Examine the purpose of religious art (30 marks)
Religious art has been made for a large variety of purposes, both positive and negative. Firstly, religious art has been
made to teach, inform and educate people of religion and teachings. Pope Gregory the Great in a letter to the Bishop of
Marseilles wrote that ‘what writing does for the literate a picture does for the illiterate looking at it because the
ignorant see what they ought to see’. This shows how religion is used for education. An example is stained glass
windows. The Rose Window in the Cathedral of Carters displays the day of judgement and is there to remind people as
they leave the service that God will be judging them by what they do in their life. Another example is a stained glass
window showing the life of St. Martin of Tsars in 33 glass panels. One including the story where he divides his cloak with
a freezing beggar and then in a dream Jesus appears wearing the same cloak. This shows that the stained glass windows
also set a moral example.
Religious art is also used to aid people in prayer and worship, both public and private. In public worship, cathedrals and
churches are used and have a cruciform design, showing the importance of the Crucifixion, reflecting the use of the
building and also the hierarchical organisation of the church and the cathedral. In public places of worship architecture is
also used to give a sense of the numinous. For example in Winchester Cathedral the ceiling is made of arches which
create a vanishing point in perspective that takes the eye upwards towards heaven. Abbot Suger once described these
publics places of worship as ‘dwelling in some strange region of the universe which exists neither in the slime of the
earth and not purely in the purity of heaven’
Religious art is also used to show what it means to be human and express the personal beliefs of the artists. For
example ‘The Praying Hands’ by Albrecht Durer and Rembrandts, ‘The Prodigal Son’ and Holman Hunts artwork. Hunt
created a painting called ‘The Light of the World’ which displays Christ knocking at a door with no handle. It shows that
sins are in the way of letting someone come into the heart of God.
However religious art has been made for many negative purposes. Kings and rulers would use Christian imagery to
bolster their own ideology and political rhetoric. Religious art was used to put over religious propaganda. For example,
the painting ‘A protestant Allegory, by Girolama da Treviso the Younger. It shows the four evangelists, Matthew, Mark,
Luke and John stoning the Pope. It was used as a way of saying the Christian Church has abandoned the true biblical
faith that the protestants wanted to restore. Instead it has pursued politics and worldly power.
Religious art has also been made the expression of the statues and wealth of a religious person or institution. For
example, the Pope Julius II saw that by commissioning the Sistine Chapel was a way of emphasising temporal power and
enhancing his reputation. People would also commission religious art as they say it as a way of decreasing their time in
purgatory or not having to go at all. Instead they would go straight to heaven.
Religious art has also been made to help with the legal process of canonisation. An example is the painting ‘St Louis of
Toulouse’ by Simone Martini. The paining shows Louis performing miracles and healing the sick, showing what he has
done in life in order for him to become a saint.
AQA Commentary: AO1 (30 marks) - 25 minutes can be allocated to answering this question, including thinking time.
The candidate has offered a fairly thorough examination of the purposes of religious art in the time available. The candidate has a
good knowledge of the purposes of religious art and addressed the question set. The answer focussed on religious art for education,
devotion, expressing the personal faith of the artist, the use of art as propaganda and art as an expression of personal status and
wealth. Each one has been exemplified by reference to clear examples.
The first section on education is clear, and reference has been made to sources as to the value of art for education. The answer
could have pushed this a little further by using other examples of stained glass, and wall paintings to highlight broader themes and by
providing some indication that the educational value of religious art is still current. The devotional aspect was somewhat weaker,
and this section needed to be developed more. Good use of terminology ‘numinous’, etc. was evident and there was clear reference
to Abbot Suger’s comments about the nature of religious art and architecture.
The political / propaganda nature of religious art was addressed, and exemplified. Further reference development of this in terms of
art of the ‘Reformation’ or Catholic Reformation’, or some discussion about the nature of patronage, would have added to the clear
basic summary already offered. This was a good answer which clearly met the criteria for Level 6. With further development and
clearer exemplification of some of the themes this could have been pushed to the top Level.
Level 6 (26 marks)
Examine the purpose of religious art (30 marks)
Religious art has been made for a large variety of purposes, both positive and negative. Firstly, religious art has been
made to teach, inform and educate people of religion and teachings. Pope Gregory the Great in a letter to the Bishop of
Marseilles wrote that ‘what writing does for the literate a picture does for the illiterate looking at it because the
ignorant see what they ought to see’. This shows how religion is used for education. An example is stained glass
windows. The Rose Window in the Cathedral of Carters displays the day of judgement and is there to remind people as
they leave the service that God will be judging them by what they do in their life. Another example is a stained glass
window showing the life of St. Martin of Tsars in 33 glass panels. One including the story where he divides his cloak with
a freezing beggar and then in a dream Jesus appears wearing the same cloak. This shows that the stained glass windows
also set a moral example.
