1.
Allegory
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As a literary device, an allegory is a metaphor whose vehicle may be a character, place or event, representing real-world issues and occurrences. Many ancient religions are based on astrological allegories, that is, allegories of the movement of the sun, in classical literature two of the best-known allegories are the Cave in Platos Republic and the story of the stomach and its members in the speech of Menenius Agrippa. One of the examples of allegory, Platos Allegory of the Cave. In this allegory, Plato describes a group of people who have lived chained in an all of their lives. The people watch shadows projected on the wall by things passing in front of a fire behind them and begin to ascribe forms to these shadows, using language to identify their world. He tries to tell the people in the cave of his discovery, also allegorical is Ezekiel 16 and 17, wherein the capture of that same vine by the mighty Eagle represents Israels exile to Rome. Allegory has an ability to freeze the temporality of a story, Mediaeval thinking accepted allegory as having a reality underlying any rhetorical or fictional uses. The allegory was as true as the facts of surface appearances, if, then, the Greeks or others say that they were not committed to the care of Peter and his successors, they necessarily confess that they are not of the sheep of Christ. This text also demonstrates the frequent use of allegory in religious texts during the Mediaeval Period, following the tradition, since meaningful stories are nearly always applicable to larger issues, allegories may be read into many stories which the author may not have recognised. This is allegoresis, or the act of reading a story as an allegory. S, lewis and A Kingdom Far and Clear, The Complete Swan Lake Trilogy by Mark Helprin. The story of the apple falling onto Isaac Newtons head is another famous allegory and it simplified the idea of gravity by depicting a simple way it was supposedly discovered. It also made the scientific revelation well known by condensing the theory into a short tale. According to Henry Littlefields 1964 article, L. Yet, George MacDonald emphasised in 1893 that, A fairy tale is not an allegory, I much prefer history – true or feigned– with its varied applicability to the thought and experience of readers. I think that many confuse applicability with allegory, but the one resides in the freedom of the reader, and this further reinforces the idea of forced allegoresis, as allegory is often a matter of interpretation and only sometimes of original artistic intention. Like allegorical stories, allegorical poetry has two meanings – a literal meaning and a symbolic meaning, some unique specimens of allegory can be found in the following works, Edmund Spenser – The Faerie Queene, The several knights in the poem actually stand for several virtues. Nathaniel Hawthorne – Young Goodman Brown, The Devils Staff symbolises defiance of God, the characters names, such as Goodman and Faith, ironically serve as paradox in the conclusion of the story. Nathaniel Hawthorne – The Scarlet Letter, The scarlet letter symbolises many things, the characters, while developed with interiority, are allegorical in that they represent ways of seeing the world. George Orwell – Animal Farm, The pigs stand for political figures of the Russian Revolution, lászló Krasznahorkai - The Melancholy of Resistance and the film Werckmeister Harmonies, It uses a circus to describe an occupying dysfunctional government
2.
Peter Paul Rubens
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Sir Peter Paul Rubens was a Flemish/Netherlandish draughtsman and painter. He is widely considered as the most notable artist of Flemish Baroque art school, the catalogue of his works by Michael Jaffé lists 1,403 pieces, excluding numerous copies made in his workshop. His commissioned works were mostly history paintings, which included religious and mythological subjects and he painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house and he also oversaw the ephemeral decorations of the royal entry into Antwerp by the Cardinal-Infante Ferdinand in 1635. His drawings are mostly extremely forceful but not overly detailed and he also made great use of oil sketches as preparatory studies. For altarpieces he painted on slate to reduce reflection problems. Rubens was born in the city of Siegen to Jan Rubens and he was named in honour of Saint-Peter and Paul, because he was born on their solemnety. His father, a Calvinist, and mother fled Antwerp for Cologne in 1568, after increased religious turmoil and persecution of Protestants during the rule of the Spanish Netherlands by the Duke of Alba. Jan Rubens became the adviser of Anna of Saxony, the second wife of William I of Orange. Following Jan Rubens imprisonment for the affair, Peter Paul Rubens was born in 1577, the family returned to Cologne the next year. In 1589, two years after his fathers death, Rubens moved with his mother Maria Pypelincks to Antwerp, religion figured prominently in much of his work and Rubens later became one of the leading voices of the Catholic Counter-Reformation style of painting. In Antwerp, Rubens received a Renaissance humanist education, studying Latin, by fourteen he began his artistic apprenticeship with Tobias Verhaeght. Subsequently, he studied under two of the leading painters of the time, the late Mannerist artists Adam van Noort. Much of his earliest training involved copying earlier works, such as woodcuts by Hans Holbein the Younger. Rubens completed his education in 1598, at time he entered the Guild of St. Luke as an independent master. In 1600 Rubens travelled to Italy and he stopped first in Venice, where he saw paintings by Titian, Veronese, and Tintoretto, before settling in Mantua at the court of Duke Vincenzo I Gonzaga. The colouring and compositions of Veronese and Tintoretto had an effect on Rubenss painting. With financial support from the Duke, Rubens travelled to Rome by way of Florence in 1601, there, he studied classical Greek and Roman art and copied works of the Italian masters
3.
