1.
Apollo
–
Apollo is one of the most important and complex of the Olympian deities in classical Greek and Roman religion and Greek and Roman mythology. The ideal of the kouros, Apollo has been recognized as a god of music, truth and prophecy, healing, the sun and light, plague, poetry. Apollo is the son of Zeus and Leto, and has a twin sister, Apollo is known in Greek-influenced Etruscan mythology as Apulu. As the patron of Delphi, Apollo was an oracular god—the prophetic deity of the Delphic Oracle. Medicine and healing are associated with Apollo, whether through the god himself or mediated through his son Asclepius, yet Apollo was also seen as a god who could bring ill-health and deadly plague. Amongst the gods custodial charges, Apollo became associated with dominion over colonists, as the leader of the Muses and director of their choir, Apollo functioned as the patron god of music and poetry. Hermes created the lyre for him, and the instrument became an attribute of Apollo. Hymns sung to Apollo were called paeans, Apollo and Helios/Sol remained separate beings in literary and mythological texts until the 3rd century CE. The name Apollo—unlike the related older name Paean—is generally not found in the Linear B texts, the etymology of the name is uncertain. The spelling Ἀπόλλων had almost superseded all other forms by the beginning of the common era and it probably is a cognate to the Doric month Apellaios, and the offerings apellaia at the initiation of the young men during the family-festival apellai. According to some scholars the words are derived from the Doric word apella, apella is the name of the popular assembly in Sparta, corresponding to the ecclesia. R. S. P. Beekes rejected the connection of the theonym with the noun apellai, several instances of popular etymology are attested from ancient authors. Thus, the Greeks most often associated Apollos name with the Greek verb ἀπόλλυμι, in the ancient Macedonian language πέλλα means stone, and some toponyms may be derived from this word, Πέλλα and Πελλήνη. The role of Apollo as god of plague is evident in the invocation of Apollo Smintheus by Chryses, the Hittite testimony reflects an early form *Apeljōn, which may also be surmised from comparison of Cypriot Ἀπείλων with Doric Ἀπέλλων. A Luwian etymology suggested for Apaliunas makes Apollo The One of Entrapment, Apollos chief epithet was Phoebus, literally bright. It was very commonly used by both the Greeks and Romans for Apollos role as the god of light, like other Greek deities, he had a number of others applied to him, reflecting the variety of roles, duties, and aspects ascribed to the god. However, while Apollo has a number of appellations in Greek myth. Aegletes, from αἴγλη, light of the sun Helius, literally sun Lyceus light, the meaning of the epithet Lyceus later became associated with Apollos mother Leto, who was the patron goddess of Lycia and who was identified with the wolf
2.
Daphne
–
Daphne is a minor figure in Greek mythology known as a naiad—a type of female nymph associated with fountains, wells, springs, streams, brooks and other bodies of freshwater. There are several versions of the myth, but the narrative is that because of her beauty, Daphne attracted the attention. Apollo pursued her and just before being overtaken, Daphne pleaded to her father, the rivergod Ladon, so Ladon then transformed Daphne into a laurel tree. In Metamorphoses by Roman poet Ovid, she is identified as the daughter of the rivergod Pineios in Thessaly. At the Pythian Games which were held four years in Delphi in honour of Apollo. According to Pausanias the reason for this simply and solely because the tradition has it that Apollo fell in love with the daughter of Ladon. According to Greek myth, Apollo chased the nymph Daphne, daughter of Peneus and Creusa in Thessaly, Ovid treats the encounter, Apollos lapse of majesty, in the mode of elegiac lovers, and expands the pursuit into a series of speeches. Only her shining beauty was left, why should she wish to escape. Most artistic impressions of the focus on the moment of transformation. A version of the attempt on Daphnes sworn virginity that has been less familiar since the Renaissance was narrated by the Hellenistic poet Parthenius, in his Erotica Pathemata, The Sorrows of Love. Parthenius tale, based on the Hellenistic historian Phylarchus, was known to Pausanias, at this moment Apollos attention becomes engaged, and he begins his own pursuit, Parthenius modern editor remarks on the rather awkward transition, linking two narratives. These genera are categorized in the family Thymelaeaceae and are native to Asia, Europe and North Africa. Artemis Daphnaia, who had her temple among the Lacedemonians, at a place called Hypsoi in Antiquity, Daphnes transformation in art Theoi Project, Daphne Apollo and Daphne – statue by Gian Lorenzo Bernini The Warburg Institute Iconographic Database, ca 200 images of Apollo and Daphne
3.
