Christian Art

Quinn: Hello and welcome back to Pictorial on Relay FM. I'm Quinn Rose. And I didn't go to art school, but that doesn't stop me from learning about art in my own time.

Betty: And I'm Betty. I'm also someone who did not go to art school, but I also really love learning about art on my own time. And I actually learned, I learned a lot researching this week's topic. So I will now share it with all of you.

Quinn: This week is a continuation of our religious art mini series that we're doing here. And as we said last time, this one is going to be led by Betty. So I will just let you take it away.

Betty: Yeah, thank you, Quinn. So my topic this week is Christian art. Just like last time when we talked about Islamic art, this is definitely a topic that is very broad and spans across the entire world, pretty much, as well as you know, about 2000 years. There’s a lot. And what I've kind of done is I've chosen some from like in early periods of Christian art, as well as kind of through the Middle Ages and Renaissance all the way up until the 20th century. Mostly it’s like older stuff. Obviously it's a lot to cover, but we, the idea is to just go over some of the, some of the works that I think are most interesting anyway when it comes to Christian art.

Quinn: I’m very excited to hear more about this because I mean, I've kind of made jokes in the past about the just sheer number of Jesus paintings that are in the world, because I find that funny. But I'm very curious to find out more about some of the history behind these pieces and also, I will say for my own background, I'm not religious, but I did grow up in a Catholic family. And so I have a little bit of background with like Christianity and Catholicism and like, and some of the art that kind of is, you know, common in churches and stuff like that. And so I have a little bit of background there, but I don't really know anything formally about like the history of Christian art and what sort of marker points we're going to be looking at today. So I'm excited to learn more.

Betty: Yeah, and I kinda, I have a similar experience and personal history. I also grew up in a Christian family, but I'm like, I'm personally not very religious. As I mentioned on previous podcasts, I had been a gallery guide at an art gallery for almost 10 years, except not right now, because still not able to go back due to pandemic restrictions. But there at the Art Gallery of Ontario, we have a lot, a lot of European art, which generally consists of Christian art. And like you said, generally consists of many, many, many pictures of Jesus. And because, you know, I've had to work in these environments a lot. It's one of those things is like, you know, I kind of get tired of it at some point, just because I see it, I see so many iterations of the same poses and the same story. But it's actually also kind of interesting to see these like Bible stories as well as Christian history being depicted by different people in different ways. So I think I will get into some of it now. Very quick overview of Christianity for anyone who do not know, which there might be some. So Christianity is a very large world religion. It is probably the largest religion in the world in terms of, you know, the amount of people who will are Christians. Basically it stems from the life teachings and the death of Jesus of Nazareth in the first century. But it composes, it's composed of many branches and different churches. The biggest groups are the Roman Catholic church and the Eastern Orthodox churches, which are, which were split sometime in the, in the Byzantine era. And so there is quite a big difference between those churches. And then there are many Protestant churches and they break up into a lot of other independent churches like Anglican, Baptist, Evangelicals. I'm not going to go through all of them because we'll be here forever, but basically it is everywhere in the world. And there are a lot of people who follow different doctrines. One of the things I do want to start with is early Christian art. So as I kinda mentioned before, Christian art started in the first, Christianity began in the first century of the common era, which some of us call first century AD and that's, that is what the sort of the birth of Jesus is what our modern calendar is based around. And, but in terms of Christian art that we know of today, some of the earliest surviving art dates back to the second century onwards. So maybe about a hundred years after when Jesus would have been around. Most of these are pieces are found in Rome's catacombs, which is where a lot of burial places are, and a lot of Christians were buried there and they, you know, produced kind of paintings mostly for tombs and on the walls of the catacombs. Some of the reasons these artworks have survived for almost 2000 years is because it's underground. It's not exposed to light and it's much easily preserved that way. This first piece that I just sent you a link of the, it is a story from the Bible. So it is called Jesus Healing A Bleeding Woman, and it's a fresco that was painted on the walls of one of the catacombs. And this is a Bible story that's apparently in multiple gospels, like it was in Matthew, Mark, and Luke. Basically the story of Jesus, he was walking around and then this woman for some reason came and grabbed his robe and then he healed her wounds. And it's one of the many stories of Jesus, like performing miracles and healing people. But the reason like I brought this work up is because Jesus is a little bit differently than what we would have normally been used to. Do you want to give a brief overview of what this painting looks like?

