Robert de Cotte
Robert de Cotte was a French architect-administrator, under whose design control of the royal buildings of France from 1699, the earliest notes presaging the Rococo style were introduced. First a pupil of Jules Hardouin-Mansart, he became his brother-in-law and his collaborator. After Hardouin-Mansart's death, de Cotte completed his unfinished projects, notably the royal chapel at Versailles and the Grand Trianon. Born in Paris, Robert de Cotte began his career as a contractor for masonry, working on important royal projects between 1682 and 1685, when he was made a member of the Académie royale d'architecture and architect of the Court, ranking third in importance after Mansart's seldom-credited assistant François Dorbay. On his return to France after a six-month sojourn in Italy, in the company of Jacques Gabriel, he became the director of the Manufacture des Gobelins, where not only the famous tapestries, but royal furnishings were produced. In 1699, when Mansart was made Surintendant des Bâtiments, a position otherwise invariably reserved for a noble layman, de Cotte became his second-in-command in an executive function, charged with overseeing all the files of drawings, the stocks of marble and other materials including those for the royal manufactures of the Gobelins and Savonnerie, with overseeing the bidding process with contractors and with liaison with the Académie, of which he was made a member that same year.
Fiske Kimball, the chronicler of the Rococo, notes that there are no surviving drawings by de Cotte from this period, nor from the period after Mansart's death in May 1708. From 1708, Robert de Cotte was Premier architecte du Roi and director of the Académie royale d'architecture, he was in charge of the Bâtiments du Roi, organized by Hardouin-Mansart into the prototype of all modern architectural offices, where the roles of director, inspector and draftsman were specialized, the personalities involved submerged under the aegis of the Premier Architecte. The last years of Louis XIV are not on the whole periods of intense activity at Versailles, where the single great enterprise in progress at de Cotte's accession, was the Chapel, completed in 1710. De Cotte, with ever-widening responsibilities at Court, was occupied with projects in Paris, his name is inscribed on the first draft for the final project for Place Vendôme. De Cotte was responsible for the Hôtel de Pontchartrain. De Cotte was in charge of the team that remodelled François Mansart's Hôtel de Vrillière in 1714-1715 for Louis XIV's legitimated son, the comte de Toulouse.
Mariette attributed its design to François-Antoine Vassé, Fiske Kimball, on the basis of surviving preparatory drawings, concurred. With the Régence during the minority of Louis XV, coinciding with de Cotte's maturity, the artistic lead in France passed smoothly in 1715 from the Bâtiments du Roi to the work being done by Gilles-Marie Oppenord for the Regent, duc d'Orléans, at the Palais Royal in Paris. No new architects were added to the rolls of the Bâtiments du Roi. De Cotte, one of Europe's most prominently-placed architects, served by a rigorously-trained staff, was free to accept private commissions, assisted during his years by his son Jules-Robert de Cotte. Balthasar Neumann, in Paris to consult him over the building operations at Würzburg, found him and his son grandly occupied. At this period, de Cotte was responsible for the Hôtel de Conti, rue de Bourbon and the Hôtel de Bourvallais, Place Vendôme, now the Ministry of Justice. Outside France, de Cotte's team was commissioned for projects to be completed on site by local craftsmen.
In Bonn, his team was extensively employed by the Elector of Cologne, for the design of his rural Poppelsdorf Palace and interior remodeling of his urban Electoral Palace. The decoration of the Cabinet des Glâces in the latter palace followed designs by Oppenord that featured reverse curves and garlands applied to mirror surfaces, a new feature. A new wing called the Buen Retiro was commissioned in the autumn of 1717. From newly-Bourbon Spain, the princesse des Ursins required his advice on the remodeling of her Château de Chanteloup near Amboise and the queen's apartments of the royal palace in Madrid. An octagonal room was fabricated in Paris under de Cotte's eye, 1713–1715, sent to be installed in Madrid. At La Granja, an assistant from de Cotte's office, René Carlier, was employed in the designs for the parterres. For the cardinal de Rohan, de Cotte provided decors for the Château de Saverne in Alsace. With the death of Lepautre in 1716, de Cotte turned for the invention of ornaments to the sculptor François-Antoine Vassé, "responsible for all, of creative significance in De Cotte's works, as Lepautre had been in the prev
Greek mythology is the body of myths told by the ancient Greeks. These stories concern the origin and the nature of the world, the lives and activities of deities and mythological creatures, the origins and significance of the ancient Greeks' own cult and ritual practices. Modern scholars study the myths in an attempt to shed light on the religious and political institutions of ancient Greece and its civilization, to gain understanding of the nature of myth-making itself; the Greek myths were propagated in an oral-poetic tradition most by Minoan and Mycenaean singers starting in the 18th century BC. Two poems by Homer's near contemporary Hesiod, the Theogony and the Works and Days, contain accounts of the genesis of the world, the succession of divine rulers, the succession of human ages, the origin of human woes, the origin of sacrificial practices. Myths are preserved in the Homeric Hymns, in fragments of epic poems of the Epic Cycle, in lyric poems, in the works of the tragedians and comedians of the fifth century BC, in writings of scholars and poets of the Hellenistic Age, in texts from the time of the Roman Empire by writers such as Plutarch and Pausanias.
