Therefore, the attitude to Doomsday was a great deal more relaxed. The apocalyptic imagery was used in the XVI century and even later for embroideries, a series of Brussels carpets etc. And so, the legend of Patriarch Noah, the Deluge and the Tower of Babel as contained in the Old Testament must be yet another literary version of a key New Testament motif, albeit related more briefly than in the Revelation. There was a substantial difference in how the Occidental and the Orthodox ecclesiastical tradition describes the Judgement of Jesus. A new edition was made in and proved extremely influential, likewise the Apocalypse of Luther illustrated by artists of no lesser renown. It is rather curious that the Old Testament Book of Genesis appears to contain vivid repercussions of the motifs familiar to us from the New Testament Book of Revelation. Specialists must work quickly, however, as the tunnels appear to not have been professionally built and are at risk of collapsing within a matter of weeks. However, this event was later erased from the history of the XV-XVI century and transferred into the future. This circumstance was noticed by specialists in ecclesiastical history a long time ago:
Jacob in the Spanish cathedral of Santiago de la Compostela. The events that follow are completely identical to those described in the Book of Revelation. And so, when the Czars, or Khans of the Empire demanded compliance with their laws on the pain of divine judgement, nobody had a shadow of a doubt about the reality of the possible punishment. The fact that the Biblical story of Patriarch Noah is but another reflection of the events of A. The righteous begin a new life on a new land in either case. Furthermore, we have pointed out that the famous map of St. Doomsday expectations led to numerous disputes amongst the Westerners and the Orthodox Christians. A similar fate befell the Book of Revelation, or the book of the Ottoman conquest. Later chronologists of the XVII-XVIII century, who were creating or adjusting the global chronological systems, the theory of different eras etc, may have combined the bygone end of the XV century with the round calendar date of seven thousand years calculated in retrospect in order to develop a theory, according to which the very round nature of the date was catastrophic, the implication being that the end of the world was expected to come in The apocalyptic imagery was used in the XVI century and even later for embroideries, a series of Brussels carpets etc. Abstract threats are hardly ever effective — fear is the only foundation that a functioning Imperial state could be built upon. Therefore, the attitude to Doomsday was a great deal more relaxed. In the wave of the conquest reached the Atlantic coast of Europe. Hence the horrifying motifs in the paintings and the frescoes of numerous Western artists — they resulted from the recent memory of a great cataclysm. Furthermore, we have pointed out that the famous map of St. Visual representations of inferno were de-emphasised, and it was hardly regarded as a gruesome reality. A new edition was made in and proved extremely influential, likewise the Apocalypse of Luther illustrated by artists of no lesser renown. Hence the horrifying motifs in the paintings and the frescoes of numerous Western artists — they resulted from the recent memory of a great cataclysm. It suffices to recollect the works of Pieter Breugel, Hieronymus Bosch and other artists, secular as well as ecclesiastical — executions, pains of hell, torments and repulsive physiological details. The main accent was made on pictures of the righteous singing hosanna to the celestial throne. Doomsday motifs became the most popular among the illustrators of manuscripts. However, by the XVIII century the events described in the Book of Revelation have faded into the past, and the emphasis was shifted elsewhere. And so, when the Czars, or Khans of the Empire demanded compliance with their laws on the pain of divine judgement, nobody had a shadow of a doubt about the reality of the possible punishment. In brief, the Russians depicted the divine judgement in calm and solemn tones, without any elements of threat. Everything is crystal clear. And it repented the Lord that he had made man on the earth, and it grieved him at his heart.
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