Quinn: Sure. Well, first of all, it's not quite monochrome, but it's very much all just different shades of brown it’s been painted on. You have this figure who I can tell is Jesus mostly through context clues, and he's wearing what looks like a sheet draped around him, but I assume is like, a toga situation. And he is kind of looking behind him and it has one of his arms stretched out towards this woman who is kneeling on the ground and she's draped in a robe. And it's actually, you can't even really tell what his expression is because the level of detail is not that high in this painting, whether it was ever there or it's been lost to time is hard to say. It seems like it's a pretty simplistic thing from the beginning, but there might have obviously been like some weathering over, you know, thousands of years. So that has also affected the level of detail that you can tell on this and sort of the, the level of distinction and color that you can see in this, which as I said before is not very much. And I said I can only tell us as Jesus basically through context and part of the reason for that I think that in a lot of Christian art that you see, he's depicted with a halo around him. That’s a pretty dead giveaway for Jesus. He doesn't have that here. And there's also just like a very typical sort of look that you often see in depictions of Jesus, which you don't have here. I would say primarily because there is almost no level of detail to his face, so he could, he could be anyone, honestly.

Betty: You are right. Like the details aren't so great on this. However he is in this painting as well as a lot of the paintings and the catacombs that do depict Jesus—he isn’t with that typical like long hair that looking like an older guy with beard type of, like a fatherly figure. He here actually looks more like somebody who's like a younger person, like he doesn't have a beard, he has short hair and he overall just looks more youthful than what we would be traditionally used to. And so apparently, initially, when Christians were depending Jesus, they were using just pictogram symbols. Like they would use like an anchor or a, like a lamb or a peacock. They would, they wouldn't actually draw his face, but over time they did, they did like draw what they think he looked like. And again, this is maybe more than a hundred years after Jesus existed. So maybe these people just had no idea what he looked like. And the thing is a lot of Christians were initially Roman and they believed in like Roman pagan religions. And so a lot of them just painted what they know. So supposedly I've heard that these early depictions of Jesus is based after the god Apollo, who is typically depicted as like a young man with curly short hair. And Jesus was depicted in this way for a really long time, but then over time, so what I heard is that it kind of morphed into some people started using Zeus as the reference to depict Jesus, and Zeus is more that like long hair with beard kind of fatherly figure type of person.

Quinn: Yeah, that's interesting. And I mean, I am also curious about sort of the effects of having more advanced art technology in being able to develop like more and more detailed depictions of this figure and also having more and more ability to sort of spread that idea throughout. Cause I mean, like in what, what did you say, the second century? Like I can imagine, like, it was very difficult to sort of spread a unified idea of what he would look like, or even like depict a unified idea of what he would look, what they like interpret him to look like. Cause at this point in history, he would already be dead even by this point. And so, you know, and obviously we don't have photographs. So it's all up to interpretation, I guess, but yeah, but I do, I wonder like how much, even just like the ability to kind of standardize and create an image of him just kind of changed over time.

Betty: Yeah. I'm sorry, I forgot to mention this particular fresco is from probably the fourth century, it’s from between 300 to 350, but it is still quite early. And yeah, again, a lot of—cause Christianity was outlawed for like a couple of centuries. At least, I don't have the exact dates here. But so a lot of Christians, they, you know, they kind of had to hide the fact that they were Christians. So their artworks would have, you know, either been lost or only be discovered in these catacombs. I'm actually, I’m gonna skip ahead a few hundred, and by a few hundred, I mean, maybe almost a thousand years because of time. It's cause we need to, we need to get to some of them more famous art works. But what I will show you right now is this next—this next work, it is on Quinn’s request that we talk about some stained glass, so we will.

Quinn: Yeah last week I was like Betty, please talk about stained glass on your Christian episode.

