1.
Boeotia
–
Boeotia, sometimes alternatively Latinised as Beotia, is one of the regional units of Greece. It is part of the region of Central Greece and it was also a region of ancient Greece. Its capital is Livadeia, and its largest city is Thebes, Boeotia lies to the north of the eastern part of the Gulf of Corinth. It also has a coastline on the Gulf of Euboea. It bordered on Megaris in the south, Attica in the southeast, Euboea in the northeast, Opuntian Locris in the north and Phocis in the west. The main mountain ranges of Boeotia are Mount Parnassus in the west, Mount Helicon in the southwest, Cithaeron in the south and its longest river, the Cephissus, flows in the central part, where most of the low-lying areas of Boeotia are found. Lake Copais was a lake in the center of Boeotia. It was drained in the 19th century, lake Yliki is a large lake near Thebes. The earliest inhabitants of Boeotia, associated with the city of Orchomenus, were called Minyans, pausanias mentions that Minyans established the maritime Ionian city of Teos, and occupied the islands of Lemnos and Thera. The Argonauts were sometimes referred to as Minyans, also, according to legend the citizens of Thebes paid an annual tribute to their king Erginus. The early wealth and power of Boeotia is shown by the reputation and visible Mycenean remains of several of its cities, especially Orchomenus, the origin of the name Boeotians may lie in the mountain Boeon in Epirus. Some toponyms and the common Aeolic dialect indicate that the Boeotians were related to the Thessalians and they moved south and settled in another rich plain, while others filtered across the Aegean and settled on Lesbos and in Aeolis in Asia Minor. Others are said to have stayed in Thessaly, withdrawing into the hill country, many ancient Greek legends originated or are set in this region. The older myths took their form during the Mycenean age when the Mycenean Greeks established themselves in Boeotia. Many of them are related to the myths of Argos, and others indicate connections with Phoenicia, Boeotia was also notable for the ancient oracular shrine of Trophonius at Lebadea. Graea, an ancient city in Boeotia, is thought to be the origin of the Latin word Graecus, from which English derives the words Greece. The major poets Hesiod and Pindar were Boeotians, on the other hand, the lack of good harbours hindered its maritime development. The importance of the legendary Minyae has been confirmed by archaeological remains, the Boeotian population entered the land from the north possibly before the Dorian invasion
2.
Krater
–
A krater or crater was a large vase in Ancient Greece, particularly used for watering down wine. At a Greek symposium, kraters were placed in the center of the room and they were quite large, so they were not easily portable when filled. Thus, the mixture would be withdrawn from the krater with other vessels. In fact, Homers Odyssey describes a steward drawing wine from a krater at a banquet and then running to, the modern Greek word now used for undiluted wine, krasi, originates from the krasis of wine and water in kraters. Kraters were glazed on the interior to make the surface of the clay more impervious for holding water, at the beginning of each symposium a symposiarch, or lord of the common drink, was elected by the participants. He would then control of the wine servants, and thus of the degree of wine dilution and how it changed during the party. The krater and how it was filled and emptied was thus the centerpiece of the symposiarchs authority, an astute symposiarch should be able to diagnose the degree of inebriation of his fellow symposiasts and make sure that the symposium progressed smoothly and without drunken excess. Drinking ákratos wine was considered a faux pas in ancient Greece, enough to characterize the drinker as a drunkard and someone who lacked restraint. By using dehydrated grapes, and could withstand dilution with water better, such wines would have also withstood time and the vagaries of transportation much better. Nevertheless, the ancient writers offer scant details of ancient vinification methods and this form originated in Corinth in the seventh century BCE but was taken over by the Athenians where it is typically black-figure. They ranged in size from 35 centimetres to 56 centimetres in height and were thrown in three pieces, the body/ shoulder area was one, the base another, and the neck/ lip/ rim a third. These are among the largest of the kraters, supposedly developed by the potter Exekias in black figure though in fact almost always seen in red, the lower body is shaped like the calyx of a flower, and the foot is stepped. The psykter-shaped vase fits inside it so well stylistically that it has suggested that the two might have often been made as a set. It is always made with two robust upturned handles positioned on opposite sides of the body or cul. This type of krater, defined by volute-shaped handles, was invented in Laconia in the early 6th century BC and its production was carried on by Greeks in Apulia until the end of the 4th century BC. This strip would then have been continued downward until the bottom of the handle where the potter would have cut a U-shaped arch in the clay before attaching the handle to the body of the vase and this form looks like an inverted bell. According to most scholars ceramic kraters imitated shapes designed initially for metal vessels, these were common in antiquity, among the largest and most famous metal kraters in antiquity were one in the possession of the Samian tyrant Polycrates, and another one dedicated by Croesus to the Delphic oracle. There are a few extant Archaic bronze kraters, almost exclusively of the volute-type and their main production centres were Sparta, Argos and Corinth, in Peloponnesus
3.
Zeus
–
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
4.
Perseus
–
Perseus beheaded the Gorgon Medusa and saved Andromeda from the sea monster Cetus. Perseus was the son of the mortal Danaë and the god Zeus and he was also the half-brother and great grandfather of Heracles. There is some prospect that it descended into Greek from the Proto-Indo-European language, in that regard Robert Graves has espoused the only Greek derivation available. Perseus might be from the Greek verb, πέρθειν, “to waste, ravage, sack, destroy”, according to Carl Darling Buck, the –eus suffix is typically used to form an agent noun, in this case from the aorist stem, pers-. Pers-eus therefore is a sacker of cities, that is, a soldier by occupation, the origin of perth- is more obscure. J. B. Hofmann lists the possible root as *bher-, from which Latin ferio and this corresponds to Julius Pokorny’s *bher-, “scrape, cut. ”Ordinarily *bh- descends to Greek as ph-. This difficulty can be overcome by presuming a dissimilation from the –th– in perthein, that is, Graves carries the meaning still further, to the perse- in Persephone, goddess of death. the classical Perse. daughter of Oceanus. Whether it may be identified with the first element of Persephone is only speculative. ”A Greek folk etymology connected the name of the Persian people. The native name, however, has always had an -a- in Persian, herodotus recounts this story, devising a foreign son, Perses, from whom the Persians took the name. Apparently the Persians themselves knew the story, as Xerxes tried to use it to suborn the Argives during his invasion of Greece, Perseus was the son of Zeus and Danaë, the daughter of Acrisius, King of Argos. Disappointed by his lack of luck in having a son, Acrisius consulted the oracle at Delphi, who warned him that he would one day be killed by his daughters son. In order to keep Danaë childless, Acrisius imprisoned her in a chamber, open to the sky, in the courtyard of his palace, This mytheme is also connected to Ares, Oenopion, Eurystheus. Zeus came to her in the form of a shower of gold, soon after, their child was born, Perseus—Perseus Eurymedon, for his mother gave him this name as well. Fearful for his future, but unwilling to provoke the wrath of the gods by killing the offspring of Zeus and his daughter, danaës fearful prayer, made while afloat in the darkness, has been expressed by the poet Simonides of Ceos. Mother and child washed ashore on the island of Serifos, where they were taken in by the fisherman Dictys, the brother of Dictys was Polydectes, the king of the island. When Perseus was grown, Polydectes came to fall in love with the beautiful Danaë, Perseus believed Polydectes was less than honourable, and protected his mother from him, then Polydectes plotted to send Perseus away in disgrace. He held a banquet where each guest was expected to bring a gift. Polydectes requested that the guests bring horses, under the pretense that he was collecting contributions for the hand of Hippodamia, Perseus had no horse to give, so he asked Polydectes to name the gift, he would not refuse it
5.
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
6.
Greek language
–
Greek is an independent branch of the Indo-European family of languages, native to Greece and other parts of the Eastern Mediterranean. It has the longest documented history of any living language, spanning 34 centuries of written records and its writing system has been the Greek alphabet for the major part of its history, other systems, such as Linear B and the Cypriot syllabary, were used previously. The alphabet arose from the Phoenician script and was in turn the basis of the Latin, Cyrillic, Armenian, Coptic, Gothic and many other writing systems. Together with the Latin texts and traditions of the Roman world, during antiquity, Greek was a widely spoken lingua franca in the Mediterranean world and many places beyond. It would eventually become the official parlance of the Byzantine Empire, the language is spoken by at least 13.2 million people today in Greece, Cyprus, Italy, Albania, Turkey, and the Greek diaspora. Greek roots are used to coin new words for other languages, Greek. Greek has been spoken in the Balkan peninsula since around the 3rd millennium BC, the earliest written evidence is a Linear B clay tablet found in Messenia that dates to between 1450 and 1350 BC, making Greek the worlds oldest recorded living language. Among the Indo-European languages, its date of earliest written attestation is matched only by the now extinct Anatolian languages, the Greek language is conventionally divided into the following periods, Proto-Greek, the unrecorded but assumed last ancestor of all known varieties of Greek. The unity of Proto-Greek would have ended as Hellenic migrants entered the Greek peninsula sometime in the Neolithic era or the Bronze Age, Mycenaean Greek, the language of the Mycenaean civilisation. It is recorded in the Linear B script on tablets dating from the 15th century BC onwards, Ancient Greek, in its various dialects, the language of the Archaic and Classical periods of the ancient Greek civilisation. It was widely known throughout the Roman Empire, after the Roman conquest of Greece, an unofficial bilingualism of Greek and Latin was established in the city of Rome and Koine Greek became a first or second language in the Roman Empire. The origin of Christianity can also be traced through Koine Greek, Medieval Greek, also known as Byzantine Greek, the continuation of Koine Greek in Byzantine Greece, up to the demise of the Byzantine Empire in the 15th century. Much of the written Greek that was used as the language of the Byzantine Empire was an eclectic middle-ground variety based on the tradition of written Koine. Modern Greek, Stemming from Medieval Greek, Modern Greek usages can be traced in the Byzantine period and it is the language used by the modern Greeks, and, apart from Standard Modern Greek, there are several dialects of it. In the modern era, the Greek language entered a state of diglossia, the historical unity and continuing identity between the various stages of the Greek language is often emphasised. Greek speakers today still tend to regard literary works of ancient Greek as part of their own rather than a foreign language and it is also often stated that the historical changes have been relatively slight compared with some other languages. According to one estimation, Homeric Greek is probably closer to demotic than 12-century Middle English is to modern spoken English, Greek is spoken by about 13 million people, mainly in Greece, Albania and Cyprus, but also worldwide by the large Greek diaspora. Greek is the language of Greece, where it is spoken by almost the entire population
7.