Piero del Pollaiolo
–
Piero del Pollaiuolo, also known as Piero Benci, was an Italian Renaissance painter from Florence. His brother was the artist Antonio del Pollaiuolo and the two worked together. Their work shows both influences and an interest in human anatomy, reportedly, the brothers carried out dissections to improve their knowledge of the subject. Giorgio Vasari includes a biography of Pollaiuolo in his Lives of the Most Excellent Painters, Sculptors, and Architects
4.
Greek mythology
–
It was a part of the religion in ancient Greece. Greek mythology is explicitly embodied in a collection of narratives. Greek myth attempts to explain the origins of the world, and details the lives and adventures of a variety of gods, goddesses, heroes, heroines. These accounts initially were disseminated in a tradition, today the Greek myths are known primarily from ancient Greek literature. The oldest known Greek literary sources, Homers epic poems Iliad and Odyssey, focus on the Trojan War, archaeological findings provide a principal source of detail about Greek mythology, with gods and heroes featured prominently in the decoration of many artifacts. Geometric designs on pottery of the eighth century BC depict scenes from the Trojan cycle as well as the adventures of Heracles, in the succeeding Archaic, Classical, and Hellenistic periods, Homeric and various other mythological scenes appear, supplementing the existing literary evidence. Greek mythology has had an influence on the culture, arts. Poets and artists from ancient times to the present have derived inspiration from Greek mythology and have discovered contemporary significance and relevance in the themes, Greek mythology is known today primarily from Greek literature and representations on visual media dating from the Geometric period from c. Mythical narration plays an important role in every genre of Greek literature. Nevertheless, the only general mythographical handbook to survive from Greek antiquity was the Library of Pseudo-Apollodorus and this work attempts to reconcile the contradictory tales of the poets and provides a grand summary of traditional Greek mythology and heroic legends. Apollodorus of Athens lived from c, 180–125 BC and wrote on many of these topics. His writings may have formed the basis for the collection, however the Library discusses events that occurred long after his death, among the earliest literary sources are Homers two epic poems, the Iliad and the Odyssey. Other poets completed the cycle, but these later and lesser poems now are lost almost entirely. Despite their traditional name, the Homeric Hymns have no connection with Homer. They are choral hymns from the part of the so-called Lyric age. Hesiods Works and Days, a poem about farming life, also includes the myths of Prometheus, Pandora. The poet gives advice on the best way to succeed in a dangerous world, lyrical poets often took their subjects from myth, but their treatment became gradually less narrative and more allusive. Greek lyric poets, including Pindar, Bacchylides and Simonides, and bucolic poets such as Theocritus and Bion, additionally, myth was central to classical Athenian drama
5.
Hellenistic period
–
It is often considered a period of transition, sometimes even of decadence or degeneration, compared to the enlightenment of the Greek Classical era. The Hellenistic period saw the rise of New Comedy, Alexandrian poetry, the Septuagint, Greek science was advanced by the works of the mathematician Euclid and the polymath Archimedes. The religious sphere expanded to include new gods such as the Greco-Egyptian Serapis, eastern deities such as Attis and Cybele, the Hellenistic period was characterized by a new wave of Greek colonization which established Greek cities and kingdoms in Asia and Africa. This resulted in the export of Greek culture and language to new realms. Equally, however, these new kingdoms were influenced by the cultures, adopting local practices where beneficial, necessary. Hellenistic culture thus represents a fusion of the Ancient Greek world with that of the Near East, Middle East and this mixture gave rise to a common Attic-based Greek dialect, known as Koine Greek, which became the lingua franca through the Hellenistic world. Scholars and historians are divided as to what event signals the end of the Hellenistic era, Hellenistic is distinguished from Hellenic in that the first encompasses the entire sphere of direct ancient Greek influence, while the latter refers to Greece itself. The word originated from the German term hellenistisch, from Ancient Greek Ἑλληνιστής, from Ἑλλάς, Hellenistic is a modern word and a 19th-century concept, the idea of a Hellenistic period did not exist in Ancient Greece. Although words related in form or meaning, e. g, the major issue with the term Hellenistic lies in its convenience, as the spread of Greek culture was not the generalized phenomenon that the term implies. Some areas of the world were more affected by Greek influences than others. The Greek population and the population did not always mix, the Greeks moved and brought their own culture. While a few fragments exist, there is no surviving historical work which dates to the hundred years following Alexanders death. The works of the major Hellenistic historians Hieronymus of Cardia, Duris of Samos, the earliest and most credible surviving source for the Hellenistic period is Polybius of Megalopolis, a statesman of the Achaean League until 168 BC when he was forced to go to Rome as a hostage. His Histories eventually grew to a length of forty books, covering the years 220 to 167 BC, another important source, Plutarchs Parallel Lives though more preoccupied with issues of personal character and morality, outlines the history of important Hellenistic figures. Appian of Alexandria wrote a history of the Roman empire that includes information of some Hellenistic kingdoms, other sources include Justins epitome of Pompeius Trogus Historiae Philipicae and a summary of Arrians Events after Alexander, by Photios I of Constantinople. Lesser supplementary sources include Curtius Rufus, Pausanias, Pliny, in the field of philosophy, Diogenes Laertius Lives and Opinions of Eminent Philosophers is the main source. Ancient Greece had traditionally been a collection of fiercely independent city-states. After the Peloponnesian War, Greece had fallen under a Spartan hegemony, in which Sparta was pre-eminent but not all-powerful
6.
