1.
Pompeii
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Pompeii was an ancient Roman town-city near modern Naples, in the Campania region of Italy, in the territory of the comune of Pompei. Pompeii, along with Herculaneum and many villas in the area, was mostly destroyed and buried under 4 to 6 m of volcanic ash. Researchers believe that the town was founded in the seventh or sixth century BC by the Osci or Oscans. It came under the domination of Rome in the 4th century BC, by the time of its destruction,160 years later, its population was estimated at 11,000 people, and the city had a complex water system, an amphitheatre, gymnasium, and a port. The eruption destroyed the city, killing its inhabitants and burying it under tons of ash, the site was lost for about 1,500 years until its initial rediscovery in 1599 and broader rediscovery almost 150 years later by Spanish engineer Rocque Joaquin de Alcubierre in 1748. The objects that lay beneath the city have been preserved for centuries because of the lack of air and these artefacts provide an extraordinarily detailed insight into the life of a city during the Pax Romana. During the excavation, plaster was used to fill in the voids in the ash layers that once held human bodies and this allowed archaeologists to see the exact position the person was in when he or she died. Pompeii has been a tourist destination for over 250 years, today it has UNESCO World Heritage Site status and is one of the most popular tourist attractions in Italy, with approximately 2.5 million visitors every year. Pompeii in Latin is a second declension plural, the ruins of Pompeii are located near the modern suburban town of Pompei. It stands on a formed by a lava flow to the north of the mouth of the Sarno River. Today it is some distance inland, but in ancient times was nearer to the coast, Pompeii is about 8 km away from Mount Vesuvius. It covered a total of 64 to 67 hectares and was home to approximately 11,000 to 11,500 people on the basis of household counts and it was a major city in the region of Campania. Three sheets of sediment have been found on top of the lava that lies below the city and, mixed in with the sediment, archaeologists have found bits of bone, pottery shards. Carbon dating has placed the oldest of these layers from the 8th–6th centuries BC, the other two strata are separated either by well-developed soil layers or Roman pavement, and were laid in the 4th century BC and 2nd century BC. It is theorized that the layers of the sediment were created by large landslides. The town was founded around the 7th-6th century BC by the Osci or Oscans and it had already been used as a safe port by Greek and Phoenician sailors. According to Strabo, Pompeii was also captured by the Etruscans, and in recent excavations have shown the presence of Etruscan inscriptions. Pompeii was captured for the first time by the Greek colony of Cumae, allied with Syracuse, in the 5th century BC, the Samnites conquered it, the new rulers imposed their architecture and enlarged the town
2.
Atrium (architecture)
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In architecture, an atrium is a large open air or skylight covered space surrounded by a building. Atria were a feature in Ancient Roman dwellings, providing light. Modern atria, as developed in the late 19th and 20th centuries, are several stories high and having a glazed roof or large windows. Atria are a design feature because they give their buildings a feeling of space. The atrium has become a key feature of buildings in recent years. Atria are popular with building users, building designers and building developers, users like atria because they create a dynamic and stimulating interior that provides shelter from the external environment while maintaining a visual link with that environment. Designers enjoy the opportunity to new types of spaces in buildings. Fire control is an important aspect of contemporary atrium design due to criticism that poorly designed atria could allow fire to spread to a buildings upper stories more quickly. The Latin word atrium referred to the central court from which enclosed rooms led off. The impluvium was a shallow pool sunken into the floor to catch rainwater from the roof, some surviving examples are beautifully decorated. The opening in the ceiling above the pool called for some means of support for the roof, as the centrepiece of the house, the atrium was the most lavishly-furnished room. Also, it contained the chapel to the ancestral spirits. The term was used for a variety of spaces in public and religious buildings, mostly forms of arcaded courtyards. Byzantine churches were often entered through such a space, the 19th century brought the industrial revolution with great advances in iron and glass manufacturing techniques. Courtyards could then have horizontal glazing overhead, eliminating some of the elements from the space. One of the public spaces at Federation Square, in Melbourne, Australia, is called The Atrium and is a street-like space, five storeys high with glazed walls. The structure and glazing pattern follow the system of fractals used to arrange the panels on the rest of the facades at Federation Square, as of 2016, the Burj Al Arab hotel in Dubai, has the worlds tallest atrium at 590 feet. The Luxor Hotel, in Las Vegas, Nevada, has the largest atrium in the world at 29 million cubic feet, cavaedium Courtyard Quadrangle Roth, Leland M. Understanding Architecture, Its Elements History and Meaning
3.
Peristyle
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In Hellenistic Greek and Roman architecture a peristyle is a continuous porch formed by a row of columns surrounding the perimeter of building or a courtyard. Tetrastoon is a rarely used term for this feature. In the Christian ecclesiastical architecture that developed from Roman basilica, a courtyard peristyle, in rural settings a wealthy Roman could surround a villa with terraced gardens, within the city Romans created their gardens inside the domus. Sometimes the lararium, a shrine for the Lares, the gods of the household, was located in this portico, the courtyard might contain flowers and shrubs, fountains, benches, sculptures and even fish ponds. No new peristyle houses were built after A. D.550
4.
Lares
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Lares, were guardian deities in ancient Roman religion. Their origin is uncertain, they may have been hero-ancestors, guardians of the hearth, fields, boundaries or fruitfulness, Lares were believed to observe, protect and influence all that happened within the boundaries of their location or function. The statues of domestic Lares were placed at the table during meals, their presence, cult. Roman writers sometimes identify or conflate them with ancestor-deities, domestic Penates, because of these associations, Lares are sometimes categorised as household gods but some had much broader domains. Roadways, seaways, agriculture, livestock, towns, cities and those who protected local neighbourhoods were housed in the crossroad shrines which served as a focus for the religious, social and political life of their local, overwhelmingly plebeian communities. Their cult officials included freedmen and slaves, otherwise excluded by status or property qualification from most administrative, compared to Romes major deities Lares had limited scope and potency but archaeological and literary evidence attests to their central role in Roman identity and religious life. By analogy, a homeward-bound Roman could be described as returning ad Larem, despite official bans on non-Christian cults from the late 4th century AD onwards, unofficial cults to Lares persisted until at least the early 5th century AD. Archaic Romes Etruscan neighbours practiced domestic, ancestral or family cults very similar to those offered by later Romans to their Lares, the word itself seems to derive from the Etruscan lar, lars, or larth, meaning lord. Weinstock proposes a more ancient equivalence of Lar and Greek hero, Lares are represented as two small, youthful, lively male figures clad in short, rustic, girdled tunics – made of dogskin, according to Plutarch. They take an attitude, tiptoed or lightly balanced on one leg. One arm raises a drinking horn aloft as if to offer a toast or libation, Compitalia shrines of the same period show Lares figures of the same type. Painted shrine-images of paired Lares show them in mirrored poses to the left and right of a central figure, Lares belonged within the bounded physical domain under their protection, and seem to have been as innumerable as the places they protected. Some appear to have had overlapping functions and changes of name, likewise those invoked along with other deities by the consul Publius Decius Mus as an act of devotio before his death in battle are simply Lares. The titles and domains given below cannot therefore be taken as exhaustive or definitive, official Cult to the Lares Augusti continued from their institution through to the 4th century AD. They are identified with the Lares Compitalicii and Lares Praestites of Augustan religious reform, Lares Compitalicii, the Lares of local communities or neighbourhoods, celebrated at the Compitalia festival. The Lares Compitalicii are synonymous with the Lares Augusti of Augustan reform, Augustus institution of cult to the Lares Praestites was held at the same Compitalia shrines, but on a different date. Lares Domestici, Lares of the house, probably identical with Lares Familiares, Lares Familiares, Lares of the family, probably identical with the Lares Domestici. Lares Grundules, the thirty grunting Lares or Lares of the eaves, supposedly given an altar, according to Dionysius of Halicarnassus the place where the sow bore the piglets and Aeneas made the sacrifice was sacred, and forbidden to foreigners
5.
Lares Familiares
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Lares Familiares were household tutelary deities of ancient Roman religion. The singular form is Lar Familiaris, the Lar Familiaris was a domestic guardian spirit who cared for the welfare and prosperity of a household. A households lararium, a shrine to the Lar Familiaris, usually stood near the hearth or in a corner of the atrium. A lararium often had the appearance of a cupboard or a niche containing a small statue, a niche painted on a wall, or a small freestanding shrine. Sometimes the Genius of the head of the household, pictured as a bearded or crested snake, references to domestic religious practice often pair the Lares together with the Penates. Penates, although also domestic guardian spirits, were more specifically protectors of the master of the household and his immediate family. The Lar Familiaris, on the hand, protected all household members, free or slave. Tradition holds that a familys Lar would generously help those who honored him by devotionals and sacrifices, a story about these spirits occurs in the Aulularia of Plautus. In the tale, a grandfather begs his Lar to hide the family gold, when the grandfather dies, the Lar did not show the son where the gold was hidden because the son had never remembered to honor the Lar. The Lar kept the gold hidden until Euclio, the grandson, had a daughter who was ready for marriage. Euclio, a miser, also neglected the Lar. But his daughter was of a more pious disposition, and had become pregnant by a man whose name she did not know. So the spirit sets in motion a chain of events whereby Euclio finds the gold. Plautus describes the Lar Familiaris as a young, slender figure clad in high boots, short tunic, garlands adorn his head, and he is lithe, graceful and nimble. Household deity Lares Lares Permarini Lares Praestites Teraphim Federica Giacobello, Larari pompeiani, iconografia e culto dei Lari in ambito domestico, LED Edizioni Universitarie, Milano,2008, ISBN 978-88-7916-374-3
6.
National Archaeological Museum, Naples
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The Naples National Archaeological Museum is a museum in Naples, southern Italy, at the northwest corner of the original Greek wall of the city of Neapolis. The museum contains a collection of Roman artifacts from Pompeii, Stabiae. The collection includes works of the highest quality produced in Greek, Roman and it is the most important Italian archaeological museum and is considered one of the most important in the world. Charles of Bourbon founded the museum in the 1750s, the building he used for it had been erected as a cavalry barracks and during its time as the seat of the University of Naples was extended, in the late 18th century. The museum hosts extensive collections of Greek and Roman antiquities and their core is from the Farnese Collection, which includes a collection of engraved gems and the Farnese Marbles. Among the notable works found in the museum are the Herculaneum papyri, carbonized by the eruption of Mount Vesuvius, many of these works, especially the larger ones, have been moved to the Museo di Capodimonte for display in recent years. The Farnese Hercules, which fixed the image of Hercules in the European imagination, a major collection of ancient Roman bronzes from the Villa of the Papyri is housed at the museum. These include the Seated Hermes, a sprawling Drunken Satyr, a bust of Thespis, another variously identified as Seneca or Hesiod, the museums Mosaic Collection includes a number of important mosaics recovered from the ruins of Pompeii and the other Vesuvian cities. This includes the Alexander Mosaic, dating from circa 100 BC and it depicts a battle between the armies of Alexander the Great and Darius III of Persia. Another mosaic found is that of the gladiatorial fighter depicted in a found from the Villa of the Figured Capitals in Pompeii. With 2,500 objects, the museum has one of the largest collection of Egyptian artifacts in Italy after the Turin, Florence and Bologna ones. It is made up primarily of works from two collections, assembled by Cardinal Stefano Borgia in the second half of the 18th century. In its new layout the collection provides both an important record of Egyptian civilization from the Old Kingdom up to the Ptolemaic-Roman era, access was limited to only persons of mature age and known morals. The rooms were also called Cabinets of matters reserved or obscene or pornographic, the highlight of the censorship occurred in 1851 when even nude Venus statues were locked up, and the entrance walled up in the hope that the collection would vanish from memory. In September 1860, when the forces of Garibaldi occupied Naples, since the Royal Butler was no longer available, they broke into the collection. Limiting viewership and censorship have always been part of the history of the collection, censorship was restored during the era of the Kingdom of Italy, and peaked during the Fascist period, when visitors to the rooms needed the permission of the Minister of National Education in Rome. Censorship persisted in the period up to 1967, abating only after 1971 when the Ministry was given the new rules to regulate requests for visits. Completely rebuilt a few years ago with all of the new criteria, visitors under the age of 14 can tour the exhibit only with an adult
7.