Fortuna
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Fortuna was the goddess of fortune and personification of luck in Roman religion. She might bring good or bad luck, she could be represented as veiled and blind, as in modern depictions of Lady Justice, and came to represent lifes capriciousness. She was also a goddess of fate, as Atrox Fortuna, she claimed the lives of the princeps Augustus grandsons Gaius and Lucius. Her father was said to be Jupiter and like him, she could also be bountiful, as Annonaria she protected grain supplies. June 11 was sacred to her, on June 24 she was given cult at the festival of Fors Fortuna, fortunas Roman cult was variously attributed to Servius Tullius – whose exceptional good fortune suggested their sexual intimacy – and to Ancus Marcius. The two earliest temples mentioned in Roman Calendars were outside the city, on the bank of the Tiber. After undisclosed rituals they then rowed back, garlanded and inebriated, also Fortuna had a temple at the Forum Boarium. Here Fortuna was twinned with the cult of Mater Matuta, and the temples have been revealed in the excavation beside the church of SantOmobono. Fortuna Primigenia of Praeneste was adopted by Romans at the end of 3rd century BC in an important cult of Fortuna Publica Populi Romani on the Quirinalis outside the Porta Collina, no temple at Rome, however, rivalled the magnificence of the Praenestine sanctuary. Fortunas identity as personification of chance events was closely tied to virtus, an oracle at the Temple of Fortuna Primigena in Praeneste used a form of divination in which a small boy picked out one of various futures that were written on oak rods. Cults to Fortuna in her many forms are attested throughout the Roman world, dedications have been found to Fortuna Dubia, Fortuna Brevis and Fortuna Mala. She is found in a variety of domestic and personal contexts, during the early Empire, an amulet from the House of Menander in Pompeii links her to the Egyptian goddess Isis, as Isis-Fortuna. She is functionally related to the god Bonus Eventus, who is represented as her counterpart. Her name seems to derive from Vortumna, the earliest reference to the Wheel of Fortune, emblematic of the endless changes in life between prosperity and disaster, is from 55 BC. Never have sceptres obtained calm peace or certain tenure, care on care weighs them down, great kingdoms sink of their own weight, and Fortune gives way ‘neath the burden of herself. Sails swollen with favouring breezes fear blasts too strongly theirs, the tower which rears its head to the clouds is beaten by rainy Auster. Whatever Fortune has raised on high, she lifts but to bring low. ”Fortuna did not disappear from the imagination with the ascendancy of Christianity. Let the bad worship her. this supposed deity, Fortuna, then, was a servant of God, and events, individual decisions, the influence of the stars were all merely vehicles of Divine Will
4.