Argos
–
Argos is a city in Argolis, Peloponnese, Greece and one of the oldest continuously inhabited cities in the world. It is also a bishopric and present Latin Catholic titular see. It is the biggest town in Argolis and a center for the area. Since the 2011 local government reform it has been part of the municipality of Argos-Mykines, the municipal unit has an area of 138.138 km2. It is 11 kilometres from Nafplion, which was its historic harbour, a settlement of great antiquity, Argos has been continuously inhabited as at least a substantial village for the past 7,000 years. The city is a member of the Most Ancient European Towns Network, a resident of the city of Argos is known as an Argive. However, this term is used to refer to those ancient Greeks generally who assaulted the city of Troy during the Trojan War. Numerous ancient monuments can be found in the city today, the most famous of which is the Heraion of Argos, agriculture is the mainstay of the local economy. The name of the city is ancient and several etymological theories have been proposed as an explanation to its meaning. The most popular one maintains that the name of the city is a remainder from the Pelasgian language, i. e. the one used by the people who first settled in the area, in which Argos meant plain. Alternatively, the name is associated with Argos, the king of the city in ancient times. It is also believed that Argos is linked to the word αργός, which meant white, possibly, according to Strabo, the name could have even originated from the word αγρός by antimetathesis of the consonants. As a strategic location on the plain of Argolis, Argos was a major stronghold during the Mycenaean era. There is evidence of settlement in the area starting with a village about 7000 years ago in the late Neolithic. It was colonized in prehistoric times by the Pelasgian Greeks, since that time, Argos has been continually inhabited at the same geographical location. Its creation is attributed to Phoroneus, with its first name having been Phoronicon Asty, the city is located at a rather propitious area, among Nemea, Corinth and Arcadia. It also benefitted from its proximity to lake Lerna, which, during the Dorian invasion, c.1100 BC, Argos was divided into four neighbourhoods, each of them inhabited by a different phyle. Argos experienced its greatest period of expansion and power under the energetic 7th century BC ruler King Pheidon, under Pheidon, Argos regained sway over the cities of the Argolid and challenged Sparta’s dominance of the Peloponnese
8.
Ardea, Lazio
–
Ardea is an ancient town and comune in the Metropolitan City of Rome,35 kilometres south of Rome and about 4 kilometres from todays Mediterranean coast. The economy is based on agriculture, although, starting from the 1970s. Ardea is one of the most ancient towns in western Europe, founded about in the 8th century BC was the capital of the Rutuli, mentioned in the Aeneid. After the Roman conquest, Ardea was most often mentioned in connection with the Via Ardeatina, one of the consular roads, in 509 BC Lucius Tarquinius Superbus, the king of Rome sought unsuccessfully to take the town by storm, and then commenced a siege of the town. However the siege was interrupted by the revolution resulted in the overthrow of the king. One of the leaders of the revolution, Lucius Junius Brutus, came to the camp of the Roman army at Ardea, in 443 BC the Volscians laid siege to Ardea. The siege was broken by Roman troops under the leadership of Marcus Geganius Macerinus. During the Second Punic War, it was one of the few cities that refused military support to Rome, in the 3rd-2nd centuries BC it decayed until, in the Imperial Age, it was scarcely populated at all. The 1st century agricultural writer Columella possessed estates there, after the fall of the Western Roman Empire, Ardea was abandoned. It returned to only after the 9th century AD. Its castle in 1118 housed Pope Gelasius II and was later contended among various feudal barons of the area, in 1419 Pope Martin V assigned it to his kinsmen, the Colonna family, who sold it in 1564 to the Cesarini. In 1816 it became a frazione of Genzano, remains of the ancient city include the old defensive agger, dating to the 7th century BC and later updated to larger walls. Archaeological excavations have brought to four temples, of unknown dedication. Part of the pavement of a basilica have also found in the area of the ancient Forum. Other sights include, The Church of Santa Marina, erected in 1191 by Cencio Savelli, the interior, on a single nave, was originally entirely frescoed. Romanesque Church of San Pietro Apostolo, which was a possession of the monks of San Paolo Fuori le Mura of Rome and it incorporates a former watchtower used to counter Saracen attacks, now turned into a bell tower. It has 15th-century frescoes and a 16th-century wooden crucifix, the Giardini della Landriana, designed by Russell Page. Giacomo Manzù Museum, housing some 400 works of the artist, tor San Lorenzo, a tower in the eponymous seaside frazione
9.
Latium
–
Latium is the region of central western Italy in which the city of Rome was founded and grew to be the capital city of the Roman Empire. Latium was originally a triangle of fertile, volcanic soil on which resided the tribe of the Latins or Latians. It was located on the bank of the Tiber river, extending northward to the Anio river. The right bank of the Tiber was occupied by the Etruscan city of Veii, subsequently, Rome defeated Veii and then its Italic neighbors, expanding Latium to the Apennine Mountains in the northeast and to the opposite end of the marsh in the southeast. The modern descendant, the Italian Regione of Lazio, also called Latium in Latin, and occasionally in modern English, is larger still. The ancient language of the Latins, the tribesmen who occupied Latium, was to become the predecessor of the Old Latin language, ancestor of Latin. Latium has played an important role in history owing to its status as the host of the city of Rome. Consequently, Latium is home to celebrated works of art and architecture, in its center is a crater lake, Lacus Albanus, oval in shape, a few km long and wide. The last pagan temple to be built stood until the Middle Ages when its stone and location were reused for various monasteries and finally a hotel. The selection of Jupiter as a god and the descent of the name Latini to the name of the Latin language are sufficient to identify the Latins as a tribe of Indo-European descent. Virgil, a poet of the early Roman Empire, under Augustus, derived Latium from the word for hidden because in a myth Saturn, ruler of the golden age in Latium. A major modern etymology is that Lazio comes from the Latin word latus, meaning wide, the region that would become Latium had been home to settled agricultural populations since the early Bronze Age and was known to the Ancient Greeks and even earlier to the Mycenaean Greeks. The name is most likely derived from the Latin word latus, meaning wide, expressing the idea of land but the name may originate from an earlier. The Etruscans, from their region of Etruria exerted a strong cultural and political influence on Latium from about the 8th century BC onward. Indeed, the cultural and geographic proximity to the cities of Magna Graecia had a strong impact upon its early history. By the 10th century BC, archaeology records a slow development in agriculture from the area of Latium with the establishment of numerous villages. The Latins cultivated grains, grapes, olives, apples, the various Latini populi lived in a society led by influential clans. These clans were a sign of their origin, which continued in Rome as the thirty curiae which organized Roman society
10.
Bronze Age
–
The Bronze Age is a historical period characterized by the use of bronze, proto-writing, and other early features of urban civilization. The Bronze Age is the principal period of the three-age Stone-Bronze-Iron system, as proposed in modern times by Christian Jürgensen Thomsen. An ancient civilization is defined to be in the Bronze Age either by smelting its own copper and alloying with tin, arsenic, or other metals, or by trading for bronze from production areas elsewhere. Copper-tin ores are rare, as reflected in the fact there were no tin bronzes in Western Asia before trading in bronze began in the third millennium BC. Worldwide, the Bronze Age generally followed the Neolithic period, with the Chalcolithic serving as a transition, although the Iron Age generally followed the Bronze Age, in some areas, the Iron Age intruded directly on the Neolithic. Bronze Age cultures differed in their development of the first writing, according to archaeological evidence, cultures in Mesopotamia and Egypt developed the earliest viable writing systems. The overall period is characterized by use of bronze, though the place and time of the introduction. Human-made tin bronze technology requires set production techniques, tin must be mined and smelted separately, then added to molten copper to make bronze alloy. The Bronze Age was a time of use of metals. The dating of the foil has been disputed, the Bronze Age in the ancient Near East began with the rise of Sumer in the 4th millennium BC. Societies in the region laid the foundations for astronomy and mathematics, the usual tripartite division into an Early, Middle and Late Bronze Age is not used. Instead, a division based on art-historical and historical characteristics is more common. The cities of the Ancient Near East housed several tens of thousands of people, ur in the Middle Bronze Age and Babylon in the Late Bronze Age similarly had large populations. The earliest mention of Babylonia appears on a tablet from the reign of Sargon of Akkad in the 23rd century BC, the Amorite dynasty established the city-state of Babylon in the 19th century BC. Over 100 years later, it took over the other city-states. Babylonia adopted the written Semitic Akkadian language for official use, by that time, the Sumerian language was no longer spoken, but was still in religious use. Elam was an ancient civilization located to the east of Mesopotamia, in the Old Elamite period, Elam consisted of kingdoms on the Iranian plateau, centered in Anshan, and from the mid-2nd millennium BC, it was centered in Susa in the Khuzestan lowlands. Its culture played a role in the Gutian Empire and especially during the Achaemenid dynasty that succeeded it
11.
Oracle
–
In classical antiquity, an oracle was a person or agency considered to provide wise and insightful counsel or prophetic predictions or precognition of the future, inspired by the gods. As such it is a form of divination, the word oracle comes from the Latin verb ōrāre to speak and properly refers to the priest or priestess uttering the prediction. In extended use, oracle may also refer to the site of the oracle, Oracles were thought to be portals through which the gods spoke directly to people. In this sense they were different from seers who interpreted signs sent by the gods through bird signs, animal entrails, the most important oracles of Greek antiquity were Pythia, priestess to Apollo at Delphi, and the oracle of Dione and Zeus at Dodona in Epirus. Other temples of Apollo were located at Didyma on the coast of Asia Minor, at Corinth and Bassae in the Peloponnese, the Sibylline Oracles are a collection of oracular utterances written in Greek hexameters ascribed to the Sibyls, prophetesses who uttered divine revelations in frenzied states. Walter Burkert observes that Frenzied women from whose lips the god speaks are recorded in the Near East as in Mari in the second millennium BC, in Egypt the goddess Wadjet was depicted as a snake-headed woman or a woman with two snake-heads. Her oracle was in the temple in Per-Wadjet. The oracle of Wadjet may have been the source for the tradition which spread from Egypt to Greece. Evans linked Wadjet with the Minoan snake goddess, a chthonic deity, in Greece the old oracles were devoted to the Mother Goddess. At the oracle of Dodona she will be called Diōnē, who represents the earth-fertile soil, python, daughter of Gaia was the earth dragon of Delphi represented as a serpent and became the chthonic deity, enemy of Apollo, who slew her and possessed the oracle. The Pythia was the mouthpiece of the oracles of the god Apollo, the Pythia was not conceived to be infallible and in fact, according to Sourvinou-Inwood in What is Polis Religion. The ancient Greeks were aware of this and concluded the unknowability of the divine, in this way, the ‘revelations’ of the Oracles were not seen as ‘objective’ truth. Many wealthy individuals bypassed the hordes of people attempting a consultation by making additional animal sacrifices to please the oracle lest their request go unanswered, as a result, seers were the main source of everyday divination. It is from this institution that the English word, oracle, is derived, the Delphic Oracle exerted considerable influence throughout Hellenic culture. Distinctively, this female was essentially the highest authority both civilly and religiously in male-dominated ancient Greece and she responded to the questions of citizens, foreigners, kings, and philosophers on issues of political impact, war, duty, crime, laws—even personal issues. The semi-Hellenic countries around the Greek world, such as Lydia, Caria, Croesus, king of Lydia beginning in 560 B. C. tested the oracles of the world to discover which gave the most accurate prophecies. He sent out emissaries to seven sites who were all to ask the oracles on the day what the king was doing at that very moment. Croesus proclaimed the oracle at Delphi to be the most accurate, who reported that the king was making a lamb-and-tortoise stew
12.
