All-New X-Men v2 001 by Dennis Hopeless

By Dennis Hopeless

Hated and feared greater than ever, the area is a deadly position for mutants. because the few closing X-MEN retreat into seclusion, a handful of mutant childrens refuse to permit their future to be determined for them. CYCLOPS. BEAST. ICEMAN. ANGEL. THE ALL-NEW WOLVERINE. child APOCALYPSE. OYA. Stepping out of the shadows in their predecessors, the ALL-NEW X-MEN are impressive out all alone, made up our minds to jot down their very own futures!

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Extra info for All-New X-Men v2 001

Sample text

Noah is de­ scribed as a just man, one who walked with God. God told Noah that He planned to destroy the earth and directed him to build an ark ( 6 : 5 - 1 3 ) . Fac tibi arcam de lignis laevigatis: mansiunculas in area facies, et bitumine linies intrinsecus et extrinsecus. Et sic facies earn trecentorum cubitorum erit longitudo arcae quinquaginata cubitorum latitutdo, et tringinta cubitorum alititudo illius. Fenestram in area facies et in cubito cosummabis summitatem eius: ostium autem arcae pones et latere: deorsum, coenacula, et tristega facies in ea.

Thus the catalogue given here is also a nearly complete set of images of medieval shipbuilding. It is rare to be able to draw together virtually all the depictions of one technical activity, of one form of work over a long period. The full range of depictions of Noah building the ark demonstrates how art changed and did not change over time. The varying style of representa­ tion follows in a general way the known phases of European art from the late classical period through the Renaissance. The catalogue establishes the relationship of each work to other works of its time, place, and style, and shows how artists relied on other artists, on their predecessors, in their treatment of this singular subject.

The depictions of Noah throughout the Middle Ages recall those classical views. They also reveal the long-term shift in ideas about technology and about the relationship of people to nature. Noah, for example, did not miss the change to greater naturalism typical of the rise of Gothic art. Knowledge about ideas of na­ ture and ideas of technology are extremely helpful in interpreting trends in artistic representation of technology. With Noah, however, what histo­ rians say about views of technology, gleaned from reading theology, is not consistent with what medieval artists did.

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