Ancient Rome
–
In its many centuries of existence, the Roman state evolved from a monarchy to a classical republic and then to an increasingly autocratic empire. Through conquest and assimilation, it came to dominate the Mediterranean region and then Western Europe, Asia Minor, North Africa and it is often grouped into classical antiquity together with ancient Greece, and their similar cultures and societies are known as the Greco-Roman world. Ancient Roman civilisation has contributed to modern government, law, politics, engineering, art, literature, architecture, technology, warfare, religion, language and society. Rome professionalised and expanded its military and created a system of government called res publica, the inspiration for modern republics such as the United States and France. By the end of the Republic, Rome had conquered the lands around the Mediterranean and beyond, its domain extended from the Atlantic to Arabia, the Roman Empire emerged with the end of the Republic and the dictatorship of Augustus Caesar. 721 years of Roman-Persian Wars started in 92 BC with their first war against Parthia and it would become the longest conflict in human history, and have major lasting effects and consequences for both empires. Under Trajan, the Empire reached its territorial peak, Republican mores and traditions started to decline during the imperial period, with civil wars becoming a prelude common to the rise of a new emperor. Splinter states, such as the Palmyrene Empire, would divide the Empire during the crisis of the 3rd century. Plagued by internal instability and attacked by various migrating peoples, the part of the empire broke up into independent kingdoms in the 5th century. This splintering is a landmark historians use to divide the ancient period of history from the pre-medieval Dark Ages of Europe. King Numitor was deposed from his throne by his brother, Amulius, while Numitors daughter, Rhea Silvia, because Rhea Silvia was raped and impregnated by Mars, the Roman god of war, the twins were considered half-divine. The new king, Amulius, feared Romulus and Remus would take back the throne, a she-wolf saved and raised them, and when they were old enough, they returned the throne of Alba Longa to Numitor. Romulus became the source of the citys name, in order to attract people to the city, Rome became a sanctuary for the indigent, exiled, and unwanted. This caused a problem for Rome, which had a large workforce but was bereft of women, Romulus traveled to the neighboring towns and tribes and attempted to secure marriage rights, but as Rome was so full of undesirables they all refused. Legend says that the Latins invited the Sabines to a festival and stole their unmarried maidens, leading to the integration of the Latins, after a long time in rough seas, they landed at the banks of the Tiber River. Not long after they landed, the men wanted to take to the sea again, one woman, named Roma, suggested that the women burn the ships out at sea to prevent them from leaving. At first, the men were angry with Roma, but they realized that they were in the ideal place to settle. They named the settlement after the woman who torched their ships, the Roman poet Virgil recounted this legend in his classical epic poem the Aeneid
7.
Eros
–
In Greek mythology, Eros was the Greek god of sexual attraction. Some myths make him a god, while in other myths. He was one of the winged love gods, Erotes, Eros appears in ancient Greek sources under several different guises. In the earliest sources, he is one of the gods involved in the coming into being of the cosmos. But in later sources, Eros is represented as the son of Aphrodite, whose mischievous interventions in the affairs of gods and mortals cause bonds of love to form, a cult of Eros existed in pre-classical Greece, but it was much less important than that of Aphrodite. However, in antiquity, Eros was worshiped by a fertility cult in Thespiae. In Athens, he shared a very popular cult with Aphrodite, according to Hesiod, one of the most ancient of all Greek sources, Eros was the fourth god to come into existence, coming after Chaos, Gaia, and Tartarus. However, Parmenides, one of the philosophers, makes Eros the first of all the gods to come into existence. The Orphic and Eleusinian Mysteries featured Eros as a very original god, aristophanes, influenced by Orphism, relates the birth of Eros, At the beginning there was only Chaos, Night, Darkness, and the Abyss. Earth, the Air and Heaven had no existence and he mated in the deep Abyss with dark Chaos, winged like himself, and thus hatched forth our race, which was the first to see the light. In later myths, he was the son of the deities Aphrodite and Ares, Eros was associated with athleticism, with statues erected in gymnasia, and was often regarded as the protector of homosexual love between men. Eros was depicted as carrying a lyre or bow and arrow. He was also depicted accompanied by dolphins, flutes, roosters, roses, “We must have a word with Aphrodite. Let us go together and ask her to persuade her boy, if that is possible, to loose an arrow at Aeetes’ daughter, Medea of the spells, and make her fall in love with Jason. ”He smites maids’ breasts with unknown heat. Once, when Venus’ son was kissing her, his quiver dangling down, in fact the wound was deeper than it seemed, though unperceived at first. Enraptured by the beauty of a man, Eros drove Dionysos mad for the girl with the delicious wound of his arrow, then curving his wings flew lightly to Olympus. And the god roamed over the hills scourged with a greater fire. ”The story of Eros and Psyche has a tradition as a folktale of the ancient Greco-Roman world long before it was committed to literature in Apuleius Latin novel. The novel itself is written in a picaresque Roman style, yet Psyche retains her Greek name, Eros and Aphrodite are called by their Latin names, and Cupid is depicted as a young adult, rather than a child
8.
