10 Works, The Art of War, Abbott Handerson Thayer's An Angel Flew Over Gaza, with footnotes

After Abbott Handerson Thayer

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The angels came to Gaza in the time of death and devastation! They flew over the city filled with death and destruction. The then came down to help the dead, the wounded, the orphaned and the suffering. The children who lost their families. The mothers who cried for help that wasn’t coming.

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They wrapped their wings around the broken hearts, offering solace and comfort. With gentle whispers, they reassured the frightened souls that they were not alone.

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The angels brought healing to the wounded, mending their broken bodies and easing their pain. They brought love and care to the orphans, becoming their guiding light in the darkness. They listened to the sorrowful cries of the mothers, holding their hands and wiping away their tears.

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In the midst of despair, the angels brought hope. They reminded the people of Gaza that the world still cared, that there was light beyond the darkness. They stood as beacons of strength, urging the people to endure and to never lose faith.

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With their angelic presence, they inspired unity and resilience in the community. Strangers became neighbors, and neighbors became family. Together, they rebuilt homes and restored hope, their spirits lifted by the angels' unwavering support.

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Though the angels could not change the reality of the devastation, their compassion and empathy brought a sense of peace. They reminded the people that even in the darkest times, there is always a glimmer of light, a ray of hope.

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And so, the angels continued to watch over Gaza, providing comfort to those who needed it most. They became the symbol of humanity's capacity for kindness, reminding us of our obligation to extend a helping hand to one another.

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In times of death and devastation, the angels of Gaza showed us that even amidst turmoil, love and compassion have the power to heal and rebuild.

Abbott Handerson Thayer (August 12, 1849 – May 29, 1921) was an American artist, naturalist, and teacher. As a painter of portraits, figures, animals, and landscapes, he enjoyed a certain prominence during his lifetime, and his paintings are represented in major American art collections. He is perhaps best known for his 'angel' paintings, some of which use his children as models.

During the last third of his life, he worked together with his son, Gerald Handerson Thayer, on a book about protective coloration in nature, titled Concealing-Coloration in the Animal Kingdom. First published by Macmillan in 1909, then reissued in 1918, it may have had an effect on military camouflage during World War I. However it was roundly mocked by Theodore Roosevelt and others for its assumption that all animal coloration is cryptic.

Thayer also influenced American art through his efforts as a teacher, training apprentices in his New Hampshire studio. More on Abbott Handerson Thayer

01 Work, The art of War, Nicolas Poussin's The Victory of Joshua over the Amalekites, with Footnotes

Nicolas Poussin  (1594–1665)

The Victory of Joshua over the Amalekites, c. between 1623 and 1626

Oil on canvas

height: 97.5 cm (38.3 in); width: 134 cm (52.7 in)

Hermitage Museum, Saint Petersburg

The Amalekites, descendants of Amalek, were an ancient biblical nation living near the land of Canaan. They were the first nation to attack the Jewish people after the Exodus from Egypt, and they are seen as the archetypal enemy of the Jews.

Joshua was successor to Moses, who led the Israelites through the Desert and into the Promised Land, Palestine.

Palestine, however, was not uninhabited. According to the Old Testament a local tribe, the Amalekites, lived on the east bank of the River Jordan and in the region between the Dead Sea and Hebron.

Presumably the largest population group in the land Canaan, as Palestine was known, the Amorites were defeated by Joshua in a series of battles. More on the battle  with the Amalekites

Joshua's Battle Against the Amalekites was produced as a pendant to The Battle between the Israelites and the Amorites by the same artist during his time in Rome. He fell into dire financial straits after the 1625 death of his patron, the poet Giovan Battista Marino and cardinal Francesco Barberini (1597–1679)'s departure from the city - this forced him to sell both works. They were both acquired by Catherine II of Russia to be kept in Poussin's cousin Gaspar Dughet's home on via Paolina in Rome. The pair was split up in 1927.

