward appearance or objects” and illusionism focuses on “idealization and imaginative representation of the supernatural” (Kitson 1966, 15). According to Huyghe, Baroque art was meant to touch viewers emotionally (Huyghe 330-332). To accomplish this, Baroque art used bold colors in some instances, and in others, more muted and pale colors were emphasized (Kitson 1966, 33). The bold colors were mean to “astound and to move, not to deceive (Kitson 1966, 33).
Certain artist utilized distinct parts of the Baroque art period that distinguished the whole time frame as well as their own individual style. One artist that used several skills noteworthy of the Baroque was Caravaggio. In particular, Caravaggio was known for his use of light. Light, in the Baroque, was the animating principle and was used divinely and naturally (Martin 1977, 224). Drama was evoked through the use of light and shade, with a distinct concentration on light (Kitson 1966, 41). Caravaggio would use dark backgrounds that bleed into bright lights, an art technique known as chiaroscuro (Kitson 1966, 41). Rembrandt was also known to have used this technique. Caravaggio’s art was described by some critics as ''aggressively provocative,'' ''insolent,'' ''campy,'' ''insinuating,'' ''overripe'' and, above all, ''perverse'' (Michael 1985). Michael Brenson highlights some of the main points in Caravaggio’s art and writes that “If the celebrated light in these paintings seems so irresistible, it is in part because not only the time but the condition of his work is night. Caravaggio's art is a struggle between excess and restraint, salvation and damnation, individuality and fate that perhaps only Rembrandt could have accepted with grace.” (Michael 1985). Caravaggio’s work has a great touch of realism. He uses everyday models from the streets and paints them as they are dirt and all. Light is a big part of Caravaggio’s work. (Michael 1985) According to Germain Bazin, Caravaggio was imitated and adapted by many artists during the Baroque period (Bazin 1964, 35).
Martin notes that there was a change in religious imagery during the Baroque period that looked to bring the supernatural into the human experience (Martin 1977, 54). Rembrandt used a model when create several of his pieces featuring the face of Jesus. They were drawn “from life”. According to some scholars, this model was a young Jewish boy from Rembrandts neighborhood (Prusak 2011, 10). Rembrandt changed the face of Jesus as he adopted it from tradition and also changed the way that he portrayed Jesus over his lifetime. No description of the likeness of Jesus is found in the Gospels. Rembrandt got his early impression of Jesus from the Veil of Veronica, the Mandylion (a cloth that Christ was claimed to have left his facial imprint on), and the “Lentulus Letter” (written when Jesus was still alive and sent to Rome)( Prusak 2011, 10). The Lentulus Letter described Jesus as having straight hazelnut colored hair, a “fair forehead” with no wrinkles, pink cheeks, and a full beard (Prusak 2011, 11). In Rembrandt’s works Supper at Emmaus (1648) and Christ with Arms Folded (1657-61), Jesus is presented in the manner listed above. Rembrandt pays extra attention to the nose, eyes, and lips which emphasizes “gentleness, empathy and penetration” (Prusak 2011, 11). Copenhaver notes that Baroque and Rembrandt portrayals of Jesus highlight his humanity through small differences such as the tilt of the head that is present in some of Rembrandts portraits of Jesus. The most interesting thing to note is the paintings and drawings of Rembrandts the feature Jesus without any followers. They show an intimate relationship between art and viewer (Copenhaver 2011, 13). Honthorst, a student of the baroque artist Carvaggio, also emphasized the Baroque style of humanizing Jesus in his work The Mocking of the Christ in which he portrays Jesus a typical prisoner at the time with not distinguishing features (Copenhaver 2011,13).