Mythology
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Mythology refers variously to the collected myths of a group of people or to the study of such myths. Myths are the people tell to explain nature, history. Myth is a feature of every culture, mythologizing continues, as shown in contemporary mythopoeia such as urban legends and the expansive fictional mythoi created by fantasy novels and comics. A cultures collective mythology helps convey belonging, shared and religious experiences, behavioral models, the study of myth began in ancient history. Rival classes of the Greek myths by Euhemerus, Plato and Sallustius were developed by the Neoplatonists, the nineteenth-century comparative mythology reinterpreted myth as a primitive and failed counterpart of science, a disease of language, or a misinterpretation of magical ritual. Recent approaches often view myths as manifestations of psychological, cultural, or societal truths, the term mythology predates the word myth by centuries. It first appeared in the fifteenth-century, borrowed from the Middle French term mythologie, the word mythology, comes from Middle French mythologie, from Late Latin mythologia, from Greek μυθολογία mythología from μῦθος mythos and -λογία -logia. The word mythología appears in Plato, but was used as a term for fiction or story-telling of any kind, combining mỹthos. From Lydgate until the seventeenth or eighteenth-century, mythology was similarly used to mean a moral, fable, from its earliest use in reference to a collection of traditional stories or beliefs, mythology implied the falsehood of the stories being described. It came to be applied by analogy with similar bodies of traditional stories among other cultures around the world. The Greek loanword mythos and Latinate mythus both appeared in English before the first example of myth in 1830, in present use, mythology usually refers to the collected myths of a group of people, but may also mean the study of such myths. For example, Greek mythology, Roman mythology and Hittite mythology all describe the body of myths retold among those cultures, dundes defined myth as a sacred narrative that explains how the world and humanity evolved into their present form. Lincoln defined myth as ideology in narrative form, scholars in other fields use the term myth in varied ways. In a broad sense, the word can refer to any traditional story, due to this pejorative sense, some scholars opted for the term mythos. Its use was similarly pejorative and now commonly refers to its Aristotelian sense as a plot point or to a collective mythology. The term is distinguished from didactic literature such as fables. Main characters in myths are usually gods, demigods or supernatural humans, however, many exceptions or combinations exist, as in the Iliad, Odyssey and Aeneid. Myths are often endorsed by rulers and priests and are linked to religion or spirituality
5.
Zeus
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Zeus /ˈzjuːs/ is the sky and thunder god in ancient Greek religion, who ruled as king of the gods of Mount Olympus. His name is cognate with the first element of his Roman equivalent Jupiter and his mythologies and powers are similar, though not identical, to those of the Indo-European deities such as Indra, Jupiter, Perun, Thor, and Odin. Zeus is the child of Cronus and Rhea, the youngest of his siblings to be born, in most traditions, he is married to Hera, by whom he is usually said to have fathered Ares, Hebe, and Hephaestus. At the oracle of Dodona, his consort was said to be Dione, Zeus was also infamous for his erotic escapades. These resulted in many godly and heroic offspring, including Athena, Apollo, Artemis, Hermes, Persephone, Dionysus, Perseus, Heracles, Helen of Troy, Minos, and the Muses. He was equated with many foreign weather gods, permitting Pausanias to observe That Zeus is king in heaven is a common to all men. His symbols are the thunderbolt, eagle, bull, and oak, in addition to his Indo-European inheritance, the classical cloud-gatherer also derives certain iconographic traits from the cultures of the Ancient Near East, such as the scepter. Zeus is frequently depicted by Greek artists in one of two poses, standing, striding forward with a thunderbolt leveled in his right hand. The gods name in the nominative is Ζεύς Zeús and it is inflected as follows, vocative, Ζεῦ Zeû, accusative, Δία Día, genitive, Διός Diós, dative, Διί Dií. Diogenes Laertius quotes Pherecydes of Syros as spelling the name, Ζάς, Zeus is the Greek continuation of *Di̯ēus, the name of the Proto-Indo-European god of the daytime sky, also called *Dyeus ph2tēr. The god is known under this name in the Rigveda, Latin, Zeus is the only deity in the Olympic pantheon whose name has such a transparent Indo-European etymology. The earliest attested forms of the name are the Mycenaean Greek
6.
Crete
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Crete is the largest and most populous of the Greek islands, 88th-largest island in the world and the fifth-largest island in the Mediterranean Sea, after Sicily, Sardinia, Cyprus, and Corsica. Crete and a number of surrounding islands and islets constitute the region of Crete, the capital and the largest city is Heraklion. As of 2011, the region had a population of 623,065, Crete forms a significant part of the economy and cultural heritage of Greece, while retaining its own local cultural traits. It was once the centre of the Minoan civilization, which is regarded as the earliest recorded civilization in Europe. The island is first referred to as Kaptara in texts from the Syrian city of Mari dating from the 18th century BC, repeated later in Neo-Assyrian records and it was also known in ancient Egyptian as Keftiu, strongly suggesting a similar Minoan name for the island. The current name of Crete is thought to be first attested in Mycenaean Greek texts written in Linear B, through the words
7.