Aside from this narrative deposit in ancient Greek literature, pictorial representations of gods and mythic episodes featured prominently in ancient vase-paintings and the decoration of votive gifts and many other artifacts. Geometric designs on pottery of the eighth century BC depict scenes from the Trojan cycle as well as the adventures of Heracles. In the succeeding Archaic and Hellenistic periods and various other mythological scenes appear, supplementing the existing literary evidence. Greek mythology has had an extensive influence on the culture and literature of Western civilization and remains part of Western heritage and language. Poets and artists from ancient times to the present have derived inspiration from Greek mythology and have discovered contemporary significance and relevance in the themes. Greek mythology is known today from Greek literature and representations on visual media dating from the Geometric period from c. 900 BC to c. 800 BC onward. In fact and archaeological sources integrate, sometimes mutually supportive and sometimes in conflict.
Mythical narration plays an important role in nearly every genre of Greek literature. The only general mythographical handbook to survive from Greek antiquity was the Library of Pseudo-Apollodorus; this work attempts to reconcile the contradictory tales of the poets and provides a grand summary of traditional Greek mythology and heroic legends. Apollodorus of Athens wrote on many of these topics, his writings may have formed the basis for the collection. Among the earliest literary sources are the Iliad and the Odyssey. Other poets completed the "epic cycle", but these and lesser poems now are lost entirely. Despite their traditional name, the "Homeric Hymns" have no direct connection with Homer, they are choral hymns from the earlier part of the so-called Lyric age. Hesiod, a possible contemporary with Homer, offers in his Theogony the fullest account of the earliest Greek myths, dealing with the creation of the world. Hesiod's Works and Days, a didactic poem about farming life includes the myths of Prometheus and the Five Ages.
The poet gives advice on the best way to succeed in a dangerous world, rendered yet more dangerous by its gods. Lyrical poets took their subjects from myth, but their treatment became less narrative and more allusive. Greek lyric poets, including Pindar and Simonides, bucolic poets such as Theocritus and Bion, relate individual mythological incidents. Additionally, myth was central to classical Athenian drama; the tragic playwrights Aeschylus and Euripides took most of their plots from myths of the age of heroes and the Trojan War. Many of the great tragic stories took on their classic form in these tragedies; the comic playwright Aristophanes used myths, in The Birds and The Frogs. Historians Herodotus and Diodorus Siculus, geographers Pausanias and Strabo, who traveled throughout the Greek world and noted the stories they heard, supplied numerous local myths and legends giving little-known alternative versions. Herodotus in particular, searched the various traditions presented him and found the historical or mythological roots in the confrontation between Greece and the East.