Religious art is also used to aid people in prayer and worship, both public and private. In public worship, cathedrals and
churches are used and have a cruciform design, showing the importance of the Crucifixion, reflecting the use of the
building and also the hierarchical organisation of the church and the cathedral. In public places of worship architecture is
also used to give a sense of the numinous. For example in Winchester Cathedral the ceiling is made of arches which
create a vanishing point in perspective that takes the eye upwards towards heaven. Abbot Suger once described these
publics places of worship as ‘dwelling in some strange region of the universe which exists neither in the slime of the
earth and not purely in the purity of heaven’
Religious art is also used to show what it means to be human and express the personal beliefs of the artists. For
example ‘The Praying Hands’ by Albrecht Durer and Rembrandts, ‘The Prodigal Son’ and Holman Hunts artwork. Hunt
created a painting called ‘The Light of the World’ which displays Christ knocking at a door with no handle. It shows that
sins are in the way of letting someone come into the heart of God.
However religious art has been made for many negative purposes. Kings and rulers would use Christian imagery to
bolster their own ideology and political rhetoric. Religious art was used to put over religious propaganda. For example,
the painting ‘A protestant Allegory’, by Girolama da Treviso the Younger. It shows the four evangelists, Matthew, Mark,
Luke and John stoning the Pope. It was used as a way of saying the Christian Church has abandoned the true biblical
faith that the protestants wanted to restore. Instead it has pursued politics and worldly power.
Religious art has also been made the expression of the statues and wealth of a religious person or institution. For
example, the Pope Julius II saw that by commissioning the Sistine Chapel was a way of emphasising temporal power and
enhancing his reputation. People would also commission religious art as they say it as a way of decreasing their time in
purgatory or not having to go at all. Instead they would go straight to heaven.
Religious art has also been made to help with the legal process of canonisation. An example is the painting ‘St Louis of
Toulouse’ by Simone Martini. The paining shows Louis performing miracles and healing the sick, showing what he has
done in life in order for him to become a saint.
Mr. Winter:
I think on the whole this is a good piece. I think you have the opportunity of adding more detail to it. Don’t
forget that we have also looked at how images in the church are used as institutional images to shows the
message of the church – i.e. Crucifixion scenes by Fra Angelico, Grunewald or Tintoretto. We also looked at
religious art as possibly being institutional but having undertones of revolution in them – i.e. Tintoretto’s
Presentation of the Virgin Mary or Veronese’s Feast at the House of Levi!! We also looked in more detail at
the Catholic Reformation (i.e. Propaganda but from both Prot and Cath. points of view) with images from
Rubens and Pulzone which had the purpose of invoking deep emotional responses from the viewer! Also
don’t forget if we look at Renaissance commissioned art we need to look at modern day commissioned art –
i.e. Moore’s Madonna and Child or Sutherland’s Tapestry in Coventry Cathedral of Christ in Glory. Also
there is the aesthetic dimension of religious art – i.e. for beauty’s sake – AQA suggested Sallman’s the
Head of Christ – but you know my views on that! And don’t forget icons or manuscripts for private worship
‘A protestant Allegory’ by Girolama da Treviso the Younger
The subject refers to the English Reformation, formally sanctioned by the Act of Supremacy of 1534, whereby Henry
VIII broke away from the Church of Rome and was established as head of the Church of England. The painting was in
the collection of Henry VIII who owned at least two other anti-papal pictures. The composition comprises a pope
sprawling on the ground, flanked by two female figures representing avarice and hypocrisy, all of whom are being stoned
by the four evangelists. On the ground in front of these figures are a cardinal's hat and a document with four seals
(probably a Papal Bull). The city in the distance on the left may be Jerusalem. Above the city is a burning candle, which
contrasts with another in the immediate foreground that has been extinguished by a cooking pan. These candles have
been interpreted as symbolising respectively the true light of the Gospels and the false doctrine of Rome. Historically,
the pope should be Paul III (1534-49), but the depicted likeness is closer to Julius II (1503-13). A specific identification
may not have been intended. The painting has been executed in grisaille with highlights in gold. The composition bears a
striking resemblance to three identical woodcuts illustrating scenes of stoning in the Coverdale Bible of 1535 (Leviticus
XXIV, Numbers XV, and Joshua VII), the first bible to be issued in English. The tenor of the propagandist element in this
picture is more commonly found in contemporary book illustrations. The pose of Saint Matthew resembles that of a
figure in The Stoning of Saint Stephen (Genoa, San Stefano), an altarpiece of about 1521-23 by Giulio Romano, with
whom Girolamo da Treviso may have worked when he was still in Italy.