Horn (anatomy)
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A horn is a permanent pointed projection on the head of various animals consisting of a covering of keratin and other proteins surrounding a core of live bone. Horns are distinct to antlers which are not permanent, in mammals, true horns are found mainly among the ruminant artiodactyls, in the families Antilocapridae and Bovidae. One pair of horns is usual, however, two or more occur in a few wild species and domesticated breeds of sheep. Polycerate sheep breeds include the Hebridean, Icelandic, Jacob, Manx Loaghtan, horns usually have a curved or spiral shape, often with ridges or fluting. In many species only males have horns, horns start to grow soon after birth, and continue to grow throughout the life of the animal. Partial or deformed horns in livestock are called scurs, similar growths on other parts of the body are not usually called horns, but spurs, claws or hoofs depending on the part of the body on which they occur. These are covered with furred skin, cervidae, Most deer have antlers, which are not true horns. When fully developed, antlers are dead bone without a horn or skin covering, they are only by adults and are shed. Rhinocerotidae, The horns of rhinoceroses are made of keratin, the substance as fingernails, and grow continuously. Chamaeleonidae, Many chameleons, most notably the Jacksons Chameleon, possess horns on their skulls, ceratopsidae, The horns of the Triceratops were extensions of its skull bones although debate exists over whether they had a keratin covering. Horned lizards, These lizards have horns on their heads which have a keratin covering over a bony core. Insects, Some insects have horn-like structures on the head or thorax and these are pointed outgrowths of the hard chitinous exoskeleton. Some have greatly enlarged jaws, also made of chitin, canidae, Golden jackals are known to occasionally develop a horny growth on the skull, which is associated with magical powers in south-eastern Asia. Many mammal species in various families have tusks, which serve the same functions as horns. These include the Moschidae, Suidae, Proboscidea, Monodontidae and Odobenidae, Polled animals or pollards are those of normally-horned species whose horns have been removed, or which have not grown. In some cases animals have small horny growths in the skin where their horns would be – these are known as scurs. Cutaneous horns are the examples of horns growing on people. They are most often benign growths and can be removed by a razor, cases of people growing horns have been historically described, sometimes with mythical status
8.
Heracles
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Heracles, born Alcaeus or Alcides, was a divine hero in Greek mythology, the son of Zeus and Alcmene, foster son of Amphitryon and great-grandson and half-brother of Perseus. He was the greatest of the Greek heroes, a paragon of masculinity, the ancestor of clans who claimed to be Heracleidae. In Rome and the modern West, he is known as Hercules, with whom the later Roman emperors, in particular Commodus and Maximian, often identified themselves. The Romans adopted the Greek version of his life and works essentially unchanged, details of his cult were adapted to Rome as well. Extraordinary strength, courage, ingenuity, and sexual prowess with both males and females were among the characteristics commonly attributed to him, together with Hermes he was the patron and protector of gymnasia and palaestrae. His iconographic attributes are the skin and the club. These qualities did not prevent him from being regarded as a figure who used games to relax from his labors. By conquering dangerous archaic forces he is said to have made the safe for mankind. Many popular stories were told of his life, the most famous being The Twelve Labours of Heracles and his figure, which initially drew on Near Eastern motifs such as the lion-fight, was widely known. Heracles was the greatest of Hellenic chthonic heroes, but unlike other Greek heroes, the core of the story of Heracles has been identified by Walter Burkert as originating in Neolithic hunter culture and traditions of shamanistic crossings into the netherworld. Heracles role as a hero, whose death could be a subject of mythic telling, was accepted into the Olympian Pantheon during Classical times. Around him cries of the dead rang out like cries of birds scattering left, in Christian circles a Euhemerist reading of the widespread Heracles cult was attributed to a historical figure who had been offered cult status after his death. The ancient Greeks celebrated the festival of the Heracleia, which commemorated the death of Heracles, what is believed to be an Egyptian Temple of Heracles in the Bahariya Oasis dates to 21 BCE. A reassessment of Ptolemys descriptions of the island of Malta attempted to link the site at Ras ir-Raħeb with a temple to Heracles, several ancient cities were named Heraclea in his honor. A major factor in the tragedies surrounding Heracles is the hatred that the goddess Hera. A full account of Heracles must render it clear why Heracles was so tormented by Hera, Heracles was the son of the affair Zeus had with the mortal woman Alcmene. Zeus made love to her after disguising himself as her husband, Amphitryon, thus, Heracles very existence proved at least one of Zeus many illicit affairs, and Hera often conspired against Zeus mortal offspring as revenge for her husbands infidelities. His twin mortal brother, son of Amphitryon, was Iphicles, Hera did this knowing that while Heracles was to be born a descendant of Perseus, so too was Eurystheus
9.