Herodotus attempted to reconcile the blending of differing cultural concepts. The poetry of the Hellenistic and Roman ages was composed as a literary rather than cultic exercise, it contains many important details that would otherwise be lost. This category includes the works of: The Roman poets Ovid, Valerius Flaccus and Virgil with Servius's commentary; the Greek poets of the Late Antique period: Nonnus, Antoninus Liberalis, Quintus Smyrnaeus. The Greek poets of the Hellenistic period: Apollonius of Rhodes, Pseudo-Eratosthenes, Parthenius. Prose writers from the same periods who make reference to myths includ
Spain the Kingdom of Spain, is a country located in Europe. Its continental European territory is situated on the Iberian Peninsula, its territory includes two archipelagoes: the Canary Islands off the coast of Africa, the Balearic Islands in the Mediterranean Sea. The African enclaves of Ceuta, Peñón de Vélez de la Gomera make Spain the only European country to have a physical border with an African country. Several small islands in the Alboran Sea are part of Spanish territory; the country's mainland is bordered to the south and east by the Mediterranean Sea except for a small land boundary with Gibraltar. With an area of 505,990 km2, Spain is the largest country in Southern Europe, the second largest country in Western Europe and the European Union, the fourth largest country in the European continent. By population, Spain is the fifth in the European Union. Spain's capital and largest city is Madrid. Modern humans first arrived in the Iberian Peninsula around 35,000 years ago. Iberian cultures along with ancient Phoenician, Greek and Carthaginian settlements developed on the peninsula until it came under Roman rule around 200 BCE, after which the region was named Hispania, based on the earlier Phoenician name Spn or Spania.
At the end of the Western Roman Empire the Germanic tribal confederations migrated from Central Europe, invaded the Iberian peninsula and established independent realms in its western provinces, including the Suebi and Vandals. The Visigoths would forcibly integrate all remaining independent territories in the peninsula, including Byzantine provinces, into the Kingdom of Toledo, which more or less unified politically and all the former Roman provinces or successor kingdoms of what was documented as Hispania. In the early eighth century the Visigothic Kingdom fell to the Moors of the Umayyad Islamic Caliphate, who arrived to rule most of the peninsula in the year 726, leaving only a handful of small Christian realms in the north and lasting up to seven centuries in the Kingdom of Granada; this led to many wars during a long reconquering period across the Iberian Peninsula, which led to the creation of the Kingdom of Leon, Kingdom of Castile, Kingdom of Aragon and Kingdom of Navarre as the main Christian kingdoms to face the invasion.
Following the Moorish conquest, Europeans began a gradual process of retaking the region known as the Reconquista, which by the late 15th century culminated in the emergence of Spain as a unified country under the Catholic Monarchs. Until Aragon had been an independent kingdom, which had expanded toward the eastern Mediterranean, incorporating Sicily and Naples, had competed with Genoa and Venice. In the early modern period, Spain became the world's first global empire and the most powerful country in the world, leaving a large cultural and linguistic legacy that includes more than 570 million Hispanophones, making Spanish the world's second-most spoken native language, after Mandarin Chinese. During the Golden Age there were many advancements in the arts, with world-famous painters such as Diego Velázquez; the most famous Spanish literary work, Don Quixote, was published during the Golden Age. Spain hosts the world's third-largest number of UNESCO World Heritage Sites. Spain is a secular parliamentary democracy and a parliamentary monarchy, with King Felipe VI as head of state.
It is a major developed country and a high income country, with the world's fourteenth largest economy by nominal GDP and sixteenth largest by purchasing power parity. It is a member of the United Nations, the European Union, the Eurozone, the Council of Europe, the Organization of Ibero-American States, the Union for the Mediterranean, the North Atlantic Treaty Organization, the Organisation for Economic Co-operation and Development, Organization for Security and Co-operation in Europe, the Schengen Area, the World Trade Organization and many other international organisations. While not an official member, Spain has a "Permanent Invitation" to the G20 summits, participating in every summit, which makes Spain a de facto member of the group; the origins of the Roman name Hispania, from which the modern name España was derived, are uncertain due to inadequate evidence, although it is documented that the Phoenicians and Carthaginians referred to the region as Spania, therefore the most accepted etymology is a Semitic-Phoenician one.