Pompeian Styles
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The Pompeian Styles are four periods which are distinguished in ancient Roman mural painting. In the succession of styles, there is a reiteration of stylistic themes, the paintings also tell a great deal about the prosperity of the area and specific tastes during the times. The main purpose of these frescoes was to reduce the claustrophobic interiors of Roman rooms, the paintings, full of color and life, brightened up the interior and made the room feel more spacious. The First style, also referred to as structural, incrustation or masonry style, was most popular from 200 BC until 80 BC. It is characterized by the simulation of marble, with other simulated elements, mural reproductions of Greek paintings are also found. This style divided the wall into various, multi-colored patterns that took the place of extremely expensive cut stone, the First Style was also used with other styles for decorating the lower sections of walls that were not seen as much as the higher levels. An example would be the painting in the Samnite House in Herculaneum. The Second style, architectural style, or illusionism dominated the 1st century BC, early on, elements of this style are reminiscent of the First Style, but this slowly starts to be substituted element by element. It is characterized by use of perspective to create trompe loeil in wall paintings. The picture plane was pushed back into the wall by painted architectonic features such as Ionic columns or stage platforms. These wall paintings counteracted the claustrophobic nature of the small, windowless rooms of Roman houses, images and landscapes began to be introduced to the first style around 90 BC, and gained ground from 70 BC onwards, along with illusionistic and architectonic motives. Decoration had to give the greatest possible impression of depth, imitations of images appeared, at first in the higher section, then in the background of landscapes which provided a stage for mythological stories, theatrical masks, or decorations. During the reign of Augustus, the style evolved, false architectural elements opened up wide expanses with which to paint artistic compositions. A structure inspired by stage sets developed, whereby one large central tableau is flanked by two smaller ones, in this style, the illusionistic tendency continued, with a breaking up of walls with painted architectural elements or scenes. The landscape elements eventually took over to cover the wall, with no framing device. Basically, the more developed Second Style was the antithesis of the First Style, instead on confining and strengthening the walls, the goal was to break down the wall to show scenes of nature and the outside world. Much of the depth of the mature Second Style comes from the use of perspective that blurred the appearance of objects further away. Thus, the foreground is rather precise while the background is somewhat indistinctly purple, blue, one of the most recognized and unique pieces representing the Second Style is the Dionysiac mystery frieze in the Villa of the Mysteries
8.
Beware of the dog
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Beware of the dog is a warning sign indicating that a dangerous dog is within. Warning signs of this sort have been found in ancient Roman buildings such as the House of the Tragic Poet in Pompeii, some suppose that these warnings may sometimes have been intended to prevent visitors from stepping upon small, delicate dogs of the Italian Greyhound type. Under English law, placing such a sign does not relieve the owner of responsibility for any harm which may come to people attacked by the dog, such signs may be placed to deter burglary even if there is no dog. Media related to Dog-related warning signs at Wikimedia Commons
9.
Tessera
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A tessera is an individual tile, usually formed in the shape of a cube, used in creating a mosaic. It is also known as an abaciscus or abaculus, in early antiquity, mosaics were formed from naturally formed colored pebbles, but by 200 BCE cut stone tesserae were being used in Ancient Roman decorative mosaic panels and floor mosaics. Marble or limestone were cut into cubes and arranged into representational designs. Later, tesserae were made from colored glass, or clear glass backed with metal foils, the Byzantines used tesserae with gold leaf, in which case the glass pieces were flatter, with two glass pieces sandwiching the gold. This produced a golden reflection emanating from in between the tesserae as well as their front, causing a far richer and more effect than even plain gold leaf would create. Vitreous glass These are manufactured glass tiles made to a uniform shape and they are made by molten glass being poured into trays and fired. An imprint of grooves is made on their underside for help with adhesion to cement when fixing, ceramic tesserae These are the cheapest range of bought materials and can be glazed or unglazed. The glazed ceramic tiles have the color painted onto the top of the clay, the unglazed or body glazed version has the color mixed into the wet clay so the color runs through them. Smalti This is the classic mosaic material and it is opaque glass fired in large slabs in a kiln and then hand cut with a hammer and hardy chisel into small cubes. Their irregular finish makes them a wonderful reflector of light and this material is best used working straight into cement and it is produced in Venice and sold by colour and weight. Gold smalti This tile is made with gold and silver leaf sandwiched between two layers of glass and fired twice in the kiln to embed in the metal. Mirror Mirror adds great depth and sparkle to a mosaic and it is cheap as offcuts from a glass cutting shop are often free. Use mirror glue as this protects the silver on the back of the mirror, stained glass Known for its translucent qualities stained glass is also available in opaque form. It comes as large sheets that can be cut into sections with a glasscutter. It can provide areas of larger pieces for variety and contrast. Household ceramic tiles & china Colours and surfaces are limitless and can add wonderful texture, tessellation — describes tessellation patterns Mosaic — describes techniques for assembling tesserae into a design Mosaic Glass Tile – Terms and Definitions
10.
House of the Vettii
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In Pompeii one of the most famous of the luxurious residences is the so-called House of the Vettii, preserved like the rest of the Roman city by the eruption of Vesuvius in 79 AD. The house is named for its owners, two successful freedmen, Aulus Vettius Conviva, an Augustalis, and Aulus Vettius Restitutus. Its careful excavation has preserved almost all of the wall frescos, the House of the Vettii is located on a back street, opposite a bar. Servants quarters are to one side off the atrium, arranged round a small atrium of their own, the major fresco decorations enliven the peristyle and its living spaces and the triclinium or dining hall. The house had approximately 30 rooms, most artifacts found from upper level rooms were toiletry items and jewelry, consistent with artifacts found in other Pompeian houses. Throughout the house, the decor is unified by the backgrounds of its large frescoed panels, in Pompeiian red and yellow framing. Also throughout the house were images of hermaphrodites with the intention to ward off the Evil Eye of envy from those who entered the home, the most richly-decorated room is a virtual picture gallery, with trompe loeil views of architecture. The peristyle was laid out symmetrically for a water display. The statues were connected to piping and spouted water. There are 14 jets of water, new York, St. Martins Press,2005. From Pompeii, The Afterlife of a Roman Town, House of Sallust House of the Faun R. Etienne, Pompeii. The Day a City Died R. Laurence, Roman Pompeii, Space and Society A. Wallace-Hadrill, Houses and Society in Pompeii and Herculaneum Rowland, from Pompeii, The Afterlife of a Roman Town
11.
Zeus
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Zeus /ˈzjuːs/ is the sky and thunder god in ancient Greek religion, who ruled as king of the gods of Mount Olympus. His name is cognate with the first element of his Roman equivalent Jupiter and his mythologies and powers are similar, though not identical, to those of the Indo-European deities such as Indra, Jupiter, Perun, Thor, and Odin. Zeus is the child of Cronus and Rhea, the youngest of his siblings to be born, in most traditions, he is married to Hera, by whom he is usually said to have fathered Ares, Hebe, and Hephaestus. At the oracle of Dodona, his consort was said to be Dione, Zeus was also infamous for his erotic escapades. These resulted in many godly and heroic offspring, including Athena, Apollo, Artemis, Hermes, Persephone, Dionysus, Perseus, Heracles, Helen of Troy, Minos, and the Muses. He was equated with many foreign weather gods, permitting Pausanias to observe That Zeus is king in heaven is a common to all men. His symbols are the thunderbolt, eagle, bull, and oak, in addition to his Indo-European inheritance, the classical cloud-gatherer also derives certain iconographic traits from the cultures of the Ancient Near East, such as the scepter. Zeus is frequently depicted by Greek artists in one of two poses, standing, striding forward with a thunderbolt leveled in his right hand. The gods name in the nominative is Ζεύς Zeús and it is inflected as follows, vocative, Ζεῦ Zeû, accusative, Δία Día, genitive, Διός Diós, dative, Διί Dií. Diogenes Laertius quotes Pherecydes of Syros as spelling the name, Ζάς, Zeus is the Greek continuation of *Di̯ēus, the name of the Proto-Indo-European god of the daytime sky, also called *Dyeus ph2tēr. The god is known under this name in the Rigveda, Latin, Zeus is the only deity in the Olympic pantheon whose name has such a transparent Indo-European etymology. The earliest attested forms of the name are the Mycenaean Greek
12.
Hera
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Hera is the goddess of women and marriage in Greek mythology and religion. She is the daughter of the Titans Cronus and Rhea, Hera is married to her brother Zeus and is titled as the Queen of Heaven. One of her characteristics is her jealous and vengeful nature against Zeuss other lovers and offspring, Hera is commonly seen with the animals she considers sacred including the cow, lion and the peacock. Scholar of Greek mythology Walter Burkert writes in Greek Religion, Nevertheless, there are memories of an aniconic representation, as a pillar in Argos. Her counterpart in the religion of ancient Rome was Juno, According to Plutarch, Hera was an allegorical name and an anagram of aēr. So begins the section on Hera in Walter Burkerts Greek Religion, in a note, he records other scholars arguments for the meaning Mistress as a feminine to Heros, Master. John Chadwick, a decipherer of Linear B, remarks her name may be connected with hērōs, ἥρως, hero, a. J. van Windekens, offers young cow, heifer, which is consonant with Heras common epithet βοῶπις. R. S. P. Beekes has suggested a Pre-Greek origin and her name is attested in Mycenaean Greek written in the Linear B syllabic script as
13.
