DEUS FEITO HOMEM (Parte 7/8)

Apologistas da Fé Católica

DEUS FEITO HOMEM

Como o Mistério da Encarnação fez do Cristianismo uma Religião da Imagem por excelência.

Essas história pode ser entendida através de duas camadas; uma literal, e uma espiritual.
A primeira é um tanto imprecisa pois a pintura original está perdida e hoje restam dela apenas reproduções;
“𝘌𝘴𝘵𝘦 í𝘤𝘰𝘯𝘦 𝘱𝘢𝘴𝘴𝘰𝘶 𝘢 𝘴𝘦𝘳 𝘢𝘤𝘦𝘪𝘵𝘰 𝘤𝘰𝘮𝘰 𝘶𝘮 𝘳𝘦𝘵𝘳𝘢𝘵𝘰 𝘥𝘢 𝘷𝘪𝘥𝘢 𝘧𝘦𝘪𝘵𝘰 𝘱𝘰𝘳 𝘚ã𝘰 𝘓𝘶𝘤𝘢𝘴, 𝘦 𝘢 𝘥𝘦𝘴𝘪𝘨𝘯𝘢çã𝘰 𝘏𝘰𝘥𝘦𝘨𝘦𝘵𝘳𝘪𝘢 (“𝘢𝘲𝘶𝘦𝘭𝘢 𝘲𝘶𝘦 𝘢𝘱𝘰𝘯𝘵𝘢 𝘰 𝘤𝘢𝘮𝘪𝘯𝘩𝘰) 𝘱𝘢𝘳𝘢 í𝘤𝘰𝘯𝘦𝘴 𝘥𝘦𝘴𝘴𝘦 𝘵𝘪𝘱𝘰 𝘱𝘰𝘥𝘦 𝘵𝘦𝘳 𝘥𝘦𝘳𝘪𝘷𝘢𝘥𝘰 𝘥𝘰 𝘯𝘰𝘮𝘦 𝘥𝘰 𝘦𝘥𝘪𝘧í𝘤𝘪𝘰 𝘦𝘮 𝘯𝘰 𝘲𝘶𝘢𝘭 𝘦𝘴𝘵𝘢𝘷𝘢 𝘢𝘭𝘰𝘫𝘢𝘥𝘰, 𝘰 𝘮𝘰𝘴𝘵𝘦𝘪𝘳𝘰 𝘥𝘦 𝘏𝘰𝘥𝘦𝘨𝘰𝘯. 𝘋𝘪𝘻-𝘴𝘦 𝘲𝘶𝘦 𝘰 í𝘤𝘰𝘯𝘦 𝘰𝘳𝘪𝘨𝘪𝘯𝘢𝘭 𝘧𝘰𝘪 𝘥𝘦𝘴𝘵𝘳𝘶í𝘥𝘰 𝘱𝘦𝘭𝘰𝘴 𝘵𝘶𝘳𝘤𝘰𝘴 𝘥𝘶𝘳𝘢𝘯𝘵𝘦 𝘢 𝘤𝘰𝘯𝘲𝘶𝘪𝘴𝘵𝘢 𝘥𝘦 𝘊𝘰𝘯𝘴𝘵𝘢𝘯𝘵𝘪𝘯𝘰𝘱𝘭𝘢 𝘦𝘮 1453; 𝘯𝘰 𝘦𝘯𝘵𝘢𝘯𝘵𝘰, 𝘶𝘮𝘢 𝘵𝘳𝘢𝘥𝘪çã𝘰 𝘢𝘭𝘵𝘦𝘳𝘯𝘢𝘵𝘪𝘷𝘢 𝘢𝘧𝘪𝘳𝘮𝘢 𝘲𝘶𝘦 𝘦𝘴𝘵𝘢 𝘪𝘮𝘢𝘨𝘦𝘮 𝘦 𝘰𝘶𝘵𝘳𝘢𝘴 𝘱𝘪𝘯𝘵𝘢𝘥𝘢𝘴 𝘱𝘰𝘳 𝘚ã𝘰 𝘓𝘶𝘤𝘢𝘴 𝘧𝘪𝘯𝘢𝘭𝘮𝘦𝘯𝘵𝘦 𝘦𝘯𝘤𝘰𝘯𝘵𝘳𝘢𝘳𝘢𝘮 𝘴𝘦𝘶 𝘤𝘢𝘮𝘪𝘯𝘩𝘰 𝘱𝘢𝘳𝘢 𝘰 𝘖𝘤𝘪𝘥𝘦𝘯𝘵𝘦 𝘥𝘶𝘳𝘢𝘯𝘵𝘦 𝘢𝘴 𝘊𝘳𝘶𝘻𝘢𝘥𝘢𝘴. 𝘐𝘯𝘴𝘵𝘢𝘭𝘢𝘥𝘰𝘴 𝘦𝘮 𝘪𝘨𝘳𝘦𝘫𝘢𝘴, 𝘦𝘴𝘴𝘦𝘴 í𝘤𝘰𝘯𝘦𝘴 𝘵𝘰𝘳𝘯𝘢𝘳𝘢𝘮-𝘴𝘦 𝘰𝘣𝘫𝘦𝘵𝘰𝘴 𝘥𝘦 𝘷𝘦𝘯𝘦𝘳𝘢çã𝘰, 𝘦𝘴𝘵í𝘮𝘶𝘭𝘰𝘴 𝘢𝘰 𝘤𝘳𝘦𝘴𝘤𝘪𝘮𝘦𝘯𝘵𝘰 𝘥𝘰 𝘤𝘶𝘭𝘵𝘰 𝘮𝘢𝘳𝘪𝘢𝘯𝘰.