Martin notes that there was no “homogeneity of style during this period but the lack of a style is a distinguishing feature in and of itself” (Martin 1977, 26). There are, however, so common features of Baroque art and Baroque artist that set them apart from artist of Renaissance and the Reformation. According to Martin, the whole of Baroque art expresses an acceptance of the material world (Martin 1977, 30). Baroque art is meant appeal to the mind by use of the emotions (Kitson 1966, 15). The first thing to note about Baroque style art is that there is a distinction between realism and illusionism. During this time period, illusionism became more common. In this sense, realism focuses on a “faithful rendering of outward appearance or objects” and illusionism focuses on “idealization and imaginative representation of the supernatural” (Kitson 1966, 15). According to Huyghe, Baroque art was meant to touch viewers emotionally (Huyghe 330-332). To accomplish this, Baroque art used bold colors in some instances, and in others, more muted and pale colors were emphasized (Kitson 1966, 33). The bold colors were mean to “astound and to move, not to deceive (Kitson 1966, 33).
Certain artist utilized distinct parts of the Baroque art period that distinguished the whole time frame as well as their own individual style. One artist that used several skills noteworthy of the Baroque was Caravaggio. In particular, Caravaggio was known for his use of light. Light, in the Baroque, was the animating principle and was used divinely and naturally (Martin 1977, 224). Drama was evoked through the use of light and shade, with a distinct concentration on light (Kitson 1966, 41). Caravaggio would use dark backgrounds that bleed into bright lights, an art technique known as chiaroscuro (Kitson 1966, 41). Rembrandt was also known to have used this technique. Caravaggio’s art was described by some critics as ''aggressively provocative,'' ''insolent,'' ''campy,'' ''insinuating,'' ''overripe'' and, above all, ''perverse'' (Michael 1985). Michael Brenson highlights some of the main points in Caravaggio’s art and writes that “If the celebrated light in these paintings seems so irresistible, it is in part because not only the time but the condition of his work is night. Caravaggio's art is a struggle between excess and restraint, salvation and damnation, individuality and fate that perhaps only Rembrandt could have accepted with grace.” (Michael 1985). Caravaggio’s work has a great touch of realism. He uses everyday models from the streets and paints them as they are dirt and all. Light is a big part of Caravaggio’s work. (Michael 1985) According to Germain Bazin, Caravaggio was imitated and adapted by many artists during the Baroque period (Bazin 1964, 35).
Martin notes that there was a change in religious imagery during the Baroque period that looked to bring the supernatural into the human experience (Martin 1977, 54). Rembrandt used a model when create several of his pieces featuring the face of Jesus. They were drawn “from life”. According to some scholars, this model was a young Jewish boy from Rembrandts neighborhood (Prusak 2011, 10). Rembrandt changed the face of Jesus as he adopted it from tradition and also changed the way that he portrayed Jesus over his lifetime. No description of the likeness of Jesus is found in the Gospels. Rembrandt got his early impression of Jesus from the Veil of Veronica, the Mandylion (a cloth that Christ was claimed to have left his facial imprint on), and the “Lentulus Letter” (written when Jesus was still alive and sent to Rome)( Prusak 2011, 10). The Lentulus Letter described Jesus as having straight hazelnut colored hair, a “fair forehead” with no wrinkles, pink cheeks, and a full beard (Prusak 2011, 11). In Rembrandt’s works Supper at Emmaus (1648) and Christ with Arms Folded (1657-61), Jesus is presented in the manner listed above. Rembrandt pays extra attention to the nose, eyes, and lips which emphasizes “gentleness, empathy and penetration” (Prusak 2011, 11). Copenhaver notes that Baroque and Rembrandt portrayals of Jesus highlight his humanity through small differences such as the tilt of the head that is present in some of Rembrandts portraits of Jesus. The most interesting thing to note is the paintings and drawings of Rembrandts the feature Jesus without any followers. They show an intimate relationship between art and viewer (Copenhaver 2011, 13). Honthorst, a student of the baroque artist Carvaggio, also emphasized the Baroque style of humanizing Jesus in his work The Mocking of the Christ in which he portrays Jesus a typical prisoner at the time with not distinguishing features (Copenhaver 2011,13).