Artemis
–
Artemis was one of the most widely venerated of the Ancient Greek deities. Some scholars believe that the name, and indeed the goddess herself, was originally pre-Greek, Homer refers to her as Artemis Agrotera, Potnia Theron, Artemis of the wildland, Mistress of Animals. The Arcadians believed she was the daughter of Demeter, in the classical period of Greek mythology, Artemis was often described as the daughter of Zeus and Leto, and the twin sister of Apollo. The deer and the cypress were sacred to her, in later Hellenistic times, she even assumed the ancient role of Eileithyia in aiding childbirth. The name Artemis is of unknown or uncertain origin and etymology although various ones have been proposed, for example, according to J. T. Jablonski, the name is also Phrygian and could be compared with the royal appellation Artemas of Xenophon. Anton Goebel suggests the root στρατ or ῥατ, to shake, babiniotis, while accepting that the etymology is unknown, states that the name is already attested in Mycenean Greek and is possibly of pre-Hellenic origin. It is believed that a precursor of Artemis was worshiped in Minoan Crete as the goddess of mountains and hunting, R. S. P. Beekes suggested that the e/i interchange points to a Pre-Greek origin. Artemis was venerated in Lydia as Artimus, various conflicting accounts are given in Classical Greek mythology of the birth of Artemis and her twin brother, Apollo. All accounts agree, however, that she was the daughter of Zeus and Leto, an account by Callimachus has it that Hera forbade Leto to give birth on either terra firma or on an island. Hera was angry with Zeus, her husband, because he had impregnated Leto, but the island of Delos disobeyed Hera, and Leto gave birth there. In ancient Cretan history Leto was worshipped at Phaistos and in Cretan mythology Leto gave birth to Apollo, a scholium of Servius on Aeneid iii. The myths also differ as to whether Artemis was born first, most stories depict Artemis as born first, becoming her mothers mid-wife upon the birth of her brother Apollo. The childhood of Artemis is not fully related in any surviving myth, the Iliad reduced the figure of the dread goddess to that of a girl, who, having been thrashed by Hera, climbs weeping into the lap of Zeus. She wished for no city dedicated to her, but to rule the mountains, Artemis believed that she had been chosen by the Fates to be a midwife, particularly since she had assisted her mother in the delivery of her twin brother, Apollo. All of her companions remained virgins, and Artemis closely guarded her own chastity and her symbols included the golden bow and arrow, the hunting dog, the stag, and the moon. Okeanus daughters were filled with fear, but the young Artemis bravely approached and asked for bow, Callimachus then tells how Artemis visited Pan, the god of the forest, who gave her seven bitches and six dogs. She then captured six golden-horned deer to pull her chariot, Artemis practiced with her bow first by shooting at trees and then at wild beasts. As a virgin, Artemis had interested many gods and men, Orion was accidentally killed either by Artemis or by Gaia
9.