Erinyes
–
In Greek mythology the Erinyes, also known as the Furies, were female chthonic deities of vengeance, they were sometimes referred to as infernal goddesses. A formulaic oath in the Iliad invokes them as the Erinyes, walter Burkert suggests they are an embodiment of the act of self-cursing contained in the oath. They correspond to the Dirae in Roman mythology, the Roman writer Maurus Servius Honoratus wrote that they are called Eumenides in hell, Furiae on earth, and Dirae in heaven. According to variant accounts, they emerged from a more primordial level—from Nyx. Their number is usually left indeterminate, Virgil, probably working from an Alexandrian source, recognized three, Alecto or Alekto, Megaera, and Tisiphone or Tilphousia, all of whom appear in the Aeneid. Dante Alighieri followed Virgil in depicting the same three-character triptych of Erinyes, the word Erinys in the singular and as a theonym is first attested in Mycenaean Greek, written in Linear B, in the following forms,
13.
Poseidon
–
Poseidon was one of the twelve Olympian deities of the pantheon in Greek mythology. His main domain was the ocean, and he is called the God of the Sea, additionally, he is referred to as Earth-Shaker due to his role in causing earthquakes, and has been called the tamer of horses. He is usually depicted as a male with curly hair. The name of the sea-god Nethuns in Etruscan was adopted in Latin for Neptune in Roman mythology, both were sea gods analogous to Poseidon. According to some folklore, he was saved by his mother Rhea, who concealed him among a flock of lambs and pretended to have birth to a colt. There is a Homeric hymn to Poseidon, who was the protector of many Hellenic cities, according to the references from Plato in his dialogues Timaeus and Critias, the island of Atlantis was the chosen domain of Poseidon. The form Ποτειδάϝων appears in Corinth, the origins of the name Poseidon are unclear. Walter Burkert finds that the second element da- remains hopelessly ambiguous, another theory interprets the second element as related to the word *δᾶϝον dâwon, water, this would make *Posei-dawōn into the master of waters. There is also the possibility that the word has Pre-Greek origin, Plato in his dialogue Cratylus gives two alternative etymologies, either the sea restrained Poseidon when walking as a foot-bond, or he knew many things. If surviving Linear B clay tablets can be trusted, the name occurs with greater frequency than does di-u-ja. A feminine variant, po-se-de-ia, is found, indicating a lost consort goddess. Poseidon carries frequently the title wa-na-ka in Linear B inscriptions, as king of the underworld, the chthonic nature of Poseidon-Wanax is also indicated by his title E-ne-si-da-o-ne in Mycenean Knossos and Pylos, a powerful attribute. In the cave of Amnisos Enesidaon is related with the cult of Eileithyia and she was related with the annual birth of the divine child. During the Bronze Age, a goddess of nature, dominated both in Minoan and Mycenean cult, and Wanax was her companion in Mycenean cult. It is possible that Demeter appears as Da-ma-te in a Linear B inscription, in Linear B inscriptions found at Pylos, E-ne-si-da-o-ne is related with Poseidon, and Si-to Po-tini-ja is probably related with Demeter. Tablets from Pylos record sacrificial goods destined for the Two Queens, the Two Queens may be related with Demeter and Persephone, or their precursors, goddesses who were not associated with Poseidon in later periods. The violated Demeter was Demeter Erinys, in Arcadia, Demeters mare-form was worshiped into historical times. Her xoanon of Phigaleia shows how the local cult interpreted her, a Medusa type with a horses head with snaky hair, holding a dove and a dolphin, probably representing her power over air and water
14.
Serifos
–
Serifos is a Greek island municipality in the Aegean Sea, located in the western Cyclades, south of Kythnos and northwest of Sifnos. It is part of the Milos regional unit, the area is 75.207 square kilometres and the population was 1,420 at the 2011 census. It is located about 170 kilometres ESE of Piraeus, in antiquity the island was proverbial for the alleged muteness of its frogs. During the Roman imperial period, Serifos was a place of exile, after 1204 it became a minor dependency of the Venetian dukes of the Archipelago. In the late 19th century Serifos experienced a modest economic boom from exploitation of the extensive iron ore deposits. The mines closed in the 1960s, and Serifos now depends on tourism, worked blocks of island marble built into the walls of the medieval castle crowning Chora, the hilltop main town of Serifos, show that the ancient capital was there as well. Chance finds, primarily marble funerary sculpture, are displayed in the Archaeological Collection in Chora, work began in 2011 to study the fallen blocks for an eventual reconstruction. At least four other ancient towers have been located, including the megalithic Psaros Pyrgos or Couch of the Cyclops in the SW corner of the island. The so-called Castle of the Old Lady above Ganema and Koutalas preserves scant remains of a collapsed dry-stone construction in a notch below the rocky summits. Rough fragments of marble and rooftile, and archaic fine-ware potsherds on the SE terraces of the hillside. The fortified Monastery of the Taxiarchs, dedicated to the Archangels Michael and Gabriel, was built in 1572 just E of the village of Galani, the sole monk is Archimandrite Makarios, who entered the monastery as a youth in 1958 and continues to maintain it with admirable devotion. In the 20th century, the mines of Serifos were exploited by the mining company Societe des mines Seriphos-Spiliazeza and their leader was Constantinos Speras, a Serifos native educated in Egypt, who was an anarcho-syndicalist with long experience of labour struggles on the Greek mainland. In response to the strike, Grohman asked for the help of Greek authorities, four workers were killed and a dozen wounded. The workers, supported by their wives, attacked the gendarmes with stones, the freed leadership took control of island institutions and send a message placing Serifos under protection of the French fleet at Milos. This effort at collective proletarian self-organisation was cut short by the refusal of the French navy to intervene, Speras was arrested and charged with high treason, but released a few months later when the royalist government was ousted. Grohmann was given once again the control of the mines, after granting improved working conditions, Speras would return to Athens and resumed his labor activities, but was assassinated in 1943, allegedly by Communist Party maximalists
15.
Dictys
–
Dictys was a name attributed to four men in Greek mythology. Dictys was a fisherman and brother of King Polydectes of Seriphos, both being the sons of Magnes and a Naiad, or of Peristhenes and Androthoe, or else of Poseidon and he discovered Danaë and Perseus inside a chest that had been washed up on shore. He treated them well and raised Perseus as his own son, after Perseus killed Medusa, rescued Andromeda, and later showed Medusas head to Polydectes turning him and the nobles with him to stone, he made Dictys king. Dictys and his wife Clymene had an altar within a precinct of Perseus in Athens. Dictys is also the title of a lost play by Euripides, Dictys, one of the sailors who tried to abduct Dionysus but was turned into a dolphin by the god. Dictys, a centaur who attended Pirithous wedding and battled against the Lapiths, fleeing Pirithous, he slipped and fell off a cliff impaling himself on the top of an ash tree killing himself. Dictys, son of Poseidon and Agamede, daughter of Augeas. *
16.
Gorgon
–
In Greek mythology, a Gorgon is a female creature. Traditionally, while two of the Gorgons were immortal, Stheno and Euryale, their sister Medusa was not, and she was slain by the demigod and hero Perseus. Gorgons were an image in Greek mythology, appearing in the earliest of written records of Ancient Greek religious beliefs such as those of Homer. Because of their legendary and powerful gaze that could turn one to stone, images of the Gorgons were put upon objects and buildings for protection. An image of a Gorgon holds the location at the pediment of the temple at Corfu, which is the oldest stone pediment in Greece. The concept of the Gorgon is at least as old in classical Greek mythology as Perseus and Zeus, the name is Greek, being derived from gorgos and translating as terrible or dreadful. Gorgoneia first appear in Greek art at the turn of the eighth century BC, one of the earliest representations is on an electrum stater discovered during excavations at Parium. Other early eighth-century examples were found at Tiryns, going even further back into history, there is a similar image from the Knossos palace, datable to the fifteenth century BC. Marija Gimbutas even argues that the Gorgon extends back to at least 6000 BC, in her book, Language of the Goddess, she also identifies the prototype of the Gorgoneion in Neolithic art motifs, especially in anthropomorphic vases and terracotta masks inlaid with gold. The large Gorgon eyes, as well as Athenas flashing eyes, are termed the divine eyes by Gimbutas, they appear also in Athenas sacred bird. They may be represented by spirals, wheels, concentric circles, swastikas, firewheels, the awkward stance of the gorgon, with arms and legs at angles is closely associated with these symbols as well. Possibly related, a figure, probably a sea-goddess is depicted on a Minoan gold ring from the island Mochlos in Crete. The goddess has a head and she is sitting in a boat. A holy tree is depicted, probably related to the Minoan cult of the tree, some Gorgons are shown with fangs, consisting of wild boar tusks, while other representations lack fangs and show a forced smile displaying large teeth and sometimes a protruding tongue. In some cruder representations, stylized hair or blood flowing under the head of the Gorgon has been mistaken for a beard or wings. The skin of the dragon was said to be made of impenetrable scales, while seeking origins others have suggested examination of some similarities to the Babylonian creature, Humbaba, in the Gilgamesh epic. A number of early scholars interpreted the myth of the Medusa as a quasi-historical, or sublimated. Transitions in religious traditions over such periods of time may make some strange turns
17.
