I am delighted that my four brief essays on the Good Samaritan parable's receptions by the Rossano Gospels, Jacopo Bassano, and Rembrandt were just published in The Visual Commentary on Scripture, The King's College, London.
Here are the works I discuss:
The Good Samaritan, from the Rossano Gospels (Codex Purpureus Rossanensis), 6th century, Painted purple vellum, Diocesan Museum, Rossano Cathedral, Italy, Codex Purpureus Rossanensis, fol. 7, © A. De Gregorio / De Agostini Picture Library / Bridgeman Images.
Jacopo Bassano, The Good Samaritan, c.1562–63, Oil on canvas, 102.1 x 79.7 cm, The National Gallery, London; Bought, 1856, NG277, © National Gallery, London / Art Resource, NY.
Rembrandt, The Good Samaritan, 1633, Etching, engraving, and drypoint, 253 x 204 mm, The Metropolitan Museum of Art, New York; Gift of Henry Walters, 1917, 17.37.192, www.metmuseum.org
I like the last paragraph of this entry:
The dog most likely functions primarily as a playful marker of verisimilitude, yet it illustrates the fact that life inherently includes the sublime and the everyday, the unusual and the banal, the sacred and the profane, with the latter—in each of these polarities—often more prevalent than the former (Gowler 2020: 154–58).
The three main entries are about 300 words each, and the integrative essay is about 600 words.