𝘌𝘹𝘦𝘮𝘱𝘭𝘰𝘴 𝘧𝘰𝘳𝘢𝘮 𝘦𝘯𝘤𝘰𝘯𝘵𝘳𝘢𝘥𝘰𝘴 𝘦𝘮 𝘈𝘢𝘤𝘩𝘦𝘯, 𝘝𝘦𝘯𝘦𝘻𝘢, 𝘉𝘰𝘭𝘰𝘯𝘩𝘢 𝘦 𝘙𝘰𝘮𝘢. 𝘖𝘶𝘵𝘳𝘢 𝘵𝘳𝘢𝘥𝘪çã𝘰 𝘳𝘦𝘭𝘢𝘵𝘢 𝘲𝘶𝘦 𝘚ã𝘰 𝘓𝘶𝘤𝘢𝘴 𝘱𝘳𝘰𝘥𝘶𝘻𝘪𝘶 𝘱𝘪𝘯𝘵𝘶𝘳𝘢𝘴 𝘥𝘢 𝘝𝘪𝘳𝘨𝘦𝘮 𝘲𝘶𝘢𝘯𝘥𝘰 𝘦𝘴𝘵𝘢𝘷𝘢 𝘦𝘮 𝘙𝘰𝘮𝘢: 𝘢 𝘝𝘪𝘳𝘨𝘦𝘮 𝘤𝘰𝘮 𝘰 𝘔𝘦𝘯𝘪𝘯𝘰 𝘦𝘮 𝘔𝘢𝘳𝘪𝘢 𝘯𝘢 𝘝𝘪𝘢 𝘓𝘢𝘵𝘢, 𝘙𝘰𝘮𝘢, 𝘧𝘰𝘪 𝘴𝘶𝘱𝘰𝘴𝘵𝘢𝘮𝘦𝘯𝘵𝘦 𝘦𝘴𝘤𝘢𝘷𝘢𝘥𝘢 𝘯𝘰 𝘭𝘰𝘤𝘢𝘭 𝘰𝘯𝘥𝘦 𝘚ã𝘰 𝘓𝘶𝘤𝘢𝘴 𝘱𝘳𝘦𝘨𝘰𝘶 𝘦 𝘤𝘰𝘮𝘱ô𝘴 𝘰𝘴 𝘈𝘵𝘰𝘴 𝘥𝘰𝘴 𝘈𝘱ó𝘴𝘵𝘰𝘭𝘰𝘴.
𝘌𝘴𝘴𝘦𝘴 í𝘤𝘰𝘯𝘦𝘴 𝘦𝘳𝘢𝘮 𝘷𝘢𝘭𝘰𝘳𝘪𝘻𝘢𝘥𝘰𝘴 𝘵𝘢𝘯𝘵𝘰 𝘱𝘰𝘳 𝘴𝘶𝘢 𝘪𝘮𝘱𝘰𝘳𝘵â𝘯𝘤𝘪𝘢 𝘩𝘪𝘴𝘵ó𝘳𝘪𝘤𝘢 𝘲𝘶𝘢𝘯𝘵𝘰 𝘱𝘰𝘳 𝘴𝘶𝘢 𝘤𝘢𝘱𝘢𝘤𝘪𝘥𝘢𝘥𝘦 𝘥𝘦 𝘧𝘢𝘻𝘦𝘳 𝘮𝘪𝘭𝘢𝘨𝘳𝘦𝘴. 𝘌𝘭𝘦𝘴 𝘦𝘳𝘢𝘮 𝘤𝘰𝘯𝘴𝘪𝘥𝘦𝘳𝘢𝘥𝘰𝘴 𝘪𝘯𝘥𝘦𝘴𝘵𝘳𝘶𝘵í𝘷𝘦𝘪𝘴 𝘦 𝘦𝘧𝘪𝘤𝘢𝘻𝘦𝘴 𝘦𝘮 𝘵𝘦𝘮𝘱𝘰𝘴 𝘥𝘪𝘧í𝘤𝘦𝘪𝘴. 𝘏𝘪𝘴𝘵ó𝘳𝘪𝘢𝘴 𝘦𝘹𝘵𝘦𝘯𝘴𝘢𝘴 𝘤𝘰𝘯𝘧𝘪𝘳𝘮𝘢𝘳𝘢𝘮 𝘴𝘶𝘢 𝘱𝘳𝘰𝘤𝘦𝘥ê𝘯𝘤𝘪𝘢 𝘦 𝘱𝘰𝘥𝘦𝘳𝘦𝘴 𝘦𝘴𝘱𝘦𝘤𝘪𝘢𝘪𝘴. 