Down the centuries there have been a number of accounts and hypotheses: The Renaissance scholar Antonio de Nebrija proposed that the word Hispania evolved from the Iberian word Hispalis, meaning "city of the western world". Jesús Luis Cunchillos argues that the root of the term span is the Phoenician word spy, meaning "to forge metals". Therefore, i-spn-ya would mean "the land where metals are forged", it may be a derivation of the Phoenician I-Shpania, meaning "island of rabbits", "land of rabbits" or "edge", a reference to Spain's location at the end of the Mediterranean. The word in question means "Hyrax" due to Phoenicians confusing the two animals. Hispania may derive from the poetic use of the term Hesperia, reflecting the Greek perception of Italy as a "western land" or "land of the setting sun" (Hesperia
Louis XIV of France
Louis XIV, known as Louis the Great or the Sun King, was a monarch of the House of Bourbon who reigned as King of France from 1643 until his death in 1715. Starting on 14 May 1643 when Louis was 4 years old, his reign of 72 years and 110 days is the longest recorded of any monarch of a sovereign country in European history. In the age of absolutism in Europe, Louis XIV's France was a leader in the growing centralisation of power. Louis began his personal rule of France in 1661, after the death of his chief minister, the Italian Cardinal Mazarin. An adherent of the concept of the divine right of kings, Louis continued his predecessors' work of creating a centralised state governed from the capital, he sought to eliminate the remnants of feudalism persisting in parts of France and, by compelling many members of the nobility to inhabit his lavish Palace of Versailles, succeeded in pacifying the aristocracy, many members of which had participated in the Fronde rebellion during Louis' minority. By these means he became one of the most powerful French monarchs and consolidated a system of absolute monarchical rule in France that endured until the French Revolution.
Louis encouraged and benefited from the work of prominent political and cultural figures such as Mazarin, Louvois, the Grand Condé, Turenne, Sébastien Le Prestre de Vauban, André Charles Boulle, Molière, Boileau, La Fontaine, Marais, Le Brun, Bossuet, Le Vau, Charles, Claude Perrault, Le Nôtre. Under his rule, the Edict of Nantes, which granted rights to Huguenots, was abolished; the revocation forced Huguenots to emigrate or convert in a wave of dragonnades, which managed to destroy the French Protestant minority. During Louis' long reign, France was the leading European power, it fought three major wars: the Franco-Dutch War, the War of the League of Augsburg, the War of the Spanish Succession. There were two lesser conflicts: the War of Devolution and the War of the Reunions. Warfare defined the foreign policy of Louis XIV, his personality shaped his approach. Impelled "by a mix of commerce and pique", Louis sensed that warfare was the ideal way to enhance his glory. In peacetime he concentrated on preparing for the next war.
He taught his diplomats that their job was to create tactical and strategic advantages for the French military. Louis XIV was born on 5 September 1638 in the Château de Saint-Germain-en-Laye, to Louis XIII and Anne of Austria, he was named Louis Dieudonné and bore the traditional title of French heirs apparent: Dauphin. At the time of his birth, his parents had been married for 23 years, his mother had experienced four stillbirths between 1619 and 1631. Leading contemporaries thus regarded him as his birth a miracle of God. Sensing imminent death, Louis XIII decided to put his affairs in order in the spring of 1643, when Louis XIV was four years old. In defiance of custom, which would have made Queen Anne the sole Regent of France, the king decreed that a regency council would rule on his son's behalf, his lack of faith in Queen Anne's political abilities was his primary rationale. He did, make the concession of appointing her head of the council. Louis' relationship with his mother was uncommonly affectionate for the time.
Contemporaries and eyewitnesses claimed. Both were interested in food and theatre, it is likely that Louis developed these interests through his close relationship with his mother; this long-lasting and loving relationship can be evidenced by excerpts in Louis' journal entries, such as: "Nature was responsible for the first knots which tied me to my mother. But attachments formed by shared qualities of the spirit are far more difficult to break than those formed by blood." It was his mother who gave Louis his belief in the absolute and divine power of his monarchical rule. During his childhood, he was taken care of by the governesses Françoise de Lansac and Marie-Catherine de Senecey. In 1646, Nicolas V de Villeroy became the young king's tutor. Louis XIV became friends with Villeroy's young children François de Villeroy, divided his time between the Palais-Royal and the nearby Hotel de Villeroy. On 14 May 1643, with Louis XIII dead, Queen Anne had her husband's will annulled by the Parlement de Paris.