Hypnos
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In Greek mythology, Hypnos is the personification of sleep, the Roman equivalent is known as Somnus. In the Greek Mythology, Hypnos is the son of Nyx and his brother is Thanatos, both siblings live in the underworld or in Erebus, another valley of the Greek underworld. According to rumors, Hypnos lives in a big cave, which the river Lethe comes from and his bed is made of ebony, on the entrance of the cave grow a number of poppies and other hypnotic plants. No light and no sound would ever enter his grotto, according to Homer, he lives on the island Lemnos, which later on has been claimed to be his very own dream-island. His children Morpheus, Phobetor and Phantasos are the gods of the dream and it is claimed that he has many more children, which are also Oneiroi. He is said to be a calm and gentle god, as he helps humans in need and, due to their sleep, Hypnos lived next to his twin brother, Thanatos in the underworld. Hypnos mother was Nyx, the deity of Night, and his father was Erebus, Nyx was a dreadful and powerful goddess, and even Zeus feared entering her realm. His wife, Pasithea, was one of the youngest of the Graces and was promised to him by Hera, Pasithea is the deity of hallucination or relaxation. Hypnos three brothers or sons were known as the Oneiroi, which is Greek for dreams, Morpheus is the Winged God of Dreams and can take human form in dreams. Phobetor is the personification of nightmares and created frightening dreams, he could take the shape of any animal including bears and tigers, Phantasos was known for creating fake dreams full of illusions. Morpheus, Phobetor, and Phantasos appeared in the dreams of kings, the Oneiroi lived in a cave at the shores of the Ocean in the West. The cave had two gates with which to send people dreams, one made from ivory and the other from buckhorn, however, before they could do their work and send out the dreams, first Hypnos had to put the recipient to sleep. Hypnos used his powers to trick Zeus, Hypnos was able to trick him and help the Danaans win the Trojan war. During the war, Hera loathed her brother and husband, Zeus and she decided that in order to trick him she needed to make him so enamoured with her that he would fall for the trick. So she washed herself with ambrosia and anointed herself with oil and she wove flowers through her hair, put on three brilliant pendants for earrings, and donned a wondrous robe. She then called for Aphrodite, the goddess of love, in order to procure the charm, however, she lied to Aphrodite because they sided on opposites sides of the war. She told Aphrodite that she wanted the charm to help herself, Hera was almost ready to trick Zeus, but she needed the help of Hypnos, who had tricked Zeus once before. Hera called on Hypnos and asked him to help her by putting Zeus to sleep, Hypnos was reluctant because the last time he had put the god to sleep, he was furious when he awoke
14.
Mount Ida
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Thereafter, his birthplace was sacred to Zeus, the king and father of Greek gods and goddesses. The name Ida is of unknown origin, instances of i-da in Linear A are often conjectured to refer to either this mountain or the homonymous one in Crete. Proclus considered it as the mount of the Ideas, whence its etymology, cretes Mount Ida is the islands highest summit, sacred to the Goddess Rhea, and wherein lies the legendary cave in which baby Zeus was concealed from his father Cronus. It is one of a number of believed to have been the birthplace or hiding place of Zeus. On the flank of this mountain is the Amari Valley, the site of expansion by the ancient settlement at Phaistos, the surrounding area and mountain used to be very wooded. From the Anatolian Mount Ida, Zeus was said to have abducted Ganymede to Olympus, the topmost peak is Gargarus, mentioned in the Iliad. Zeus was located in the Altar of Zeus during the Trojan War, the modern Turkish name for Mount Ida, Turkey, is Kaz Dağı, pronounced. In the Aeneid, a star falls onto the mountain in answer to the prayer of Anchises to Jupiter
15.
Judgement of Paris
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The Judgement of Paris is a story from Greek mythology, which was one of the events that led up to the Trojan War and to the foundation of Rome. As with many tales, details vary depending on the source. The later writers Ovid, Lucian, The Bibliotheca and Hyginus, retell the story with skeptical and it appeared wordlessly on the ivory and gold votive chest of the 7th-century BC tyrant Cypselus at Olympia, which was described by Pausanias as showing. It is recounted that Zeus held a banquet in celebration of the marriage of Peleus, however, Eris, goddess of discord was not invited, for it was believed she would have made the party unpleasant for everyone. Angered by this snub, Eris arrived at the celebration with an apple from the Garden of the Hesperides. According to some versions, upon the apple was the inscription καλλίστῃ. Three goddesses claimed the apple, Hera, Athena and Aphrodite, thus it happened that, with Hermes as their guide, the three candidates bathed in the spring of Ida, then confronted Paris on Mount Ida in the climactic moment that is the crux of the tale. After failing to judge their beauty with their clothing on, the three goddesses stripped nude to convince Paris of their worthiness and this was Helen of Sparta, wife of the Greek king Menelaus. Paris accepted Aphrodites gift and awarded the apple to her, receiving Helen as well as the enmity of the Greeks, the Greeks expedition to retrieve Helen from Paris in Troy is the mythological basis of the Trojan War. The bribery involved is ironic and a late ingredient, according to a tradition suggested by Alfred J. Van Windekens, objectively, cow-eyed Hera was indeed the most beautiful, not Aphrodite. However, Hera was the goddess of the order and of cuckolded wives. She was often portrayed as the shrewish, jealous wife of Zeus and she had fidelity and chastity in mind and was careful to be modest when Paris was inspecting her. Aphrodite, though not as beautiful as Hera, was the goddess of sexuality. Thus, she was able to sway Paris into judging her the fairest, athenas beauty is rarely commented in the myths, perhaps because Greeks held her up as an asexual being, being able to overcome her womanly weaknesses to become both wise and talented in war. Her rage at losing makes her join the Greeks in the battle against Paris Trojans, the subject became popular in art from the late Middle Ages onwards. All three goddesses were usually shown nude, though in ancient art only Aphrodite is ever unclothed, the opportunity for three female nudes was a large part of the attraction of the subject. It appeared in illuminated manuscripts and was popular in art, including 15th-century Italian inkstands and other works in maiolica. As a subject for paintings, it was more common in Northern Europe
16.
Achilles
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In Greek mythology, Achilles was a Greek hero of the Trojan War and the central character and greatest warrior of Homers Iliad. His mother was the immortal nymph Thetis, and his father, Achilles’ most notable feat during the Trojan War was the slaying of the Trojan hero Hector outside the gates of Troy. Although the death of Achilles is not presented in the Iliad, other sources concur that he was killed near the end of the Trojan War by Paris, later legends state that Achilles was invulnerable in all of his body except for his heel. Alluding to these legends, the term Achilles heel has come to mean a point of weakness, Achilles name can be analyzed as a combination of ἄχος grief and λαός a people, tribe, nation. In other words, Achilles is an embodiment of the grief of the people, Achilles role as the hero of grief forms an ironic juxtaposition with the conventional view of Achilles as the hero of κλέος kleos. Laos has been construed by Gregory Nagy, following Leonard Palmer, to mean a corps of soldiers, a muster. With this derivation, the name would have a meaning in the poem, when the hero is functioning rightly, his men bring grief to the enemy. The poem is in part about the misdirection of anger on the part of leadership, R. S. P. Beekes has suggested a Pre-Greek origin of the name. The name Achilleus was a common and attested name among the Greeks soon after the 7th century BC. It was also turned into the female form Ἀχιλλεία attested in Attica in the 4th century BC and, in the form Achillia, Achilles was the son of the Nereid Thetis and Peleus, the king of the Myrmidons. Zeus and Poseidon had been rivals for the hand of Thetis until Prometheus, for this reason, the two gods withdrew their pursuit, and had her wed Peleus. Thetis, although a daughter of the sea-god Nereus, was brought up by Hera. According to the Achilleid, written by Statius in the 1st century AD, and to no surviving previous sources, however, he was left vulnerable at the part of the body by which she held him, his heel. It is not clear if this version of events was known earlier, in another version of this story, Thetis anointed the boy in ambrosia and put him on top of a fire, to burn away the mortal parts of his body. She was interrupted by Peleus and abandoned both father and son in a rage, however, none of the sources before Statius makes any reference to this general invulnerability. To the contrary, in the Iliad Homer mentions Achilles being wounded, in Book 21 the Paeonian hero Asteropaeus, son of Pelagon and he cast two spears at once, one grazed Achilles elbow, drawing a spurt of blood. Peleus entrusted Achilles to Chiron the Centaur, on Mt. Pelion, Achilles consuming rage is at times wavering, but at other times he cannot be cooled. Thetis foretold that her sons fate was either to gain glory and die young, or to live a long, Achilles chose the former, and decided to take part in the Trojan war
17.
Briseis
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Brisēís was a mythical queen in Asia Minor at the time of the Trojan War. Her character lies at the heart of a dispute between Achilles and Agamemnon that drives the plot of Homers Iliad, in Greek Mythology, Briseis, a daughter of Briseus, was a princess of Lyrnessus. Briseis was said to have had long hair, blue eyes. When Achilles led the assault on that city during the Trojan War, she was captured and she was subsequently given to Achilles as a war prize to be his concubine. In the Trojan War, captive women like Briseis were regarded as slaves, Patroclus comforted Briseis in her fear of being alone among her enemies and her grief over the loss of her country, her family, and her freedom, not letting her weep. He promised to have Achilles make her his wife and that he would give a wedding feast for them on their return to Phthia after the war had ended. According to Book 1 of the Iliad, when Agamemnon was compelled by Apollo to give up his own woman, Chryseis and this prompted a quarrel with Achilles that culminated with Briseis delivery to Agamemnon and Achilles protracted withdrawal from battle. His absence had disastrous consequences for the Greeks, despite Agamemnons grand offers of treasure and women, he did not return to the fray until the death of Patroclus. In the Iliad, Achilles likens their relationship to that of man and wife, if the war was being fought because Helen had been separated from Menelaus, then what should the repercussions be for separating Briseis from him, is the question often agitated in his discourse. Briseis was said to have regarded Achilles as her husband as well, Achilles is angry at Agamemnon, and seethes with rage in his tent, made furious by the thought of Agamemnon sleeping with Briseis. When Achilles returns to the fighting to avenge Patroclus death and Agamemnon returns Briseis to him, Agamemnon swears to Achilles that he, Briseis was among those to lament and mourn over the death of Patroclus. She remained with Achilles until his death, which plunged her into great grief and she soon took it upon herself to prepare Achilles for the afterlife. According to some, following his death, Briseis. was given to one of Achilles comrades-at-arms just as his armor had been, in medieval romances, starting with the Roman de Troie, Briseis becomes Briseida and is the daughter of Calchas. She loves and is loved by Troilus and then Diomedes and she is later confused with Chryseis and it is under variations of that name that the character is developed further, becoming Shakespeares Cressida. A papyrus leaf drawing from late antiquity, most likely of Egyptian origin, illustrates the abduction of Briseis by the heralds Talthybius, in The Firebrand by Marion Zimmer Bradley, Briseis fell in love with Achilles and chose to leave Troy to be with him. The novel Daughter of Troy by Sarah B. Franklin is written from Briseis point of view with a substantial pre-history before the events of the Iliad unfold, Briseis is played by Gloria Milland in the 1962 film The Fury of Achilles. Briseis is featured in the 2004 film Troy, in the film, Briseis is a cousin of the Trojan princes Hector and Paris, and falls in love with Achilles. She later kills Agamemnon during the Sack of Troy, in classical mythology Agamemnon is killed by his wife Clytemnestra and she is also depicted as among those who escaped Troy after it fell
18.
