# data[].attributes.body
The Taj Mahal is located on the right bank of the Yamuna River. Mughal Emperor Shah Jahan built it in memory of his wife Mumtaz Mahal.
One such genius plan is placing a tomb at one end of the quadripartite garden, which added rich depth and perspective.
The Taj Mahal is a perfect symmetrical planned building, emphasizing bilateral symmetry along a central axis on which the main features are placed.

# data[].attributes.headline
La Pietà, 1498, Michelangelo Buonarroti.

# data[].attributes.subject
La Pietà, 1498, Michelangelo Buonarroti.

# data[].attributes.body
The Pietà (Italian; 1498–1499), key work of Italian Renaissance sculpture by Michelangelo Buonarroti, is now in St. Peter's Basilica, Vatican City.
This famous work of art depicts the body of Jesus on the lap of his mother Mary after the Crucifixion.
The structure is pyramidal, and the vertex coincides with Mary's head.
The figures are quite out of proportion.
Christ's face does not reveal signs of the Passion. Michelangelo did not want his version of the Pietà to represent death, but rather to show the "religious vision of abandonment and a serene face of the Son,".

# data[].attributes.headline
Saturn Devouring His Son, 1819-1823, Francisco Goya. 

# data[].attributes.subject
Saturn Devouring His Son, 1819-1823, Francisco Goya. 

# data[].attributes.body
Saturn Devouring His Son is a painting by Francisco Goya. It is traditionally interpreted as a depiction of the Greek myth of the Titan Cronus.
Fearing a prophecy foretold by Gaea that predicted he would be overthrown by one of his children, Saturn ate each one upon their birth.
The work is one of the 14 so-called Black Paintings that Goya painted directly on the walls of his house between 1819 and 1823.
It was transferred to canvas after Goya's death and is now in the Museo del Prado in Madrid.
Various interpretations of the meaning of the picture have been offered: the conflict between youth and old age, time as the devourer of all things, the wrath of God, and an allegory of the situation in Spain, where the fatherland consumed its own children in wars and revolution.

# data[].attributes.headline
Laocoön and His Sons, 1506, Agesandro, Polidoro and Atenodoro of Rodas.

# data[].attributes.subject
Laocoön and His Sons, 1506, Agesandro, Polidoro and Atenodoro of Rodas.

# data[].attributes.body
The statue of Laocoön and His Sons, also called the Laocoön Group (Italian: Gruppo del Laocoonte), has been one of the most famous ancient sculptures found in Rome in 1506 and placed on public display in the Vatican Museums.
The group has been called "the prototypical icon of human agony" in Western art.
The statue depicts Laocoön, the priest of Apollo from the city of Troy, and his two sons. They are locked in the death coils of two serpents on the steps of an altar.
The suffering is shown through the contorted expressions of the faces, which are matched by the struggling bodies, especially that of Laocoön himself, with every part of his body straining.

# data[].attributes.headline
The Liberty Leading the People,1830, Eugène Delacroix.

# data[].attributes.subject
The Liberty Leading the People,1830, Eugène Delacroix.

# data[].attributes.body
Liberty Leading the People (French: La Liberté Guidant le Peuple) is a painting by Eugène Delacroix commemorating the July Revolution of 1830.
A woman of the people with a Phrygian cap personifying the concept of Liberty leads a varied group of people forward over a barricade and the bodies of the fallen, holding the flag of the French Revolution.
Delacroix depicted Liberty as both an allegorical goddess figure and a robust woman of the people.
The fighters are from a mixture of social classes, ranging from the bourgeoisie represented by the young man in a top hat, a student from the prestigious École Polytechnique wearing the traditional bicorne, to the revolutionary urban worker, as exemplified by the boy holding pistols.

# data[].attributes.body
Two versions of Medusa were created by Michelangelo Merisi da Caravaggio – 1597 – depicting the exact moment she was executed by Perseus.
Due to its bizarre and intricate design, the painting is said to complement Caravaggio's unique fascination with violence and realism.
The level of tenebrism and realism are well portrayed in this painting – creating a three-dimensional appearance. Medusa's cheeks and jawline are elongated to complement the nature of the painting.
Caravaggio's idea of using a convex shield as a canvas was to paint it from Perseus' point of view – in this instance, Medusa's reflection appeared on his shield, right before he killed her.

# data[].attributes.headline
The Veiled Virgin, 1818-1875, Giovanni Strazza. 

# data[].attributes.subject
The Veiled Virgin, 1818-1875, Giovanni Strazza. 

# data[].attributes.body
The Veiled Virgin is a Carrara marble statue carved in Rome by Italian sculptor Giovanni Strazza (1818–1875), depicting the bust of a veiled Virgin Mary.
The veil gives the appearance of being translucent, but in fact, is carved of marble.
That statue may have been intended to symbolize Italy during the Risorgimento context. Risorgimento was a political and social movement that led to the unification of Italy in 1861.
The Veiled Virgin was probably meant in part to be a symbol of unification since she is one of the main religious figures of the Italian Catholic tradition and she represents a young pure woman like the new Italy was pure in intentions.

# data[].attributes.headline
The Last Supper , 1495-1498, Leonardo Da Vinci. 

# data[].attributes.subject
The Last Supper , 1495-1498, Leonardo Da Vinci. 

# data[].attributes.body
The Last Supper (Italian: Il Cenacolo or L'Ultima Cena) is a mural painting by the Italian High Renaissance artistLeonardo da Vinci.
It depicts the dramatic scene described in several closely connected moments, in which Jesus declares that one of the Apostles will betray him.
Leonardo’s version appears neatly arranged, with Jesus at the center of an extensive table and the Apostles to his left and right.
Leonardo represented the space using linear perspective, a technique rediscovered in the Renaissance that employs parallel lines that converge at a single vanishing point to create the illusion of depth on a flat surface.

# data[].attributes.headline
The Death of Marat, 1793, Jacques-Louis David

# data[].attributes.subject
The Death of Marat, 1793, Jacques-Louis David

# data[].attributes.body
The Death of Marat (French: La Mort de Marat or Marat Assassiné) is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat.
Created in the months after Marat's death, the painting shows Marat lying dead in his bath after his murder.
The Death of Marat has often been compared to Michelangelo's Pietà.
He painted Marat, martyr of the Revolution, in a style reminiscent of a Christian martyr, with the face and body bathed in a soft, glowing light.

# data[].attributes.headline
The Sainte Chapelle, 1248 (France, Paris)

# data[].attributes.subject
The Sainte Chapelle, 1248 (France, Paris)

# data[].attributes.body
The Sainte-Chapelle (Holy Chapel) was commissioned by King Louis IX (Saint-Louis) possibly from architect Pierre of Montreuil.
The Sainte-Chapelle is considered among the greatest Gothic masterpieces of Christendom with the richest decoration found inside. The shrine is famous for housing an exceptional collection of 13th-century stained glass.
The stained-glass windows tell the story of the Bible, from Genesis to the Resurrection of Jesus Christ.
The nave is encircled by the statues of the 12 Apostles – the “Pillars of the Church” – set on the ribbed vault’s springing line.