This action made Anne sole Regent of France. Anne exiled some of her husband's ministers, she nominated Brienne as her minister of foreign affairs. Anne nominated Saint Vincent de Paul as her spiritual adviser, which helped her deal with religious policy and the Jansenism question. Anne kept the direction of religious policy in her hand until 1661. Anne wanted to give her son a victorious kingdom, her rationales for choosing Mazarin were his ability and his total dependence on her, at least until 1653 when she was no longer regent. Anne protected Mazarin by arresting and exiling her followers who conspired against him in 1643: the Duke of Beaufort and Marie de Rohan, she left the direction of the daily administration of policy to Cardinal Mazarin. The best example of Anne's statesmanship and the partial change in her heart towards her native Spain is seen in her keeping of one of Richelieu's men, the Chancellor of France Pierre Séguier, in his post. Séguier was the pers
Myth is a folklore genre consisting of narratives or stories that play a fundamental role in a society, such as foundational tales or origin myths. The main characters in myths are gods, demigods or supernatural humans. Stories of everyday human beings, although of leaders of some type, are contained in legends, as opposed to myths. Myths are endorsed by rulers and priests or priestesses, are linked to religion or spirituality. In fact, many societies group their myths and history together, considering myths and legends to be true accounts of their remote past. In particular, creation myths take place in a primordial age when the world had not achieved its form. Other myths explain how a society's customs and taboos were established and sanctified. There is a complex relationship between recital of myths and enactment of rituals; the study of myth began in ancient history. Rival classes of the Greek myths by Euhemerus and Sallustius were developed by the Neoplatonists and revived by Renaissance mythographers.
Today, the study of myth continues in a wide variety of academic fields, including folklore studies and psychology. The term mythology may either refer to the study of myths in general, or a body of myths regarding a particular subject; the academic comparisons of bodies of myth is known as comparative mythology. Since the term myth is used to imply that a story is not objectively true, the identification of a narrative as a myth can be political: many adherents of religions view their religion's stories as true and therefore object to the stories being characterised as myths. Scholars now speak of Christian mythology, Jewish mythology, Islamic mythology, Hindu mythology, so forth. Traditionally, Western scholarship, with its Judaeo-Christian heritage, has viewed narratives in the Abrahamic religions as being the province of theology rather than mythology. Labelling all religious narratives as myths can be thought of as treating different traditions with parity. Definitions of myth to some extent vary by scholar.
Finnish folklorist Lauri Honko offers a cited definition: Myth, a story of the gods, a religious account of the beginning of the world, the creation, fundamental events, the exemplary deeds of the gods as a result of which the world and culture were created together with all parts thereof and given their order, which still obtains. A myth expresses and confirms society's religious values and norms, it provides a pattern of behavior to be imitated, testifies to the efficacy of ritual with its practical ends and establishes the sanctity of cult. Scholars in other fields use the term myth in varied ways. In a broad sense, the word can refer to any traditional story, popular misconception or imaginary entity. However, while myth and other folklore genres may overlap, myth is thought to differ from genres such as legend and folktale in that neither are considered to be sacred narratives; some kinds of folktales, such as fairy stories, are not considered true by anyone, may be seen as distinct from myths for this reason.
Main characters in myths are gods, demigods or supernatural humans, while legends feature humans as their main characters. However, many exceptions or combinations exist, as in the Iliad and Aeneid. Moreover, as stories spread between cultures or as faiths change, myths can come to be considered folktales, their divine characters recast as either as humans or demihumans such as giants and faeries. Conversely and literary material may acquire mythological qualities over time. For example, the Matter of Britain and the Matter of France, seem distantly to originate in historical events of the fifth and eighth-centuries and became mythologised over the following centuries. In colloquial use, the word myth can be used of a collectively held belief that has no basis in fact, or any false story; this usage, pejorative, arose from labeling the religious myths and beliefs of other cultures as incorrect, but it has spread to cover non-religious beliefs as well. However, as used by folklorists and academics in other relevant fields, such as anthropology, the term myth has no implication whether the narrative may be understood as true or otherwise.
In present use, mythology refers to the collected myths of a group of people, but may mean the study of such myths. For example, Greek mythology, Roman mythology and Hittite mythology all describe the body of myths retold among those cultures. Folklorist Alan Dundes defines myth as a sacred narrative that explains how the world and humanity evolved into their present form. Dundes classified a sacred narrative as "a story that serves to define the fundamental worldview of a culture by explaining aspects of the natural world and delineating the psychological and social practices and ideals of a society". Anthropologist Bruce Lincoln defines myth as "ideology in narrative form." The compilation or description of myths is sometimes known as mythography, a term which can be used of a scholarly anthology of myths. Key mythographers in the Classical tradition include Ovid, whose tellings of myths have been profoundingly influential.