Normative Judaism's views on warfare are defined by restraint that is neither guided by avidness for belligerence nor is it categorically pacifist. Traditionally, self-defense has been the underpinning principle for the sanctioned use of violence, with the maintenance of peace taking precedence over waging war. While the biblical narrative about the conquest of Canaan and the commands related to it have had a deep influence on Western culture, mainstream Jewish traditions throughout history have treated these texts as purely historical or highly conditioned, and in either case not relevant to contemporary life. However, some minor strains of radical Zionism promote aggressive war and justify them with biblical texts. More on Judaism and warfare

Nicolas Poussin (June 1594 – 19 November 1665) was a French painter who was a leading painter of the classical French Baroque style, although he spent most of his working life in Rome. Most of his works were on religious and mythological subjects painted for a small group of Italian and French collectors. He returned to Paris for a brief period to serve as First Painter to the King under Louis XIII and Cardinal Richelieu, but soon returned to Rome and resumed his more traditional themes. In his later years he gave growing prominence to the landscape in his paintings. His work is characterized by clarity, logic, and order, and favors line over color. Until the 20th century he remained a major inspiration for such classically-oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne. More on Nicolas Poussin

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

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16 Etching by REMBRANDT HARMENSZ. VAN RIJN,

REMBRANDT HARMENSZ. VAN RIJN

1606 - 1669

SELF-PORTRAIT IN A CLOAK WITH A FALLING COLLAR: BUST 
(BARTSCH, HOLLSTEIN 15; NEW HOLLSTEIN 98W; HIND 63)

Etching with engraving and drypoint, circa 1631, a good impression of this scarce print, the rare second state (of five), a previously unrecorded state between New Hollstein's fourth and fifth state (of ten), before the lengthening of the hair sheet: 63 by 56mm 2½ by 2¼in

REMBRANDT HARMENSZ. VAN RIJN

1606 - 1669

SELF-PORTRAIT IN A CAP AND SCARF WITH THE FACE DARK: BUST 
(B., HOLL. 17; NEW HOLL. 120; H. 108)

Etching, 1633, a very good impression of the second (final) state, New Hollstein's second state (of five), before the wear usually seen in this print, framed plate: 132 by 103mm 5¼ by 4 1/8 in sheet: 136 by 108mm 5 3/8 by 4¼in

REMBRANDT HARMENSZ. VAN RIJN

1606 - 1669

SELF-PORTRAIT WITH RAISED SABRE
(B., HOLL. 18; NEW HOLL. 134; H. 109)

Etching with engraving, 1634, a good though slightly later impression of the second (final) state, with only slight wear in the right cheek, framed, plate: 124 by 102mm 5 by 4in, sheet: 140 by 116mm 5½ by 4½in

REMBRANDT HARMENSZ. VAN RIJN

1606 - 1669

 A SHEPHERD AND HIS FAMILY ('HET HARDERTJE') 
(B., HOLL. 220; NEW HOLL. 218; H. 206)

Etching, 1644, a good, early impression of this rare print, the only state, with scratches in the sky and sulphur-tinting in the sky, printing with burr in the foliage at right plate: 95 by 68mm 3¾ by 2 5/8 in

REMBRANDT HARMENSZ. VAN RIJN

1606 - 1669

THE DESCENT FROM THE CROSS: SECOND PLATE 
(B., HOLL. 81 II); NEW HOLL. 119; H. 103)

Etching with engraving, 1633, a good impression of the third state (of five), New Hollstein's fourth state (of eight), on paper with a Heraldic watermark, possibly Arms of Bern, sheet: 525 by 407mm 20 5/8 by 16in

REMBRANDT HARMENSZ. VAN RIJN

1606 - 1669

THE ANGEL APPEARING TO THE SHEPHERDS
 (B., HOLL. 44; NEW HOLL. 125; H. 120)

Etching with engraving and drypoint, 1634, a good impression of the third (final) state, New Hollstein's third state (of six), with touches of burr on the angel's face, sheep and elsewhere, on paper with a Foolscap watermark

sheet: 256 by 218mm 10 1/8 by 8 5/8 in.