Diana (mythology)
–
In Roman mythology, Diana was the goddess of the hunt, the moon, and nature being associated with wild animals and woodland, and having the power to talk to and control animals. She was eventually equated with the Greek goddess Artemis, though she had an independent origin in Italy, Diana was worshipped in ancient Roman religion and is revered in Roman Neopaganism and Stregheria. Diana was known to be the goddess of childbirth and women. She was one of the three goddesses, along with Minerva and Vesta, who swore never to marry. Oak groves were especially sacred to her as were deer, according to mythology, Diana was born with her twin brother, Apollo, on the island of Delos, daughter of Jupiter and Latona. She made up a triad with two other Roman deities, Egeria the water nymph, her servant and assistant midwife, and Virbius, the woodland god. Diana is a form developed from an ancient *divios, corresponding to later divus, dius, as in Dius Fidius, Dea Dia. It is rooted in Indoeuropean *dyw, meaning sky or daylight, from which also derived the name of Vedic god Dyaus and the Latin deus, dies. On the Tablets of Pylos a theonym διϝια is supposed as referring to a deity precursor of Artemis, Modern scholars mostly accept the identification. The ancient Latin writers Varro and Cicero considered the etymology of Dīāna as allied to that of dies, the persona of Diana is complex and contains a number of archaic features. According to Georges Dumézil it falls into a subset of celestial gods. Such gods, while keeping the original features of celestial divinities, the celestial character of Diana is reflected in her connection with light, inaccessibility, virginity, and her preference for dwelling on high mountains and in sacred woods. Diana therefore reflects the world in its sovereignty, supremacy, impassibility. At the same time, however, she is seen as active in ensuring the succession of kings and these functions are apparent in the traditional institutions and cults related to the goddess. This ever open succession reveals the character and mission of the goddess as a guarantor of kingly status through successive generations. Her function as bestower of authority to rule is also attested in the story related by Livy in which a Sabine man who sacrifices a heifer to Diana wins for his country the seat of the Roman empire. Diana was also worshipped by women who wanted to be pregnant or who, once pregnant and this form of worship is attested in archeological finds of votive statuettes in her sanctuary in the nemus Aricinum as well as in ancient sources, e. g. Ovid. According to Dumezil the forerunner of all gods is an Indian epic hero who was the image of the Vedic god Dyaus
10.
Baroque
–
The style began around 1600 in Rome and Italy, and spread to most of Europe. The aristocracy viewed the dramatic style of Baroque art and architecture as a means of impressing visitors by projecting triumph, power, Baroque palaces are built around an entrance of courts, grand staircases, and reception rooms of sequentially increasing opulence. However, baroque has a resonance and application that extend beyond a reduction to either a style or period. It is also yields the Italian barocco and modern Spanish barroco, German Barock, Dutch Barok, others derive it from the mnemonic term Baroco, a supposedly laboured form of syllogism in logical Scholastica. The Latin root can be found in bis-roca, in informal usage, the word baroque can simply mean that something is elaborate, with many details, without reference to the Baroque styles of the 17th and 18th centuries. The word Baroque, like most periodic or stylistic designations, was invented by later critics rather than practitioners of the arts in the 17th, the term Baroque was initially used in a derogatory sense, to underline the excesses of its emphasis. In particular, the term was used to describe its eccentric redundancy and noisy abundance of details, although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music. Another hypothesis says that the word comes from precursors of the style, Giacomo Barozzi da Vignola and he did not make the distinctions between Mannerism and Baroque that modern writers do, and he ignored the later phase, the academic Baroque that lasted into the 18th century. Long despised, Baroque art and architecture became fashionable between the two World Wars, and has remained in critical favour. In painting the gradual rise in popular esteem of Caravaggio has been the best barometer of modern taste, William Watson describes a late phase of Shang-dynasty Chinese ritual bronzes of the 11th century BC as baroque. The term Baroque may still be used, usually pejoratively, describing works of art, craft, the appeal of Baroque style turned consciously from the witty, intellectual qualities of 16th-century Mannerist art to a visceral appeal aimed at the senses. It employed an iconography that was direct, simple, obvious, germinal ideas of the Baroque can also be found in the work of Michelangelo. Even more generalised parallels perceived by some experts in philosophy, prose style, see the Neapolitan palace of Caserta, a Baroque palace whose construction began in 1752. In paintings Baroque gestures are broader than Mannerist gestures, less ambiguous, less arcane and mysterious, more like the stage gestures of opera, Baroque poses depend on contrapposto, the tension within the figures that move the planes of shoulders and hips in counterdirections. Baroque is a style of unity imposed upon rich, heavy detail, Baroque style featured exaggerated lighting, intense emotions, release from restraint, and even a kind of artistic sensationalism. There were highly diverse strands of Italian baroque painting, from Caravaggio to Cortona, the most prominent Spanish painter of the Baroque was Diego Velázquez. The later Baroque style gradually gave way to a more decorative Rococo, while the Baroque nature of Rembrandts art is clear, the label is less often used for Vermeer and many other Dutch artists. Flemish Baroque painting shared a part in this trend, while continuing to produce the traditional categories
_Apollo_and_Daphne.jpg)
.jpg)
