In Greek mythology, a Charis or Grace is one of three or more minor goddesses of charm, nature, human creativity, fertility, together known as the Charites or Graces. The usual roster, as given in Hesiod, is Aglaea and Thalia. Hesiod states that Aglaea is the wife of Hephaestus. In Roman mythology they were known as the Gratiae, the "Graces". In some variants, Charis was one of the Graces, equated with Aglaea as she too is referred to as the wife of Hephaestus, was not the singular form of their name; the Charites were considered the daughters of Zeus and Oceanid Eurynome. They were said to be daughters of Dionysus and Kronois or of Helios and the Naiad Aegle. Other possible names of their mother by Zeus are Eurydome and Euanthe. Homer identified them as part of the retinue of Aphrodite; the Charites were associated with the Greek underworld and the Eleusinian Mysteries. In painting and sculpture, the three Graces are depicted naked or naked; the name and number of goddesses associated with the Charites varied, although they numbered three.

Alternate names to Aglaea and Thalia given in literature included: Damia, Cleta, Hegemone, Paregoros, Pasithea Charis, Kale. Alternativley, an ancient vase painting attests the following names as: Antheia, Euthymia, Paidia and Pannychis, all refer to the Charites as patronesses of amusement and festivities. Pausanias interrupts his Description of Greece to expand upon the various conceptions of the Charites that developed in different parts of mainland Greece and Ionia: "The Boeotians say that Eteocles was the first man to sacrifice to the Graces. Moreover, they are aware that he established three as the number of the Graces, but they have no tradition of the names he gave them; the Lacedaemonians, say that the Graces are two, that they were instituted by Lacedaemon, son of Taygete, who gave them the names of Cleta and Phaenna. These are appropriate names for Graces, as are those given by the Athenians, who from of old have worshipped two Graces and Hegemone, until Hermesianax added Peitho as a third.

It was from Eteocles of Orchomenus. And Angelion and Tectaus, sons of Dionysus, who made the image of Apollo for the Delians, set three Graces in his hand. Again, at Athens, before the entrance to the Acropolis, the Graces are three in number. Pamphos was the first we know of to sing about the Graces, but his poetry contains no information either as to their number or about their names. Homer makes one the wife of Hephaestus, he says that Sleep was a lover of Pasithea, in the speech of Sleep there is this verse:Verily that he would give me one of the younger Graces."Hence some have suspected that Homer knew of older Graces as well. Hesiod in the Theogony says that the three Graces are daughters of Zeus and Eurynome, giving them the names of Aglaia and lovely Thalia; the poem of Onomacritus agrees with this account. Antimachus, while giving neither the number of the Graces nor their names, says that they are daughters of Aegle and the Sun; the elegiac poet Hermesianax disagrees with his predecessors in that he makes Persuasion one of the Graces."Nonnus gives their three names as Pasithea and Aglaia.

Sostratus gives the names as Pasithea and Euphrosyne. The Charites major mythological role was to attend the other Olympians, they attended Aphrodite by bathing and anointing her in Paphos before her seduction of Ankhises and after she left Olympus when her affair with Ares is found out. Additionally, they are said to dye her peplos. Along with Peitho, they presented Pandora with necklaces to make her more enticing. Pindar stated the Charites arranged dances for the Olympians, they danced in celebration of the birth of Apollo with Aphrodite and Harmonia. They were referenced as dancing and singing with Apollo and the Muses. Pindar referred to them as the guardians of the ancient Minyans and the queens of Orchomenus who have their thrones beside Apollo's; the Charites appear to have a connection to Hera, where some ancient authors reference her as their nurse. In the Iliad, as part of her plan to seduce Zeus to distract him from the Trojan War, she offers to arrange Hypnos’s marriage to Pasithea, referred to as one of the younger Charites.

Aglaea or Charis had a role as the wife of the smith god Hephaestus. In the Iliad she invites Thetis into their shared home on Olympus so that the latter may ask for Hephaestus to forge armer for her son Achilles; some scholars have interpreted this marriage as occurring after Hephaestus’s divorce from Aphrodite due to her affair with Ares being exposed. Notably, some scholars, such as Walter Burkert, propose support for the marriage of Hephaestus and Aphrodite as an invention of the Odyssey, since it is not represented within other literature or arts, it does not appear to have a con

Ern Cannon

Ern Cannon was an Australian professional rugby league footballer who played in the 1940s. He played for Manly-Warringah in the NSWRL competition. Cannon was a foundation player for Manly-Warringah featuring in the club's first game. Cannon served as a navigator during World War 2. At the end of the war, he spent several months flying Australian prisoners of war back home. Cannon played in the local Manly competition before being selected to play for Manly-Warringah in 1947 as the club had been admitted into the NSWRL competition along with Parramatta. Cannon played in Manly's first game on 12 April 1947 against Western Suburbs at Brookvale Oval. Manly lost the game 15-13 though Manly had scored more tries than Wests. Manly would go on to finish second last on the table above Parramatta during their inaugural year avoiding the wooden spoon by 2 competition points. Cannon retired as a rugby league player following the conclusion of the 1947 season. After retiring as a player, Cannon took up tennis and owned several tennis courts in the Manly region.

He died on 7 December 2015

Michele Cortegiani

Michele Cortegiani was an Italian painter of seascapes of his native Sicily and Tunisia, of female portraits and genre subjects. He trained with Francesco Lojacono, moving with him to Paris in 1877–1881, he assisted with the ceiling decoration of the Teatro Massimo of Palermo, where he worked alongside Luigi Di Giovanni and Ettore De Maria Bergler, working under the direction of Rocco Lentini. Lentini's concept for the ceiling was that of a large wheel with gilded spokes which would contrast with the azure background. Within each spoke, feature angels and female figures with musical instruments painted on canvas, while the centrepeice was an allegory of the'Triumph of Music'. In years, he worked in Tunisia, in Sicily, along with Lojacono, Michele Catti and other painters of their school, where the group became known as the "masters of colour" because of the way they captured the light of the marinas and sleepy villages of Sicily. List of Orientalist artists Orientalism