Betty: Yeah, I mean, I feel like if we didn't, it would be, you know, sacrilegious. [laughs] So what I'm showing you, there's two links. The first one is just, it's an overview of Chartres Cathedral in France, and it is one of the many Gothic churches in France. And I'm using this one as an example because it is apparently one of the most well-preserved cathedrals. And it also, most of it is from its original construction, which was around 1190 to 1220. So basically it's well-preserved and it hasn't been worked on over the years like some of the other cathedrals. And this place has, has a lot of windows and a lot of stained glass. I’m not going to get too much into Gothic architecture, but basically this is an example of high Gothic architecture. And as you probably notice, like these—Gothic architecture is known for being really pointy, like it, there's just lots of arches. Very pointy and very tall. And there's lots of spires and things like that. And then apparently another aspect of Gothic architecture is it's quite often asymmetrical, unlike Roman architecture from before. You know, which had a lot of symmetry. So these Gothic churches and the reason they were building it to be—the reason they were using these techniques like pointed arches and flying buttresses was because they were trying to build these buildings as high as possible. There was, I think, some sort of competition to build the tallest church ever. And I think this definitely isn't the tallest church ever. Cause you know, it was built in the 12th or 13th century, but it is apparently 113 meters, which apparently at the time was one of the highest buildings ever. And they were trying to, you know, kind of the idea is to symbolically, trying to reach the heavens and therefore trying to reach God. The picture that I have shown you is just one of the many examples of stained glass that's in this building. If you look at the Wikipedia page I sent you, there's basically on every wall, there is, there are just hundred pieces of stained glass and we're just going to focus on the north rose window right now. You don't have to go into details of every single piece cause we'll be describing this forever, but do you want to give a description of what you see here? 

Quinn: Well, it's pretty. I just really like colored lights, guys. That's all you need to make me happy. But, okay. So what this actually looks like it's obviously absolutely gigantic. Sort of the top half of it is this big circle with sort of with almost sort of, I would say concentric circles of patterns inside of it in different shapes and forms. So you have sort of like, there's the biggest circle and on the edges all around to the biggest circle are like semi-circles with different patterns inside of them. And then there's this circle of little, like almost flower like shapes, and then there's a circle of squares. And then there's a circle of these little sort of oval shape. But in every single one of them is incredibly intricately designed, designs of stained glass made up of these tiny, tiny pieces of glass in between. And then underneath the top half, that's mostly taken up by this giant circle, you have these five, what would I call these? They look like surf boards, five surfboards pointed up towards that circle. And again—I should say the colors, there’s a lot of blue and red. Everything is very bright. This was obviously taken, it’s a picture taken when the sun is shining in through the glass. And so everything is very bright, but again mostly blues and reds, I would say, with yellow as well. And just a little bit of white. At each of these five surfboards has a different image of a person or people in it. And you can tell definitely just in the middle, you have the Virgin Mary and baby Jesus. 

Betty: Yeah, exactly. So you're absolutely right. It is really intricate. And one of the reasons why there's just so much stained glass is, stained glass, the technology was developed around the seventh century CE, but it was, wasn't really perfected until around this time in the 13th century. So once they figured out how to make these work they just went nuts. And stained glass is basically metal oxides that are of different, they're different metals. So they have different colors and then they are added to the glass or mixed or mixed onto the glass or painted on. And then it's put into a kiln and then once it's heated to a certain temperature, it's permanently, the color is permanently fused to the glass. And then these pieces are then taken and they’re—every single piece is individually cut and then they're inserted into lead borders and then they, and then it's all assembled into like one giant piece and then they're fitted into the window. So it is a lot of work to make these, and this one is just like an example of—it just has just so much information and so many like stories as well as figures and people. Again, I won't get into what’s in all of them, but like you said, in the center is Jesus as a child with Mary. And then it's surrounded by like these little elliptical panels that have like doves and angels. And then apparently around that in the 12 diamond shaped panels, there are 12 Kings of Judah. They're apparently Christ’s ancestors. And then there are minor prophets that are in like surrounding that. And then, and these surfboards, like you mentioned at the bottom are of different figures and kind of doing different things like in the Bible. And apparently there's a, the person playing the harp is David, the person who is stabbing himself with a sword is Sal from the old Testament. Again, I don't know these details specifically, but apparently if you are somebody who studies the Bible and is very familiar with these stories, you can tell from what the person is doing, or like the symbols or the way they're depicted to know like exactly who that is. And also some of it is like there's text that is like within the stained glass. So even if you didn't know, some of it actually says like Saint Anne or so-and-so, so you can tell who it is from there. But yeah, it is just, it's, it's really beautiful. And the picture really doesn't do a justice. Like I personally, I haven't been to this particular cathedral cathedral, but I have been to the Notre Dame in Paris, obviously way before the fire and just these, yeah, these things you kind of just have to experience in person because they are enormous and they're, they just tower over you. And yeah, like I would say we should, we should make a Pictorial trip to Gothic cathedrals.

Quinn: You know despite a lot, and I mean a lot, of the history that goes into them, you can't deny that cathedrals are very pretty.