Medusa
–
In Greek mythology Medusa was a monster, a Gorgon, generally described as a winged human female with living venomous snakes in place of hair. Gazers upon her hideous face would turn to stone, most sources describe her as the daughter of Phorcys and Ceto, though the author Hyginus makes her the daughter of Gorgon and Ceto. According to Hesiod and Aeschylus, she lived and died on an island named Sarpedon, the 2nd-century BCE novelist Dionysios Skytobrachion puts her somewhere in Libya, where Herodotus had said the Berbers originated her myth, as part of their religion. In classical antiquity the image of the head of Medusa appeared in the device known as the Gorgoneion. The three Gorgon sisters—Medusa, Stheno, and Euryale—were all children of the ancient marine deities Phorcys and his sister Ceto, in an ode written in 490 BC Pindar already speaks of fair-cheeked Medusa. In Ovids telling, Perseus describes Medusas punishment by Minerva as just, in most versions of the story, she was beheaded by the hero Perseus, who was sent to fetch her head by King Polydectes of Seriphus because Polydectes wanted to marry his mother. The gods were well aware of this, and Perseus received help and he received a mirrored shield from Athena, gold, winged sandals from Hermes, a sword from Hephaestus and Hadess helm of invisibility. Since Medusa was the one of the three Gorgons who was mortal, Perseus was able to slay her while looking at the reflection from the mirrored shield he received from Athena. During that time, Medusa was pregnant by Poseidon, when Perseus beheaded her, Pegasus, a winged horse, and Chrysaor, a giant wielding a golden sword, sprang from her body. Jane Ellen Harrison argues that her potency only begins when her head is severed, the basis of the Gorgoneion is a cultus object, a ritual mask misunderstood. In the Odyssey xi, Homer does not specifically mention the Gorgon Medusa, Lest for my daring Persephone the dread, harrisons translation states the Gorgon was made out of the terror, not the terror out of the Gorgon. According to Ovid, in northwest Africa, Perseus flew past the Titan Atlas, who stood holding the sky aloft, and transformed him into stone when he tried to attack him. Furthermore, the poisonous vipers of the Sahara, in the Argonautica 4.1515, Ovids Metamorphoses 4.770, the blood of Medusa also spawned the Amphisbaena. Perseus then flew to Seriphos, where his mother was about to be forced into marriage with the king, King Polydectes was turned into stone by the gaze of Medusas head. It is immediately obvious that the Gorgons are not really three but one + two, the two unslain sisters are mere appendages due to custom, the real Gorgon is Medusa. A number of early scholars interpreted the myth of the Medusa as a quasi-historical. According to Joseph Campbell, In 1940, Sigmund Freuds Das Medusenhaupt was published posthumously and this article laid the framework for his significant contribution to a body of criticism surrounding the monster. Medusa is presented by Freud as the supreme talisman who provides the image of castration — associated in the mind with the discovery of maternal sexuality —
18.
Athena
–
Athena or Athene, often given the epithet Pallas, is the goddess of wisdom, craft, and war in ancient Greek religion and mythology. Minerva is the Roman goddess identified with Athena, Athena is known for her calm temperament, as she moves slowly to anger. She is noted to have fought for just reasons. Athena is portrayed as a companion of heroes and is the patron goddess of heroic endeavour. She is the patroness of Athens. The Athenians founded the Parthenon on the Acropolis of her city, Athens. Veneration of Athena was so persistent that archaic myths about her were recast to adapt to cultural changes, in her role as a protector of the city, many people throughout the Greek world worshipped Athena as Athena Polias. While the city of Athens and the goddess Athena essentially bear the same name, Athena is associated with Athens, a plural name, because it was the place where she presided over her sisterhood, the Athenai, in earliest times. Mycenae was the city where the Goddess was called Mykene, at Thebes she was called Thebe, and the city again a plural, Thebae. Similarly, at Athens she was called Athena, and the city Athenae, Athena had a special relationship with Athens, as is shown by the etymological connection of the names of the goddess and the city. According to mythical lore, she competed with Poseidon and she won by creating the olive tree, the Athenians would accept her gift and name the city after her. In history, the citizens of Athens built a statue of Athena as a temple to the goddess, which had piercing eyes, a helmet on her head, attired with an aegis or cuirass, and an extremely long spear. It also had a shield with the head of the Gorgon on it. A large snake accompanied her and she held Nike, the goddess of victory, therefore, Mylonas believes that Athena was a Mycenaean creation. On the other hand, Nilsson claims that she was the goddess of the palace who protected the king, a-ta-no-dju-wa-ja is also found in Linear A Minoan, the final part being regarded as the Linear A Minoan equivalent of the Linear B Mycenaean di-u-ja or di-wi-ja. Divine Athena also was a weaver and the deity of crafts, whether her name is attested in Eteocretan or not will have to wait for decipherment of Linear A. Perhaps, however, the name Theonoe may mean she who knows divine things better than others. Thus for Plato her name was to be derived from Greek Ἀθεονόα, Plato also noted that the citizens of Sais in Egypt worshipped a goddess whose Egyptian name was Neith, and which was identified with Athena. Neith was the war goddess and huntress deity of the Egyptians since the ancient Pre-Dynastic period, in addition, ancient Greek myths reported that Athena had visited many mythological places such as Libyas Triton River in North Africa and the Phlegraean plain
19.
Hermes
–
Hermes is an Olympian god in Greek religion and mythology, the son of Zeus and the Pleiad Maia, and the second youngest of the Olympian gods. Hermes is considered a god of transitions and boundaries and he is described as quick and cunning, moving freely between the worlds of the mortal and divine. He is also portrayed as an emissary and messenger of the gods and he has been viewed as the protector and patron of herdsmen, thieves, oratory and wit, literature and poetry, athletics and sports, invention and trade, roads, boundaries and travelers. In some myths, he is a trickster and outwits other gods for his own satisfaction or for the sake of humankind and his attributes and symbols include the herma, the rooster, the tortoise, satchel or pouch, winged sandals, and winged cap. His main symbol is the Greek kerykeion or Latin caduceus, which appears in a form of two snakes wrapped around a staff with carvings of the other gods. The earliest form of the name Hermes is the Mycenaean Greek *hermāhās, most scholars derive Hermes from Greek ἕρμα herma, prop, heap of stones, boundary marker, from which the word hermai also derives. The etymology of ἕρμα itself is unknown, R. S. P. Beekes rejects the connection with herma and suggests a Pre-Greek origin. Scholarly speculation that Hermes derives from a primitive form meaning one cairn is disputed. In Greek, a find is a hermaion. It is also suggested that Hermes is a cognate of the Vedic Sarama, homer and Hesiod portrayed Hermes as the author of skilled or deceptive acts and also as a benefactor of mortals. In the Iliad, he is called the bringer of luck, guide and guardian. He was an ally of the Greeks against the Trojans. However, he did protect Priam when he went to the Greek camp to retrieve the body of his son Hector and he also rescued Ares from a brazen vessel where he had been imprisoned by Otus and Ephialtes. In the Odyssey, Hermes helps his son, the protagonist Odysseus, by informing him about the fate of his companions. Hermes instructed Odysseus to protect himself by chewing a magic herb, when Odysseus killed the suitors of his wife, Hermes led their souls to Hades. Hermes was then instructed to take her as wife to Epimetheus, aesop featured him in several of his fables, as ruler of the gate of prophetic dreams, as the god of athletes, of edible roots, and of hospitality. He also said that Hermes had assigned each person his share of intelligence, Hermes, as an inventor of fire, is a parallel of the Titan Prometheus. In addition to the lyre, Hermes was believed to have invented many types of racing and the sports of wrestling and boxing, in 1820 Shelley translated this hymn
20.
Hades
–
Hades was the ancient Greek chthonic god of the underworld, which eventually took his name. In Greek mythology, Hades was regarded as the oldest son of Cronus and Rhea and he and his brothers Zeus and Poseidon defeated their fathers generation of gods, the Titans, and claimed rulership over the cosmos. Hades received the underworld, Zeus the sky, and Poseidon the sea, Hades was often portrayed with his three-headed guard dog Cerberus. The Etruscan god Aita and Roman gods Dis Pater and Orcus were eventually taken as equivalent to the Greek Hades and merged as Pluto, the origin of Hades name is uncertain, but has generally been seen as meaning The Unseen One since antiquity. Modern linguists have proposed the Proto-Greek form *Awides, the earliest attested form is Aḯdēs, which lacks the proposed digamma. West argues instead for a meaning of the one who presides over meeting up from the universality of death. In Homeric and Ionic Greek, he was known as Áïdēs, other poetic variations of the name include Aïdōneús and the inflected forms Áïdos, Áïdi, and Áïda, whose reconstructed nominative case *Áïs is, however, not attested. The name as it came to be known in classical times was Háidēs, later the iota became silent, then a subscript marking, and finally omitted entirely. Perhaps from fear of pronouncing his name, around the 5th century BC, Plouton became the Roman god who both rules the underworld and distributed riches from below. This deity was a mixture of the Greek god Hades and the Eleusinian icon Ploutos, and from this he received a priestess. More elaborate names of the genre were Ploutodótēs or Ploutodotḗr meaning giver of wealth. Epithets of Hades include Agesander and Agesilaos, both from ágō and anḗr or laos, describing Hades as the god who carries away all. He was also referred to as Zeus Katachthonios, meaning the Zeus of the Underworld, by avoiding his actual name. In Greek mythology, Hades the god of the underworld, was a son of the Titans Cronus and he had three sisters, Demeter, Hestia, and Hera, as well as two brothers, Zeus, the youngest of the three, and Poseidon. Upon reaching adulthood, Zeus managed to force his father to disgorge his siblings, after their release, the six younger gods, along with allies they managed to gather, challenged the elder gods for power in the Titanomachy, a divine war. The war lasted for ten years and ended with the victory of the younger gods, following their victory, according to a single famous passage in the Iliad, Hades and his two brothers, Poseidon and Zeus, drew lots for realms to rule. Some myths suggest that Hades was dissatisfied with his turnout, but had no choice, Hades obtained his wife and queen, Persephone, through abduction at the behest of Zeus. Despite modern connotations of death as evil, Hades was actually more altruistically inclined in mythology, Hades was often portrayed as passive rather than evil, his role was often maintaining relative balance
21.
