Jupiter known as Jove, was the god of the sky and thunder and king of the gods in Ancient Roman religion and mythology. Jupiter was the chief deity of Roman state religion throughout the Republican and Imperial eras, until Christianity became the dominant religion of the Empire. In Roman mythology, he negotiates with Numa Pompilius, the second king of Rome, to establish principles of Roman religion such as offering, or sacrifice. Jupiter is thought to have originated as an aerial god, his identifying implement is the thunderbolt and his primary sacred animal is the eagle, which held precedence over other birds in the taking of auspices and became one of the most common symbols of the Roman army. The two emblems were combined to represent the god in the form of an eagle holding in its claws a thunderbolt seen on Greek and Roman coins; as the sky-god, he was a divine witness to oaths, the sacred trust on which justice and good government depend. Many of his functions were focused on the Capitoline Hill.
In the Capitoline Triad, he was the central guardian of the state with Minerva. His sacred tree was the oak; the Romans regarded Jupiter as the equivalent of the Greek Zeus, in Latin literature and Roman art, the myths and iconography of Zeus are adapted under the name Iuppiter. In the Greek-influenced tradition, Jupiter was the brother of Neptune and Pluto, the Roman equivalents of Poseidon and Hades respectively; each presided over one of the three realms of the universe: sky, the waters, the underworld. The Italic Diespiter was a sky god who manifested himself in the daylight identified with Jupiter. Tinia is regarded as his Etruscan counterpart; the Romans believed that Jupiter granted them supremacy because they had honoured him more than any other people had. Jupiter was "the fount of the auspices upon which the relationship of the city with the gods rested." He personified the divine authority of Rome's highest offices, internal organization, external relations. His image in the Republican and Imperial Capitol bore regalia associated with Rome's ancient kings and the highest consular and Imperial honours.
The consuls swore their oath of office in Jupiter's name, honoured him on the annual feriae of the Capitol in September. To thank him for his help, they offered him a white ox with gilded horns. A similar offering was made by triumphal generals, who surrendered the tokens of their victory at the feet of Jupiter's statue in the Capitol; some scholars have viewed the triumphator as embodying Jupiter in the triumphal procession. Jupiter's association with kingship and sovereignty was reinterpreted as Rome's form of government changed. Rome was ruled by kings. Nostalgia for the kingship was considered treasonous; those suspected of harbouring monarchical ambitions were punished, regardless of their service to the state. In the 5th century BC, the triumphator Camillus was sent into exile after he drove a chariot with a team of four white horses —an honour reserved for Jupiter himself; when Marcus Manlius, whose defense of the Capitol against the invading Gauls had earned him the name Capitolinus, was accused of regal pretensions, he was executed as a traitor by being cast from the Tarpeian Rock.
His house on the Capitoline Hill was razed, it was decreed that no patrician should be allowed to live there. Capitoline Jupiter found himself in a delicate position: he represented a continuity of royal power from the Regal period, conferred power on the magistrates who paid their respects to him. During the Conflict of the Orders, Rome's plebeians demanded the right to hold political and religious office. During their first secessio, they threatened to found their own; when they agreed to come back to Rome they vowed the hill where they had retreated to Jupiter as symbol and guarantor of the unity of the Roman res publica. Plebeians became eligible for all the magistracies and most priesthoods, but the high priest of Jupiter remained the preserve of patricians. Jupiter was served by the patrician Flamen Dialis, the highest-ranking member of the flamines, a college of fifteen priests in the official public cult of Rome, each of whom was devoted to a particular deity, his wife, the Flaminica Dialis, had her own duties, presided over the sacrifice of a ram to Jupiter on each of the nundinae, the "market" days of a calendar cycle, comparable to a week.
