The Transfiguration
The original, as its museum records it
Every line above is reproduced from the holding institution’s own catalogue entry, which is linked. Where their title, date or attribution differs from ours, theirs is the one printed here.
The file this print is made from
Sizes
About this painting
Peter, James and John don't gaze upward in peace — each looks a different way, as if trying to locate a voice they cannot place. It comes from the cloud above Christ: "This is my Son, the Chosen One." Moses and Elijah flank him, scrolls in hand.
Dermot Morrin reads the stump at left as the Passion, the new growth around it as the Resurrection: the glory already holds a death. For Christ's cloak, Bellini used stibnite — the earliest known use of the pigment in Western painting — its metallic grey answering the mosaic's bejewelled Christ at Ravenna.
Sources: The Father's voice from the cloud, 'Questi è il Figlio mio, l'eletto' (This is my Son, the Chosen One) · Moses and Elijah shown with legible Hebrew-inscribed scrolls; standard Law/Prophets reading of their presence · Peter, James and John each looking a different direction, as if trying to locate the divine voice · Dermot Morrin OP, "Bellini's Transfiguration at Naples", St Albert's Catholic Chaplaincy, Edinburgh. · Luke 9:31, Douay-Rheims (Challoner). · Museo e Real Bosco di Capodimonte, 'Restaurata la Trasfigurazione di Bellini, capolavoro del maestro veneziano'.
And he was transfigured before them. And his face did shine as the sun: and his garments became white as snow.
Matthew 17:2 · Douay-Rheims (Challoner), from the project’s own corpus at data/bible_drc.js
Printed on demand. Public-domain masterwork, reproduced from a 3,500 px master of the original. The whole image is printed — never cropped to fit the sheet — so every sheet carries an archival margin, and the dimensions and resolution listed above are the ones you receive.