Achelous
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In Greek mythology, Achelous was originally the god of all water, and the rivers of the world were viewed by many as his sinews. His name is pre-Greek, its not entirely certain. Recent arguments suggest it is Semitic in origin, with the Greek root Aχ stemming from Akkadian aḫu, which means bank of the river, and aḫû, meaning seashore. Likewise, the Greek root ἑλώἴος probably stems from the Akkadian illu, meaning watercourse or water of the river invading land, and also elu and ilu, which mean deity. Achelous was also an important deity in Etruscan mythology, intimately related to water as in the Greek tradition, man-faced bull iconography was first adapted to represent Achelous by the Etruscans in the 8th century BC, and the Greeks later copied this tradition. Recent arguments have demonstrated both the form and substance of Achelous, as a god of water primarily depicted as a man-faced bull, have roots in Old Europe in the Bronze Age. Some Greek sources say that he was the son of Gaia and Oceanus, however, ancient Greeks generally believed with Hesiod that Tethys and Oceanus were the parents of all three thousand river gods. In the Renaissance, the improvisatory mythographer Natalis Comes made for his parents Gaia and Helios, Homer placed Achelous above all, by Roman times, Homers reference was interpreted as making Achelous prince of rivers. Others derived the legends about Achelous from Egypt, and describe him as a second Nilus and this wide extent of the worship of Achelous also accounts for his being regarded as the representative of sweet water in general, that is, as the source of all nourishment. Achelous was a suitor for Deianeira, daughter of Oeneus king of Calydon, but was defeated by Heracles, who wed her himself. The contest of Achelous with Heracles was represented on the throne of Amyclae, on several coins of Acarnania the god is represented as a bull with the head of an old man. The sacred bull, the serpent and the Minotaur are all associated with the Earth goddess Gaia. Achelous was sometimes depicted as an old man or a vigorous bearded man in his prime, with a horned head. When he battled Heracles over the river nymph Deianeira, Achelous turned himself into a serpent, Heracles tore off one of his horns and forced the god to surrender. Achelous had to trade the goat horn of Amalthea to get it back, Heracles gave it to the Naiads, who transformed it into the cornucopia. Achelous relates the bitter episode afterwards to Theseus in Ovids Metamorphoses, sophocles makes Deianeira relate these occurrences in a somewhat different manner. The most common depiction of Acheloios in Archaic and Classical times was as a man-faced bull. Often times, a city would feature a bull on its coinage to represent a local epithet of Achelous, such as Achelous Gelas of Gela, Sicily, or Achelous Sebethos of Neapolis
10.
Mural
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A mural is any piece of artwork painted or applied directly on a wall, ceiling or other permanent surface. A distinguishing characteristic of painting is that the architectural elements of the given space are harmoniously incorporated into the picture. Some wall paintings are painted on canvases, which are then attached to the wall. Whether these works can be accurately called murals is a subject of controversy in the art world. Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France, many ancient murals have been found within ancient Egyptian tombs, the Minoan palaces and in Pompeii. During the Middle Ages murals were executed on dry plaster. The huge collection of Kerala mural painting dating from the 14th century are examples of fresco secco, in Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting. In modern times, the became more well-known with the Mexican muralism art movement. There are many different styles and techniques, the best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts. The colors lighten as they dry, the marouflage method has also been used for millennia. Murals today are painted in a variety of ways, using oil or water-based media, the styles can vary from abstract to trompe-lœil. Initiated by the works of artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-loeil painting has experienced a renaissance in private. The buon fresco technique consists of painting in pigment mixed with water on a layer of wet, fresh. The pigment is absorbed by the wet plaster, after a number of hours. After this the painting stays for a time up to centuries in fresh. Fresco-secco painting is done on dry plaster, the pigments thus require a binding medium, such as egg, glue or oil to attach the pigment to the wall. By the end of the century this had largely displaced the buon fresco method. This technique had, in reduced form, the advantages of a secco work, in Greco-Roman times, mostly encaustic colors applied in a cold state were used
11.