The couple were required to marry by the exclusive patrician ritual confarreatio, which included a sacrifice of spelt bread to Jupiter Farreus. The office of Flamen Dialis was circumscribed by several unique ritual prohibitions, some of which shed light on the sovereign nature of the god himself. For instance, the flamen may remove his clothes or apex only when under a roof, in order to avoid showing himself naked to the sky—that is, "as if under the eyes of Jupiter" as god of the heavens; every time the Flaminica saw a lightning bolt or heard a clap of thunder, she was prohibited from carrying on with her normal routine until she placated the god. Some privileges of the flamen of Jupiter may reflect the regal nature of Jupiter: he had the use of the curule chair, was the
Neptune was the god of freshwater and the sea in Roman religion. He is the counterpart of the Greek god Poseidon. In the Greek-influenced tradition, Neptune was the brother of Pluto. Salacia was his wife. Depictions of Neptune in Roman mosaics those of North Africa, are influenced by Hellenistic conventions. Neptune was associated with fresh water springs before the sea. Like Poseidon, Neptune was worshipped by the Romans as a god of horses, under the name Neptunus Equester, a patron of horse-racing; the etymology of Latin Neptunus is unclear and disputed. The ancient grammarian Varro derived the name from nuptus i.e. "covering", with a more or less explicit allusion to the nuptiae, "marriage of Heaven and Earth". Among modern scholars Paul Kretschmer proposed a derivation from IE *neptu- "moist substance". Raymond Bloch supposed it might be an adjectival form in -no from *nuptu-, meaning "he, moist". Georges Dumézil though remarked words deriving root *nep- are not attested in IE languages other than Vedic and Avestan.
He proposed an etymology that brings together Neptunus with Vedic and Avestan theonyms Apam Napat, Apam Napá and Old Irish theonym Nechtan, all meaning descendant of the waters. By using the comparative approach the Indo-Iranian and Irish figures would show common features with the Roman historicised legends about Neptune. Dumézil thence proposed to derive the nouns from IE root *nepot-, "descendant, sister's son". More in his lectures delivered on various occasions in the 1990s, German scholar Hubert Petersmann proposed an etymology from IE rootstem *nebh- related to clouds and fogs, plus suffix -tu denoting an abstract verbal noun, adjectival suffix -no which refers to the domain of activity of a person or his prerogatives. IE root *nebh-, having the original meaning of "damp, wet", has given Sanskrit nábhah, Hittite nepis, Latin nubs, German Nebel, Slavic nebo etc; the concept would be close to that expressed in the name of Greek god Όυράνος, derived from IE root *h2wórso-, "to water, irrigate" and *h2worsó-, "the irrigator".
This etymology would be more in accord with Varro's. A different etymology grounded in the legendary history of Latium and Etruria was proposed by Preller and Müller-Deeke: Etruscan Nethunus, Nethuns would be an adjectival form of toponym Nepe, town of the ager Faliscus near Falerii; the district was traditionally connected to the cult of the god: Messapus and Halesus, the eponymous hero of Falerii, were believed to be his own sons. Messapus led others to war in the Aeneid. Nepi and Falerii have been famed since antiquity for the excellent quality of the water of their springs, scattered in meadows. Nepet is considered a hydronymic toponym of pre-Indo-European origin widespread in Europe and from an appellative meaning "damp wide valley, plain", cognate with pre-Greek νάπη, "wooded valley"; the theology of Neptune may only be reconstructed to some degree, as since early times he was identified with the Greek god Poseidon: his presence in the lectisternium of 399 BC is a testimony to the fact.
Such an identification may well be grounded in the strict relationship between the Latin and Greek theologies of the two deities. It has been argued that Indo-European people, having no direct knowledge of the sea as they originated from inland areas, reused the theology of a deity either chthonic or wielding power over inland freshwaters as the god of the sea; this feature has been preserved well in the case of Neptune, a god of springs and rivers before becoming a god of the sea, as is testified by the numerous findings of inscriptions mentioning him in the proximity of such locations. Servius the grammarian explicitly states Neptune is in charge of all the rivers and waters, he is the lord of horses because he worked with Minerva to make the chariot. He may find a parallel in Irish god Nechtan, master of the well from which all the rivers of the world flow out and flow back to. Poseidon on the other hand underwent the process of becoming the main god of the sea at a much earlier time, as is shown in the Iliad.
In the earlier times it was the god Portunus or Fortunus, thanked for naval victories, but Neptune supplanted him in this role by at least the first century BC when Sextus Pompeius called himself "son of Neptune." For a time he was paired with the goddess of the salt water. Neptune was considered the legendary progenitor god of a Latin stock, the Faliscans, who called themselves Neptunia proles. In this respect he was the equivalent of Mars, Janus and Jupiter among Latin tribes. Salacia would represent the virile force of Neptune; the Neptunalia was the festival of Neptune at the height of summer. The date and the construction of tree-branch shelters suggest a primitive role for Neptune as god of water sources in the summer's drought and heat; the most ancient Roman calendar set the feriae of Neptunus on July 23, two days after the Lucaria of July 19 and 21 and two days before the Furrinalia of July 25. Georg Wissowa had remarked that festivals falling in a range of three days are complementary.