Agamemnon
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Mythical legends make him the king of Mycenae or Argos, thought to be different names for the same area. When Helen, the wife of Menelaus, was taken to Troy by Paris, upon Agamemnons return from Troy, he was murdered by Aegisthus, the lover of his wife, Clytemnestra. In some later versions Clytemnestra herself does the killing, or they act together as accomplices, Atreus, Agamemnons father, murdered the children of his twin brother Thyestes and fed them to Thyestes after discovering Thyestes adultery with his wife Aerope. Thyestes fathered Aegisthus with his own daughter, Pelopia, and this son vowed gruesome revenge on Atreus children, Aegisthus successfully murdered Atreus and restored his father to the throne. Aegisthus took possession of the throne of Mycenae and jointly ruled with Thyestes, during this period Agamemnon and his brother, Menelaus, took refuge with Tyndareus, King of Sparta. There they respectively married Tyndareus daughters Clytemnestra and Helen, Agamemnon and Clytemnestra had four children, one son, Orestes, and three daughters, Iphigenia, Electra and Chrysothemis. Menelaus succeeded Tyndareus in Sparta, while Agamemnon, with his brothers assistance, drove out Aegisthus and he extended his dominion by conquest and became the most powerful prince in Greece. Thus misfortune hounded successive generations of the House of Atreus, until atoned by Orestes in a court of justice held jointly by humans, Agamemnon gathered the reluctant Greek forces to sail for Troy. Preparing to depart from Aulis, which was a port in Boeotia, misfortunes, including a plague and a lack of wind, prevented the army from sailing. Finally, the prophet Calchas announced that the wrath of the goddess could only be propitiated by the sacrifice of Agamemnons daughter Iphigenia and her death appeased Artemis, and the Greek army set out for Troy. Several alternatives to the human sacrifice have been presented in Greek mythology, hesiod said she became the goddess Hecate. Agamemnon was the commander-in-chief of the Greeks during the Trojan War, during the fighting, Agamemnon killed Antiphus and fifteen other Trojan soldiers. The Iliad tells the story about the quarrel between Agamemnon and Achilles in the year of the war. Following one of the Achaean Armys raids, Chryseis, daughter of Chryses, Chryses pleaded with Agamemnon to free his daughter but was met with little success. Chryses then prayed to Apollo for the return of his daughter. After learning from the Prophet Calchas that the plague could be dispelled by returning Chryseis to her father, Agamemnon reluctantly agreed, however, as compensation for his lost prize, Agamemnon demanded a new prize. As a result, Agamemnon stole an attractive slave called Briseis, one of the spoils of war, Achilles, the greatest warrior of the age, withdrew from battle in response to Agamemnons supposedly evil deed and allegedly put the Greek armies at risk of losing the war. Although not the equal of Achilles in bravery, Agamemnon was a representative of kingly authority, as commander-in-chief, he summoned the princes to the council and led the army in battle
19.
Helen of Troy
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In Greek mythology, Helen of Troy, also known as Helen of Sparta, or simply Helen, was the daughter of Zeus and Leda, and was a sister of Castor, Pollux, and Clytemnestra. In Greek myths, she was considered the most beautiful woman in the world, by marriage she was Queen of Laconia, a province within Homeric Greece, the wife of King Menelaus. Her abduction by Prince Paris of Troy brought about the Trojan War, elements of her putative biography come from classical authors such as Aristophanes, Cicero, Euripides and Homer. In her youth, she was abducted by Theseus, a competition between her suitors for her hand in marriage sees Menelaus emerge victorious. An oath sworn beforehand by all the suitors requires them to military assistance in the case of her abduction. When she marries Menelaus she is very young, whether her subsequent involvement with Paris is an abduction or a seduction is ambiguous. The legends recounting Helens fate in Troy are contradictory, Homer depicts her as a wistful figure, even a sorrowful one, who comes to regret her choice and wishes to be reunited with Menelaus. Other accounts have a treacherous Helen who simulates Bacchic rites and rejoices in the carnage, ultimately, Paris was killed in action, and in Homers account Helen was reunited with Menelaus, though other versions of the legend recount her ascending to Olympus instead. A cult associated with her developed in Hellenistic Laconia, both at Sparta and elsewhere, at Therapne she shared a shrine with Menelaus and she was also worshiped in Attica and on Rhodes. Her beauty inspired artists of all time to represent her, frequently as the personification of ideal beauty, Christopher Marlowes lines from his tragedy Doctor Faustus are frequently cited, Was this the face that launchd a thousand ships/And burnt the topless towers of Ilium. However, in the play this meeting and the ensuing temptation are not unambiguously positive, closely preceding death, images of her start appearing in the 7th century BC. In classical Greece, her abduction by—or elopement with—Paris was a popular motif, in medieval illustrations, this event was frequently portrayed as a seduction, whereas in Renaissance painting it is usually depicted as a rape by Paris. The fact that rape and kidnapping were interchangeable terms lends additional ambiguity to the story, the etymology of Helens name continues to be a problem for scholars. Georg Curtius related Helen to the moon, Émile Boisacq considered Ἑλένη to derive from the noun ἑλένη meaning torch. It has also suggested that the λ of Ἑλένη arose from an original ν. Linda Lee Clader, however, says none of the above suggestions offers much satisfaction. Inversely, others have connected this etymology to a hypothetical proto-indo-european sun goddess, in particular, her marriage myth may be connected to a broader indo-european marriage drama of the sun goddess, and she is related to the divine twins, just as many of these goddesses are. The origins of Helens myth date back to the Mycenaean age, the first record of her name appears in the poems of Homer, but scholars assume that such myths invented or received by the Mycenaean Greeks made their way to Homer
20.
Paris (mythology)
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Paris, also known as Alexander, the son of King Priam and Queen Hecuba of Troy, appears in a number of Greek legends. Probably the best-known was his elopement with Helen, queen of Sparta, later in the war, he fatally wounds Achilles in the heel with an arrow as foretold by Achilles’s mother Thetis. The name Paris is probably Luwian and comparable to Pari-zitis attested as a Hittite scribes name, Paris was a child of Priam and Hecuba. Just before his birth, his mother dreamed that she gave birth to a flaming torch and this dream was interpreted by the seer Aesacus as a foretelling of the downfall of Troy, and he declared that the child would be the ruin of his homeland. Though Paris was indeed born before nightfall, he was spared by Priam, Hecuba, too, was unable to kill the child, despite the urging of the priestess of Apollo, one Herophile. Instead, Pariss father prevailed upon his chief herdsman, Agelaus, to remove the child, the herdsman, unable to use a weapon against the infant, left him exposed on Mount Ida, hoping he would perish there, he was, however, suckled by a she-bear. Returning after nine days, Agelaus was astonished to find the still alive. He returned to Priam bearing a dogs tongue as evidence of the deeds completion and it was at this time that Oenone became Pariss first lover. She was a nymph from Mount Ida in Phrygia and her father was Cebren, a river-god. She was skilled in the arts of prophecy and medicine, which she had been taught by Rhea and Apollo respectively. When Paris later left her for Helen she told him if he ever was wounded, he should come to her for she could heal any injury. Pariss chief distraction at this time was to pit Agelauss bulls against one another, one bull began to win these bouts consistently, and Paris began to set it against rival herdsmens own prize bulls, it defeated them all. Finally Paris offered a crown to any bull that could defeat his champion. Ares responded to this challenge by transforming himself into a bull, in celebration of the marriage of Peleus and Thetis, Lord Zeus, father of the Greek pantheon, hosted a banquet on Mount Olympus. Every deity and demi-god had been invited, except Eris, the goddess of strife, the goddesses thought to be the most beautiful were Hera, Athena, and Aphrodite, and each one claimed the apple. They started a quarrel so they asked Zeus to choose one of them, knowing that choosing any of them would bring him the hatred of the other two, Zeus did not want to take part in the decision. He thus appointed Paris to select the most beautiful, escorted by Hermes, the three goddesses bathed in the spring of Mount Ida and approached Paris as he herded his cattle. Having been given permission by Zeus to set any conditions he saw fit, Paris chose Aphrodite— and, therefore, Helen
21.
Stabiae
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Stabiae was an ancient Roman town which is famous for the magnificent Roman villas found there near to the modern town of Castellammare di Stabia approximately 4.5 km southwest of Pompeii. The beautiful objects and frescoes taken from these villas were sold and distributed. The villas were sited on a 50 m high overlooking the Gulf of Naples. Being only 16 kilometres from Mount Vesuvius, this resort was largely buried by two metres of tephra ash in 79 AD. Originally a small port, by the 6th century BC Stabiae had already overshadowed by the much larger port at Pompeii. The town was destroyed by Lucius Cornelius Sulla on 30 April 89 BC during the Social War, the Roman author and admiral Pliny the Elder recorded that the town was rebuilt and became a popular resort for wealthy Romans. He reported that there were miles of luxury villas built along the edge of the headland. According to the account written by his nephew, Pliny the Elder was at the side of the bay in Misenum when the eruption started. He travelled by ship across the bay, partly to observe the eruption more closely. Pliny died at Stabiae the following day, probably during the arrival of the sixth, the very diluted outer edge of this surge reached Stabiae and left two centimetres of fine ash on top of the immensely thick aerially-deposited tephra which further protected the underlying remains. The archaeological remains of Stabiae were originally discovered in 1749 by Cavaliere Rocco de Alcubierre and these ruins were partially excavated by Alcubierre with help from Karl Weber between 1749–1782. The ruins that had been excavated, however, were reburied and their location was forgotten until 1950, the site was declared an archaeological protected area in 1957, and by 1962 many of the ruins had been again uncovered. The remains of both an Oscan settlement and the later Roman town were discovered, the most famous of the findings at Stabiae are the villas that come from the time between the destruction of Stabiae by Sulla in 89 BC and the eruption of Mount Vesuvius in 79 AD. As described above, Stabiae became a town during this time and was particularly favored for its view of the Bay of Naples. Stabiae was also known for the quality of its spring water. The ideal placement and qualities of this location drew many wealthy Romans to build villas on the ridge overlooking the bay. These villas, which are described below, provide us with some of the most stunning architectural, a great many artifacts which come from Stabiae are preserved in the Naples National Archaeological Museum. Before the age of the villas, however, an Oscan settlement existed in the region of Stabiae, in 1957 three hundred tombs dating from the 7th to the 3rd centuries BC were found in a necropolis associated with this town
22.
Eros
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In Greek mythology, Eros was the Greek god of sexual attraction. Some myths make him a god, while in other myths. He was one of the winged love gods, Erotes, Eros appears in ancient Greek sources under several different guises. In the earliest sources, he is one of the gods involved in the coming into being of the cosmos. But in later sources, Eros is represented as the son of Aphrodite, whose mischievous interventions in the affairs of gods and mortals cause bonds of love to form, a cult of Eros existed in pre-classical Greece, but it was much less important than that of Aphrodite. However, in antiquity, Eros was worshiped by a fertility cult in Thespiae. In Athens, he shared a very popular cult with Aphrodite, according to Hesiod, one of the most ancient of all Greek sources, Eros was the fourth god to come into existence, coming after Chaos, Gaia, and Tartarus. However, Parmenides, one of the philosophers, makes Eros the first of all the gods to come into existence. The Orphic and Eleusinian Mysteries featured Eros as a very original god, aristophanes, influenced by Orphism, relates the birth of Eros, At the beginning there was only Chaos, Night, Darkness, and the Abyss. Earth, the Air and Heaven had no existence and he mated in the deep Abyss with dark Chaos, winged like himself, and thus hatched forth our race, which was the first to see the light. In later myths, he was the son of the deities Aphrodite and Ares, Eros was associated with athleticism, with statues erected in gymnasia, and was often regarded as the protector of homosexual love between men. Eros was depicted as carrying a lyre or bow and arrow. He was also depicted accompanied by dolphins, flutes, roosters, roses, “We must have a word with Aphrodite. Let us go together and ask her to persuade her boy, if that is possible, to loose an arrow at Aeetes’ daughter, Medea of the spells, and make her fall in love with Jason. ”He smites maids’ breasts with unknown heat. Once, when Venus’ son was kissing her, his quiver dangling down, in fact the wound was deeper than it seemed, though unperceived at first. Enraptured by the beauty of a man, Eros drove Dionysos mad for the girl with the delicious wound of his arrow, then curving his wings flew lightly to Olympus. And the god roamed over the hills scourged with a greater fire. ”The story of Eros and Psyche has a tradition as a folktale of the ancient Greco-Roman world long before it was committed to literature in Apuleius Latin novel. The novel itself is written in a picaresque Roman style, yet Psyche retains her Greek name, Eros and Aphrodite are called by their Latin names, and Cupid is depicted as a young adult, rather than a child
23.