Annotated Bibliography
"Baroque, in art and architecture." Columbia Electronic Encyclopedia, 6Th Edition (November 2011): 1-2. Academic Search Complete, EBSCOhost (accessed April 29, 2012)
This article, from the Columbia Electronic Encyclopedia, notes that the baroque was classified by its unity of the arts including painting, sculpting, and architecture. Painting in this age was an extension of the naturalistic form that was prevalent in the Renaissance. There was an emphasis on space and illusion during this era in art. Color was used to evoke emotions and a “heightened sense of drama” was created through the use of chiaroscuro. This technique is used heavily by Caravaggio and Rembrandt. This article also comments on the baroque being split into three different time periods. The first is the ‘Early Baroque’, that took place between the years 1590 and 1625. The second time period is the ‘High Baroque’, taking place in 1625-1660. And the last time period being the ‘Late Baroque’, which took place between 1660 and 1725.
Bazin, Germain. Baroque and Rococo. New York: Oxford University Press, 1964.
Germain Bazin comments that the Baroque began near the end of the 16th century and that it has its first surge in Italy. He also notes that Caravaggio is a noted founder and that a lot of other baroque style artists use him as their main influence (35).
Brenson, Michael. "From the Baroque Age, a Modern Spirit." New York Times (January 27, 1985): 1. Academic Search Complete, EBSCOhost (accessed April 29, 2012).
Michael Brenson notes that Carvaggio was really important in ushering in what is known as the Baroque Age, using “beams and blast of lights” and “bare backgrounds”. His art was described by some critics as ''aggressively provocative,'' ''insolent,'' ''campy,'' ''insinuating,'' ''overripe'' and, above all, ''perverse.'' (1985). Brenson writes “If the celebrated light in these paintings seems so irresistible, it is in part because not only the time but the condition of his work is night. Caravaggio's art is a struggle between excess and restraint, salvation and damnation, individuality and fate that perhaps only Rembrandt could have accepted with grace.” (1985). Caravaggio’s work has a great touch of realism. He uses everyday models from the streets and paints them as they are dirt and all. Light is a big part of Caravaggio’s work. (1985)
Copenhaver, Martin B. "Faces of Jesus." Christian Century 128, no. 25 (December 13, 2011): 12-13. Academic Search Complete, EBSCOhost (accessed April 29, 2012).
Martin Copenhaver finds that, in particular, Rembrandt was fascinated by his self-image and the image of Jesus Christ. Copenhaver notes that Baroque and Rembrandt portrayals of Jesus highlight his humanity through small differences such as the tilt of the head that is present in some of Rembrandts portraits of Jesus. The most interesting to note are the paintings and drawings of Rembrandts’ that features Jesus without any followers. These paintings show and intimate relationship between art and viewer. (13). Copenhaver also comments that Rembrandt’s paintings of Jesus reflect his knowledge of Jesus as his personal savior (13)
Huyghe, Rene. Larousse Encyclopedia of Renaissance and Baroque Art. Translated by Emily Evershed, Hugh Newberry, Ralph de Seram, and Katherine Watson. New York: Prometheus Press, 1967.
Huyghe notes on the historical context of the Baroque period. For him, baroque style art was art that acted against the Renaissance and the classical (329). That was the art style during that time period. He comments that about 1530, the Renaissance began to decline and the Reformation began to take hold (329). The Reformation looked at art as a vanity for the rich and powerful and the goal during this time period was to find art that was more widely accessible to the masses (330). In this sense, baroque art was an art style of the Counter-Reformation. In Huyghe’s opinion, the baroque art was meant to touch the emotions of the viewer (330-332).
Kitson, Michael. “The Baroque”, in The Age of Baroque, edited by Trewin Copplestone , 15-70. London: Mcgraw-Hill Book Company, 1966.
Michael Kitson focuses on the characteristics of baroque style art. He points out that this art style was meant to appeal to the mind, by means of the emotions (15). Illusionism was more common during this time. Kitson distinguished the differences between realism, which he says depends on a faithful rendering of the outside appearance of an object, and illusionism, which he says is an imaginative representation of the supernatural (15). Baroque art was meant to evoke the emotions with its visual splendor and use of rich colors (38). A big feature of this art form was the use of dark and light shading. Baroque art is known for its use of dark backgrounds and the concentration of light in several key areas of the painting (41). Another key feature of baroque art was the use of space, which could either be emphasized in the art piece or hidden (70).