𝘈𝘤𝘳𝘦𝘥𝘪𝘵𝘢-𝘴𝘦 𝘲𝘶𝘦 𝘢 𝘝𝘦𝘳𝘨𝘪𝘯𝘦 𝘥𝘦𝘭 𝘗𝘰𝘱𝘰𝘭𝘰 𝘵𝘦𝘯𝘩𝘢 𝘷𝘪𝘯𝘥𝘰 𝘥𝘦 𝘊𝘰𝘯𝘴𝘵𝘢𝘯𝘵𝘪𝘯𝘰𝘱𝘭𝘢 𝘱𝘢𝘳𝘢 𝘰 𝘚𝘢𝘯𝘤𝘵𝘢 𝘚𝘢𝘯𝘤𝘵𝘰𝘳𝘶𝘮 𝘦𝘮 𝘓𝘢𝘵𝘳ã𝘰, 𝘥𝘦 𝘰𝘯𝘥𝘦 𝘧𝘰𝘪 𝘵𝘳𝘢𝘯𝘴𝘧𝘦𝘳𝘪𝘥𝘢 𝘱𝘢𝘳𝘢 𝘚. 𝘔𝘢𝘳𝘪𝘢 𝘥𝘦𝘭 𝘗𝘰𝘱𝘰𝘭𝘰, 𝘙𝘰𝘮𝘢, 𝘱𝘰𝘳 𝘰𝘳𝘥𝘦𝘮 𝘥𝘦 𝘎𝘳𝘦𝘨ó𝘳𝘪𝘰 𝘐𝘟 (1227-41). 𝘋𝘶𝘳𝘢𝘯𝘵𝘦 𝘢 𝘙𝘦𝘯𝘢𝘴𝘤𝘦𝘯ç𝘢, 𝘵𝘰𝘳𝘯𝘰𝘶-𝘴𝘦 𝘰 𝘧𝘰𝘤𝘰 𝘥𝘦 𝘦𝘯𝘤𝘰𝘮𝘦𝘯𝘥𝘢𝘴 𝘢𝘳𝘵í𝘴𝘵𝘪𝘤𝘢𝘴 𝘲𝘶𝘢𝘯𝘥𝘰 𝘢 𝘪𝘨𝘳𝘦𝘫𝘢 𝘧𝘰𝘪 𝘳𝘦𝘤𝘰𝘯𝘴𝘵𝘳𝘶í𝘥𝘢 𝘦 𝘥𝘦𝘤𝘰𝘳𝘢𝘥𝘢 𝘱𝘰𝘳 𝘚𝘪𝘴𝘵𝘰 𝘐𝘝 𝘦 𝘯𝘰𝘷𝘢𝘮𝘦𝘯𝘵𝘦 𝘱𝘰𝘳 𝘑ú𝘭𝘪𝘰 𝘐𝘐. 𝘔𝘶𝘪𝘵𝘰𝘴 𝘥𝘦𝘴𝘴𝘦𝘴 í𝘤𝘰𝘯𝘦𝘴 𝘢𝘵𝘳𝘪𝘣𝘶í𝘥𝘰𝘴 𝘢 𝘚ã𝘰 𝘓𝘶𝘤𝘢𝘴 𝘧𝘰𝘳𝘢𝘮 𝘤𝘰𝘱𝘪𝘢𝘥𝘰𝘴 𝘱𝘰𝘳 𝘢𝘳𝘵𝘪𝘴𝘵𝘢𝘴 𝘥𝘰 𝘴é𝘤𝘶𝘭𝘰 15 𝘰𝘶 𝘱𝘪𝘯𝘵𝘢𝘥𝘰𝘴 𝘦𝘮 𝘶𝘮 𝘦𝘴𝘧𝘰𝘳ç𝘰 𝘱𝘢𝘳𝘢 𝘳𝘦𝘴𝘵𝘢𝘶𝘳𝘢𝘳 𝘴𝘦𝘶 𝘣𝘳𝘪𝘭𝘩𝘰 𝘰𝘳𝘪𝘨𝘪𝘯𝘢𝘭. 