Poseidon
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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
24.
Admetus
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In Greek mythology, Admetus was a king of Pherae in Thessaly, succeeding his father Pheres after whom the city was named. Admetus was one of the Argonauts and took part in the Calydonian Boar hunt and his wife Alcestis offered to substitute her own death for his. Admetus was famed for his hospitality and justice, when Apollo was sentenced to a year of servitude to a mortal as punishment for killing Delphyne, or as later tradition has it, the Cyclops, the god chose Admetus home and became his herdsman. Apollo in recompense for Admetus treatment—the Hellenistic poet Callimachus of Alexandria makes him Apollos eromenos—made all the cows bear twins while he served as his cowherd, Apollo also helped Admetus win the hand of Alcestis, the daughter of Pelias, king of Iolcus. Alcestis had so many suitors that Pelias set an apparently impossible task to the win the hand of Alcestis, they must yoke a boar. Apollo harnessed the yoke with the animals and Admetus drove the chariot to Pelias, Admetus, however, neglected to sacrifice to Artemis, Apollos sister. The offended goddess filled the chamber with snakes and again. Apollo advised Admetus to sacrifice to Artemis, and the goddess removed the snakes, the greatest aid Apollo gave to Admetus was persuading the Fates to reprieve Admetus of his fated day of death. According to Aeschylus Apollo made the Fates drunk, and the Fates agreed to reprieve Admetus if he could find someone to die in his place, Admetus initially believed that one of his aged parents would happily take their sons place of death. When they were unwilling, Alcestis instead died for Admetus, the scene of death is described in Euripides play Alcestis, where Thanatos, the god of death, takes Alcestis to the Underworld. As Alcestis descends, Admetus discovers that he actually does not want to live, I think my wifes fate is happier than my own, no pain will ever touch her now, and she has ended lifes many troubles with glory. But I, who have escaped my fate and ought not to be alive, the situation was saved by Heracles, who rested at Pherae on his way towards the man-eating Mares of Diomedes. Heracles was greatly impressed by Admetuss kind treatment of him as a guest, and he repaid the honor Admetus had done to him by wrestling with Thanatos until the god agreed to release Alcestis, then led her back into the mortal world. The most famous of Admetuss children was Eumelus, who led a contingent from Pherae to fight in the Trojan War and he also had a daughter Perimele. March, J. Cassells Dictionary Of Classical Mythology
25.
Alcestis
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Alcestis is a princess in Greek mythology, known for her love of her husband. Her story was popularised in Euripidess tragedy Alcestis and she was the daughter of Pelias, king of Iolcus, and either Anaxibia or Phylomache. In the story, many appeared before King Pelias, her father. It was declared she would marry the first man to yoke a lion, the man who would do this, King Admetus, was helped by Apollo, who had been banished from Olympus for nine years to serve as a shepherd to Admetus. With Apollos help, Admetus completed the task, and was allowed to marry Alcestis. After the wedding, Admetus forgot to make the sacrifice to Artemis. Apollo again helped the king, this time by making the Fates drunk, extracting from them a promise that if anyone would want to die instead of Admetus. Since no one volunteered, not even his parents, Alcestis stepped forth. Shortly after, Heracles rescued Alcestis from Hades, as a token of appreciation for the hospitality of Admetus, Admetus and Alcestis had a son, Eumelus, a participant in the siege of Troy, and a daughter, Perimele. Miltons famous sonnet, Methought I Saw My Late Espoused Saint, the Viennese composer Christoph Willibald Gluck wrote an opera based on the story of Alceste. Italian-born French composer Jean-Baptiste Lully wrote an opera, first performed in 1674, george Frideric Handel wrote a masque or semi-opera based on this myth. Rainier Maria Rilke wrote a poem Alkestis, H. P. Lovecraft and Sonia Greene collaborated on a play called Alcestis. Thornton Wilder wrote A Life in the Sun based on Euripides play, the American choreographer Martha Graham created a ballet entitled Alcestis in 1960. In the animated Disney film Hercules, the story of the Megara character also alludes to Alcestis. As Hades tells it, Megara sells her soul for her lover, alcestis—a poem by Rainer Maria Rilke
26.
Iphigenia
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In Greek mythology, Iphigenia was a daughter of King Agamemnon and Queen Clytemnestra, and thus a princess of Argos. According to other myths she is the daughter of Theseus and Helen but was raised by Clytemnestra. Agamemnon offends the goddess Artemis, who retaliates by commanding him to kill Iphigenia as a sacrifice so his ships can sail to Troy, in some versions, Iphigenia is sacrificed at Aulis, but in others, Artemis rescues her. In the version where she is saved, she goes to the Taurians, Iphigenia means strong-born, born to strength, or she who causes the birth of strong offspring. Iphianassa is the name of one of Agamemnons three daughters in Homers Iliad The name Iphianassa may be simply a variant of the name Iphigenia. In Greek mythology, Iphigenia appears as the Greek fleet gathers in Aulis to prepare for war against Troy, at Aulis, the leader of the Greeks, Agamemnon, accidentally kills a deer in a grove sacred to the goddess Artemis. She punishes him by interfering with the winds so that his fleet cannot sail to Troy, the seer Calchas reveals that, to appease Artemis, Agamemnon must sacrifice his eldest daughter, Iphigenia. Agamemnon at first refuses, but, pressured by the other commanders eventually agrees, Iphigenia and her mother Clytemnestra are brought to Aulis under the pretext of a marriage to Achilles, but soon discover the marriage is a ruse. In some versions of the story, Iphigenia remains unaware of her imminent sacrifice until the last moment, in some versions, Iphigenia is not actually sacrificed. According to Hyginus Fabulae, Iphigenia was not sacrificed, some sources claim that Iphigenia was taken by Artemis to Tauris in Crimea at the moment of the sacrifice, and that the goddess left a deer or a goat in her place. The Hesiodic Catalogue of Women called her Iphimede and told that Artemis transformed her into the goddess Hecate, antoninus Liberalis said that Iphigenia was transported to the island of Leuke, where she was wedded to immortalized Achilles under the name Orsilochia. In Aeschyluss Agamemnon, the first play in the Oresteia, the sacrifice of Iphigenia is given as one of the reasons that Clytemnestra, in Euripides’ Iphigenia at Aulis, it is Menelaus who convinces Agamemnon to heed the seer Calchass advice. After Agamemnon sends a message to Clytemnestra informing her of Iphigenias supposed marriage, he regrets his decision. Menelaus intercepts the letter and he and Agamemnon argue, Menelaus insists that it is Agamemnons duty to do all he can to aid the Greeks. Clytemnestra arrives at Aulis with Iphigenia and the infant Orestes, Agamemnon tries to convince Clytemnestra to go back to Argos, but Clytemnestra insists on staying for the wedding. When she sees Achilles, Clytemnestra mentions the marriage, Achilles, however, appears to be unaware of it, Achilles, angry that Agamemnon has used him in his plot, vows to help prevent the murder of Iphigenia. Iphigenia and Clytemnestra plead with Agamemnon to spare his daughters life, Achilles informs them that the Greek army, eager for war, has learned of the seers advice and now demand that Iphigenia be sacrificed. If Agamemnon refuses, it is likely they will turn on him and kill him, Iphigenia, knowing she is doomed, decides to be sacrificed willingly, reasoning that as a mere mortal, she cant go against the will of a goddess
27.
Odysseus
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Odysseus, also known by the Latin name Ulysses, was a legendary Greek king of Ithaca and the hero of Homers epic poem the Odyssey. Odysseus also plays a key role in Homers Iliad and other works in that same epic cycle. Husband of Penelope, father of Telemachus, and son of Laërtes and Anticlea, Odysseus is renowned for his brilliance, guile, and versatility and he is most famous for the Odyssey, ten eventful years he took to return home after the decade-long Trojan War. The name has several variants, in Greek the character was called Olysseus, Oulixeus, Oulixes, hence, there may originally have been two separate figures, one called something like Odysseus, the other something like Ulixes, who were combined into one complex personality. The etymology of the name is unknown, ancient authors linked the name to the Greek verbs odussomai to be wroth against, to hate, or to oduromai to lament, bewail. Homer in references and puns, relates it to various forms of this verb and it has also been suggested that the name is of non-Greek origin, probably not even Indo-European, with an unknown etymology, R. S. P. Beekes has suggested a Pre-Greek origin. In Book 19 of the Odyssey, where Odysseuss early childhood is recounted, Euryclea tries to guide him to naming the boy Polyaretos, for he has much been prayed for. Autolycus apparently in a sardonic mood, decided to give the child a name that would commemorate his own experience in life. Because I got odium upon myself before coming here, let the childs name be Odysseus to signify this. The pun was prophetic as well as commemorative, Odysseus often receives the patronymic epithet Laertiades, son of Laërtes. In the Iliad and Odyssey there are several epithets used to describe Odysseus and his name and stories were adopted into Etruscan religion under the name Uthuze. Hence, Odysseus was the great-grandson of the Olympian god Hermes, according to the Iliad and Odyssey, his father is Laertes and his mother Anticlea, although there was a non-Homeric tradition that Sisyphus was his true father. The rumor went that Laertes bought Odysseus from the conniving king, Odysseus is said to have a younger sister, Ctimene, who went to Same to be married and is mentioned by the swineherd Eumaeus, whom she grew up alongside, in Book 15 of the Odyssey. Homers Iliad and Odyssey portray Odysseus as a hero, but the Romans. In Virgils Aeneid, written between 29 and 19 BC, he is referred to as cruel Odysseus or deceitful Odysseus. Turnus, in Aeneid ix, reproaches the Trojan Ascanius with images of rugged, forthright Latin virtues, declaring, You shall not find the sons of Atreus here, nor need the frauds of sly Ulysses fear. While the Greeks admired his cunning and deceit, these qualities did not recommend themselves to the Romans, who possessed a rigid sense of honour. His attempts to avoid his sacred oath to defend Menelaus and Helen offended Roman notions of duty, the majority of sources for Odysseus pre-war exploits—principally the mythographers Pseudo-Apollodorus and Hyginus—postdate Homer by many centuries
28.