Andromeda (mythology)
–
In Greek mythology, Andromeda is the daughter of the Aethiopian king Cepheus and his wife Cassiopeia. When Cassiopeias hubris leads her to boast that Andromeda is more beautiful than the Nereids, Andromeda is stripped and chained naked to a rock as a sacrifice to sate the monster, but is saved from death by Perseus. Her name is the Latinized form of the Greek Ἀνδρομέδα or Ἀνδρομέδη, ruler of men, from ἀνήρ, ἀνδρός man, from the Renaissance, interest revived in the original story, typically as derived from Ovids account. In Greek mythology, Andromeda was the daughter of Cepheus and Cassiopeia, king and her mother Cassiopeia boasted that her daughter was more beautiful than the Nereids, the nymph-daughters of the sea god Nereus and often seen accompanying Poseidon. To punish the queen for her arrogance, Poseidon, brother to Zeus and god of the sea, the desperate king consulted the Oracle of Apollo, who announced that no respite would be found until the king sacrificed his daughter, Andromeda, to the monster. Stripped naked, she was chained to a rock on the coast, Perseus was returning from having slain the Gorgon, Medusa. After he happened upon the chained Andromeda, he approached Cetus while invisible and he set Andromeda free, and married her in spite of her having been previously promised to her uncle Phineus. At the wedding a quarrel took place between the rivals and Phineus was turned to stone by the sight of the Gorgons head, Andromeda followed her husband, first to his native island of Serifos, where he rescued his mother Danaë, and then to Tiryns in Argos. Together, they became the ancestors of the family of the Perseidae through the line of their son Perses, Perseus and Andromeda had seven sons, Perses, Alcaeus, Heleus, Mestor, Sthenelus, Electryon, and Cynurus as well as two daughters, Autochthe and Gorgophone. Their descendants ruled Mycenae from Electryon down to Eurystheus, after whom Atreus attained the kingdom, according to this mythology, Perseus is the ancestor of the Persians. Andromeda is represented in the sky by the constellation Andromeda. Four constellations are associated with the myth, jean-Baptiste Lullys opera, Persée, also dramatizes the myth. Andromeda has been the subject of ancient and modern works of art, which typically show the moment of rescue, with Andromeda usually still chained. Examples include, one of Titians poesies, and compositions by Joachim Wtewael, Veronese, many versions by Rubens, Ingres, from the Renaissance onward the chained nude figure of Andromeda typically was the centre of interest. Rembrandts Andromeda Chained to the Rocks is unusual in showing her alone, the Italian composer Salvatore Sciarrino composed an hour-long operatic drama called Perseo e Andromeda in 2000. In 1973, a film called Perseus was made in the Soviet Union as part of the Soviet animated film collection called Legends. The 1981 film Clash of the Titans retells the story of Perseus, Andromeda, and Cassiopeia, thetis was indeed a Nereid and also the future mother of Achilles. Andromeda is depicted as being strong-willed and independent, whereas in the stories she is only mentioned as being the princess whom Perseus saves from the sea monster
22.
Larissa
–
Larissa is the capital and largest city of the Thessaly region, the fifth most populous in Greece and capital of the Larissa regional unit. It is an agricultural centre and a national transportation hub, linked by road and rail with the port of Volos. Larissa, within its municipality, has 162,591 inhabitants, legend has it that Achilles was born here, and that Hippocrates, the Father of Medicine, died here. Today, Larissa is a commercial and industrial centre in Greece. The region is linked to the rest of Europe through the International Airport of Central Greece located in Nea Anchialos a short distance from Larissa. Larissa lies on the river Pineios, the municipality Larissa has an area of 335.98 km2, the municipal unit Larissa has an area of 122.586 km2, and the community Larissa has an area of 88.167 km2. The Larissa Chasma, a gash in the surface of Dione. The climate of Larissa is transitional, the winter is cold and wet, and some snowstorms may occur. The summer is hot, and temperatures of 40 °C may occur, thunderstorms or heavy rain may cause agricultural damage. Larissa receives 450 mm of rain per year, according to Greek mythology it is said that the city was founded by Acrisius, who was killed accidentally by his grandson, Perseus. There lived Peleus, the hero beloved by the gods, in mythology, the nymph Larissa was a daughter of the primordial man Pelasgus. In this paragraph, Homer shows that the Pelasgians, Trojan allies and it is likely that this city of Larissa was different to the city that was the birthplace of Achilles. The Larissa that features as a Trojan ally in the Iliad was likely to be located in the Troad, traces of Paleolithic human settlement have been recovered from the area, but it was peripheral to areas of advanced culture. The area around Larissa was extremely fruitful, it was agriculturally important, the name Larissa is in origin a Pelasgian word for fortress. There were many ancient Greek cities with this name, the name of Thessalian Larissa is first recorded in connection with the aristocratic Aleuadai family. Larissa is thought to be where the famous Greek physician Hippocrates, when Larissa ceased minting the federal coins it shared with other Thessalian towns and adopted its own coinage in the late 5th century BC, it chose local types for its coins. The obverse depicted the nymph of the spring, Larissa, for whom the town was named. The reverse depicted a horse in various poses, the horse was an appropriate symbol of Thessaly, a land of plains, which was well known for its horses
23.
Javelin
–
A javelin is a light spear designed primarily to be thrown, historically as a ranged weapon, but today predominantly for sport. The javelin is almost always thrown by hand, unlike the bow and arrow and slingshot, however, hurling devices do exist to assist the javelin thrower in achieving greater distance. The Roman javelin is called a pilum, the word javelin comes from Middle English and it derives from Old French javelin, a diminutive of javelot, which meant spear. The word javelot probably originated from one of the Celtic languages, there is archaeological evidence that javelins and throwing sticks were already in use by the last phase of the lower Paleolithic. Seven spear-like objects were found in a mine in the city of Schöningen. Stratigraphic dating indicates that the weapons are about 400,000 years old, the excavated items were made of spruce trunk and were between 1.83 and 2.25 metres long. They were manufactured with the thickness and weight situated at the front end of the wooden shaft. The frontal centre of gravity suggests that these weapons were used as javelins. A fossilized horse shoulder blade with a wound, dated to 500,000 years ago, was revealed in a gravel quarry in the village of Boxgrove. Studies suggested that the wound was caused by a javelin. The peltasts, usually serving as skirmishers, were armed with several javelins, the peltasts hurled their javelins at the enemys heavier troops, the hoplite phalanx, in order to break their lines so that their own armys hoplites could destroy the weakened enemy formation. He decided to ambush it with his force of peltasts, by launching repeated hit-and-run attacks against the Spartan formation, Iphicrates and his men were able to wear the Spartans down, eventually routing them and killing just under half. This marked the first recorded occasion in ancient Greek military history in which an entirely made up of peltasts had defeated a force of hoplites. The thureophoroi and thorakitai, who replaced the peltasts, carried javelins in addition to a long thrusting spear. Javelins were often used as a hunting weapon, the strap adding enough power to take down large game. Javelins were also used in the Ancient Olympics and other Panhellenic games and they were hurled in a certain direction and whoever hurled it the farthest, as long as it hit tip-first, won that game. In the ancient world javelins were thrown with the aid of a throwing string. In 387 BC, the Gauls invaded Italy, inflicted a defeat on the Roman Republican army
24.
Discus throw
–
The discus throw is a track and field event in which an athlete throws a heavy disc—called a discus—in an attempt to mark a farther distance than their competitors. It is an ancient sport, as demonstrated by the fifth-century-B. C, although not part of the modern pentathlon, it was one of the events of the ancient Greek pentathlon, which can be dated back to at least to 708 BC. Discus is a part of most modern track-and-field meets at all levels and is a sport which is particularly iconic of the Olympic Games. The mens competition has been a part of the modern Summer Olympic Games since the first Olympiad in 1896. Images of discus throwers figured prominently in advertising for early modern Games, such as fundraising stamps for the 1896 games, the discus was re-discovered in Magdeburg, Germany, by Christian Georg Kohlrausch and his students in the 1870s. His work around the discus and the throwing techniques have been published since the 1880. The first modern athlete to throw the discus while rotating the body was František Janda-Suk from Bohemia. He invented this technique when studying the position of the statue of Discobolus. After only one year of developing the technique he gained the silver in 1900. The womens competition was added to the Olympic program in the 1928 games, the mens discus is a heavy lenticular disc with a weight of 2 kilograms and diameter of 22 centimetres, the womens discus has a weight of 1 kilogram and diameter of 18 centimetres. Under IAAF rules, Youth boys throw the 1.5 kilograms discus, the Junior men throw the unique 1.75 kilograms discus, in international competition, men throw the 2 kg discus through to age 49. The 1.5 kilograms discus is thrown by ages 50–59, women throw the 1 kilogram discus through to age 74. Starting with age 75, women throw the 0.75 kilograms discus, the typical discus has sides made of plastic, wood, fiberglass, carbon fiber or metal with a metal rim and a metal core to attain the weight. The rim must be smooth, with no roughness or finger holds, a discus with more weight in the rim produces greater angular momentum for any given spin rate, and thus more stability, although it is more difficult to throw. However, a higher rim weight, if thrown correctly, can lead to a farther throw, a solid rubber discus is sometimes used. To make a throw, the starts in a circle of 2.5 m diameter. The thrower typically takes an initial stance facing away from the direction of the throw and he then spins anticlockwise around one and a half times through the circle to build momentum, then releases his throw. The discus must land within a 34. 92-degree sector, the distance from the front edge of the circle to where the discus has landed is measured, and distances are rounded down to the nearest centimetre
25.
Jan Gossaert
–
He achieved fame across at least northern Europe, and painted religious subjects, including large altarpieces, but also portraits and mythological subjects, including some nudity. From at least 1508 he was apparently continuous employed, or at least retained, by quasi-royal patrons, mostly members of the extended Habsburg family, heirs to the Valois Duchy of Burgundy. These were Philip of Burgundy, Adolf of Burgundy, Christian II of Denmark when in exile, and Mencía de Mendoza, Countess of Nassau, third wife of Henry III of Nassau-Breda. He was a contemporary of Albrecht Dürer and the rather younger Lucas van Leyden, whom he knew, unlike them, he was not a printmaker, though his surviving drawings are very fine, and are preferred by some to his paintings. His name was in fact Jan Gossart, and he was so known in his lifetime, little is known of his early life. One of his earliest biographers, Karel van Mander, claimed he was from a town in Artois or Henegouwen called Maubeuge or Maubuse. He is registered in the Antwerp Guild of Saint Luke in 1503, Philips party, very likely including Gossaert, left the Netherlands in October 1508, arrived in Rome on 14 January 1509, and was back at The Hague by 28 June 1509. Although the details are unclear, it seems that Gossaert remained in Philips employment until he died in 1524, however, throughout this time he was able to work for other patrons, mostly friends of Philip. In 1509–17 Gossaert was registered as a resident of Middelburg, according to Van Mander he was one of the first Flemish artists to bring back the Italian manner of painting with lots of nudity in historical allegories. From 1517–24 he is registered at Duurstede Castle where according to the RKD, from 1524 onwards he returned to Middelburg as court painter to Adolf of Burgundy, another Habsburg relative. Jan Mertens the Younger was another pupil, Gossaert shows Antwerp influence in the large altar-pieces previously located at Castle Howard and Scawby. At Scawby he illustrates the legend of the count of Toulouse and his altarpiece of the Descent from the Cross with heavy double doors in Middelburg was admired by Albrecht Dürer before the church itself was hit by lightning. This is possibly the now in the Hermitage, though Van Mander stated the lightning destroyed it. This painting is now on display at the National Gallery, which bought it in 1911, Gossaert surprises the viewer with pompous costume and flaring contrasts of tone. His figures, like pieces on a chess-board, are often rigid, the landscape which shows through the colonnades is adorned with towers and steeples in the minute fashion of Van der Weyden. After a residence of a few years at Antwerp, Gossaert took service with Philip of Burgundy, bastard of Philip the Good, at that time lord of Somerdyk and admiral of Zeeland. One of his pictures had already become celebrated, a Descent from the Cross, in 1568 the altarpiece perished by fire. In 1508 Gossaert accompanied Philip of Burgundy on his Italian mission to the pope, Gossaert appears to have chiefly studied in Italy the cold and polished works of the Leonardesques
26.