𝘔𝘦𝘭𝘰𝘻𝘻𝘰 𝘥𝘢 𝘍𝘰𝘳𝘭𝘪 𝘳𝘦𝘱𝘳𝘰𝘥𝘶𝘻𝘪𝘶 𝘢 𝘝𝘦𝘳𝘨𝘪𝘯𝘦 𝘥𝘦𝘭 𝘗𝘰𝘱𝘰𝘭𝘰 (1461) 𝘱𝘢𝘳𝘢 𝘴𝘦𝘶 𝘱𝘢𝘵𝘳𝘰𝘯𝘰 𝘈𝘭𝘦𝘴𝘴𝘢𝘯𝘥𝘳𝘰 𝘚𝘧𝘰𝘳𝘻𝘢, 𝘦 𝘰𝘶𝘵𝘳𝘰𝘴 𝘱𝘪𝘯𝘵𝘰𝘳𝘦𝘴 𝘥𝘢𝘴 𝘦𝘴𝘤𝘰𝘭𝘢𝘴 𝘳𝘰𝘮𝘢𝘯𝘢 𝘦 𝘥𝘢 Ú𝘮𝘣𝘳𝘪𝘢 𝘮𝘰𝘥𝘦𝘭𝘢𝘳𝘢𝘮 𝘴𝘶𝘢𝘴 𝘰𝘣𝘳𝘢𝘴 𝘢 𝘱𝘢𝘳𝘵𝘪𝘳 𝘥𝘦𝘴𝘴𝘢 𝘪𝘮𝘢𝘨𝘦𝘮 𝘴𝘢𝘨𝘳𝘢𝘥𝘢. 𝘜𝘮 𝘣𝘦𝘭𝘰 𝘦𝘹𝘦𝘮𝘱𝘭𝘰 𝘢𝘵𝘳𝘪𝘣𝘶í𝘥𝘰 𝘢𝘰 𝘤í𝘳𝘤𝘶𝘭𝘰 𝘥𝘦 𝘈𝘯𝘵𝘰𝘯𝘪𝘢𝘻𝘻𝘰 𝘙𝘰𝘮𝘢𝘯𝘰 é 𝘢 𝘝𝘪𝘳𝘨𝘦𝘮 𝘤𝘰𝘮 𝘰 𝘔𝘦𝘯𝘪𝘯𝘰.
𝘈 𝘏𝘰𝘥𝘦𝘨𝘦𝘵𝘳𝘪𝘢 𝘱𝘢𝘴𝘴𝘰𝘶 𝘢 𝘴𝘦𝘳 𝘢𝘤𝘦𝘪𝘵𝘢 𝘤𝘰𝘮𝘰 𝘶𝘮𝘢 𝘥𝘢𝘴 𝘱𝘳𝘪𝘮𝘦𝘪𝘳𝘢𝘴 𝘪𝘮𝘢𝘨𝘦𝘯𝘴 𝘲𝘶𝘦 𝘳𝘦𝘱𝘳𝘦𝘴𝘦𝘯𝘵𝘢𝘮 𝘢 𝘝𝘪𝘳𝘨𝘦𝘮 𝘦 𝘰 𝘔𝘦𝘯𝘪𝘯𝘰: 𝘢 𝘝𝘪𝘳𝘨𝘦𝘮, 𝘯𝘢 𝘢𝘭𝘵𝘶𝘳𝘢 𝘥𝘰 𝘣𝘶𝘴𝘵𝘰 𝘦 𝘷𝘰𝘭𝘵𝘢𝘥𝘢 𝘱𝘢𝘳𝘢 𝘢 𝘧𝘳𝘦𝘯𝘵𝘦, 𝘴𝘦𝘨𝘶𝘳𝘢 𝘢 𝘤𝘳𝘪𝘢𝘯ç𝘢 𝘴𝘦𝘯𝘵𝘢𝘥𝘢 𝘥𝘦 𝘭𝘢𝘥𝘰, 𝘨𝘦𝘳𝘢𝘭𝘮𝘦𝘯𝘵𝘦 𝘦𝘮𝘣𝘢𝘭𝘢𝘥𝘢 𝘤𝘰𝘯𝘵𝘳𝘢 𝘴𝘦𝘶 𝘣𝘳𝘢ç𝘰 𝘦𝘴𝘲𝘶𝘦𝘳𝘥𝘰. 𝘚𝘶𝘢 𝘮ã𝘰 𝘥𝘪𝘳𝘦𝘪𝘵𝘢 𝘥𝘪𝘳𝘦𝘤𝘪𝘰𝘯𝘢 𝘰𝘴 𝘧𝘪é𝘪𝘴 𝘱𝘢𝘳𝘢 𝘦𝘭𝘦, 𝘮𝘰𝘴𝘵𝘳𝘢𝘯𝘥𝘰-𝘭𝘩𝘦 𝘰 𝘤𝘢𝘮𝘪𝘯𝘩𝘰. 