Lacayo, Richard. "The Halo Effect." Time 178, no. 6 (August 15, 2011): 62-63. Academic Search Complete, EBSCOhost (accessed April 29, 2012).
Richard Lacayo’s article on Rembrandt and his portrayals of Christ comments that his image of Christ had shifted as he got older. His reasoning for this can be seen in Rembrandt’s two interpretations of The Supper of Emmaus, a story from the Gospel of Luke about the risen figure of Christ. Lacayo writes, “Rembrandt in middle age appears to have gone in search of a consoling Christ, quieter, more meditative, somebody who would listen” (62). Christ, in his second interpretation of the Story of Emmaus, shows a softer and more subdued Christ (63). Lacayo notes that these changes in Rembrandt’s interpretation of Christ represent a very Protestant Christ figure that is human and speaks directly to the human experience. This comes from a combination of the natural and the supernatural.
Martin, John Rupert. Baroque. Boulder, CO: Westview Press, 1977.
John Rupert Martin notes that there was not a specific uniform style that compromised Baroque art. Rather, the distinguishing feature was the fact that there was no homogeneity of style (26). The Baroque art style came as an opposition to mannerism and existed throughout the world however there were national differences. According to Martin, the Baroque was split between four different periods including the “Early Baroque”, the “High Baroque”, the “Classicistic Baroque”, and the “Late Baroque” (28-30). Martin notes that the whole of Baroque art expresses and acceptance of the material world and the natural through realism (39). One of the goals of baroque style art was to make the supernatural more human, as expressed through gestures and facial features (73).
Pericolo, Lorenzo. "Visualizing Appearance and Disappearance: On Caravaggio's London Supper at Emmaus." Art Bulletin 89 (2007): 519-539.
Lorenzo Pericolo gives and in-depth critic of the painting Supper at Emmaus by the artist Caravaggio which he notes is quite different from the previous art of the Renaissance (519). He notes that the story has been done by several other artists and there was either a reluctance to paint the Christly figure in its entirety or to emphasize it. One of these artists in particular is Rembrandt, another Baroque age painter. Pericolo interprets several similar paints of the Supper at Emmaus throughout the 16th and 17th century by artist such as Rembrandt and Jean-Baptisle de Champaigne. On closer analysis of The Supper of Emmaus by Caravaggio, Pericolo notices several differences between Caravaggio’s interpretation of the figure of Jesus, and that of Leonardo Da Vinci’s in The Last Supper (526-527).
Prusak, Bernard G. "The Moment of Recognition." Commonwealth 138, no. 22 (December 16, 2011): 8-12. Academic Search Complete, EBSCOhost (accessed April 29, 2012).
Bernard Prusak focuses his article on the artist Rembrandt and notes that Rembrandt used real life models in his numerous paintings and interpretations of Jesus Christ. According to some scholars, this model was a young Jewish boy from Rembrandts neighborhood (10).Prusak notes that Rembrandt changed the face of Jesus as he adopted it from tradition and also changed the way that he portrayed Jesus over his lifetime. Rembrandt got his early impression of Jesus from the Veil of Veronica, the Mandylion (a cloth that Christ was claimed to have left his facial imprint on), and the “Lentulus Letter” (written when Jesus was still alive and sent to Rome) (10).
Rachleff, Owen S. Rembrandt’s Life of Christ. New York: Abradale Press, 1966.
Owen Rachleff compiles a history of the etchings, drawings, and paintings that the baroque artist Rembrandt produced throughout his lifetime. These art pieces represent a history of the Gospels including some of the most important stories from the life of Jesus Christ. Some of the art pieces noted upon are Head of Christ, The Raising of Lazarus, and The Raising of the Cross. Rachleff creates his own story of the Gospels and highlights the points that he finds to be the most salient.