Antonio da Correggio
–
In his use of dynamic composition, illusionistic perspective and dramatic foreshortening, Correggio prefigured the Rococo art of the 18th century. He is considered a master of chiaroscuro, antonio Allegri was born in Correggio, Italy, a small town near Reggio Emilia. His date of birth is uncertain, otherwise little is known about Correggios early life or training. It is, however, often assumed that he had his first artistic education from his fathers brother, after a trip to Mantua in 1506, he returned to Correggio, where he stayed until 1510. To this period is assigned the Adoration of the Child with St. Elizabeth and John, by 1516, Correggio was in Parma, where he spent most of the remainder of his career. Here, he befriended Michelangelo Anselmi, a prominent Mannerist painter, in 1519 he married Girolama Francesca di Braghetis, also of Correggio, who died in 1529. One of his sons, Pomponio Allegri, became an undistinguished painter, from this period are the Madonna and Child with the Young Saint John, Christ Leaving His Mother and the lost Madonna of Albinea. Correggios first major commission was the decoration of the private dining salon of the mother-superior of the convent of St Paul called the Camera di San Paolo at Parma. Here he painted an arbor pierced by oculi opening to glimpses of playful cherubs, below the oculi are lunettes with images of feigned monochromic marble. The fireplace is frescoed with an image of Diana, the iconography of the scheme is complex, combining images of classical marbles with whimsical colorful bambini. While it recalls the secular frescoes of the palace of the Villa Farnesina in Rome. He then painted the illusionistic Vision of St. John on Patmos for the dome of the church of San Giovanni Evangelista. Three years later he decorated the dome of the Cathedral of Parma with a startling Assumption of the Virgin, the recession and movement implied by the figures presage the dynamism that would characterize Baroque painting. Other masterpieces include The Lamentation and The Martyrdom of Four Saints, the Lamentation is haunted by a lambence rarely seen in Italian painting prior to this time. The Martyrdom is also remarkable for resembling later Baroque compositions such as Berninis Truth and Ercole Ferratas Death of Saint Agnes, aside from his religious output, Correggio conceived a now-famous set of paintings depicting the Loves of Jupiter as described in Ovids Metamorphoses. The voluptuous series was commissioned by Federico II Gonzaga of Mantua, however, they were given to the visiting Holy Roman Emperor Charles V and thus left Italy within years of their completion. Danaë, now in Romes Borghese Gallery, depicts the maiden as she is impregnated by a curtain of gilded divine rain. Her lower torso semi-obscured by sheets, Danae appears more demure and gleeful than Titians 1545 version of the same topic, the picture once called Antiope and the Satyr is now correctly identified as Venus and Cupid with a Satyr
27.
Titian
–
Tiziano Vecelli or Tiziano Vecellio, known in English as Titian /ˈtɪʃən/, was an Italian painter, the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near Belluno, during his lifetime he was often called da Cadore, taken from the place of his birth. His painting methods, particularly in the application and use of color, would exercise a profound influence not only on painters of the Italian Renaissance, during the course of his long life, Titians artistic manner changed drastically, but he retained a lifelong interest in color. Although his mature works may not contain the vivid, luminous tints of his pieces, their loose brushwork. The exact date of Titians birth is uncertain, when he was an old man he claimed in a letter to Philip II, King of Spain, to have been born in 1474, but this seems most unlikely. Other writers contemporary to his old age give figures that would equate to birthdates between 1473 and after 1482 and he was the son of Gregorio Vecelli and his wife Lucia. His father was superintendent of the castle of Pieve di Cadore, Gregorio was also a distinguished councilor and soldier. Many relatives, including Titians grandfather, were notaries, and the family of four were well-established in the area, at the age of about ten to twelve he and his brother Francesco were sent to an uncle in Venice to find an apprenticeship with a painter. At that time the Bellinis, especially Giovanni, were the artists in the city. There Titian found a group of men about his own age, among them Giovanni Palma da Serinalta, Lorenzo Lotto, Sebastiano Luciani. Francesco Vecellio, his brother, later became a painter of some note in Venice. A fresco of Hercules on the Morosini Palace is said to have one of Titians earliest works. Others were the Bellini-esque so-called Gypsy Madonna in Vienna, and the Visitation of Mary and Elizabeth, now in the Accademia, a Man with a Quilted Sleeve is an early portrait, painted around 1509 and described by Giorgio Vasari in 1568. Scholars long believed it depicted Ludovico Ariosto, but now think it is of Gerolamo Barbarigo, Rembrandt borrowed the composition for his self-portraits. Titian joined Giorgione as an assistant, but many contemporary critics found his work more impressive—for example in exterior frescoes that they did for the Fondaco dei Tedeschi. Their relationship evidently contained a significant element of rivalry, distinguishing between their work at this period remains a subject of scholarly controversy. A substantial number of attributions have moved from Giorgione to Titian in the 20th century, one of the earliest known Titian works, Christ Carrying the Cross in the Scuola Grande di San Rocco, depicting the Ecce Homo scene, was long regarded as by Giorgione. In 1507–1508 Giorgione was commissioned by the state to create frescoes on the re-erected Fondaco dei Tedeschi, Titian and Morto da Feltre worked along with him, and some fragments of paintings remain, probably by Giorgione
28.
Cupid
–
In classical mythology, Cupid is the god of desire, erotic love, attraction and affection. He is often portrayed as the son of the love goddess Venus and he is also known in Latin as Amor. Although Eros is generally portrayed as a winged youth in Classical Greek art. During this time, his iconography acquired the bow and arrow that represent his source of power, a person, or even a deity, in myths, Cupid is a minor character who serves mostly to set the plot in motion. He is a character only in the tale of Cupid and Psyche. Although other extended stories are not told him, his tradition is rich in poetic themes and visual scenarios, such as Love conquers all. In art, Cupid often appears in multiples as the Amores, or amorini in the terminology of art history. Cupids are a frequent motif of both Roman art and later Western art of the classical tradition, in the 15th century, the iconography of Cupid starts to become indistinguishable from the putto. Cupid continued to be a figure in the Middle Ages. In the Renaissance, a renewed interest in classical philosophy endowed him with complex allegorical meanings, in contemporary popular culture, Cupid is shown drawing his bow to inspire romantic love, often as an icon of Valentines Day. The Romans reinterpreted myths and concepts pertaining to the Greek Eros for Cupid in their own literature and art, in the Greek tradition, Eros had a dual, contradictory genealogy. He was among the gods who came into existence asexually, after his generation. In Hesiods Theogony, only Chaos and Gaia are older, before the existence of gender dichotomy, Eros functioned by causing entities to separate from themselves that which they already contained. At the same time, the Eros who was pictured as a boy or slim youth was regarded as the child of a divine couple, in Latin literature, Cupid is usually treated as the son of Venus without reference to a father. Seneca says that Vulcan, as the husband of Venus, is the father of Cupid and this last Cupid was the equivalent of Anteros, Counter-Love, one of the Erotes, the gods who embody aspects of love. The multiple Cupids frolicking in art are the manifestation of these proliferating loves and desires. During the English Renaissance, Christopher Marlowe wrote of ten thousand Cupids, in Ben Jonsons wedding masque Hymenaei, in the later classical tradition, Cupid is most often regarded as the son of Venus and Mars, whose love affair represented an allegory of Love and War. The duality between the primordial and the sexually conceived Eros accommodated philosophical concepts of Heavenly and Earthly Love even in the Christian era, Cupid is winged, allegedly, because lovers are flighty and likely to change their minds, and boyish because love is irrational
29.
Museo di Capodimonte
–
Museo di Capodimonte is an art museum located in the Palace of Capodimonte, a grand Bourbon palazzo in Naples, Italy. The museum is the repository of Neapolitan painting and decorative art, with several important works from other Italian schools of painting. It is one of the largest museums in Italy, the vast collection at the museum traces its origins back to 1738. Over the years the palace was enlarged and filled with more art, in 1787, on the advice of Jacob Philipp Hackert, a laboratory for the restoration of paintings was created. When the Parthenopaean Republic was declared in 1799, Ferdinand fled to Palermo on board Nelsons Vanguard, what remained was looted by the French troops of General Championnet who were billeted there during the short life of the Republic in 1799. Later on during the ten years of French reoccupation, the art collection was transferred to the Naples National Archaeological Museum, when King Ferdinand returned from Sicily in 1815, he employed many painters and sculptors to work on the redecoration of the palace. It was finally completed in 1840, and a gallery housing contemporary art was added, after the palace passed in 1861 to the House of Savoy, further pieces were added to the art collections, appointing Domenico Morelli as consultant for new acquisitions. They also added a collection of historic firearms and other weapons. In 1866, the boudoir of Maria Amalia of Saxony was transferred to Capodimonte from the Palace of Portici, after the end of the monarchy, the palace became purely a national museum in 1950, with many of the exhibits being returned from the National Museum. Elsewhere in the palace the royal apartments are furnished with antique 18th-century furniture, le Guide di Dove - Campania, Corriere della sera,2007. Il Museo di Capodimonte, valori di Napoli, Pubblicomit,2002
30.
Hendrik Goltzius
–
Hendrick Goltzius, was a German-born Dutch printmaker, draftsman, and painter. He was the leading Dutch engraver of the early Baroque period, or Northern Mannerism, noted for his sophisticated technique and the exuberance of his compositions. According to A. Hyatt Mayor, Goltzius was the last professional engraver who drew with the authority of a good painter, in middle age he also began to produce paintings. Goltzius was born near Venlo in Bracht or Millebrecht, a then in the Duchy of Julich. His family moved to Duisburg when he was 3 years old, after studying painting on glass for some years under his father, he learned engraving from the Dutch polymath Dirck Volckertszoon Coornhert, who then lived in Cleves. In 1577 he moved with Coornhert to Haarlem in the Dutch Republic, in the same town, he was also employed by Philip Galle to engrave a set of prints of the history of Lucretia. He returned to Haarlem in August 1591, considerably improved in health and his portraits, though mostly miniatures, are masterpieces of their kind, both on account of their exquisite finish, and as fine studies of individual character. Of his larger heads, his life-size self-portrait is probably the most striking example, Goltzius brought to an unprecedented level the use of the swelling line, where the burin is manipulated to make lines thicker or thinner to create a tonal effect from a distance. He also was a pioneer of dot and lozenge technique, where dots are placed in the middle of lozenge shaped spaces created by cross-hatching to further refine tonal shading, hollstein credits 388 prints to him, with a further 574 by other printmakers after his designs. In his command of the burin, Goltzius is said to rival Dürer and he made engravings of Bartholomeus Sprangers paintings, thus increasing the fame of the latter – and his own. Goltzius began painting at the age of forty-two, some of his paintings can be found in Vienna and he also executed a few chiaroscuro woodcuts. He was the stepfather of engraver Jacob Matham and he died, aged 58, in Haarlem. A Hyatt Mayor, Prints and People, Metropolitan Museum of Art/Princeton,1971, cohn, An Interpretation of Four Woodcut Landscape by Hendrick Goltzius, Print Quarterly, XXXI, June 2014, pp. 144–155. Liedtke, Walter A. Flemish paintings in the Metropolitan Museum of Art, new York, The Metropolitan Museum of Art. Web Gallery of Art Retrieved 19-08-2008 Works and literature on Hendrick Goltzius Goltzius engravings from the De Verda collection2
31.