Artemis
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Artemis was one of the most widely venerated of the Ancient Greek deities. Some scholars believe that the name, and indeed the goddess herself, was originally pre-Greek, Homer refers to her as Artemis Agrotera, Potnia Theron, Artemis of the wildland, Mistress of Animals. The Arcadians believed she was the daughter of Demeter, in the classical period of Greek mythology, Artemis was often described as the daughter of Zeus and Leto, and the twin sister of Apollo. The deer and the cypress were sacred to her, in later Hellenistic times, she even assumed the ancient role of Eileithyia in aiding childbirth. The name Artemis is of unknown or uncertain origin and etymology although various ones have been proposed, for example, according to J. T. Jablonski, the name is also Phrygian and could be compared with the royal appellation Artemas of Xenophon. Anton Goebel suggests the root στρατ or ῥατ, to shake, babiniotis, while accepting that the etymology is unknown, states that the name is already attested in Mycenean Greek and is possibly of pre-Hellenic origin. It is believed that a precursor of Artemis was worshiped in Minoan Crete as the goddess of mountains and hunting, R. S. P. Beekes suggested that the e/i interchange points to a Pre-Greek origin. Artemis was venerated in Lydia as Artimus, various conflicting accounts are given in Classical Greek mythology of the birth of Artemis and her twin brother, Apollo. All accounts agree, however, that she was the daughter of Zeus and Leto, an account by Callimachus has it that Hera forbade Leto to give birth on either terra firma or on an island. Hera was angry with Zeus, her husband, because he had impregnated Leto, but the island of Delos disobeyed Hera, and Leto gave birth there. In ancient Cretan history Leto was worshipped at Phaistos and in Cretan mythology Leto gave birth to Apollo, a scholium of Servius on Aeneid iii. The myths also differ as to whether Artemis was born first, most stories depict Artemis as born first, becoming her mothers mid-wife upon the birth of her brother Apollo. The childhood of Artemis is not fully related in any surviving myth, the Iliad reduced the figure of the dread goddess to that of a girl, who, having been thrashed by Hera, climbs weeping into the lap of Zeus. She wished for no city dedicated to her, but to rule the mountains, Artemis believed that she had been chosen by the Fates to be a midwife, particularly since she had assisted her mother in the delivery of her twin brother, Apollo. All of her companions remained virgins, and Artemis closely guarded her own chastity and her symbols included the golden bow and arrow, the hunting dog, the stag, and the moon. Okeanus daughters were filled with fear, but the young Artemis bravely approached and asked for bow, Callimachus then tells how Artemis visited Pan, the god of the forest, who gave her seven bitches and six dogs. She then captured six golden-horned deer to pull her chariot, Artemis practiced with her bow first by shooting at trees and then at wild beasts. As a virgin, Artemis had interested many gods and men, Orion was accidentally killed either by Artemis or by Gaia
29.
Theseus
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Theseus was a founder-hero, like Perseus, Cadmus, or Heracles, all of whom battled and overcame foes that were identified with an archaic religious and social order. As Heracles was the Dorian hero, Theseus was a hero, considered by Athenians as their own great reformer, his name comes from the same root as θεσμός. The myths surrounding Theseus—his journeys, exploits, and family—have provided material for fiction throughout the ages, Theseus was responsible for the synoikismos —the political unification of Attica under Athens, represented emblematically in his journey of labours, subduing ogres and monstrous beasts. Because he was the king, Theseus built and occupied a palace on the fortress of the Acropolis that may have been similar to the palace that was excavated in Mycenae. Pausanias reports that after the synoikismos, Theseus established a cult of Aphrodite Pandemos, Plutarchs vita of Theseus makes use of varying accounts of the death of the Minotaur, Theseus escape, and the love of Ariadne for Theseus. Plutarchs sources, not all of whose texts have survived independently, included Pherecydes, Demon, Philochorus, Aegeus, one of the primordial kings of Athens, was childless. Desiring an heir, he asked the oracle at Delphi for advice and her cryptic words were Do not loosen the bulging mouth of the wineskin until you have reached the height of Athens, lest you die of grief. Aegeus did not understand the prophecy and was disappointed and he asked the advice of his host Pittheus, king of Troezen. Pittheus understood the prophecy, got Aegeus drunk, and gave Aegeus his daughter Aethra, but following the instructions of Athena in a dream, Aethra left the sleeping Aegeus and waded across to the island of Sphairia that lay close to Troezens shore. There she poured a libation to Sphairos and Poseidon, and was possessed by the sea god in the night. The mix gave Theseus a combination of divine as well as mortal characteristics in his nature, such double paternity, with one immortal, after Aethra became pregnant, Aegeus decided to return to Athens. In Athens, Aegeus was joined by Medea, who had left Corinth after slaughtering the children she had borne, priestess and consort together represented the old order in Athens. Thus Theseus was raised in his mothers land, when Theseus grew up and became a brave young man, he moved the rock and recovered his fathers tokens. His mother then told him the truth about his fathers identity, young, brave, and ambitious, Theseus decided to go alone by the land route and defeated a great many bandits along the way. At the Isthmian entrance to the Underworld was a robber named Sinis and he would capture travelers, tie them between two pine trees that were bent down to the ground, and then let the trees go, tearing his victims apart. Theseus killed him by his own method and he then became intimate with Siniss daughter, Perigune, fathering the child Melanippus. In another deed north of the Isthmus, at a place called Crommyon, he killed an enormous pig, some versions name the sow herself as Phaea. The Bibliotheca described the Crommyonian Sow as an offspring of Typhon, near Megara, an elderly robber named Sciron forced travellers along the narrow cliff-face pathway to wash his feet
30.
Ariadne
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Ariadne, in Greek mythology, was the daughter of Minos, King of Crete, Son of Zeus and his queen Pasiphaë, daughter of Helios. She is mostly associated with mazes and labyrinths because of her involvement in the myths of the Minotaur and her father put her in charge of the labyrinth where sacrifices were made as part of reparations, later, she helped Theseus overcome the Minotaur and save the potential sacrificial victims. In other stories, she became the bride of the god Dionysus, since ancient Greek myths are passed down through oral tradition, many variations of this and other myths exist. According to an Athenian version of the legend, Minos attacked Athens after his son was killed there, the Athenians asked for terms, and were required to sacrifice seven young men and seven maidens to the Minotaur every seven or nine years. One year, the party included Theseus, the son of King Aegeus. Ariadne fell in love at first sight, and helped him by giving him a sword and a ball of thread, so that he could find his way out of the Minotaurs labyrinth. She eloped with Theseus after he achieved his goal, but according to Homer he had no joy of her, for ere that, Artemis slew her in seagirt Dia because of the witness of Dionysus. Homer does not expand on the nature of Dionysuss accusation, in Hesiod and most other accounts, Theseus abandoned Ariadne sleeping on Naxos, and Dionysus rediscovered and wedded her. The vase-painters of Athens often showed Athena leading Theseus from the sleeping Ariadne to his ship. With Dionysus, she was the mother of Oenopion, the personification of wine, Staphylus, Thoas, Peparethus, Phanus, Eurymedon, Enyeus, Ceramus, Maron, Euanthes, Latramys and her wedding diadem was set in the heavens as the constellation Corona Borealis. Ariadne remained faithful to Dionysus but was killed by Perseus at Argos. In other myths she hanged herself from a tree, like Erigone and the hanging Artemis, some scholars have posited, due to her thread-spinning and winding associations, that she was a weaving goddess, like Arachne, supporting this theory with the mytheme of the Hanged Nymph. Dionysus descended into Hades and brought her and his mother Semele back and they then joined the gods in Olympus. Karl Kerenyi and Robert Graves theorize that Ariadne was a Great Goddess of Crete, Kerenyi notes a Linear B inscription from Knossos, to all the gods, honey. To the mistress of the honey in equal amounts, suggesting to him that the Mistress of the Labyrinth was a Great Goddess in her own right. Professor Barry Powell has suggested she was Minoan Cretes Snake Goddess, in a kylix by the painter Aison Theseus drags the Minotaur from a temple-like labyrinth, but the goddess who attends him, in this Attic representation, is Athena. Theseus, attempting to secure the ship, was swept out to sea. The Cypriote women cared for Ariadne, who died in childbirth and was memorialized in a shrine, Theseus, overcome with grief upon his return, left money for sacrifices to Ariadne and ordered two cult images, one of silver and one of bronze, set up
31.
The Last Days of Pompeii
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The Last Days of Pompeii is a novel written by the baron Edward Bulwer-Lytton in 1834. The novel was inspired by the painting The Last Day of Pompeii by the Russian painter Karl Briullov and it culminates in the cataclysmic destruction of the city of Pompeii by the eruption of Mount Vesuvius in AD79. The novel uses its characters to contrast the decadent culture of 1st-century Rome with both cultures and coming trends. The protagonist, Glaucus, represents the Greeks who have been subordinated by Rome, Olinthus is the chief representative of the nascent Christian religion, which is presented favourably but not uncritically. The Witch of Vesuvius, though she has no powers, shows Bulwer-Lyttons interest in the occult – a theme which would emerge in his later writing. A popular sculpture by American sculptor Randolph Rogers, Nydia, the Blind Flower Girl of Pompeii, was based on a character from the book, Glaucus, The protagonist, a handsome Athenian nobleman and Iones betrothed. Ione, A beautiful and intelligent high-born Greek set to marry Glaucus, orphaned in childhood, she was Arbaces ward and becomes the target of his evil attempts at seduction. Arbaces, The antagonist, a scheming Egyptian sorcerer and a high priest of Isis, murders Apaecides and frames Glaucus for the crime. Nydia, A young slave stolen from high-born parents by kidnappers in Thessaly and she weaves and sells garlands of flowers to earn coins for her tyrannical owners. Nydia pines for Glaucus and eventually commits suicide rather than suffer unrequited love, Sallust, A good-hearted epicurian and friend of Glaucus. Calenthus, A greedy priest of the cult of Isis who witnesses Arbaces murder Apaecides, first blackmails Arbaces, then tells the truth when Arbaces turns on him. Olinthus, A Christian who converts Apaecides to Christianity, sentenced to death for his religion. Diomed, A rich, dyspeptic merchant known in Pompeii for his lavish banquets, Julia, The handsome but spoiled daughter of Diomed. Has eyes for Glaucus and obtains a potion that will make him love her, clodius, A spendthrift noble with a gambling problem. Becomes Julias suitor after she loses interest in Glaucus, Athenian nobleman Glaucus arrives in the bustling and gaudy Roman town and quickly falls in love with the beautiful Greek Ione. Iones former guardian, the malevolent Egyptian sorcerer Arbaces, has designs on Ione, Arbaces has already ruined Iones sensitive brother Apaecides by luring him to join the vice-ridden priesthood of Isis. The blind slave Nydia is rescued from her owners by Glaucus. Arbaces horrifies Ione by declaring his love for her, and flying into a rage when she refuses him, Glaucus and Apaecides rescue her from his grip, but Arbaces is struck down by an earthquake, a sign of Vesuvius coming eruption
32.
House of the Faun
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The House of the Faun, built during the 2nd century BC, was one of the largest and most impressive private residences in Pompeii, Italy, and housed many great pieces of art. It is one of the most luxurious aristocratic houses from the Roman republic, the House of the Faun was built in the 2nd century BC during the Samnite period. Fauns are spirits of untamed woodland, which literate and Hellenized Romans often connected to Pan and Greek satyrs, or wild followers of the Greek god of wine and agriculture, the House of the Faun was initially excavated in 1830 by the German archeological institute. The House of the Faun contained the Alexander Mosaic, depicting the Battle of Issus in 333 BC between Alexander the Great and Darius III of Persia. This mosaic may be inspired by or copied from a Greek painting finished in the fourth century BC. Unlike most Pompeian pavements of the second and early first centuries, this mosaic is made of tesserae. The Alexander Mosaic is complemented by other floor mosaics with Nilotic scenes, other notable works of art from the House of Faun include an erotic Satyr and Nymph and the fish mosaic, a piece closely resembling other mosaics in Pompeii. The House of the Faun covers nearly 3000 square meters and occupies a city block. Like many ancient Roman houses, the House of the Faun had tabernae, or storefront shops, and a sophisticated building plan. The entrance is decorated by the Latin message “HAVE”, a greeting both for meeting and parting, like other wealthy aristocrats of the Roman Republic, the owners of the House of the Faun installed a private bath system, or balneum, in the house. The bathing room was located in the wing, which was to the right of the entrance. The servants’ quarters were dark and cramped, and there was not much furniture, the house features beautiful peristyle gardens, the second of which was created as a stage to host recitations, mimes, and pantomimes. Additionally, the house contained a passage, a number of bedrooms. Today visitors can explore the remains of the House of the Faun in modern Pompeii, along Via di Nola. ”House of Sallust House of the Vettii Roman gardens Butterworth, Alex, Laurence. The Decoration of The Hellenistic Peristyle House in South Italy, 3D model of the Dancing Faun of Pompeii via laser scan of a cast at Skulpturhalle Basel museum
33.