Betty: Yeah, that's for sure. So let's move forward another couple hundred years to this—so this work that I just, I just sent you is from 1499. So this is from the Renaissance period. And so I actually, I decided to choose a sculpture instead of a painting. I know there's, there's lots of really famous Renaissance paintings like the Sistine chapel and the Last Supper, but this work I think is very unique and I am going to talk about it. So this is the name of the work is Pieta and it's by Michelangelo. And this was actually a work that he did when he was like 24 years old. So when he was really young and it's one of the—

Quinn: Wait, wait, we cannot brush it over that. I'm sorry. I mean, you know, I've heard of this. I know some things. He was 24?? I’m 24!

Betty: [laughing] Exactly. No, I, sorry. I probably should have paused because it is, it is a very shocking fact.

Quinn: I'm so sorry to break up your flow, please continue. That just needed to be reacted to.

Betty: Yeah, no, for sure. Like he has, I've actually also, I've seen sketches Michelangelo did when he was like 14. When I see them, like, it looks like old masters, like you know, an old master did them, but it's, you know, a teenage Michelangelo. So he was definitely a very, very gifted individual. And this is an example of that. So yeah, the, this work is one of the pieces that kind of launched him into stardom, like that made him like really well known in Rome. And he ended up getting all these commissions to build like architecture and, you know, paint the Sistine Chapel and things like that. This was a piece that was carved out of one block of Carrera marble. Again, the research that I found says it's just one block, so it's not like he assembled a bunch of different pieces. It was just, it was just a piece of rock in the beginning. And it's the scene that shows the Virgin Mary holding the dead body of Jesus after he was taken down from the cross. And so, yeah, like this work, by your reaction, like from earlier is definitely very very beautiful and it is… The reason I bring it up, and the reason it's quite unique is apparently at the time it caused a lot of controversy because in this work, Mary is actually depicted a lot younger than what most paintings around this time, or even before would have shown Mary to be, cause, you know, she has like, her son was in his thirties when he died. So she can't be like, you know, she has to be, you know, at least like, you know, 50 something. But anyway, apparently a lot of people were really kind of angry that like she looks like she could be in her twenties in this sculpture. But Michelangelo, apparently his explanation is that she appears young because apparently if you're a Virgin who had a child you don't age, that was his explanation.

Quinn: You know what, he just wanted an excuse to do what he wanted.

Betty: Probably. So this work, like it is one of the many examples, it’s a scene that's been painted and sculpted so many times. But this pose that Michelangelo has put Jesus and Mary in has been referenced over and over again in history up until recently. And I didn't realize this until I was doing the research for this article, which is it actually, there is a reference to this painting in Avatar the Last Airbender. So if you click on the link—have you seen that show?

Quinn: I have, yes.

Betty: Oh, okay. So there is a scene where the character Aang falls and Katara catches him and she has him pretty much in the exact same pose as this particular Michelangelo piece.

Quinn: That is fascinating. I love that they were like, you know what this children’s show needs? A reference to Michelangelo. And I mean, not to make this weird, but the sculpture is of a mother and son, and don’t these two characters date or something?

Betty: They do, yeah. It is kind of a weird, it is a weird reference and I'm not exactly sure why they chose to do this. But yeah…

Quinn: Choices were made.

Betty: That's right. But you know, kind of the point is to show that this, you know, this work really became something that was quite symbolic and a lot of people really felt connected to it. And you know, Mary's expression and just the way she is holding Jesus, like it is this very like somber, but also kind of elegant. But one other interesting fact about this work is that apparently in the 1970s, a Hungarian man who may have been mentally disturbed, came and smashed this sculpture with a hammer and broke Mary’s arm and nose and parts of her head. It's since been repaired. But apparently that is the reason why, if you visit it in St. Peter's Basilica today, it is under bulletproof glass. 

Quinn: Wow. I mean, I guess fair enough.

Betty: So this next painting—again, I'm skipping a few hundred years. It's a painting from the 1800s. It was painted around 1857 to 59 and it's by the French artists Jean-Francois Millet and it's called the Angelus. And this painting is again, I'm kind of like—I think because I'm used to like all these really stereotypical depictions of Jesus and Mary and the crucifixion, I'm looking for things that are like atypical. And this one is a very different way of showing religious devotion. Do you want to give a quick description?

Quinn: Yeah, this is interesting. I don't think I've seen this before. This is a painting of two people who look to be farmers, I would say. It’s quite a dark painting. The sun, it seems like it's a sunset or maybe a sunrise, but the sun is behind them. And so like most of the foreground of the painting is actually in shadow, which is interesting. But it appears to be a man and a woman, and they both have their heads bowed in prayer. In the middle of a field.