𝘈 𝘧𝘪𝘨𝘶𝘳𝘢 𝘵𝘰𝘵𝘢𝘭𝘮𝘦𝘯𝘵𝘦 𝘷𝘦𝘴𝘵𝘪𝘥𝘢 𝘥𝘰 𝘮𝘦𝘯𝘪𝘯𝘰 𝘊𝘳𝘪𝘴𝘵𝘰 𝘱𝘰𝘥𝘦 𝘢𝘣𝘦𝘯ç𝘰𝘢𝘳 𝘰𝘴 𝘦𝘴𝘱𝘦𝘤𝘵𝘢𝘥𝘰𝘳𝘦𝘴 𝘤𝘰𝘮 𝘢 𝘮ã𝘰 𝘥𝘪𝘳𝘦𝘪𝘵𝘢 𝘦 𝘴𝘦𝘨𝘶𝘳𝘢𝘳 𝘶𝘮 𝘱𝘦𝘳𝘨𝘢𝘮𝘪𝘯𝘩𝘰 𝘤𝘰𝘮 𝘢 𝘦𝘴𝘲𝘶𝘦𝘳𝘥𝘢. 𝘖 í𝘤𝘰𝘯𝘦 𝘵𝘦𝘮 𝘶𝘮 𝘧𝘶𝘯𝘥𝘰 𝘥𝘰𝘶𝘳𝘢𝘥𝘰, 𝘮𝘶𝘪𝘵𝘢𝘴 𝘷𝘦𝘻𝘦𝘴 𝘤𝘰𝘮 𝘪𝘯𝘴𝘤𝘳𝘪çõ𝘦𝘴 𝘨𝘳𝘦𝘨𝘢𝘴 𝘲𝘶𝘦 𝘪𝘥𝘦𝘯𝘵𝘪𝘧𝘪𝘤𝘢𝘮 𝘢 𝘮ã𝘦 𝘦 𝘰 𝘧𝘪𝘭𝘩𝘰.
𝘈 𝘏𝘰𝘥𝘦𝘨𝘦𝘵𝘳𝘪𝘢 𝘧𝘰𝘪 𝘢𝘥𝘰𝘵𝘢𝘥𝘰 𝘤𝘰𝘮𝘰 𝘶𝘮𝘢 𝘪𝘮𝘢𝘨𝘦𝘮 𝘰𝘧𝘪𝘤𝘪𝘢𝘭 𝘥𝘦 𝘙𝘰𝘮𝘢 𝘯𝘰 𝘧𝘪𝘯𝘢𝘭 𝘥𝘢 𝘈𝘯𝘵𝘪𝘨𝘶𝘪𝘥𝘢𝘥𝘦. 𝘈𝘤𝘳𝘦𝘥𝘪𝘵𝘢-𝘴𝘦 𝘲𝘶𝘦 𝘚ã𝘰 𝘓𝘶𝘤𝘢𝘴 𝘱𝘪𝘯𝘵𝘰𝘶 𝘰 í𝘤𝘰𝘯𝘦 𝘥𝘢 𝘝𝘪𝘳𝘨𝘦𝘮 𝘤𝘰𝘮 𝘰 𝘔𝘦𝘯𝘪𝘯𝘰 𝘦𝘮 𝘚. 𝘔𝘢𝘳𝘪𝘢 𝘔𝘢𝘨𝘨𝘪𝘰𝘳𝘦, 𝘳𝘢𝘻ã𝘰 𝘱𝘦𝘭𝘢 𝘲𝘶𝘢𝘭 𝘦𝘹𝘪𝘴𝘵𝘦 𝘶𝘮 𝘰𝘳𝘢𝘵ó𝘳𝘪𝘰 𝘯𝘢 𝘪𝘨𝘳𝘦𝘫𝘢 𝘥𝘦𝘥𝘪𝘤𝘢𝘥𝘰 𝘢𝘰 𝘴𝘢𝘯𝘵𝘰 𝘱𝘦𝘭𝘢 𝘊𝘰𝘮𝘱𝘢𝘯𝘩𝘪𝘢 𝘥𝘰𝘴 𝘗𝘪𝘯𝘵𝘰𝘳𝘦𝘴. 