While the Renaissance is generally perceived to be a secular movement, the majority of large artworks executed in 15th century Italy were from ecclesiastical commissions. Because of the nature of primarily basilica-plan churches, a parishioner's view was directed by the diminishing parallel lines formed by the walls of the structure. Appearing to converge upon a mutual point, this resulted in an artistic phenomenon known as the vanishing point. As applied to ecclesiastical artwork, the Catholic Vanishing Point (CVP) was deliberately situated upon or aligned with a given object - such as the Eucharist wafer or Host, the head of Christ or the womb of the Virgin Mary - possessing great symbolic significance in Roman liturgy.Masaccio's fresco painting of the Trinity (circa 1427) in the Florentine church of Santa Maria Novella, analyzed in physical and symbolic detail, provides the first illustration of a consistently employed linear perspective within an ecclesiastical setting. Leonardo's ""Last Supper"", Venaziano's ""St. Lucy Altarpiece"", and Tome's Transparente illustrate the continuation of this use of liturgical perspective.

From the dawn of mankind's artistic achievement in the cave paintings of Altamira, to Picasso's groundbreaking Les Demoiselles d'Avignon and beyond, the arts in Spain tangibly illustrate the unique course of Spanish history. In this wide-ranging critical overview, John F. Moffitt concentrates on paradigms of painting, sculpture, the decorative arts, and architecture, situating them within their historical context.

Professor Moffitt first traces Iberian and Roman beginnings and examines the Islamic and Christian foundations of Cordoba and the Escorial. He discusses the masterworks of El Greco, Zurbaran, Velazquez, and Goya, the innovations of Picasso, Dali, and Miro, and the advent of postmodernism in Spain. Authoritative and ambitious, the book encompasses the enormous breadth of the Spanish artistic panorama, revealing how many of its most characteristic modern traits were present in earliest times.

In this witty, erudite, and thoroughly researched book, art historian John Moffitt discusses the popular iconography depicting alleged extraterrestrial (ET) visitors and the widespread appeal of this New Age craze as a mass cultural phenomenon. A thorough skeptic, Moffitt is interested in kitschy ET portraiture, not as evidence of aliens among us, but for what this imagery reveals about contemporary culture. By brilliantly placing the present cultural moment in historical context, he demonstrates how typical portrayals of aliens reflect long-running (even ancient) cultural motifs.

Whether we realize it or not, among ET's precursors are the ecstatic maenads of ancient Greek art, early depictions of Christ in Byzantine icons, the religious visions shown in 15th-century Spanish paintings, and the popular images of witches and incubi from the 18th and 19th centuries. Today, in our postmodern space age, these timeless figures of imagination and art have taken on the otherworldly trappings of alien creatures. By the same token, centuries-old beliefs, whether in nature gods and goddesses, demons, witches, Satan, or saints, have evolved into the current New Age mythology that often surrounds the stories and pictures connected with aliens. Fueled by a huge entertainment industry, mass media, and the relentless profit drive of capitalism, alien imagery has become ubiquitous, and in the process the line between fantasy and reality ever harder to discern.

This sweeping and above all entertaining perusal of popular culture presents a sophisticated yet very accessible and often funny dissection of our current obsession with the possibility that "we are not alone."