Betty: Yeah, exactly. This painting is an example of the movement Realism, which was a movement in the 1800s where a lot of artists were instead of painting like noble people and Kings and Queens, and really important people, they wanted to paint like everyday people, like working class citizens and farmers and peasants because you know, that’s more real life than these idealized versions of really important individuals. But it, this painting as well as a lot of work that was done by Millet and his contemporaries who are painting in this style were hugely controversial at the time. Because basically the establishment are, one they're like, oh my God, like, how dare you paint peasants instead of noble people. And you know, they're like, why are they important? And also people were just not used to seeing a religious painting in this way, because people are used to seeing like, you know, biblical figures, but here are just two ordinary peasants or farmers who decided to take a prayer. So what he is showing is that, the reason why it's called the Angelus is that it commemorates the angel Gabriel's communication to Mary that she would you know, be conceived with Jesus. It is a prayer that at the time the farmers would do whenever they hear church bells in the background. And you can see in the painting in the very far back, there's like a little pointy building and that's apparently the church. So people drop whatever they were doing and they would, you know, have this prayer. And so I think what happened is when a lot of common people and people who are peasants and farmers saw this painting, they just like, felt super connected to it because they're like, wow. This is, this is something that they do every day in their daily lives. And over time, this work actually became one of the most famous paintings like ever in France. Because so many people felt this connection. Apparently there are some people who say that, like when they look at this painting, they could like hear the church bells because of, you know, how often or entrenched into their life and behavior this type of prayer was for a lot of people. 

Quinn: I think it makes sense that this would connect with so many people, because there is something about this painting where it's just very clear that this is a small intimate moment in these people's days. You know, they're out there working and they've taken a moment just to themselves to have this prayer. And it almost feels like we're just kind of a fly on the wall and in a small private moment. And there's something incredibly intimate about that.

Betty: Yeah, exactly. And for a lot of, you know, religious people in general, but especially a lot of Christians you know, having their religious faith is like a private thing. For a lot of people it is about their personal devotion and personal connection with God. So I think in a way like this work showcases that rather than just, you know, seeing a biblical story. Which wouldn't, it would get people to think about their faith, but it wouldn't showcase like what their relationship with being Christian is. So, yeah, we've seen quite a few artworks. But one thing we haven't seen yet is actually a crucifixion scene. So I'm going to show you one now.

Quinn: Casual.

Betty: Yeah. This one is, so it was a painting that was done in 1951 by Salvador Dali. It's called Christ of St. John of the Cross, and this is a crucifixion scene, but it is probably one of the most unique and different, and from a totally different perspective than what again, what most people would be used to. If you want to do a bit of a description for us, Quinn.

Quinn: Yeah, this is interesting. So I'll say that like, as a person who grew up going to church, you know, all churches have usually more than one images of Christ on the cross, and generally they have sort of a statue of it. And, but it's always sort of a face on, like you're looking directly into the eyes of Jesus. It's often usually placed above you as well. So you're even looking up at it. Whereas this is very different. But this picture is of an angle that you're actually looking basically down on him. And Jesus is leaning forward. This is gory, sorry—but his hands are nailed to the cross. That's part of it. And so he's hanging by his hands, but his head is leaning forward. So you can just see the top of his head and kind of the back of his shoulders. And below him, you can see this image of what appears to be like the ocean with a boat in it. What's going on here?

Betty: Yeah, it is very, very weird. I would say it's quite different. And yeah, you're right. It's from this vantage point overhead. It's like a bird's-eye view almost. And to some people, some people have described it as it's almost like it could be the perspective of God, like Jesus’s dad, like looking down on Jesus, like from heaven. So apparently, so if you are able to see this work, like in-person in detail there actually—his hands, there's actually not a, he didn't draw in like nails and blood. And the crown of thorns, like basically all the gory details that would normally be in a crucifixion painting. He actually didn't have any of that. It's just like the posture of Jesus on the cross. And then apparently the way we see it, his arms and the back of the cross do form a triangle. And supposedly that is a reference to the holy Trinity. He is a surrealist painter and he was known for just depicting things symbolically, kind of the opposite of the realist. So rather than like exactly what you would see in real life. So supposedly he painted this work when he was going through a period in his life really like anti-religious and he was an atheist, but then later in his life, he re embraced Catholicism and he kind of, this was one of his ways of like showing his return to having faith again. There is another known work where Jesus is depicted from above, which is apparently this painting or actually there's a drawing from the 16th century by a Spanish friar called St. John of the Cross, which is what this painting is named after. So he apparently saw this drawing and you know, it was like, oh, hey, I don't see Jesus in this posture very often. So I'm going to paint him in this way. I haven't found like too many explanations of like what the bottom part is about. But it does look like, so again, instead of normally when you look at a crucifixion scene, there's people below him, there's like Mary, and then there's like his disciples and people who like were nailing him to the cross and things like that or people like that, but here it's like, all these people are gone and it's kind of like he's looking down at the world. Again, I'm not sure what the boat is about, but it’s I guess another way that maybe Dali was trying to show that it's not just about the crucifixion. There's like messages beyond it, but exactly what it is, we are not sure. 