‘On the difference between the true religion of Christ and the false idolatrous teaching of the Antichrist’ by L. Cranach
In this woodcut, Lucas Cranach seeks to illustrate the fundamental differences between the church of Rome and the
evangelical teaching of Luther and his followers. Like many other such broadsheets, the argument is conveyed through
visual parallelism and contrast. The panel on the depicts the world of reformed preaching, the right-hand panel its
Catholic counterpart. A scroll of text unfolds from God the Father through the other personae of the Trinity straight to
Luther; it reads "There is only one mediator. I am the way. Behold, this is the Lamb of God." Jesus, in prayer, says to
God: "Father, I sanctify you, I sanctify and sacrifice myself for you." On Luther's pulpit are inscribed the words "All the
prophets witness to this one--that there is no other name under heaven [by which we can be saved], Acts 4:10." In the
foreground is Luther's protector, John of Saxony, holding a cross on his shoulder. The space appears to be interior, and
is lacks decoration. Luther's audience consists of ordinary lay people. To the left, a man and woman receive communion
in both kinds, bread and wine. Luther's counterpart in the right-hand panel is an unidentified priest preaching to a
gathering of churchmen--bishops, cardinals, monks, doctors of theology. The candle bearing cleric has a hood with two
ears and bells at each tip, like a fool's cap; another has hidden playing cards in his hood, which spill out as he raises his
head to hear the sermon. A demon is blowing air into the preacher's ear, prompting him to say "Behold, before you lie
many Roman Catholic, not heretical, paths to salvation; you can come easily to glory." A pilgrimage is visible in the
background; a mass is celebrated to the right, but no one is hearing it. In the right foreground, the pope sells
indulgences, holding a sign that reads "When a coins drops, a soul flies to heaven." From heaven, God and Saint Francis
observe the scene in dismay (commentary adapted from Steven Ozment, The Age of Reform, 1250-1550: An Intellectual
and Religious History of Late Medieval and Reformation Europe [New Haven: Yale University Press, 1980], 214-215).
Only a person with religious belief can fully understand the significance of religious art
To what extent is this claim true? (15 marks)
This statement can be seen as correct because a piece of religious art contains a story and meaning and can only be fully
understood by a person with religious beliefs. However someone who may not necessarily be religious can still
appreciate the work of art for what it is. They may not understand the teaching but can still be inspired and given a
sense of the numinous by the uplifting sense of beauty that the image conveys.
In Houston, Texas, there is a chapel called the Rothko Chapel which was founded by John and Dominique du Menil.
They commissioned the artist Mark Rothko to fill the chapel with his paintings to give a sense of meditative stillness. He
painted monochrome contrasts with a dark colour. He said the paining provided a sense of the spiritual world. He, who
was brought up in a secular, non-religious environment said ‘the observer has the same religious experience looking at
the canvases that I had painting them’. This shows that someone with no religious belief can understand the significance
of religious art as it takes them to into another world, the spiritual world whether they experience the numinous.
Marchita Mauck once described religious art as ‘a bridge between the tangible mundane and the intangible realm of the
spiritual’
However there are many pieces of religious artwork with a religious subject. For example ’Supper at Emmaus’ by
Caravaggio. This painting will mean a lot to a person with religious beliefs and they will understand the teaching and
lesson that the image is conveying. A non-religious person will not see this as they may not have a great understanding
of typology. However, they can learn the basis of the story that the painting is showing and they can be educated about
religion from the painting and may inspire them to have faith.
In conclusion, the statement can be seen as true as religious art will mean more to a religious person, but someone who
is not religious can be given a sense of the numinous in the spiritual world and have a religious experience.
AQA Commentary: AO2 15 marks
Approximately 12½ minutes, including thinking time, can be allocated to answering this question. Answers to part (b)
questions are not expected to be long.
The candidate has provided a clear response that is relevant to the question asked and has considered differing views.
There is a logical structure to the answer and the answer has been supported by clear use of relevant examples. The
answer is clearly better than a Level 5 and fulfils most of the criteria for Level 6.
To get into the top level further critical analysis of the issue was needed, there was some attempt at analysis at a general
level, and a clearer explanation of the differing views would also have tipped the balance towards the higher level. An
evaluation has been attempted in light of the evidence offered, but stopped short of fulfilling the criteria for Level 7.
Level 6 (12 marks)
Mr. Winter:
I don’t particularly buy into this argument or the way it is written and I think you are capable of writing
at a higher answer. I will post a response to this argument underneath the link to this essay and explain
why I think you can write a better response.
HOWEVER
Take not of the structure and the PEE approach that the candidate uses. He justifies each point of view.
What he doesn’t do is then say convincingly at the end why one side outweighs the other. He lists two
points of view but doesn’t then answer the question in enough detail. Make sure when you do your exam
you do this!!! Don’t just Yes no maybe! You need to do yes no It has to be X because of...So another approach
to structure is The answer to this question is YES. Some people will argue NO because... However this
argument is not as valid because... thus supporting my claim that the answer to this question is yes.