This article, from the Columbia Electronic Encyclopedia, notes that the baroque was classified by its unity of the arts including painting, sculpting, and architecture. Painting in this age was an extension of the naturalistic form that was prevalent in the Renaissance. There was an emphasis on space and illusion during this era in art. Color was used to evoke emotions and a “heightened sense of drama” was created through the use of chiaroscuro. This technique is used heavily by Caravaggio and Rembrandt. This article also comments on the baroque being split into three different time periods. The first is the ‘Early Baroque’, that took place between the years 1590 and 1625. The second time period is the ‘High Baroque’, taking place in 1625-1660. And the last time period being the ‘Late Baroque’, which took place between 1660 and 1725.
Bazin, Germain. Baroque and Rococo. New York: Oxford University Press, 1964.
Germain Bazin comments that the Baroque began near the end of the 16th century and that it has its first surge in Italy. He also notes that Caravaggio is a noted founder and that a lot of other baroque style artists use him as their main influence (35).
Brenson, Michael. "From the Baroque Age, a Modern Spirit." New York Times (January 27, 1985): 1. Academic Search Complete, EBSCOhost (accessed April 29, 2012).
Michael Brenson notes that Carvaggio was really important in ushering in what is known as the Baroque Age, using “beams and blast of lights” and “bare backgrounds”. His art was described by some critics as ''aggressively provocative,'' ''insolent,'' ''campy,'' ''insinuating,'' ''overripe'' and, above all, ''perverse.'' (1985). Brenson writes “If the celebrated light in these paintings seems so irresistible, it is in part because not only the time but the condition of his work is night. Caravaggio's art is a struggle between excess and restraint, salvation and damnation, individuality and fate that perhaps only Rembrandt could have accepted with grace.” (1985). Caravaggio’s work has a great touch of realism. He uses everyday models from the streets and paints them as they are dirt and all. Light is a big part of Caravaggio’s work. (1985)
Copenhaver, Martin B. "Faces of Jesus." Christian Century 128, no. 25 (December 13, 2011): 12-13. Academic Search Complete, EBSCOhost (accessed April 29, 2012).
Martin Copenhaver finds that, in particular, Rembrandt was fascinated by his self-image and the image of Jesus Christ. Copenhaver notes that Baroque and Rembrandt portrayals of Jesus highlight his humanity through small differences such as the tilt of the head that is present in some of Rembrandts portraits of Jesus. The most interesting to note are the paintings and drawings of Rembrandts’ that features Jesus without any followers. These paintings show and intimate relationship between art and viewer. (13). Copenhaver also comments that Rembrandt’s paintings of Jesus reflect his knowledge of Jesus as his personal savior (13)
Huyghe, Rene. Larousse Encyclopedia of Renaissance and Baroque Art. Translated by Emily Evershed, Hugh Newberry, Ralph de Seram, and Katherine Watson. New York: Prometheus Press, 1967.
Huyghe notes on the historical context of the Baroque period. For him, baroque style art was art that acted against the Renaissance and the classical (329). That was the art style during that time period. He comments that about 1530, the Renaissance began to decline and the Reformation began to take hold (329). The Reformation looked at art as a vanity for the rich and powerful and the goal during this time period was to find art that was more widely accessible to the masses (330). In this sense, baroque art was an art style of the Counter-Reformation. In Huyghe’s opinion, the baroque art was meant to touch the emotions of the viewer (330-332).
Kitson, Michael. “The Baroque”, in The Age of Baroque, edited by Trewin Copplestone , 15-70. London: Mcgraw-Hill Book Company, 1966.
Michael Kitson focuses on the characteristics of baroque style art. He points out that this art style was meant to appeal to the mind, by means of the emotions (15). Illusionism was more common during this time. Kitson distinguished the differences between realism, which he says depends on a faithful rendering of the outside appearance of an object, and illusionism, which he says is an imaginative representation of the supernatural (15). Baroque art was meant to evoke the emotions with its visual splendor and use of rich colors (38). A big feature of this art form was the use of dark and light shading. Baroque art is known for its use of dark backgrounds and the concentration of light in several key areas of the painting (41). Another key feature of baroque art was the use of space, which could either be emphasized in the art piece or hidden (70).