Quinn: Well, Dali, famously a straightforward artist.

Betty: [laughs] Yeah.

Quinn: I will say my very first thought when I saw this painting was painted from this angle was like, oh, this seems like it's, you know, from the angle of God. Which is super interesting, because that feels very sacrilegious to paint something from like, you know, the perspective of God. That doesn't seem like something would be like approved of by the church in an interesting way, but I think it's a very fascinating interpretation of the scene. Cause like, I mean, like if you don't know the context of the crucifixion, the whole thing is like God sent his son to earth to live as a human being and then die. Like God basically like had Jesus go and die a very painful death for, to like save the souls of humanity. And so part of this whole thing is the understanding that a father has to sacrifice his son. And obviously, you know, this is a very deep personification of the idea of deities, but for some people's faith, that's a very integral part of it is trying to understand this relationship. And the pain of these like deities slash people as they're personified. And so imagining looking at this scene and depicting the scene from the perspective of God slash the father is very interesting to me.

Betty: I think because of this, this different way of expressing this part of the story, a lot of people also connected with this work. And again, I'm not sure in 1951, what the immediate response would have been at the time, but definitely this is one of the most famous Dali paintings ever. Similar to the last one we looked at, the Angelus where again, it's showing a different perspective to devotion to Christianity, like that one is more about like people in private praying and incorporating religion into their daily lives. And this one, like you said, is showing the vantage point or perspective from Jesus’s father would have been. And so I, again, I think because probably like us, a lot of people are used to the same stories being shown in, you know, the same way over and over, when it is approached from a different perspective, it is, you know, a lot more fascinating to people.

Quinn: Love to see something different.

Betty: Like I said, there’s a lot of different art styles across many different centuries and around the world. And you know, today I didn't even get into talking about like Byzantine depictions of Christianity, but I'm actually, I was thinking we could even do an entire episode on that. So maybe that will happen in the future. There are also some Baroque works that I didn't mention today. Like doing research for this episode I actually had a list of like 20 works and I ended up cutting it down because you know, we're not, we don't do like three hour podcasts.

Quinn: We're just going to stream for six hours. 

Betty: Yeah, exactly. So there's a lot of works in different periods and also from unique perspectives that maybe we can even talk about on a different episode. But I think through these works I'm showing is I'm kind of trying to show like there, there are a lot of different ways that people show either religious faith or devotion, like it's everything from you know, just like a fresco on the wall that we're used to, to these like giant pieces, intricate pieces of stained glass with all these intricate stories to like, you know, a very beautiful sculpture done by somebody, you know, very talented to these like private moments and you know, perspectives that we wouldn't normally think about. So I think, you know, I would encourage everyone to, you know, kind of like find works that connect with them.

Quinn: Well, I thank you for giving me this little tour of some famous art pieces from Christianity. Both stuff that I knew somewhat about before, but also like different peeks into some different styles was very cool to see different than. Thank you so much to you all for listening to this episode of Pictorial. You can find our show notes at relay.fm/pictorial, or you can follow us on Twitter or Instagram @PictorialPod, and you could follow me on Instagram @aspiringrobotfm. 

Betty: And you can follow me on Twitter or Instagram @articulationsv. And I am also on YouTube as ARTiculations. And speaking of YouTube, we also have a YouTube channel for Pictorial Podcasts, where we have video episodes of our podcasts. We are a bit behind in terms of uploading, but we will be catching up very soon. So for this particular episode, if you are watching on the screen, you will see all of these paintings over the centuries.

Quinn: Thanks for listening, art enthusiasts!