REMBRANDT HARMENSZ. VAN RIJN

1606 - 1669

CHRIST PREACHING ('LA PETITE TOMBE') 
(B., HOLL. 67; NEW HOLL. 298; H. 256)

Etching with drypoint, circa 1657, a very fine 'black sleeve' impression of the only state, New Hollstein's first state (of two), printing with rich, velvety burr on Christ's robe, the beard of the man at upper left and on the sleeve of the man at lower left, on Japan paper, sheet: 155 by 206mm 6 1/8 by 8 1/8 in

REMBRANDT HARMENSZ. VAN RIJN

1606 - 1669

PETER AND JOHN HEALING THE CRIPPLE AT THE GATE OF THE TEMPLE 
(B., HOLL. 94; NEW HOLL. 312; H. 301)

Etching with drypoint, 1659, a very fine, rich impression of the second state (of four), New Hollstein's second state (of six), printing with rich burr and vertical wiping scratches in the sky, on laminated Japan paper

plate: 180 by 214mm 7 by 8 3/8 in,. sheet: 186 by 221mm 7 3/8 by 8¾in

REMBRANDT HARMENSZ. VAN RIJN

1606 - 1669

CANAL WITH A LARGE BOAT AND A BRIDGE ('HET SCHUYTJE OP DE VOORGROND') 
(B., HOLL. 236; NEW HOLL. 252; H. 239)

Etching with drypoint, 1650, a fine impression of the second (final) state, with rich burr, framed, sheet: 83 by 107mm 3¼ by 4¼in

REMBRANDT HARMENSZ. VAN RIJN

1606 - 1669

RAGGED PEASANT WITH HIS HANDS BEHIND HIM, HOLDING A STICK 
(B., HOLL. 172; NEW HOLL. 47; H. 16)

Etching, circa 1630, a very good impression of this scarce subject, fifth state (of six), New Hollstein's eighth state (of nine), printing with delicate plate tone, plate: 92 by 66mm 3 5/8 by 2 5/8 in, sheet: 98 by 75mm 3 7/8 by 3in

REMBRANDT HARMENSZ. VAN RIJN

1606 - 1669

OLD MAN WITH BEARD, FUR CAP, AND VELVET CLOAK 
(B., HOLL. 262; NEW HOLL. 92; H. 92)

Etching, circa 1631, the third (final) state, a strong, later impression on smooth wove paper; B. 262: sheet: 155 by 134mm 6 1/8 by 5¼in

REMBRANDT HARMENSZ. VAN RIJN

1606 - 1669

THE ARTIST'S MOTHER IN A CLOTH HEADDRESS, LOOKING DOWN: HEAD ONLY 
(B., HOLL. 351; NEW HOLL. 121; H. 107)

Etching, 1633, a very good impression of this scarce portrait, printing with plate tone, the second (final) state, New Hollstein's second state (of three), sheet: 42 by 41mm 1¾ by 1 5/8 in

REMBRANDT HARMENSZ. VAN RIJN

1606 - 1669

THE ARTIST'S MOTHER, HEAD AND BUST: THREE QUARTERS RIGHT 
(B., HOLL. 354; NEW HOLL. 5; H. 1)

Etching, 1628, a fine, early impression of this rare subject, an intermediary state between the first and second state (before the reduction of the plate but with the bust completed), New Hollstein's second state (of four), printing with plate tone, with inky plate edges and the burr clearly visible, sheet: 67 by 64mm 2¾ by 2½in

REMBRANDT HARMENSZ. VAN RIJN

1606 - 1669

THE ARTIST'S MOTHER SEATED AT A TABLE, LOOKING RIGHT: THREE QUARTER LENGTH 
(B., HOLL. 343; NEW HOLL. 91; H. 52)