Dumézil elaborated that these festivals in some way were all related to the importance of water during the period of summer heat and drought, when river and spring waters are at their lowest. Founding his analysis on the works of Palladius and Columella Dumézil argues that while the Lucaria were devoted to the dressing of woods, clearing the undergrown bushes by cutting on the 19 by uprooting and burning on the 21, the Neptunalia were devoted to works
The caduceus is the staff carried by Hermes in Greek mythology and by Hermes Trismegistus in Greco-Egyptian mythology. The same staff was borne by heralds in general, for example by Iris, the messenger of Hera, it is a short staff entwined by two serpents, sometimes surmounted by wings. In Roman iconography, it was depicted being carried in the left hand of Mercury, the messenger of the gods, guide of the dead, protector of merchants, gamblers and thieves; some accounts suggest that the oldest known imagery of the caduceus has its roots in a Mesopotamian origin with the Sumerian god Ningishzida. C. to 3000 B. C; as a symbolic object, it represents Hermes, by extension trades, occupations, or undertakings associated with the god. In Antiquity, the caduceus provided the basis for the astrological symbol representing the planet Mercury. Thus, through its use in astrology and astronomy it has come to denote the planet and elemental metal of the same name, it is said the wand would send the awake to sleep.
If applied to the dying, their death was gentle. By extension of its association with Mercury and Hermes, the caduceus is a recognized symbol of commerce and negotiation, two realms in which balanced exchange and reciprocity are recognized as ideals; this association is ancient, consistent from the Classical period to modern times. The caduceus is used as a symbol representing printing, again by extension of the attributes of Mercury; the caduceus is incorrectly used as a symbol of healthcare organizations and medical practice in North America, due to confusion with the traditional medical symbol, the Rod of Asclepius, which has only one snake and is never depicted with wings. The term kerukeion denoted any herald's staff, not associated with Hermes in particular. In his study of the cult of Hermes, Lewis Richard Farnell assumed that the two snakes had developed out of ornaments of the shepherd's crook used by heralds as their staff; this view has been rejected by authors pointing to parallel iconography in the Ancient Near East.
It has been argued that the staff or wand entwined by two snakes was itself representing a god in the pre-anthropomorphic era. Like the herm or priapus, it would thus be a predecessor of the anthropomorphic Hermes of the classical era. William Hayes Ward discovered that symbols similar to the classical caduceus sometimes appeared on Mesopotamian cylinder seals, he suggested the symbol originated some time between 3000 and 4000 BC, that it might have been the source of the Greek caduceus. A. L. Frothingham incorporated Dr. Ward's research into his own work, published in 1916, in which he suggested that the prototype of Hermes was an "Oriental deity of Babylonian extraction" represented in his earliest form as a snake god. From this perspective, the caduceus was representative of Hermes himself, in his early form as the Underworld god Ningishzida, "messenger" of the "Earth Mother"; the caduceus is mentioned in passing by Walter Burkert as "really the image of copulating snakes taken over from Ancient Near Eastern tradition".
In Egyptian iconography, the Djed pillar is depicted as containing a snake in a frieze of the Dendera Temple complex. The caduceus appears as a symbol of the punch-marked coins of the Maurya Empire in India, in the third or second century BC. Numismatic research suggest that this symbol was the symbol of the Buddhist king Ashoka, his personal "Mudra"; this symbol was not used on the pre-Mauryan punch-marked coins, but only on coins of the Maurya period, together with the three arched-hill symbol, the "peacock on the hill", the triskelis and the Taxila mark. The Homeric hymn to Hermes relates how Hermes offered his lyre fashioned from a tortoise shell as compensation for the cattle he stole from his half brother Apollo. Apollo in return gave Hermes the caduceus as a gesture of friendship; the association with the serpent thus connects Hermes to Apollo, as the serpent was associated with Asclepius, the "son of Apollo". The association of Apollo with the serpent is a continuation of the older Indo-European dragon-slayer motif.
Wilhelm Heinrich Roscher pointed out that the serpent as an attribute of both Hermes and Asclepius is a variant of the "pre-historic semi-chthonic serpent hero known at Delphi as Python", who in classical mythology is slain by Apollo. One Greek myth of origin of the caduceus is part of the story of Tiresias, who found two snakes copulating and killed the female with his staff. Tiresias was turned into a woman, so remained until he was able to repeat the act with the male snake seven years later; this staff came into the possession of the god Hermes, along with its transformative powers. Another myth suggests. Separating them with his wand he brought about peace between them, as a result the wand with two serpents came to be seen as a sign of peace. In Rome, Livy refers to the caduceator who negotiated peace arrangements under the diplomatic protection of the caduceus he carried. In some vase paintings ancient depictions of the Greek kerukeion are somewhat different from the seen modern representation.
