{"id":48143,"date":"2019-04-07T15:00:00","date_gmt":"2019-04-07T13:00:00","guid":{"rendered":"https:\/\/www1.romereports.com\/2019\/04\/07\/vatican-opens-artistic-exhibition-on-the-depiction-of-the-holy-trinity\/"},"modified":"2019-04-07T15:00:00","modified_gmt":"2019-04-07T13:00:00","slug":"vatican-opens-artistic-exhibition-on-the-depiction-of-the-holy-trinity","status":"publish","type":"post","link":"https:\/\/www.romereports.com\/en\/2019\/04\/07\/vatican-opens-artistic-exhibition-on-the-depiction-of-the-holy-trinity\/","title":{"rendered":"Vatican opens artistic exhibition on the depiction of the Holy Trinity"},"content":{"rendered":"<p>For reflection during lent and preparation for the upcoming Easter celebrations the Vatican Museum has opened up this exhibition. It is focused on the \u201cRepresentation of the Mystery of the Trinity\u201d and is on display until June 8, 2019.<\/p>\n<p>The exhibition contains various artistic representations of the Holy Trinity: the Father, the Son and the Holy Spirit. It is a central belief in the Catholic in one, triune God&nbsp;<\/p>\n<p>It contains works from different centuries such as this mosaic from the basilica of Saint Mary Major.<\/p>\n<p>Among the works on display is this restored \u201cThrone of Grace\u201d by Flemish artist Vrancke Van Der Stockt. It comes from a period in Flanders famous for its \u201cdistinctive way of representing nature, the human figure in vivid colors and with a highly accentuated realism.\u201d<\/p>\n<p>Although it does not belong to the Vatican Museum's collection, the institution wanted to restore the painting because of its importance.&nbsp;&nbsp;<\/p>\n<p><strong>BARBARA JATTA<br \/>\nDirector of Vatican Museum <\/strong><br \/>\n<em>\u201cThis is because of its artistic importance and also because we are not used to having a Flemish painting in the Vatican collection. My predecessor Antonio Paolucci decided to have this restoration project done in our laboratories. It was a wonderful decision because we had the opportunity to work on this painting. It is a very interesting painting for iconography, iconology and theology.\u201d<\/em><\/p>\n<p>The painting belongs to the Basilica of San Giorgio in Caltagirone, Sicily. In 1777 Baroness Agata Interlandi of Favarotta, who was devoted to the Trinity, made it a provision in her will that it be publicly venerated there.&nbsp;<\/p>\n<p>The painting contains much symbolism such as this sphere for the world, the \u201cred apocalyptic cloud,\u201d and \u201cthe Archangels on either side of the throne.\u201d&nbsp;<\/p>\n<p>These all allude to the Last Judgment reminding one that those who approach and have faith in the \u201cmerciful Trinity of the Throne of Grace\u201d will not be refused salvation.<\/p>\n<p><strong>ADELE BREDA <br \/>\nVatican Museum, Art Department <\/strong><br \/>\n<em>\u201cThis iconography of the Throne of Grace represents the Trinity in a way that is not usual.\u201d  \u201cIt represents God the Father who is holding in his arms his dead son, Christ, and then there is the dove to symbolize the Holy Spirit who is among them.\u201d<\/em><\/p>\n<p>Although the Holy Trinity is \u201cinaccessible to human reason alone\u201d this exhibition hopes to further promote reflections on \u201cthe mystery of the Trinity that constitutes the center of the Christian faith\u201d and confessed \u201cin the light of Christ\u2019s revelation.\u201d<\/p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>April 7th, 2019. It is on display until June 8, 2019 and contains the  restored \"Throne of Grace\" painting by Flemish artist Vrancke Van Der Stockt.<\/p>\n","protected":false},"author":0,"featured_media":25648,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[187],"tags":[],"acf":{"video":"https:\/\/youtu.be\/jLAZ1778nu8","video_descarga":"http:\/\/attuale.romereports.com\/news\/btronodigraziaeng.mp4","international_url":"http:\/\/attuale.romereports.com\/news\/btronodigraziaint.mp4","type":"rrp","newsletter":"si"},"_links":{"self":[{"href":"https:\/\/www.romereports.com\/en\/wp-json\/wp\/v2\/posts\/48143"}],"collection":[{"href":"https:\/\/www.romereports.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.romereports.com\/en\/wp-json\/wp\/v2\/types\/post"}],"replies":[{"embeddable":true,"href":"https:\/\/www.romereports.com\/en\/wp-json\/wp\/v2\/comments?post=48143"}],"version-history":[{"count":0,"href":"https:\/\/www.romereports.com\/en\/wp-json\/wp\/v2\/posts\/48143\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.romereports.com\/en\/wp-json\/wp\/v2\/media\/25648"}],"wp:attachment":[{"href":"https:\/\/www.romereports.com\/en\/wp-json\/wp\/v2\/media?parent=48143"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.romereports.com\/en\/wp-json\/wp\/v2\/categories?post=48143"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.romereports.com\/en\/wp-json\/wp\/v2\/tags?post=48143"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}