Architectural sculpture is the use of sculptural techniques by an architect and/or sculptor in the design of a building, mausoleum or other such project. The sculpture is integrated with the structure, but freestanding works that are part of the original design are considered to be architectural sculpture, it has been defined as, an integral part of a building or sculpture created to decorate or embellish an architectural structure. Architectural sculpture has been employed by builders throughout history, in every continent on earth save pre-colonial Australia. Modern understanding of ancient Egyptian architecture is based on the religious monuments that have survived since antiquity, which are carved stone with post-and-lintel construction; these religious monuments dedicated to the gods or pharaohs were designed with a great deal of architectural sculpture inside and out: engaged statues, carved columns and pillars, wall surfaces carved with bas-reliefs. The classic examples of Egyptian colossal monuments represent integrated combinations of architecture and sculpture.
Obelisks, elaborately carved from a single block of stone, were placed in pairs to flank the entrances to temples and pyramids. Reliefs are common in Egyptian building, depicting scenes of everyday life and accompanied by hieroglyphics; the Fertile Crescent architectural sculptural tradition began when Ashurnasirpal II moved his capitol to the city of Nimrud around 879 BCE. This site was located near a major deposit of gypsum; this easy to cut stone could be quarried in large blocks that allowed them to be carved for the palaces that were built there. The early style developed out of an flourishing mural tradition by creating drawings that were carved in low relief. Another contributing factor in the development of architectural sculpture were the small carved seals, made in the area for centuries. Classical Greek architecture, like the prototypical Parthenon, incorporate architectural sculpture in a narrow set of standard, formal building elements; the names of these elements still comprise the usual vocabulary for discussion: the pediment, the metope, the frieze, the caryatid, the quadriga, etc.
Greek examples of architectural sculpture are distinguished not only by their age but their high quality and skillful technique, with rhythmic and dynamic modeling, figural compositions in friezes that continue seamlessly over vertical joints from one block of stone to the next, mastery of depth and legibility. The known Greek and Roman examples have been exhaustively studied, copied or adapted into subsequent neo-classical styles: Greek Revival architecture the most strict; these re-interpretations are sometimes dubious, for instance, there are many modern copies of the Mausoleum of Halicarnassus, like the National Diet Building in Tokyo, despite the fact that all classical descriptions of the Mausoleum are vague. Not until about 1870 did the U. S. develop the talent, the economic power, the taste for buildings grand enough to need architectural sculpture. The Philadelphia City Hall, constructed 1871 through 1901, is recognized as the turning point, because of the 250 sculptures planned for the building, the large finial of William Penn, the practical effect of Alexander Milne Calder training many assistants there.
In the same years, H. H. Richardson began to develop his influential signature genre, which included romantic and Romanesque stone carving. Richard Morris Hunt became the first to bring the Parisian neo-classical École des Beaux-Arts style back to the United States, a style that depended on integrated figural sculpture and a ornamented building fabric for its aesthetic effect; the Beaux-Arts style dominated for major public buildings between the 1893 World's Columbian Exposition in Chicago, through about 1912, the year of the San Francisco City Hall. The need for sculptors saw the emergence of a small industry of carvers and modelers, a professional organization, the National Sculpture Society; the advent of steel frames and reinforced concrete encouraged, at first, more diverse building styles into the 1910s and 1920s. The diversity of skyscraper Gothic, exotic "revivals" of Mayan and Egyptian, Stripped Classicism, Art Deco, etc. called for a similar diversity of sculptural approaches. The use of sculpture was still expected for public buildings such as war memorials and museums.