Artemisia Gentileschi
–
Artemisia Gentileschi was an Italian Baroque painter, today considered one of the most accomplished painters in the generation following that of Caravaggio. In an era when women painters were not easily accepted by the community or patrons. She painted many pictures of strong and suffering women from myth and her best-known work is Judith Slaying Holofernes, which shows the decapitation of Holofernes, a scene of horrific struggle and blood-letting. That she was a painting in the seventeenth century and that she was raped and participated in the prosecution of the rapist long overshadowed her achievements as an artist. For many years she was regarded as a curiosity, today she is regarded as one of the most progressive and expressive painters of her generation. Artemisia was introduced to painting in her fathers workshop, showing much more talent than her brothers and she learned drawing, how to mix color, and how to paint. Since her fathers style took inspiration from Caravaggio during that period and her approach to subject matter was different from her fathers, however, as her paintings are highly naturalistic, where Orazios are idealized. At the same time, Artemisia had to resist the traditional attitude and psychological submission to this brainwashing, by doing so, she gained great respect and recognition for her work. The first work of the young seventeen-year-old Artemisia was the Susanna e i Vecchioni, at the time some, influenced by the prevailing misconceptions, suspected that she was helped by her father. The painting shows how Artemisia assimilated the realism of Caravaggio without being indifferent to the language of the Bologna school and it is one of the few paintings on the theme of Susanna showing the sexual accosting by the two Elders as a traumatic event. During this tutelage, Tassi raped Artemisia, another man, Cosimo Quorlis, was also involved. After the rape, Artemisia continued to have relations with Tassi, with the expectation that they were going to be married and with the hope to restore her dignity. Tassi reneged on his promise to marry Artemisia, nine months after the rape, when he learnt that Artemisia and Tassi were not going to be married, Orazio pressed charges against Tassi. Orazio also claimed that Tassi stole a painting of Judith from the Gentileschi household, the major issue of this trial was the fact that Tassi had taken Artemisias virginity. If Artemisia had not been a virgin before Tassi raped her, during the ensuing seven-month trial, it was discovered that Tassi had planned to murder his wife, had engaged in adultery with his sister-in-law, and planned to steal some of Orazio’s paintings. During the trial, Artemisia was subjected to a gynecological examination, at the end of the trial Tassi was sentenced to imprisonment for one year, although he never served the time. The trial influenced the feminist view of Artemisia Gentileschi during the twentieth century. Artemisia was surrounded mainly by the presence of males since the loss of her mother at age 12, when Artemisia was 17, Orazio rented the upstairs apartment of their home to a female tenant, Tuzia
32.
Rembrandt
–
Rembrandt Harmenszoon van Rijn was a Dutch draughtsman, painter, and printmaker. A prolific and versatile master across three media, he is considered one of the greatest visual artists in the history of art. Having achieved youthful success as a painter, Rembrandts later years were marked by personal tragedy. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, Rembrandts portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible are regarded as his greatest creative triumphs. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and his reputation as the greatest etcher in the history of the medium was established in his lifetime, and never questioned since. Few of his paintings left the Dutch Republic whilst he lived, but his prints were circulated throughout Europe, because of his empathy for the human condition, he has been called one of the great prophets of civilization. Rembrandt Harmenszoon van Rijn was born on 15 July 1606 in Leiden, in the Dutch Republic and he was the ninth child born to Harmen Gerritszoon van Rijn and Neeltgen Willemsdochter van Zuijtbrouck. His family was quite well-to-do, his father was a miller, religion is a central theme in Rembrandts paintings and the religiously fraught period in which he lived makes his faith a matter of interest. His mother was Roman Catholic, and his father belonged to the Dutch Reformed Church, unlike many of his contemporaries who traveled to Italy as part of their artistic training, Rembrandt never left the Dutch Republic during his lifetime. He opened a studio in Leiden in 1624 or 1625, which he shared with friend, in 1627, Rembrandt began to accept students, among them Gerrit Dou in 1628. In 1629, Rembrandt was discovered by the statesman Constantijn Huygens, as a result of this connection, Prince Frederik Hendrik continued to purchase paintings from Rembrandt until 1646. He initially stayed with an art dealer, Hendrick van Uylenburgh, Saskia came from a good family, her father had been a lawyer and the burgemeester of Leeuwarden. When Saskia, as the youngest daughter, became an orphan, Rembrandt and Saskia were married in the local church of St. Annaparochie without the presence of Rembrandts relatives. In the same year, Rembrandt became a burgess of Amsterdam and he also acquired a number of students, among them Ferdinand Bol and Govert Flinck. In 1635 Rembrandt and Saskia moved into their own house, renting in fashionable Nieuwe Doelenstraat, in 1639 they moved to a prominent newly built house in the upscale Breestraat, today known as Jodenbreestraat in what was becoming the Jewish quarter, then a young upcoming neighborhood. The mortgage to finance the 13,000 guilder purchase would be a cause for later financial difficulties. Rembrandt should easily have been able to pay the house off with his income, but it appears his spending always kept pace with his income. It was there that Rembrandt frequently sought his Jewish neighbors to model for his Old Testament scenes, in 1640, they had a second daughter, also named Cornelia, who died after living barely over a month
33.
Jupiter (mythology)
–
Jupiter, also Jove, is the god of sky and thunder and king of the gods in Ancient Roman religion and mythology. Jupiter was the deity of Roman state religion throughout the Republican and Imperial eras. In Roman mythology, he negotiates with Numa Pompilius, the king of Rome, to establish principles of Roman religion such as offering. Jupiter is usually thought to have originated as a sky god, the two emblems were often combined to represent the god in the form of an eagle holding in its claws a thunderbolt, frequently seen on Greek and Roman coins. As the sky-god, he was a witness to oaths. Many of his functions were focused on the Capitoline Hill, where the citadel was located and he was the chief deity of the early Capitoline Triad with Mars and Quirinus. In the later Capitoline Triad, he was the guardian of the state with Juno. His sacred tree was the oak, the Romans regarded Jupiter as the equivalent of the Greek Zeus, and in Latin literature and Roman art, the myths and iconography of Zeus are adapted under the name Iuppiter. In the Greek-influenced tradition, Jupiter was the brother of Neptune, each presided over one of the three realms of the universe, sky, the waters, and the underworld. The Italic Diespiter was also a sky god who manifested himself in the daylight, usually, Tinia is usually regarded as his Etruscan counterpart. The Romans believed that Jupiter granted them supremacy because they had honoured him more than any other people had, Jupiter was the fount of the auspices upon which the relationship of the city with the gods rested. He personified the divine authority of Romes highest offices, internal organization and his image in the Republican and Imperial Capitol bore regalia associated with Romes ancient kings and the highest consular and Imperial honours. The consuls swore their oath of office in Jupiters name, to thank him for his help, they offered him a white ox with gilded horns. A similar offering was made by generals, who surrendered the tokens of their victory at the feet of Jupiters statue in the Capitol. Some scholars have viewed the triumphator as embodying Jupiter in the triumphal procession, Jupiters association with kingship and sovereignty was reinterpreted as Romes form of government changed. Originally, Rome was ruled by kings, after the monarchy was abolished and the Republic established, religious prerogatives were transferred to the patres, nostalgia for the kingship was considered treasonous. Those suspected of harbouring monarchical ambitions were punished, regardless of their service to the state, in the 5th century BC, the triumphator Camillus was sent into exile after he drove a chariot with a team of four white horses —an honour reserved for Jupiter himself. His house on the Capitoline Hill was razed, and it was decreed that no patrician should ever be allowed to live there, during the Conflict of the Orders, Romes plebeians demanded the right to hold political and religious office
34.
Jacob van Loo
–
Jacob van Loo was a painter of the Dutch Golden Age, chiefly active in Amsterdam and, after 1660, in Paris. Van Loo is known for his conversational groupings, particularly his mythological and biblical scenes generally attributed to the genre of History painting, in 1663, three years after fleeing to Paris, Jacob van Loo was accepted into the Académie royale de peinture et de sculpture. Van Loo was born in Sluis, a town in the Dutch Republic, some sources have speculated that his father, Jan van Loo, may have been a notary, but more often his father is described as a painter from whom Jacob van Loo received his early training. Little is known of Van Loos early history due to the destruction of the city archives in Sluis during World War II and his early influences are said to have included Thomas de Keyser and Jacob Adriaensz Backer. In 1635, van Loo moved to Amsterdam, In 1642 he married Anna Lengele, the couple had six children, including the painters Jean van Loo and his better known brother Louis-Abraham van Loo. Their grandsons, Jean-Baptiste van Loo and Charles-André van Loo were among the most famous French painters of the 18th century and they lived on Rozengracht in the Jordaan district of Amsterdam. In Amsterdam, van Loo found himself at the centre of an active and competitive circle of artists, around 1640 Eglon van der Neer entered his studio as an apprentice and remained his student for a decade. In 1652 van Loo bought himself citizenship of the city of Amsterdam and it was speculated that he did so in the hope of being commissioned to help decorate the newly constructed town hall. In 1654, a poem by Jan Vos counted van Loo among the most significant of Dutch painters, alongside Rembrandt, the greater part of Van Loos oeuvre was done in the Baroque style that had originated in Rome and had been popularised throughout Europe. In 1660, Van Loo fled from Amsterdam after fatally stabbing someone during an altercation at an inn and he was sentenced to death in absentia which forever prevented his return to the Dutch Republic. Van Loo settled in Paris, where, in 1663, he was admitted to the Académie de peinture et de sculpture and he died in Paris in 1670, three years after the van Loo family were naturalised as French citizens. Works by Jacob van Loo Record at Getty Research Biography from Kresge Art Gallery Biography at Daphne Alazraki Fine Art Works and literature on Jacob van Loo
35.
