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The bosses of Colorous, a new puzzle game from AVOC Software.
Available this Fall on Facebook and iPhone.
The main theme of the carving in the west walk of the cloisters is the completion of the story of the Apocalypse, begun in the south walk. Three additional stories are told in the bosses over the wall arches: St Basil's appeal to the Virgin Mary in his dealing with Julian the Apostate (four carvings); the Christian of Constantinople (three carvings); and scenes from the life of St Christopher (two carvings). The Christian of Constantinople borrows money from a Jew and gives as his pledge a statue of the Virgin Mary. When time for repayment comes the Christian is at sea. He lowers a casket carrying the money owing into the water. The Jew, by the shore, picks up the casket but refuses to accept that the debt has been repaid. The image of the Virgin declares that payment in Full has been made, and so the Jew is convicted in public.
This carving shows the second scene in this drama. There are two distinct actions: one at sea on the left; and one on land on the right. On the left is a masted ship with four men on board. The Christian of Constantinople, because it is time to pay his debt to the Jew, leans over the ship to place in the water the casket. On the right, against a background of foliage to indicate land, the ]ew bends down to pick up the casket. A companion stands behind him.
Pam Hall touches up the shine on her friend Sgt. Maj. James Thagard's "Babyblue1" 1970 Chevrolet Chevelle. Thagard's car won third place in the Domestic (Classic) car category at the "Who's the BOSS?" car show sponsored by the Better Opportunities for Single Soldiers association, or BOSS. Ft. Sill, OK Oct. 22, 2011. (Photo by Ben Sherman)
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‘. .. reach hither thy hand, and put it into my side: and be not Faithless, but believing.'
John 20, 27.
This is one of a series of bosses in the north walk which continues the narrative of Christ’s Resurrection, seen in the north end of the east walk. Two neighbouring bosses have shown Mary Magdalene encountering Christ; in the first she mistakes him for a gardener and in the second she kneels at Christ's feet when she recognizes him as her risen Lord. In it Christ draws away from Mary Magdalene as she is attempting to wipe his wounded feet with her long hair. But in this carving Christ forcefully pulls Thomas’s reluctant right hand towards his wounded side. The two figures, the kneeling, apprehensive disciple and the curving stance of his triumphant, resurrected master, are gracefully complementary. The sculpting of the drapery underlines this relationship. The folds in Thomas's gown keep him downward on his knees; those in Christ's buoy him upwards. The background is of leaves and bunches of grapes: an echo of the carvings set against wreaths which were characteristic of some of the earlier east-walk bosses.