In 1926 the pre-eminent American architectural sculptor, Lee Lawrie, with his longtime friend and collaborator architect Bertram Goodhue, developed the most sophisticated American examples at the Nebraska State Capitol and the Los Angeles Public Library. Goodhue's premature death ended that collaboration; the Depression, the onset of World War II, decimated building activity. The old building trades disbanded. By the postwar years the aesthetic of architectural modernism had taken hold. Except for a few diehards and regional sculptors, the profession was not only discredited; as of 2010 there are isolated signs of a revival of interest, for instance in the career of Raymond Kaskey. List of architectural sculpture in Westminster
As a literary device, an allegory is a metaphor in which a character, place or event is used to deliver a broader message about real-world issues and occurrences. Allegory has occurred throughout history in all forms of art because it can illustrate or convey complex ideas and concepts in ways that are comprehensible or striking to its viewers, readers, or listeners. Writers or speakers use allegories as literary devices or as rhetorical devices that convey hidden or complex meanings through symbolic figures, imagery, or events, which together create the moral, spiritual, or political meaning the author wishes to convey. First attested in English in 1382, the word allegory comes from Latin allegoria, the latinisation of the Greek ἀλληγορία, "veiled language, figurative", which in turn comes from both ἄλλος, "another, different" and ἀγορεύω, "to harangue, to speak in the assembly", which originates from ἀγορά, "assembly". Northrop Frye discussed what he termed a "continuum of allegory", a spectrum that ranges from what he termed the "naive allegory" of The Faerie Queene, to the more private allegories of modern paradox literature.
In this perspective, the characters in a "naive" allegory are not three-dimensional, for each aspect of their individual personalities and the events that befall them embodies some moral quality or other abstraction. The origins of Allegory can be traced at least back to Homer in his "quasi-allegorical" use of personifications of, e.g. Terror and Fear at Il. 115 f. The title of "first allegorist," however, is awarded to whoever was the earliest to put forth allegorical interpretations of Homer; this approach leads to two possible answers: Theagenes of Rhegium or Pherecydes of Syros, both of whom are presumed to be active in the 6th century B. C. E. Though Pherecydes is earlier and as he is presumed to be the first writer of prose; the debate is complex, since it demands we observe the distinction between two conflated uses of the Greek verb "allēgoreīn," which can mean both "to speak allegorically" and "to interpret allegorically." In the case of "interpreting allegorically," Theagenes appears to be our earliest example.
In response to proto-philosophical moral critiques of Homer, Theagenes proposed symbolic interpretations whereby the Gods of the Iliad stood for physical elements. So, Hephestus represents Fire, for instance; some scholars, argue that Pherecydes cosmogonic writings anticipated Theagenes allegorical work, illustrated by his early placement of Time in his genealogy of the gods, thought to be a reinterpretation of the titan Kronos, from more traditional genealogies. In classical literature two of the best-known allegories are the Cave in Plato's Republic and the story of the stomach and its members in the speech of Menenius Agrippa. Among the best-known examples of allegory, Plato's Allegory of the Cave, forms a part of his larger work The Republic. In this allegory, Plato describes a group of people who have lived chained in a cave all of their lives, facing a blank wall; the people watch shadows projected on the wall by things passing in front of a fire behind them and begin to ascribe forms to these shadows, using language to identify their world.
According to the allegory, the shadows are as close as the prisoners get to viewing reality, until one of them finds his way into the outside world where he sees the actual objects that produced the shadows. He tries to tell the people in the cave of his discovery, but they do not believe him and vehemently resist his efforts to free them so they can see for themselves; this allegory is, on a basic level, about a philosopher who upon finding greater knowledge outside the cave of human understanding, seeks to share it as is his duty, the foolishness of those who would ignore him because they think themselves educated enough. In Late Antiquity Martianus Capella organized all the information a fifth-century upper-class male needed to know into an allegory of the wedding of Mercury and Philologia, with the seven liberal arts the young man needed to know as guests. Other early allegories are found in the Hebrew Bible, such as the extended metaphor in Psalm 80 of the Vine and its impressive spread and growth, representing Israel's conquest and peopling of the Promised Land.
Allegorical is Ezekiel 16 and 17, wherein the capture of that same vine by the mighty Eagle represents Israel's exile to Babylon. Allegorical interpretation of the Bible continues. For example, the re-discovered IVth Commentary on the Gospels by Fortunatianus of Aquileia has a comment by its English translator: The principal characteristic of Fortunatianus’ exegesis is a figurative approach, relying on a set of concepts associated with key terms in order to create an allegorical decoding of the text. Allegory has an ability to freeze the temporality of a story, while infusing it with a spiritual context. Mediaeval thinking accepted allegory as having a reality underlying any rhetorical or fictional uses; the allegory was as true as the facts of surface appearances. Thus, the Papal Bull Unam Sanctam presents themes of the unity of Christendom with the pope as its head in which the allegorical details of the metaphors are adduced as facts on, based a demonstration with the vocabulary of logic: "There