𝘗𝘰𝘳 𝘷𝘰𝘭𝘵𝘢 𝘥𝘦 1211, 𝘢 𝘱𝘪𝘯𝘵𝘶𝘳𝘢, 𝘲𝘶𝘦 𝘢𝘨𝘰𝘳𝘢 𝘴𝘦 𝘢𝘤𝘳𝘦𝘥𝘪𝘵𝘢 𝘥𝘢𝘵𝘢𝘳 𝘥𝘰 𝘧𝘪𝘯𝘢𝘭 𝘥𝘰 𝘴é𝘤𝘶𝘭𝘰 12 𝘰𝘶 𝘪𝘯í𝘤𝘪𝘰 𝘥𝘰 13, 𝘦𝘴𝘵𝘢𝘷𝘢 𝘢𝘭𝘰𝘫𝘢𝘥𝘢 𝘦𝘮 𝘶𝘮 𝘵𝘢𝘣𝘦𝘳𝘯á𝘤𝘶𝘭𝘰 𝘥𝘰𝘢𝘥𝘰 𝘱𝘦𝘭𝘰 𝘚𝘦𝘯𝘢𝘥𝘰 𝘦 𝘱𝘦𝘭𝘰 𝘱𝘰𝘷𝘰 𝘥𝘦 𝘙𝘰𝘮𝘢 𝘦 𝘳𝘦𝘤𝘦𝘣𝘦𝘶 𝘰 𝘵í𝘵𝘶𝘭𝘰 𝘱𝘰𝘱𝘶𝘭𝘢𝘳 𝘥𝘦 𝘚𝘢𝘭𝘶𝘴 𝘱𝘰𝘱𝘶𝘭𝘪 𝘙𝘰𝘮𝘢𝘯𝘪 (𝘖 𝘴𝘢𝘭𝘷𝘢𝘥𝘰𝘳 / 𝘱𝘳𝘰𝘴𝘱𝘦𝘳𝘪𝘥𝘢𝘥𝘦 𝘥𝘰 𝘱𝘰𝘷𝘰 𝘳𝘰𝘮𝘢𝘯𝘰’). 𝘗𝘢𝘳𝘦𝘤𝘦 𝘵𝘦𝘳 𝘱𝘦𝘳𝘮𝘢𝘯𝘦𝘤𝘪𝘥𝘰 𝘴𝘰𝘣 𝘶𝘮 𝘤𝘪𝘣ó𝘳𝘪𝘰 à 𝘥𝘪𝘳𝘦𝘪𝘵𝘢 𝘥𝘢 𝘢𝘣𝘴𝘪𝘥𝘦, 𝘢𝘵é 𝘲𝘶𝘦 𝘧𝘰𝘪 𝘧𝘪𝘯𝘢𝘭𝘮𝘦𝘯𝘵𝘦 𝘵𝘳𝘢𝘯𝘴𝘧𝘦𝘳𝘪𝘥𝘰 𝘱𝘢𝘳𝘢 𝘢 𝘊𝘢𝘱𝘦𝘭𝘢 𝘗𝘢𝘶𝘭𝘪𝘯𝘢 𝘦𝘮 𝘶𝘮𝘢 𝘱𝘳𝘰𝘤𝘪𝘴𝘴ã𝘰 𝘴𝘢𝘨𝘳𝘢𝘥𝘢 𝘦𝘮 1613. 𝘎𝘪𝘰𝘷𝘢𝘯𝘯𝘪 𝘙𝘶𝘤𝘦𝘭𝘭𝘢𝘪 𝘮𝘦𝘯𝘤𝘪𝘰𝘯𝘰𝘶 𝘢 𝘱𝘪𝘯𝘵𝘶𝘳𝘢 𝘱𝘰𝘳 𝘰𝘤𝘢𝘴𝘪ã𝘰 𝘥𝘦 𝘴𝘶𝘢 𝘱𝘦𝘳𝘦𝘨𝘳𝘪𝘯𝘢çã𝘰 𝘢 𝘙𝘰𝘮𝘢 𝘯𝘰 𝘈𝘯𝘰 𝘚𝘢𝘯𝘵𝘰 𝘥𝘦 1450 𝘊ó𝘱𝘪𝘢𝘴 𝘧𝘦𝘪𝘵𝘢𝘴 𝘱𝘰𝘳 𝘈𝘯𝘵𝘰𝘯𝘪𝘢𝘻𝘻𝘰 𝘙𝘰𝘮𝘢𝘯𝘰 𝘦 𝘔𝘦𝘭𝘰𝘻𝘻𝘰 𝘥𝘢 𝘍𝘰𝘳𝘭𝘪 𝘢𝘫𝘶𝘥𝘢𝘳𝘢𝘮 𝘢 𝘨𝘢𝘳𝘢𝘯𝘵𝘪𝘳 𝘴𝘶𝘢 𝘧𝘢𝘮𝘢 𝘥𝘶𝘳𝘢𝘥𝘰𝘶𝘳𝘢.