Gustav Klimt
–
Gustav Klimt was an Austrian symbolist painter and one of the most prominent members of the Vienna Secession movement. Klimt is noted for his paintings, murals, sketches, Klimts primary subject was the female body, and his works are marked by a frank eroticism. In addition to his works, which include allegories and portraits. Among the artists of the Vienna Secession, Klimt was the most influenced by Japanese art, early in his artistic career, he was a successful painter of architectural decorations in a conventional manner. He subsequently accepted no more commissions, but achieved a new success with the paintings of his golden phase. Klimts work was an important influence on his younger contemporary Egon Schiele, Gustav Klimt was born in Baumgarten, near Vienna in Austria-Hungary, the second of seven children—three boys and four girls. His mother, Anna Klimt, had an ambition to be a musical performer. His father, Ernst Klimt the Elder, formerly from Bohemia, was a gold engraver, all three of their sons displayed artistic talent early on. Klimts younger brothers were Ernst Klimt and Georg Klimt, Klimt lived in poverty while attending the Vienna School of Arts and Crafts, where he studied architectural painting until 1883. He revered Viennas foremost history painter of the time, Hans Makart, Klimt readily accepted the principles of a conservative training, his early work may be classified as academic. In 1877 his brother, Ernst, who, like his father, would become an engraver, the two brothers and their friend, Franz Matsch, began working together and by 1880 they had received numerous commissions as a team that they called the Company of Artists. They also helped their teacher in painting murals in the Kunsthistorisches Museum in Vienna, Klimt began his professional career painting interior murals and ceilings in large public buildings on the Ringstraße, including a successful series of Allegories and Emblems. In 1888 Klimt received the Golden Order of Merit from Emperor Franz Josef I of Austria for his contributions to murals painted in the Burgtheater in Vienna and he also became an honorary member of the University of Munich and the University of Vienna. In 1892 Klimts father and brother Ernst both died, and he had to assume responsibility for his fathers and brothers families. The tragedies also affected his vision and soon he would move towards a new personal style. Historians believe that Klimt with the nuda veritas denounced both the policy of the Habsburgs and the Austrian society, which ignored all political and social problems of that time. In the early 1890s Klimt met Austrian fashion designer Emilie Louise Flöge who was to be his companion until the end of his life and his painting, The Kiss, is thought to be an image of them as lovers. He designed many costumes she created and modeled in his works, during this period Klimt fathered at least fourteen children
36.
Achaeans (Homer)
–
The Achaeans constitute one of the collective names for the Greeks in Homers Iliad and Odyssey. In the historical period, the Achaeans were the inhabitants of the region of Achaea, the city-states of this region later formed a confederation known as the Achaean League, which was influential during the 3rd and 2nd centuries BC. The Homeric long-haired Achaeans would have been a part of the Mycenaean civilization that dominated Greece from circa 1600 BC until 1100 BC, later, by the Archaic and Classical periods, the term Achaeans referred to inhabitants of the much smaller region of Achaea. Herodotus identified the Achaeans of the northern Peloponnese as descendants of the earlier, according to Pausanias, writing in the 2nd century CE, the term Achaean was originally given to those Greeks inhabiting the Argolis and Laconia. Pausanias and Herodotus both recount the legend that the Achaeans were forced from their homelands by the Dorians, during the legendary Dorian invasion of the Peloponnese and they then moved into the region later called Achaea. A scholarly consensus has not yet been reached on the origin of the historic Achaeans relative to the Homeric Achaeans and is hotly debated. Karl Beloch suggested there was no Dorian invasion, but rather that the Peloponnesian Dorians were the Achaeans, eduard Meyer, disagreeing with Beloch, instead put forth the suggestion that the real-life Achaeans were mainland pre-Dorian Greeks. His conclusion is based on his research on the similarity between the languages of the Achaeans and pre-historic Arcadians and his conclusions at the time were challenged by other Hittitologists, as well as by Ferdinand Sommer, who published his Die Ahhijava-Urkunden in 1932. Some Hittite texts mention a nation lying to the west called Ahhiyawa, in the earliest reference to this land, a letter outlining the treaty violations of the Hittite vassal Madduwatta, it is called Ahhiya. It also refers to an earlier Wilusa episode involving hostility on the part of Ahhiyawa, Ahhiya has been identified with the Achaeans of the Trojan War and the city of Wilusa with the legendary city of Troy. It has been proposed that Ekwesh of the Egyptian records may relate to Achaea, whereas Denyen, Tanaju is also listed in an inscription at the Mortuary Temple of Amenhotep III. The latter ruled Egypt in circa 1382–1344 BC, moreover, a list of the cities and regions of the Tanaju is also mentioned in this inscription, among the cities listed are Mycenae, Nauplion, Kythera, Messenia and the Thebaid. During the 5th year of Pharaoh Merneptah, a confederation of Libyan, included amongst the ethnic names of the repulsed invaders is the Ekwesh or Eqwesh, whom some have seen as Achaeans, although Egyptian texts specifically mention these Ekwesh to be circumcised. Homer mentions an Achaean attack upon the delta, and Menelaus speaks of the same in Book IV of the Odyssey to Telemachus when he recounts his own home from the Trojan War. Later Greek myths also say Helen had spent the time of the Trojan War in Egypt, and not at Troy, cadmus from Phoenicia, Danaus from Egypt, and Pelops from Anatolia each gained a foothold in mainland Greece and were assimilated and Hellenized. Sons of Hellen and the nymph Orseis were Dorus, Xuthos, sons of Xuthos and Kreousa, daughter of Erechthea, were Ion and Achaeus. According to Hyginus,22 Achaeans killed 362 Trojans during their ten years at Troy, according to Margalit Finkelberg, the name Ἀχαιοί/Ἀχαιϝοί is derived from Hittite Aḫḫiyawā. However, Robert S. P. Beekes doubted the validity of this derivation, the etymology of Danaoi is uncertain, according to Beekes the name is certainly Pre-Greek
37.
Genealogy
–
Genealogy, also known as family history, is the study of families and the tracing of their lineages and history. Genealogists use oral interviews, historical records, genetic analysis, and other records to obtain information about a family and to demonstrate kinship, the results are often displayed in charts or written as narratives. Amateur genealogists typically pursue their own ancestry and that of their spouses, professional genealogists may also conduct research for others, publish books on genealogical methods, teach, or produce their own databases. They may work for companies that provide software or produce materials of use to other professionals, both try to understand not just where and when people lived, but also their lifestyles, biographies, and motivations. This often requires—or leads to—knowledge of antiquated laws, old political boundaries, migration trends, bloodlines of Salem is an example of a specialized family-history group. It welcomes members who can prove descent from a participant of the Salem Witch Trials or who choose to support the group. Genealogists and family historians often join family history societies, where novices can learn from experienced researchers. Such societies generally serve a specific geographical area and their members may also index records to make them more accessible, and engage in advocacy and other efforts to preserve public records and cemeteries. Some schools engage students in projects as a means to reinforce lessons regarding immigration. Other benefits include family medical histories with families with medical conditions that are hereditary. The terms genealogy and family history are used synonymously. The term family history may be popular in Europe, genealogy more popular in the United States. In communitarian societies, ones identity is defined as much by ones kin network as by individual achievement, would be answered by a description of father, mother, and tribe. New Zealand Māori, for example, learn whakapapa to discover who they are, Family history plays a part in the practice of some religious belief systems. For example, The Church of Jesus Christ of Latter-day Saints has a doctrine of baptism for the dead, in societies such as Australia or the United States, there was by the 20th-century growing pride in the pioneers and nation-builders. Establishing descent from these was, and is, important to such groups as the Daughters of the American Revolution, in Nazi Germany, family histories were compiled to affirm individuals affiliation with the master race and to adhere to legal requirements for marriage. In Germany today, family history is often perceived as a threat to privacy rather than as a source of self-esteem. Most 20th-century sources remain unavailable to the public on privacy grounds, funding of support for family history at archives is limited
38.
Io (mythology)
–
Io was, in Greek mythology, one of the mortal lovers of Zeus. She was an ancestor of kings and heroes such as, Perseus, Cadmus, Heracles, Minos, Lynceus, Cepheus. The astronomer Simon Marius conceived a name for one of Jupiters moons after Io in 1614, in most versions of the legend, Io was the daughter of Inachus, though various other purported genealogies are also known. According to some sources her mother was the nymph Melia, daughter of the Oceanus, ios father was called Peiren in the Catalogue of Women, and by Acusilaus, possibly a son of the elder Argus, also known as Peiras, Peiranthus or Peirasus. Io may therefore be identical to Callithyia, daughter of Peiranthus, Io was a priestess of the Goddess Hera in Argos, whose cult her father Inachus was supposed to have introduced to Argos. Zeus noticed Io, a woman, and lusted after her. In the version of the myth told in Prometheus Bound she initially rejected Zeus advances, according to some stories, Zeus then turned Io into a heifer in order to hide her from his wife, others maintain that Hera herself transformed Io. In the version of the story in which Zeus transformed Io, the failed, and Hera begged Zeus to give her the heifer as a present. Hera then sent Argus Panoptes, who had 100 eyes, to watch Io and prevent Zeus from visiting her, according to Ovid, he did so by first lulling him to sleep by playing the panpipes and telling stories. Zeus freed Io, still in the form of a heifer, in order to exact her revenge, Hera sent a gadfly to sting Io continuously, driving her to wander the world without rest. Io eventually crossed the path between the Propontis and the Black Sea, which acquired the name Bosporus, where she met Prometheus. Prometheus comforted Io with the information that she would be restored to human form, Io escaped across the Ionian Sea to Egypt, where she was restored to human form by Zeus. There, she gave birth to Zeuss son Epaphus, and a daughter as well and she later married Egyptian king Telegonus. Their grandson, Danaos, eventually returned to Greece with his fifty daughters, the myth of Io must have been well known to Homer, who often calls Hermes Argeiphontes, meaning Argus-slayer. A mourning commemoration of Io was observed at the Heraion of Argos into classical times, the ancients connected Io with the Moon, and in Aeschylus Prometheus Bound, where Io encounters Prometheus, she refers to herself as the horned virgin, both bovine and lunar. In the 2010 film Clash of the Titans, Io was portrayed by British actress Gemma Arterton, the character was a major deviation from Greek mythology, instead of being Zeus lover, she was portrayed as a guide and later the lover of Perseus. Her transformation into a cow was not mentioned. Instead, she was cursed with agelessness for refusing a gods romantic advances, despite confirming her return for Wrath of the Titans in September 2010, Arterton did not reprise her role for unknown reasons
.JPG)
