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In Luke 7, Jesus raises a young man from the dead in the village of Nain. Lucas Cranach the Younger--one of the primary artists of the Reformation churches--painted the funeral procession outside of Nain as if the town was in medieval Europe. Jesus, as in much medieval art, is wearing royal red, and the young man is wearing a white shroud, which reminds us of our baptismal gown. ("Auferweckung des Jünglings zu Nain" in the "City Church," Wittenberg)

Urs Graf (Swiss, ca. 1485–1529/30). Bust of a Bearded Old Man, 1521. The Metropolitan Museum of Art, New York. Rogers Fund, 1997 (1997.19)

Titian (Tiziano Vecellio) (Italian, ca.1488-1576) -- Иоганн Фридрих I Саксонский, 1548, 129 см x 93 см, холст, масло

While living in Italy as a small child DeGrazia was exposed to the art of the Catholic Church. Although he never formally participated in church life, this particular series of paintings reflect a deep reverence for all things religious. Instead of the traditional 14 Stations of the Cross, DeGrazia's collection culminates with the resurrection. Station XIII Jesus is taken down from the cross.

Were the Woodwoses of medieval legend a British equivalent of Bigfoot? In medieval art and literature there are many references to savage, hairy creatures, part man and part beast. They are known as ‘Woodwoses’, from the Anglo-Saxon meaning ‘man-of-the-wood’.

Mosaic Head of an Apostle stone glass and gold leaf Byzantine from the Church of Santa Maria Assunta Torcello Italy made about 1075-1100 CE restored in the 1100s and 1800s by mharrsch, via Flickr

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Lucas Cranach the Elder ~ the three graces (1531)