Lacayo, Richard. "The Halo Effect." Time 178, no. 6 (August 15, 2011): 62-63. Academic Search Complete, EBSCOhost (accessed April 29, 2012).
Richard Lacayo’s article on Rembrandt and his portrayals of Christ comments that his image of Christ had shifted as he got older. His reasoning for this can be seen in Rembrandt’s two interpretations of The Supper of Emmaus, a story from the Gospel of Luke about the risen figure of Christ. Lacayo writes, “Rembrandt in middle age appears to have gone in search of a consoling Christ, quieter, more meditative, somebody who would listen” (62). Christ, in his second interpretation of the Story of Emmaus, shows a softer and more subdued Christ (63). Lacayo notes that these changes in Rembrandt’s interpretation of Christ represent a very Protestant Christ figure that is human and speaks directly to the human experience. This comes from a combination of the natural and the supernatural.
Martin, John Rupert. Baroque. Boulder, CO: Westview Press, 1977.
John Rupert Martin notes that there was not a specific uniform style that compromised Baroque art. Rather, the distinguishing feature was the fact that there was no homogeneity of style (26). The Baroque art style came as an opposition to mannerism and existed throughout the world however there were national differences. According to Martin, the Baroque was split between four different periods including the “Early Baroque”, the “High Baroque”, the “Classicistic Baroque”, and the “Late Baroque” (28-30). Martin notes that the whole of Baroque art expresses and acceptance of the material world and the natural through realism (39). One of the goals of baroque style art was to make the supernatural more human, as expressed through gestures and facial features (73).
Pericolo, Lorenzo. "Visualizing Appearance and Disappearance: On Caravaggio's London Supper at Emmaus." Art Bulletin 89 (2007): 519-539.
Lorenzo Pericolo gives and in-depth critic of the painting Supper at Emmaus by the artist Caravaggio which he notes is quite different from the previous art of the Renaissance (519). He notes that the story has been done by several other artists and there was either a reluctance to paint the Christly figure in its entirety or to emphasize it. One of these artists in particular is Rembrandt, another Baroque age painter. Pericolo interprets several similar paints of the Supper at Emmaus throughout the 16th and 17th century by artist such as Rembrandt and Jean-Baptisle de Champaigne. On closer analysis of The Supper of Emmaus by Caravaggio, Pericolo notices several differences between Caravaggio’s interpretation of the figure of Jesus, and that of Leonardo Da Vinci’s in The Last Supper (526-527).
Prusak, Bernard G. "The Moment of Recognition." Commonwealth 138, no. 22 (December 16, 2011): 8-12. Academic Search Complete, EBSCOhost (accessed April 29, 2012).
Bernard Prusak focuses his article on the artist Rembrandt and notes that Rembrandt used real life models in his numerous paintings and interpretations of Jesus Christ. According to some scholars, this model was a young Jewish boy from Rembrandts neighborhood (10).Prusak notes that Rembrandt changed the face of Jesus as he adopted it from tradition and also changed the way that he portrayed Jesus over his lifetime. Rembrandt got his early impression of Jesus from the Veil of Veronica, the Mandylion (a cloth that Christ was claimed to have left his facial imprint on), and the “Lentulus Letter” (written when Jesus was still alive and sent to Rome) (10).
Rachleff, Owen S. Rembrandt’s Life of Christ. New York: Abradale Press, 1966.
Owen Rachleff compiles a history of the etchings, drawings, and paintings that the baroque artist Rembrandt produced throughout his lifetime. These art pieces represent a history of the Gospels including some of the most important stories from the life of Jesus Christ. Some of the art pieces noted upon are Head of Christ, The Raising of Lazarus, and The Raising of the Cross. Rachleff creates his own story of the Gospels and highlights the points that he finds to be the most salient.