𝘚ã𝘰 𝘯𝘶𝘮𝘦𝘳𝘰𝘴𝘰𝘴 𝘰𝘴 í𝘤𝘰𝘯𝘦𝘴 𝘢𝘵𝘳𝘪𝘣𝘶í𝘥𝘰𝘴 𝘢 𝘚ã𝘰 𝘓𝘶𝘤𝘢𝘴 𝘲𝘶𝘦 𝘴𝘦 𝘤𝘰𝘯𝘧𝘰𝘳𝘮𝘢𝘮 𝘤𝘰𝘮 𝘰𝘶𝘵𝘳𝘰𝘴 𝘱𝘳𝘰𝘵ó𝘵𝘪𝘱𝘰𝘴 𝘣𝘪𝘻𝘢𝘯𝘵𝘪𝘯𝘰𝘴 𝘲𝘶𝘦 𝘯ã𝘰 𝘢 𝘏𝘰𝘥𝘦𝘨𝘦𝘵𝘳𝘪𝘢: 𝘢 𝘝𝘪𝘳𝘨𝘦𝘮 𝘎𝘭𝘺𝘬𝘰𝘱𝘩𝘪𝘭𝘰𝘶𝘴𝘴𝘢, 𝘰𝘯𝘥𝘦 𝘰 𝘔𝘦𝘯𝘪𝘯𝘰 𝘱𝘳𝘦𝘴𝘴𝘪𝘰𝘯𝘢 𝘰 𝘳𝘰𝘴𝘵𝘰 𝘤𝘰𝘯𝘵𝘳𝘢 𝘰 𝘥𝘦 𝘴𝘶𝘢 𝘮ã𝘦; 𝘢 𝘝𝘪𝘳𝘨𝘦𝘮 𝘎𝘢𝘭𝘢𝘤𝘵𝘰𝘵𝘳ó𝘧𝘰𝘯𝘢, 𝘦𝘮 𝘲𝘶𝘦 𝘢 𝘮ã𝘦 𝘢𝘮𝘢𝘮𝘦𝘯𝘵𝘢 𝘰 𝘔𝘦𝘯𝘪𝘯𝘰; 𝘦 𝘢 𝘝𝘪𝘳𝘨𝘦𝘮 𝘒𝘺𝘳𝘪𝘰𝘵𝘪𝘴𝘴𝘢, 𝘰𝘯𝘥𝘦 𝘢 𝘝𝘪𝘳𝘨𝘦𝘮 𝘥𝘦 𝘱é 𝘴𝘦𝘨𝘶𝘳𝘢 𝘰 𝘔𝘦𝘯𝘪𝘯𝘰 𝘤𝘰𝘯𝘵𝘳𝘢 𝘰 𝘱𝘦𝘪𝘵𝘰. 𝘛𝘰𝘥𝘰𝘴 𝘧𝘰𝘳𝘢𝘮 𝘪𝘥𝘦𝘯𝘵𝘪𝘧𝘪𝘤𝘢𝘥𝘰𝘴 𝘤𝘰𝘮𝘰 𝘳𝘦𝘵𝘳𝘢𝘵𝘰𝘴 𝘥𝘢 𝘮ã𝘰 𝘥𝘦 𝘚ã𝘰 𝘓𝘶𝘤𝘢𝘴. 𝘈 𝘝𝘪𝘳𝘨𝘦𝘮 𝘏𝘢𝘨𝘩𝘪𝘰𝘴𝘰𝘳𝘪𝘵𝘪𝘴𝘴𝘢, 𝘤𝘰𝘯𝘩𝘦𝘤𝘪𝘥𝘢 𝘦𝘮 𝘪𝘵𝘢𝘭𝘪𝘢𝘯𝘰 𝘤𝘰𝘮𝘰 𝘈𝘷𝘷𝘰𝘤𝘢𝘵𝘢, 𝘶𝘮𝘢 𝘪𝘮𝘢𝘨𝘦𝘮 𝘱𝘰𝘱𝘶𝘭𝘢𝘳 𝘥𝘶𝘳𝘢𝘯𝘵𝘦 𝘢 𝘐𝘥𝘢𝘥𝘦 𝘔é𝘥𝘪𝘢 𝘦 𝘰 𝘙𝘦𝘯𝘢𝘴𝘤𝘪𝘮𝘦𝘯𝘵𝘰, 𝘵𝘢𝘮𝘣é𝘮 𝘧𝘰𝘪 𝘤𝘰𝘯𝘴𝘪𝘥𝘦𝘳𝘢𝘥𝘢 𝘢 𝘪𝘯𝘷𝘦𝘯çã𝘰 𝘥𝘦 𝘚ã𝘰 𝘓𝘶𝘤𝘢𝘴; 𝘮𝘰𝘴𝘵𝘳𝘢 𝘢 𝘝𝘪𝘳𝘨𝘦𝘮 𝘴𝘰𝘭𝘪𝘵á𝘳𝘪𝘢 𝘷𝘪𝘳𝘢𝘥𝘢 𝘱𝘢𝘳𝘢 𝘰 𝘭𝘢𝘥𝘰 𝘤𝘰𝘮 𝘰𝘴 𝘣𝘳𝘢ç𝘰𝘴 𝘦𝘳𝘨𝘶𝘪𝘥𝘰𝘴. 𝘖 𝘵𝘪𝘱𝘰 𝘪𝘤𝘰𝘯𝘰𝘨𝘳á𝘧𝘪𝘤𝘰 𝘭𝘦𝘮𝘣𝘳𝘢 𝘰 𝘵𝘦𝘮𝘢 𝘥𝘢 𝘋𝘦𝘦𝘴𝘪𝘴 (𝘊𝘳𝘪𝘴𝘵𝘰 𝘭𝘢𝘥𝘦𝘢𝘥𝘰 𝘱𝘦𝘭𝘢 𝘝𝘪𝘳𝘨𝘦𝘮 𝘦 𝘱𝘰𝘳 𝘑𝘰ã𝘰 𝘉𝘢𝘵𝘪𝘴𝘵𝘢) 𝘦 𝘢 𝘝𝘪𝘳𝘨𝘦𝘮 𝘤𝘰𝘮𝘰 𝘪𝘯𝘵𝘦𝘳𝘤𝘦𝘴𝘴𝘰𝘳𝘢. 𝘜𝘮𝘢 𝘥𝘪𝘮𝘪𝘯𝘶𝘵𝘢 𝘧𝘪𝘨𝘶𝘳𝘢 𝘥𝘦 𝘊𝘳𝘪𝘴𝘵𝘰 𝘱𝘰𝘥𝘦 𝘢𝘱𝘢𝘳𝘦𝘤𝘦𝘳 𝘯𝘰 𝘤𝘢𝘯𝘵𝘰 𝘴𝘶𝘱𝘦𝘳𝘪𝘰𝘳 𝘥𝘦𝘴𝘴𝘢𝘴 𝘪𝘮𝘢𝘨𝘦𝘯𝘴 𝘥𝘢 𝘈𝘷𝘷𝘰𝘤𝘢𝘵𝘢.