Etching, circa 1631, a very good impression of the second state (of three), before the straightening of the outline of the nose, with touches of burr on the mouth, the nose and the hands, on paper with an indistinct countermark (possibly PDB), framed, plate: 148 by 130mm 5¾ by 5 1/8 in, sheet: 150 by 132mm 5 7/8 by 5¼in

REMBRANDT HARMENSZ. VAN RIJN

1606 - 1669

OLD MAN SHADING HIS EYES WITH HIS HAND 
(B., HOLL. 259; NEW HOLL. 175; H. 169)

Etching, circa 1639, a fairly good impression of the only state, New Hollstein's first state (of three), on paper with part of a Heraldic watermark, plate: 137 by 114mm 5 3/8 by 4½in, sheet: 142 by 119mm 5 5/8 by 4¾in

REMBRANDT HARMENSZ. VAN RIJN

1606 - 1669

ABRAHAM FRANCEN, APOTHECARY 
(B., HOLL. 273; NEW HOLL. 301; H. 291)

Etching, circa 1657, a Basan impression, tenth (final) state, New Hollstein's eleventh state (of twelve), on paper with part of a Proprietary watermark, sheet: 158 by 208mm 6¼ by 8¼in

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A Pictorial History of Jerusalem

A city called Rušalim in the Execration texts of the Middle Kingdom of Egypt (19th century BCE) is identified as Jerusalem. Jerusalem was then called Urušalim in the Amarna letters of Abdi-Heba (1330s BCE). The name "Jerusalem" is variously etymologized to mean "foundation of the god Shalem", the original tutelary deity of the city.

The ambitious Ophel excavation in Jerusalem has produced many finds, but precious little before the tenth century BC

Ceramic evidence indicates occupation of Jerusalem, as far back as the Copper Age (c. 4th millennium BCE), with evidence of a permanent settlement during the early Bronze Age (c. 3000–2800 BCE). It was founded by Northwest Semitic people with organized settlements from around 2600 BCE.

Details labeled on a model of the ancient city of Salem (Jerusalem) or the city David took from the Jebusites to establish as the center of his kingdom.

In the late Bronze Age, Jerusalem was the capital of an Egyptian vassal city-state, a modest settlement governing a few outlying villages and pastoral areas, with a small Egyptian garrison and ruled by appointees such as king Abdi-Heba. At the time of Seti I and Ramesses II, major construction took place as prosperity increased.

This period, when Canaan formed part of the Egyptian empire, Jerusalem is defined as lying within territory allocated to the tribe of Benjamin though occupied by Jebusites. David is said to have conquered these in the Siege of Jebus, and transferred his capital from Hebron to Jerusalem. 

Jerusalem is one of the oldest continuing cities in the world. There were people living there as early as the 4th millennium BC, but the fortress/city began to be famous after David captured it and made it his capital. During its long history, Jerusalem has been destroyed at least twice, besieged 23 times, attacked 52 times, and captured and recaptured 44 times.

Overview of Jerusalem's historical periods.

King David reigned for 40 years. He died about 970 BCE. Jerusalem became the capital of a united Kingdom of Israel. During his reign, David had been too busy with court intrigue and hard-fought battles to think about renovating the city.

Jerusalem at the Time of David David’s City: 12–13 Acres Population: 2,400

His son was more ambitious. Solomon used Phoenician craftsmen and enforced labor to carry out the great construction program that resulted in the building of the First Temple and the palace in Jerusalem.

JERUSALEM:BIBLE ARCHITECTURE:Jerusalem as it was in the period from Solomon to Hezekiah

On Solomon's death, ten of the northern Tribes of Israel broke with the United Monarchy to form their own nations, kings, prophets, priests, traditions relating to religion, capitals and temples in northern Israel. The southern tribes, together with the Aaronid priesthood, remained in Jerusalem, with the city becoming the capital of the Kingdom of Judah, instead of th Kingdom of Israel.

