wonden – -Translation – Keybot Dictionary

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  Orsini Polyptiek - KMSKA  
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zien we de Romeinse soldaat Longinus de zijde van de gekruisigde doorboren. Pas als het bloed uit de wonden in zijn ogen vloeit, ziet hij Christus als Zoon van God. Net als de Romeinse honderdman rechts die hem aanwijst met de woorden: "Ja, waarachtig, Hij was Gods Zoon" (Matteüs: 27, 54).
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, the Roman soldier Longinus plants his spear into the side of the crucified Christ. Only when the blood from the wound drips into his eyes does Longinus recognise Christ as the Son of God. As does the Roman centurion to the right, who points at Christ and says: "Truly this was the Son of God" (Matthew 27: 54). Quite striking are the highly emotive representations of Mary Magdalene at the foot of the cross and the women on the left who are consoling Mary. The emphasis is on physical, visible suffering rather than on psychological pain. A similar expressiveness characterises the witnesses to the
  Bewening van Christus -...  
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Voorzichtig tilt Johannes de levensloze hand van de Verlosser op. Hij toont twee engelen de wonden die de nagels van het kruis achterlieten. De personages vullen het hele paneel, veel plaats voor een stuk rots of drukkende bewolking is er niet.
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The body of the dead Christ lies almost fully stretched, his head resting in the lap of Mary. John gently lifts the lifeless hand of the Saviour and shows two angels the wounds caused by the nails of the cross. The figures fill almost the entire picture, leaving little room for a rock or an oppressive sky. The result is a dramatic, intimate and sober scene.
  Transcriptie Rubenszaal...  
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Hij toont het lichaam van Christus dat voor Hem op een lijkwade ligt, met de armen slap naast het lichaam en de benen verkrampt vooruit. De stigmata - de wonden in zijde, handen en voeten - gapen. Uit het voorhoofd stroomt bloed.
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The painting depicts God in heaven enthroned on clouds, as the light of His greatness shines all around. The dead Christ lies before Him on a shroud, with arms limp alongside his body and legs stretched out before him. The stigmata - the wounds in his side, hands and feet - are gaping. Blood oozes from his forehead. Alongside God, the Holy Spirit appears in the form of a white dove. In the background, two angels are depicted with the Arma Christi or Instruments of the Passion: the whip, the crown of thorns and the lance of Longinus on the left, the nails of the crucifixion on the right.
  Heilige Barbara van Nic...  
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Woedend leverde haar vader haar uit aan de gouverneur die haar op zijn beurt liet folteren. Zonder succes, want 's nachts verdwenen al haar wonden. Ten einde raad onthoofdde vaderlief zijn dochter dan maar zelf.
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This panel by the Flemish Primitive painter Jan van Eyck tells the story of Saint Barbara. Her father, a Syrian nobleman and pagan, wanted no-one to lay eyes on his daughter, so he locked her up in a fortified tower, where she led a life of luxury. When her father wanted to give her in marriage, she refused. Hoping to make her change her mind, he occasionally gave her permission to leave the tower. During one of these outings, Barbara converted to Christianity. As a symbol of the Holy Trinity, she had a third window opening made in her prison. Enraged, her father handed her over to the governor, who had her tortured. But to no avail, for every night her wounds would heal. In the end, she was condemned to death and beheaded by her own father.