𝘈 𝘵𝘳𝘢𝘥𝘪çã𝘰 𝘢𝘴𝘴𝘰𝘤𝘪𝘢 𝘚ã𝘰 𝘓𝘶𝘤𝘢𝘴 à 𝘝𝘪𝘳𝘨𝘦𝘮 𝘈𝘳𝘷𝘰𝘤𝘢𝘵𝘢 𝘥𝘦 𝘚. 𝘔𝘢𝘳𝘪𝘢 𝘦𝘮 𝘈𝘳𝘢𝘤𝘰𝘦𝘭𝘪, 𝘙𝘰𝘮𝘢, 𝘶𝘮𝘢 𝘪𝘮𝘢𝘨𝘦𝘮 𝘮𝘪𝘭𝘢𝘨𝘳𝘰𝘴𝘢 𝘥𝘦 𝘨𝘳𝘢𝘯𝘥𝘦 𝘳𝘦𝘯𝘰𝘮𝘦. 𝘖 í𝘤𝘰𝘯𝘦 𝘳𝘦𝘱𝘳𝘦𝘴𝘦𝘯𝘵𝘢 𝘢 𝘧𝘪𝘨𝘶𝘳𝘢 𝘥𝘢 𝘝𝘪𝘳𝘨𝘦𝘮 𝘯𝘢 𝘮𝘦𝘵𝘢𝘥𝘦 𝘥𝘰 𝘤𝘰𝘳𝘱𝘰, 𝘷𝘪𝘳𝘢𝘯𝘥𝘰-𝘴𝘦 𝘱𝘢𝘳𝘢 𝘢 𝘥𝘪𝘳𝘦𝘪𝘵𝘢 𝘦𝘯𝘲𝘶𝘢𝘯𝘵𝘰 𝘴𝘦𝘶𝘴 𝘰𝘭𝘩𝘰𝘴 𝘴𝘦 𝘥𝘪𝘳𝘪𝘨𝘦𝘮 𝘢𝘰 𝘰𝘣𝘴𝘦𝘳𝘷𝘢𝘥𝘰𝘳. 𝘈 𝘩𝘪𝘴𝘵ó𝘳𝘪𝘢 𝘥𝘦𝘴𝘵𝘢 𝘱𝘪𝘯𝘵𝘶𝘳𝘢 𝘳𝘦𝘮𝘰𝘯𝘵𝘢 𝘢𝘰 𝘴é𝘤𝘶𝘭𝘰 𝘝𝘐 𝘱𝘰𝘳 𝘤𝘳𝘰𝘯𝘪𝘴𝘵𝘢𝘴 𝘮𝘦𝘥𝘪𝘦𝘷𝘢𝘪𝘴 𝘦 𝘳𝘦𝘯𝘢𝘴𝘤𝘦𝘯𝘵𝘪𝘴𝘵𝘢𝘴, 𝘲𝘶𝘦 𝘰𝘤𝘢𝘴𝘪𝘰𝘯𝘢𝘭𝘮𝘦𝘯𝘵𝘦 𝘢 𝘤𝘰𝘯𝘧𝘶𝘯𝘥𝘪𝘳𝘢𝘮 𝘤𝘰𝘮 𝘰 í𝘤𝘰𝘯𝘦 𝘥𝘦 𝘚 𝘔𝘢𝘳𝘪𝘢 𝘔𝘢𝘨𝘨𝘪𝘰𝘳𝘦.”
– Eunice Howe, em “The dictionary of art”, Jane Turner, 1956-; Grove’s Dictionaries, 1996, New York: Grove’s Dictionaries, páginas 787-788.

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