During the  Judean kingdom renovations included Hezekiah's Tunnel, an aqueduct built by Judean king Hezekiah, the Broad Wall, a defensive fortification,  Monolith of Silwan, Tomb of the Royal Steward, and Israelite Tower. A huge water reservoir dating from this period was discovered in 2012 near Robinson's Arch, indicating the existence of a densely built-up quarter across the area west of the Temple Mount.

In 922BC the Egyptian pharaoh Sheshonk I led a raid into Judah, and sacked the city. He was followed in the next century by the Philistines and Arabs, and then in 786BC Joash of Israel invaded Judah and plundered the treasures of the Temple and the royal palace, and destroyed a number of newly built fortresses, and tore down part of the wall surrounding Jerusalem.

The First Temple period ended around 586 BCE, when the Babylonians conquered Judah and Jerusalem, laid waste to Solomon's Temple, and its king deported to Babylon. The long exile in Babylon began. 

JERUSALEM:BIBLE ARCHITECTURE: The city of Jerusalem in the Herodian period

During the Herodian period, Herod demolished everything that was there to build his temple and palace; built from Lebanese cedar, with a vestibule hall of columns, a throne room, residential quarters and a luxurious palace for the women of the harem. There would also have been extensive courtyards, onto which the palace rooms opened. The palace was quite independent of the city, with a high wall surrounding it. It was necessary to pass through a guard-house to enter it.

JERUSALEM:BIBLE ARCHITECTURE: A model of the city in King Herod's time. All available land would have been covered by buildings

In 538BC Cyrus II, founder of the Achaemenian dynasty of Persia, issued an order allowing the Jewish population to return to their homeland. The once magnificent city was a sorry sight. Nothing  remained but a few small buildings and a peasantry living in huts, where once there had been the Temple, palaces, houses and commercial buildings. 

Zerubbabel, of the house of David, began to rebuild Jerusalem. The Temple was restored by 515BC, and Jerusalem once more became the center of the new state. Its position was strengthened when Nehemiah restored the fortifications surrounding the city.

After the coming of Alexander the Great, Palestine was taken over by his marshal, Ptolemy I, who had occupied Egypt. In 198BC Jerusalem was taken over by the dynasty descended from Seleucus I, another of Alexander's marshal. In 167BC Antiochus IV desecrated the Temple, and a revolt against the Seleucid rulers broke out.  This revolt was led by the Maccabees, who were able to expel the Seleucids.

Jerusalem regained its position as the capital of an independent state, now ruled by the priestly Hasmonean family.

Rome had been expanding into the eastern Mediterranean, and in 63BC Pompey captured Jerusalem. By 40BC Herod, who had distinguished himself as governor of Galilee, was appointed a 'client king' of Judaea. During the reign of King Harold Jerusalem enjoyed its greatest period of greatness. The Temple Mount esplanade was enlarged with supporting walls (including the Western Wall, now called the Wailing Wall), the new Temple was built, and Jerusalem also acquired a Hellenistic amphitheater.

In 66AD the Jewish people rebelled against Rome and in 70AD the city was besieged and almost completely destroyed by the Roman forces under Titus. The Temple was reduced to ashes.

Jerusalem - Artist, Münster, Sebastian Date: 1578

Copper engraving, hand colored in outline and wash. A beautiful bird's eye view of Old Jerusalem - Date: 1719

Jerusalem or the city of the Lord. This map was engraved by D.Nimmo and published by A . Fullarton & Co. The map was first published in 1835 by Samuel Arrosmith who was a bookseller in London. This publication is from 1840's. The city of Jerusalem is depicted as it would have looked at the time of Jesus. Prominently shown are the Temple mound, the hill of Zion and mount of Olives. Many other locations are depicted.The map is an original engraving on steel. More

History of the wall

More: Bible History, Bible Architecture, 

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