House of Loreius Tiburtinus
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The House of Loreius Tiburtinus is renowned for its meticulous and well-preserved artwork as well as its large gardens. It is located in the Roman city of Pompeii and it, along with the rest of Pompeii was preserved by the volcanic eruption of Mount Vesuvius on August 24,79 AD. The House of Loreius Tiburtinus was excavated between the years 1916 and 1921 by V. Spinazzola and it can be found on the Via DellAbbondanza, one of the most prosperous streets in Pompeii. There is considerable debate over the naming of this particular house and its original name of Loreius Tiburtinus was derived from electoral advertisements of sorts etched in the outer façade, some saying Vote for Loreius and others Vote for Tiburtinus. In fact, the last known owner of the house was a man named Octavius Quartio, some historians choose to refer to this house as the House of Octavius Quartio. Pompeii is organized into a series of insulae or rectangular blocks of buildings made up of a combination of shops, the House of Loreius Tiburtinus occupies almost its entire insula with a combination of its residential area and its garden. Also included in the insula were two cauponae and its location was convenient to both the palaestra and the amphitheatre, and the section of Via DellAbbondanza it occupied was closed off to cart traffic in ancient times. The inside of the house is fairly uniform in its organization, unfortunately some of the houses original integrity was compromised before the eruption of Mount Vesuvius in the earthquake of 62 AD. The entryway or anteroom leads into the atrium, an open room with an impluvium in the center. This basin collected rainwater through a hole in the roof to be used by the patrons of the house, on the far side of the atrium is a modest peristyle where the original tablinum once was. The lack of a functional tablinum is evidence of the toll on the houses infrastructure. There are several oeci off the main atrium used as receiving rooms with various art displayed in each room, in the House of Loreius Tiburtinus, one specific oecus that borders the viridarium or indoor garden functioned as a triclinium or dining area where guests could be entertained. This room was well decorated to please the many guests that must have passed through. Bordering the garden is a summer triclinium where diners could recline during the warmer months, the House of Loreius Tiburtinus is particularly well known for its extensive gardens and outdoor ornamentation. Beyond the summer there was a specific arrangement of two Euripi, a decorative type of fountain. These fountains were the centerpiece for many frescoes and statuettes, the upper Epirus has a strong significance to the excavated city of Pompeii because its decorative frescoes are the source of the only known artists signature, Lucius pinxit or Painted by Lucius. These frescoes portray the myths of Narcissus on one side of the fountain and Pyramus, the other lower Euripus is a fountain that spans the long garden which holds numerous types of foliage including various fruit trees. All of these fountains operate using a technology called castellum plumbeum, House of the Faun House of the Vettii Media related to Casa di Ottavio Quartione at Wikimedia Commons
34.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
35.
OCLC
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The Online Computer Library Center is a US-based nonprofit cooperative organization dedicated to the public purposes of furthering access to the worlds information and reducing information costs. It was founded in 1967 as the Ohio College Library Center, OCLC and its member libraries cooperatively produce and maintain WorldCat, the largest online public access catalog in the world. OCLC is funded mainly by the fees that libraries have to pay for its services, the group first met on July 5,1967 on the campus of the Ohio State University to sign the articles of incorporation for the nonprofit organization. The group hired Frederick G. Kilgour, a former Yale University medical school librarian, Kilgour wished to merge the latest information storage and retrieval system of the time, the computer, with the oldest, the library. The goal of network and database was to bring libraries together to cooperatively keep track of the worlds information in order to best serve researchers and scholars. The first library to do online cataloging through OCLC was the Alden Library at Ohio University on August 26,1971 and this was the first occurrence of online cataloging by any library worldwide. Membership in OCLC is based on use of services and contribution of data, between 1967 and 1977, OCLC membership was limited to institutions in Ohio, but in 1978, a new governance structure was established that allowed institutions from other states to join. In 2002, the structure was again modified to accommodate participation from outside the United States. As OCLC expanded services in the United States outside of Ohio, it relied on establishing strategic partnerships with networks, organizations that provided training, support, by 2008, there were 15 independent United States regional service providers. OCLC networks played a key role in OCLC governance, with networks electing delegates to serve on OCLC Members Council, in early 2009, OCLC negotiated new contracts with the former networks and opened a centralized support center. OCLC provides bibliographic, abstract and full-text information to anyone, OCLC and its member libraries cooperatively produce and maintain WorldCat—the OCLC Online Union Catalog, the largest online public access catalog in the world. WorldCat has holding records from public and private libraries worldwide. org, in October 2005, the OCLC technical staff began a wiki project, WikiD, allowing readers to add commentary and structured-field information associated with any WorldCat record. The Online Computer Library Center acquired the trademark and copyrights associated with the Dewey Decimal Classification System when it bought Forest Press in 1988, a browser for books with their Dewey Decimal Classifications was available until July 2013, it was replaced by the Classify Service. S. The reference management service QuestionPoint provides libraries with tools to communicate with users and this around-the-clock reference service is provided by a cooperative of participating global libraries. OCLC has produced cards for members since 1971 with its shared online catalog. OCLC commercially sells software, e. g. CONTENTdm for managing digital collections, OCLC has been conducting research for the library community for more than 30 years. In accordance with its mission, OCLC makes its research outcomes known through various publications and these publications, including journal articles, reports, newsletters, and presentations, are available through the organizations website. The most recent publications are displayed first, and all archived resources, membership Reports – A number of significant reports on topics ranging from virtual reference in libraries to perceptions about library funding
36.
Pompei
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Pompei is a city and comune in the Metropolitan City of Naples in Italy, home of the ancient Roman ruins part of the UNESCO World Heritage Sites. Modern Pompei was founded in 1891, after the building of the sanctuary and he is considered as the founder of Pompei. The town of Pompei is located at the borders of its province. It borders also with Torre Annunziata, Castellammare di Stabia, Boscoreale, Santa Maria la Carità, the city is mainly famous for the ruins of the ancient city of Pompeii, located in the zone of Pompei Scavi. The Shrine of Our Lady of Pompei, dedicated to Our Lady of the Rosary, has become a site for Catholic pilgrimages in recent years and it houses a canvas by Luca Giordano. The ex-votos that cover the walls of the church are a testimonial of the miracles granted from Blessed Virgin Mary since the church was consecrated in 1891. Many churches, chapels, and shrines in the world are dedicated to Our Lady of Pompei, road, Pompei is served by the motorway A3 at the exits of Pompei-Scafati, Pompei Ovest and also Castellammare di Stabia. It is crossed by the national roads SS18 and SS145, railways, On the Naples-Salerno line, owned by FS, is situated the main railway station and a little stop named Pompei Scavi, closed in the 1970s. Onto two lines owned by the SFSM - Circumvesuviana, Pompei counts a total of 4 station, Pompei Santuario and Pompei Valle lies on the Torre Annunziata-Pompei-Poggiomarino line. Pompei Scavi-Villa dei Misteri and Moregine lie on the Naples-Torre Annunziata-Castellammare-Sorrento line, the nearest airports are, Napoli-Capodichino 28 km Salerno-Pontecagnano 49 km Official website Pompei Tourism Info Official tour guides of Pompei Photo Gallery by Leonardo Bellotti
37.
Mount Vesuvius
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Mount Vesuvius is a somma-stratovolcano located on the Gulf of Naples in Campania, Italy, about 9 km east of Naples and a short distance from the shore. It is one of several volcanoes which form the Campanian volcanic arc, Vesuvius consists of a large cone partially encircled by the steep rim of a summit caldera caused by the collapse of an earlier and originally much higher structure. Mount Vesuvius is best known for its eruption in AD79 that led to the burying and destruction of the Roman cities of Pompeii and Herculaneum, more than 1,000 people died in the eruption, but exact numbers are unknown. The only surviving account of the event consists of two letters by Pliny the Younger to the historian Tacitus. Vesuvius has erupted many times since and is the volcano on the European mainland to have erupted within the last hundred years. Vesuvius has a historic and literary tradition. An inscription from Capua to IOVI VESVVIO indicates that he was worshipped as a power of Jupiter and it was inhabited by bandits, the sons of the Earth, who were giants. With the assistance of the gods he pacified the region and went on, the facts behind the tradition, if any, remain unknown, as does whether Herculaneum was named after it. An epigram by the poet Martial in 88 AD suggests that both Venus, patroness of Pompeii, and Hercules were worshipped in the devastated by the eruption of 79. Mount Vesuvius was regarded by the Romans as being devoted to the hero, Vesuvius was a name of the volcano in frequent use by the authors of the late Roman Republic and the early Roman Empire. Its collateral forms were Vesaevus, Vesevus, Vesbius and Vesvius, writers in ancient Greek used Οὐεσούιον or Οὐεσούιος. Many scholars since then have offered an etymology, as peoples of varying ethnicity and language occupied Campania in the Roman Iron Age, the etymology depends to a large degree on the presumption of what language was spoken there at the time. Naples was settled by Greeks, as the name Nea-polis, New City, the Oscans, a native Italic people, lived in the countryside. The Latins also competed for the occupation of Campania, etruscan settlements were in the vicinity. Other peoples of unknown provenance are said to have been there at some time by various ancient authors. Some theories about its origin are, From Greek οὔ = not prefixed to a root from or related to the Greek word σβέννυμι = I quench, from Greek ἕω = I hurl and βίη violence, hurling violence, *vesbia, taking advantage of the collateral form. From an Indo-European root, *eus- < *ewes- < *wes-, shine sense the one who lightens, the Gran Cono was produced during the A. D.79 eruption. For this reason, the volcano is also called Somma-Vesuvius or Somma-Vesuvio, the caldera started forming during an eruption around 17,000 years ago and was enlarged by later paroxysmal eruptions, ending in the one of AD79
38.
Eruption of Mount Vesuvius in 79
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The 79 AD eruption of Mount Vesuvius was one of the most catastrophic volcanic eruptions in European history. Historians have learned about the eruption from the account of Pliny the Younger. It is the namesake for Vesuvian eruptions, several Roman settlements were obliterated and buried underneath massive pyroclastic surges and ashfall deposits, the most well known being Pompeii and Herculaneum. The remains of about 1,500 people have found at Pompeii and Herculaneum. The 79 AD eruption was preceded by a powerful earthquake seventeen years before on February 5,62 AD, which caused widespread destruction around the Bay of Naples, some of the damage had still not been repaired when the volcano erupted. Suetonius recorded that the emperor continued singing through the earthquake until he had finished his song, the Romans grew accustomed to minor earth tremors in the region, the writer Pliny the Younger wrote that they were not particularly alarming because they are frequent in Campania. Small earthquakes started taking place on 20 August 79, becoming more frequent over the four days. Reconstructions of the eruption and its effects vary considerably in the details but have the same overall features, the eruption lasted for two days. Mount Vesuvius violently erupted, spewing up a column from which ash and pumice began to fall. Rescues and escapes occurred during this time, at some time in the night or early the next day, August 25, pyroclastic flows in the close vicinity of the volcano began. Lights seen on the mountain were interpreted as fires, people as far away as Misenum fled for their lives. These were accompanied by additional light tremors and a tsunami in the Bay of Naples. By evening of the day, the eruption was over. Pliny the Younger wrote an account of the eruption, Broad sheets of flame were lighting up many parts of Vesuvius, their light, two pyroclastic surges engulfed Pompeii, burning and asphyxiating the stragglers who had remained behind. Oplontis and Herculaneum received the brunt of the surges and were buried in ash, pumice, lava fragments. In an article published in 2002, Sigurdsson and Casey elaborate on the evidence based on excavations. Subsequently, the cloud collapsed as the gases densified and lost their capability to support their solid contents, releasing it as a pyroclastic surge, the eruption alternated between Vesuvian and Peléan six times. Surges 4 and 5 are believed by the authors to have destroyed and buried Pompeii, surges are identified in the deposits by dune and cross-bedding formations, which are not produced by fallout
39.
