Bible Review

T.F. Worthen, “The Harrowing of Hell in the Art of the Italian Renaissance” (Ph.D. Dissertation, University of Iowa, 1981), p. 232

See Gaston, “Body in Limbo,” pp. 70–97.

See Gaston, “The Body in Limbo,” Spunti e Ricerche 11 (1995), pp. 70 ff.

See R. Bernheimer, “The Martyrdom of Isaiah,” Art Bulletin 34 (1952), pp. 19–34; on the identification of all the just, see Robert W. Gaston, “Iconography and Portraiture in Bronzino’s Christ in Limbo,” Mitteilungen des Kunsthistorischen Instituts in Florenz 27 (1983), pp. 41–72.

See Anna D. Kartsonis, Anastasis: The Making of an Image (Princeton: Princeton Univ. Press, 1986), pp. 3–7.

See John Osborne, Early Medieval Wall-Paintings in the Lower Church of San Clemente, Rome (New York: Garland, 1984).

See David R. Cartlidge and J. Keith Elliott, Art and the Christian Apocrypha (London: Routledge, 2001), pp. 126–128.

Quoted by Jacobsen, Treasures of Darkness, p. 148; citing James A. Wilson, The Burden of Egypt (Chicago: Univ. of Chicago, 1951), p. 301

Thorkild Jacobsen, Treasures of Darkness: The Rise of Mesopotamian Religion (New Haven, CT: Yale Univ. Press, 1976), p. 147. This sidebar is based on chapter 5 of Jacobsen’s book, “Second Millennium Metaphors, The Gods as Parents: The Rise of Personal Religion.”

This sets the year as 351 A.D.; see the Chronicon Paschale in Patrologia Graeca 92.729 (Abel, “La sépulture,” p. 485, note 3).