QUOTE(Babs @ Apr 22 2005, 02:29 PM)
How about some info. on this symbols' thing? You say 'they' meaning the researchers think, but they don't know for sure, right?

I mean, they didn't live back then.
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It is a common fallacy that a person must be present in order to understand what happened in the past. It simply isn't so; if it were, we would have an entire field of forensic scientist and investigators out of work.
The past is quite easy (on occasion) to figure out, particularly when it involves objects designed for the very purpose of, well...showing off. When we speak of Renaissance art, we are speaking precisely of these sorts of objects.
The first thing that needs to be understood is that artists in the Renaissance were not like artists as we think of them today. Creativity was not something looked upon as an asset. Artists where commissioned to paint very specific things, in a very specific way, and little leeway was given. The reason for this is in the reason why the paintings were commissioned by the rich in the first place. The rich families of the Renaissance, the Medici's, the Pansos, etc, generally got rich by lending money, i.e. usury, which was considered a no-no in the Christian religion, in an age where acting non-christian was a good way to end up as a roast in the town square. To generate the good PR they needed, money was given lavishly to the church, and public work projects were generously funded. Culture was a big thing. Monuments, statues, artwork, all with very subtle, yet clear signs, of their patrons were, in effect, the very first public relations campaign.
So, what are these symbols? They are a necessary tool designed to share with a largely illiterate population the message that is being conveyed by the artwork. Remember that there was little margin for error here. Unlike today, where bad publicity is almost as good as good publicity, back then, controversy was not the way to go, and it had to be very clear that you were the pious, righteous, God-fearing sinner you were paying money to be. To this end, symbols. Mr. Ed has, as his avatar, the symbol of the moon, adapted from the pagan legend of the Greek moon goddess riding on a crescent moon. Also from the Greeks is the symbol of the sun, which is the comet looking one. Individual, the represent daytime or night, but both together, on opposite sides of the canvas as shown on the painting these came from, they indicate a day, more specifically the day of the crucifixion.
Renaissance symbology is a well-recorded, extensively documented, and throughly interesting study, none of it guess work and very little of it requiring deduction from third-party sources. It was, frankly, the language of the common masses. This is not say, however, that all the UFOs in the pictures are, in fact, UFOs. My personal favorite is the picture of St. Nicholas kneeling at the foot of the crucifixion, with what some claim to be a UFO a little was from him and under the cross. I have personally seen this painting; not six months ago, my nose was six inches from it. If one looks at the entire painting, not just that little section of it, it becomes clear that the UFO is not a UFO, but rather a red Cardinal's hat, identical to the ones being worn by the troop of cardinals in conference in the corner of the very same picture!