Villa of the Mysteries
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These are now probably the best known of the relatively rare survivals of Ancient Roman painting. Like the rest of the Roman city of Pompeii, the villa was buried in the eruption of Mount Vesuvius in 79 and it is now a popular part of tourist visits to Pompeii, and forms part of the UNESCO World Heritage Site at Pompeii. Since its excavation the roofing and other parts of the house have been maintained as necessary, the Villa is named for the paintings in one room of the residence. This space may have been a triclinium, and is decorated with fine frescoes. One of the features that help identify this as a Dionysian-related mural is the depiction of maenads. These devotees are depicted dancing with swirling drapery and were found first on Greek pottery. Of all other interpretations, the most notable is that of Paul Veyne, though often believed to be a triclinium, the room with the frescoes could have also been a cubiculum of the matriarch, which would indicate that the matriarch was a member of the cult. The Villa had both very fine rooms for dining and entertaining and more functional spaces, a wine-press was discovered when the Villa was excavated and has been restored in its original location. The Villa may be accessed from Pompeii, lying some 400 metres northwest of the town walls. The Villa of the Mysteries was a villa with a close relationship to the city. The ownership of the Villa is unknown, as is the case with private homes in the city of Pompeii. However, certain artifacts give tantalizing clues, a bronze seal found in the villa names L. Istacidius Zosimus, a freedman of the powerful Istacidii family. Scholars have proposed him as the owner of the Villa or overseer of reconstruction after the earthquake of 62, the presence of a statue of Livia, wife of Augustus, has caused some historians to instead declare her to have been the owner. As in other areas of Pompeii and Herculaneum, a number of bodies were found in this villa, there are many different interpretations of the frescoes, but they are commonly believed to depict a religious rite. Another common theory is that the frescoes depict a bride initiating into the Dionysian Mysteries in preparation for marriage, in this hypothesis, the elaborate costume worn by the main figure is believed to be wedding apparel. Based on the matter and order of each fresco, they are intended to be read as a single narrative. Women and satyrs are featured prominently, the first mural shows a noble Roman woman approaching a priestess or matron seated on a throne, by which stands a small boy reading a scroll – presumably the declaration of the initiation. On the other side of the throne the young initiate is shown in a robe and myrtle crown, holding a sprig of laurel
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Domus
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In ancient Rome, the domus was the type of house occupied by the upper classes and some wealthy freedmen during the Republican and Imperial eras. It could be found in almost all the cities throughout the Roman territories. The modern English word domestic comes from Latin domesticus, which is derived from the word domus, the word dom in modern Slavic languages means home and is a cognate of the Latin word, going back to Proto-Indo-European. Along with a domus in the city, many of the richest families of ancient Rome also owned a country house known as a villa. The elite classes of Roman society constructed their residences with elaborate decorations, inlaid marble paneling, door jambs and columns as well as expensive paintings. Many poor and lower-middle-class Romans lived in crowded, dirty and mostly rundown rental apartments and these multi-level apartment blocks were built as high and tightly together as possible and held far less status and convenience than the private homes of the prosperous. The homes of the early Etruscans were simple, even for the wealthy or ruling classes and they were small familiar huts constructed on the axial plan of a central hall with an open skylight. It is believed that the Temple of Vesta was, in form, the huts were probably made of mud and wood with thatched roofs and a centre opening for the hearths smoke to escape. This could have been the beginnings of the atrium, which was common in later homes, as Rome became more and more prosperous from trade and conquest, the homes of the wealthy increased in both size and luxury emulating both the Etruscan atrium house and Hellenistic peristyle house. The domus included multiple rooms, indoor courtyards, gardens and beautifully painted walls that were laid out. The vestibulum led into a central hall, the atrium. Leading off the Atrium were cubicula a dining room triclinium where guests could recline on couches and eat dinner whilst reclining, in cities throughout the Roman Empire, wealthy homeowners lived in buildings with few exterior windows. Glass windows werent readily available, glass production was in its infancy, thus a wealthy Roman citizen lived in a large house separated into two parts, and linked together through the tablinum or study or by a small passageway. To protect the family from intruders, it would not face the streets, only its entrance providing more room for living spaces, surrounding the atrium were arranged the masters families main rooms, the small cubicula or bedrooms, the tablinum or study, and the triclinium or dining-room. Roman homes were like Greek homes, only two objects were present in the atrium of Caecilius in Pompeii, a small bronze box that stored precious family items and the lararium, a small shrine to the household gods, the Lares. In the master bedroom was a wooden bed and couch which usually consisted of some slight padding. As the domus developed, the took on a role similar to that of the study. In each of the other bedrooms there was usually just a bed, the triclinium had three couches surrounding a table
41.
House of Sallust
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The House of Sallust is a domus or elite residence in the ancient Roman city of Pompeii. The oldest parts of the house have been dated to the 4th century BC, the long history of this structure provides important evidence about the development of elite residences in Pompeii. The house is located on the east side of the Via Consolare and it received its modern name from an election notice placed on the facade, recommending Gaius Sallustius for office. An alternative name is the House of A. Cossus Libanus and it was first excavated between 1805 and 1809, was damaged by a bomb in World War II, and was restored in 1970. The House of Sallust was originally a single house from the Samnite Period. It had six shops on its west side and a corridor in the middle. This went though into the atrium with compluvium and impluvium, the atrium contained two alae, four cubicula, a tablinum, four other rooms and a garden. Over time, we can see the addition of new features, such as the peristyle which was imported from Greece in the 2nd century BC, and the second atrium, which also became popular around this time. It eventually expanded to use almost all the space. Domus Pompeii Mount Vesuvius Thorpe, Martin, Roman Architecture, Classical World Series, Bristol Classical Press, ISBN 1-85399-421-9, ISBN 978-1-85399-421-0
42.
House of the Centenary
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The House of the Centenary was the house of a wealthy resident of Pompeii, preserved by the eruption of Mount Vesuvius in 79 AD. The house was discovered in 1879, and was given its name to mark the 18th centenary of the disaster. Built in the mid-2nd century BC, it is among the largest houses in the city, with baths, a nymphaeum, a fish pond. The Centenary underwent a remodeling around 15 AD, at time the bath complex. In the last years before the eruption, several rooms had been redecorated with a number of paintings. Although the identity of the houses owner eludes certainty, arguments have been made for either Aulus Rustius Verus or Tiberius Claudius Verus, for the purposes of archaeological and historical study, Pompeii is divided into nine regions, each of which contains numbered blocks. Within a block, doorways are numbered in clockwise or counter-clockwise order and it belongs to the luxurious tufa period of Pompeiian architecture, characterized by the use of fine-grained gray volcanic tufa that was quarried around Nuceria. Of the two atria, the grander one leads to the most highly decorated rooms, the smaller atrium might have been for private family and service access. The triclinium or dining room was situated so that the guest of honor could view the enclosed garden, the dining room itself was decorated with vertical stalks entwined with tendrils on which birds perch, with leaf-adorned candelabra in the panels between. The house had its own bakery, located in a cellar under the service quarters on the west side, a graffito in the latrine uses the rare word cacaturit found also once in the Epigrams of Martial. Another records a slaves bid for freedom, Officiosus escaped on November 6 of the consulate of Drusus Caesar and it has been suggested that one secluded room, which was decorated with explicit scenes of female-male intercourse, functioned as a private sex club. Guests would have entered the smaller, more private atrium, then passed down a corridor and through a triclinium, a small opening oddly positioned in the wall may have been an aperture for voyeurism. Other scholars categorize Room 43 simply as a bedroom, which often featured erotic imagery, the House of the Centenary is known for its large and diverse collection of paintings in the Third and Fourth Pompeiian styles. The garden nymphaeum is a rich example of combining painting with architectural elements to create the ambience of a country villa. The lower part of the wall is painted to look like a balustrade with ivy growing on it, below the steps and above the garden pool, there was a painting of a river god crowned with reeds, no longer visible. The composition has been characterized as a potpourri, an assemblage of elements desirable because they represent the country villa lifestyle. Here and in similarly decorated spaces in Pompeii, the owner is concerned with displaying size and quantity, the room to the north of the peristyle featured delicate ivy and stylized flowering vines as decoration. Ducks and lotus leaves also appear together as decorative motifs, grapes and viticulture appear throughout the house, as in a scene of cupids gathering grapes
43.
House of Julia Felix
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The House of Julia Felix is a large Roman villa in the ruined city of Pompeii. It was the residence of Julia Felix, who converted portions of it to apartments after an earthquake in 62 AD. Archaeological excavations began in 1755 and continue to this day, as the residence of multiple family units, it is an invaluable resource for providing insights into the daily lives of the people of Pompeii. Julia Felix was a Roman woman who resided in the city of Pompeii, Julia Felix was a very wealthy property owner who inherited her money from her family. After the earthquake Julia rented out her property to residents of Pompeii who may have lost their homes and transformed parts of her villa into public baths, shops, taverns, and apartments. Renting out her villa helped her earn extra income and establish herself as a property owner, business woman, Felix is a Roman cognomen meaning The Fortunate One was an epithet of the dictator L. Cornelius Sulla and his descendants in the Republican period. In the Imperial period it was a name involving luck as well as one of the most common cognomina, the homes of the wealthy in Pompeii were built around courtyards that were rectangular in shape into which the main rooms opened. These homes had enclosed gardens and private water supply, through the tufa period in Roman history, Pompeians used relief stucco work to add something extra to the architecture, marble dust for luminosity, and used paints with rich colors. Inside their villas, Pompeians chose many different ways to express themselves, some Pompeians would copy Greek paintings and others would choose a theme of love or fertility, but most chose landscapes. Those found in Pompeii were of scenes, villas from along the coast, or woodland. When one owner in Pompeii lost part of his garden to a new room, the art inside the villa of Julia Felix is also very interesting. Julia Felix was descendant of the Julii, who were Imperial freedmen, since the excavations of Pompeii, much has been revealed about the villa of Julia Felix. As early as 1755 many sections belonging to the villa were uncovered when the city of Pompeii was excavated, a complex taberna, luxurious baths, and richly decorated formal garden dining rooms were revealed in the first excavation. Between the years 1998-1999 some of the most important discoveries were made by excavators, a trench found behind the caldarium dated back as early as the Augustan period. The caldarium revealed a drain that conducted water from the hypocaust floor, a nymphaeum or grotto of nymphs with a waterstair fountain and triclinium was also discovered which was a modification put in after the earthquake of 62 A. D
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