Regionalism (art)
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It arose in the 1930s as a response to the Great Depression, and ended in the 1940s due to the end of World War II and a lack of development within the movement. It reached its height of popularity from 1930 to 1935, as it was appreciated for its reassuring images of the American heartland during the Great Depression. Before World War II, the concept of Modernism was not clearly defined in the context of American art, there was also a struggle to define a uniquely American type of art. On the path to determining what American art would be, American artists rejected the modern trends emanating from the Armory Show, by rejecting European abstract styles, American artists chose to adopt academic realism, which depicted American urban and rural scenes. Partly due to the Great Depression, Regionalism became one of the dominant art movements in America in the 1930s the other being Social Realism. At the time, the United States was still an agricultural nation with a much smaller portion of its population living in industrial cities such as New York City or Chicago. American Scene Painting is a term for American Regionalism and Social Realism otherwise known as Urban Realism. Much of American Scene Painting conveys a sense of nationalism and romanticism in depictions of everyday American life and this sense of nationalism stemmed from artists rejection of modern art trends after World War I and the Armory Show. The works which stress local and small-town themes are often called American Regionalism, all three studied art in Paris, but devoted their lives to creating a truly American form of art. They believed that the solution to problems in American life. American painter from Anamosa, Iowa that was best known for his painting American Gothic and he also wrote a notable pamphlet titled Revolt Against the City, published in Iowa City,1935. In it he asserts that American artists and buyers of art were no longer looking to Parisian culture for subject matter, Wood wrote that Regional artists interpret physiography, industry, and psychology of their hometown, and that the competition of these preceding elements creates American culture. He wrote that the lure of the city was gone, and he cites Thomas Jeffersons characterization of cities as ulcers on the body politic. American painter, illustrator, and lithographer from Neosho, Missouri that became known for his murals. His subject matter focused on working-class America, while incorporating social criticism. He heavily denounced European modern art despite the fact that he was regarded as a modernist, when Regionalism lost its popularity in America, Benton got a job as a teacher at the Kansas City Art Institute, where he became a teacher and lifelong father figure for Jackson Pollock. Along with being a painter, he was a folk musician. American painter and illustrator from Dunavant, Kansas and he had a histrionic, anecdotal style, and believed that art should come from everyday life and that an artist should paint what they love
12.
Terra (mythology)
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In ancient Roman religion and myth, Tellus Mater or Terra Mater is a goddess of the earth. Although Tellus and Terra are hardly distinguishable during the Imperial era, the scholar Varro lists Tellus as one of the di selecti, the twenty principal gods of Rome, and one of the twelve agricultural deities. She is regularly associated with Ceres in rituals pertaining to the earth, the attributes of Tellus were the cornucopia, or bunches of flowers or fruit. Her male complement was a sky god such as Caelus or a form of Jupiter, a male counterpart Tellumo or Tellurus is mentioned, though rarely. Her Greek counterpart is Gaia, and among the Etruscans she was Cel, the word tellus, telluris is also a Latin common noun for land, territory, earth, as is terra, earth, ground. In literary uses, particularly in poetry, it may be ambiguous as to whether the goddess and this article preserves the usage of the ancient sources regarding Tellus or Terra. The two words terra and tellus are thought to derive from the formulaic phrase tersa tellus, meaning dry land, the etymology of tellus is uncertain, it is perhaps related to Sanskrit talam, plain ground. The 4th-century AD Latin commentator Servius distinguishes between tellus and terra in usage, Terra, he says, is properly used of the elementum, earth as one of the four classical elements with air, water, and fire. Tellus is the goddess, whose name can be substituted for her functional sphere the earth, just as the name Vulcanus is used for fire, Ceres for produce, Tellus thus refers to the guardian deity of Earth and by extension the globe itself. Tellus may be an aspect of the numen called Dea Dia by the Arval priests, Varro identifies Terra Mater with Ceres, Not without cause was the Earth called Mater and Ceres. It was believed that those who cultivated her led a pious and useful life, ovid distinguishes between Tellus as the locus of growth, and Ceres as its causa. Mater, the Latin word for mother, is used as an honorific for goddesses, including Vesta. Mother therefore expresses the respect that one would owe a mother, though Tellus, the Temple of Tellus was the most prominent landmark of the Carinae, a fashionable neighborhood on the Oppian Hill. It was near homes belonging to Pompey and to the Cicero family, the temple was the result of a votum made in 268 BC by Publius Sempronius Sophus when an earthquake struck during a battle with the Picenes. Others say it was built by the Roman people and it occupied the former site of a house belonging to Spurius Cassius, which had been torn down when he was executed in 485 BC for attempting to make himself king. The temple constructed by Sophus more than two centuries later was most likely a rebuilding of the peoples, the anniversary of its dedication was December 13. A mysterious object called the magmentarium was stored in the temple, a statue of Quintus Cicero, set up by his brother Marcus, was among those that stood on the temple grounds. Cicero claims that the proximity of his property caused some Romans to assume he had a responsibility to maintain the temple
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