![]() Here, Schongauer represented the episode in which Christ, between his death and resurrection, descended into Limbo to bring salvation to the righteous ones who had died before him. Mantegna painted several versions of this theme, however, for the most part these works are now available, if at all, only as drawings or engravings. Schongauers version focuses on crowded scenes, grotesque physiognomies of Christs tormentors, and great pathos in the compositions. The person who associated a work with this deed has dedicated the. The emotional tension of the scene culminates in dialogue between these two figures. File:Andrea Vanni, Scenes from the Passion of Christ - The Descent into Limbo (right panel), 1380s, NGA 198424.jpg. He turns his face and hands towards Christ. Christ bends towards one of the patriarchs emerging from the depth of Hell and whose cloak, caught by the wind, surrounds him like a halo. The composition seems crowded, largely because the upper and left-hand edges have been cut. Thus, to the left in Mantegna's painting we have the first human couple, Adam and Eve, the two who, through Original Sin begin the story of Christ's Passion. About this artwork artist: Marius Cartarius (died 1620) Italian title: Christs descent into Limbo date created: 1566 after: Andrea Mantegna (1431 - 1506). They are not damned, but cannot ascend into heaven until the coming of Christ. 1 Gabriel Biel, in his Commentary on Lombard’s Sentences, besides commenting on what part of Christ descended into hell, raises a different question. ![]() Limbo is a neutral zone of Hell where the souls of the Old Testament patriarchs and prophets reside. Since the body of Christ lay in the tomb during the descent, Lombard argues that Christ descended into hell according to his divinity and his soul while his body remained in the tomb. ![]() The story of Christ's descent into Limbo does not appear in the Bible, but in the apocryphal Gospel of Nicodemus, and also in the Legenda Aurea of Jacobus da Voragine. This event, known as the Decent into Limbo, is represented here on the right wing of a triptych by Andrea di Vanni (Sienese, c. ![]()
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