Sculpturen van Maria en Christus, Johannes de Doper en een andere heilige in de San Marco in Venetië before 1885

Carl Heinrich Jacobi captured these sculptures of Mary and Christ, John the Baptist, and another saint in San Marco, Venice with a camera in the 19th century. The hieratic representation of the Holy Family, flanked by saints, evokes the Byzantine tradition, carrying the weight of centuries of religious devotion. Note the recurring motif of the draped figures; it is reminiscent of classical antiquity, yet it's imbued with Christian symbolism. The motif echoes in Roman sculptures, where draped figures symbolized status and piety. This continuity reveals how classical forms were repurposed to convey Christian ideals, linking the authority of the Roman Empire with the divine authority of the Church. The angel depicted in relief at the base can be compared to antique images of Nike or winged victories. Such imagery resonates deeply within our collective consciousness. The psychological power of these figures lies in their ability to evoke feelings of reverence and awe, engaging viewers on a subconscious level. This demonstrates the non-linear progression of symbols—reappearing, evolving, and acquiring new meanings across historical contexts.