These representations feature the two snakes atop the staff, crossed to create a circle with the heads of the snakes resembling horns. This old graphic form, with an additional crossbar to the staff, seems to have provided the basis for the graphical sig
Ferrara is a city and comune in Emilia-Romagna, northern Italy, capital of the Province of Ferrara. As of 2016 it had 132,009 inhabitants, it is situated 44 kilometres northeast of Bologna, on the Po di Volano, a branch channel of the main stream of the Po River, located 5 km north. The town has broad streets and numerous palaces dating from the Renaissance, when it hosted the court of the House of Este. For its beauty and cultural importance, it has been designated by UNESCO as a World Heritage Site; the first documented settlements in the area of the present-day Province of Ferrara date from the 6th century BC. The ruins of the Etruscan town of Spina, established along the lagoons at the ancient mouth of Po river, were lost until modern times, when drainage schemes in the Valli di Comacchio marshes in 1922 first revealed a necropolis with over 4,000 tombs, evidence of a population centre that in Antiquity must have played a major role. There is uncertainty among scholars about the proposed Roman origin of the settlement in its current location, for little is known of this period, but some archeologic evidence points to the hypothesis that Ferrara could have been originated from two small Byzantine settlements: a cluster of facilities around the Cathedral of St. George, on the right bank of the main branch of the Po, which ran much closer to the city than today, a castrum, a fortified complex built on the left bank of the river to defend against the Lombards.
Ferrara appears first in a document of the Lombard king Desiderius of 753 AD, when he captured the town from the Exarchate of Ravenna. The Franks, after routing the Lombards, presented Ferrara to the Papacy in 754 or 756. In 988 Ferrara was ceded by the Church to the House of Canossa, but at the death of Matilda of Tuscany in 1115 it became a free commune. During the 12th century the history of the town was marked by the wrestling for power between two preeminent families, the Guelph Adelardi and the Ghibelline Salinguerra. In 1264 Obizzo II of Este was thus proclaimed lifelong ruler of Ferrara, Lord of Modena in 1288 and of Reggio in 1289, his rule marked the end of the communal period in Ferrara and the beginning of the Este rule, which lasted until 1598. In 1452 Borso of Este was created duke of Modena and Reggio by Emperor Frederick III and in 1471 duke of Ferrara by Pope Paul II. Lionello and Ercole I were among the most important patrons of the arts in late 15th- and early 16th-century Italy.
During this time, Ferrara grew into an international cultural centre, renowned for its architecture, music and visual arts. The architecture of Ferrara benefited from the genius of Biagio Rossetti, requested in 1484 by Ercole I to draft a masterplan for the expansion of the town; the resulting "Erculean Addition" is considered one of the most important examples of Renaissance urban planning and contributed to the selection of Ferrara as a UNESCO World Heritage Site. In spite of having entered its golden age, Ferrara was hit by a war against Venice fought and lost in 1482–84. Alfonso I married the notorious Lucrezia Borgia, he again fought Venice in the Italian Wars after joining the League of Cambrai. In 1509 he was excommunicated by Pope Julius II, but was able to overcome the Papal and Spanish armies in 1512 at the Battle of Ravenna; these successes were based on Ferrara's artillery, produced in his own foundry, the best of its time. At his death in 1534, Alfonso I was succeeded by his son Ercole II that in 1528 married Renée of France, the second daughter of Louis XII, thus bringing great prestige to the court of Ferrara.
Under his reign, the Duchy remained a cultural powerhouse. However, an earthquake struck the town in 1570, causing the economy to collapse, when Ercole II's son Alfonso II died without heirs, the House of Este lost Ferrara to the Papal States. Ferrara, a university city second only to Bologna, remained a part of the Papal States for 300 years, an era marked by a steady decline. In 1805–1814 it became part of the Napoleonic Kingdom of Italy, a client-state of the French Empire. After the 1815 Congress of Vienna, Ferrara was given back to the Pope, now guaranteed by the Empire of Austria. A bastion fort erected in the 1600s by Pope Paul V on the site of and old castle called "Castel Tedaldo", at the south-west angle of the town, was thus occupied by an Austrian garrison from 1832 until 1859. All of the fortress was dismantled following the birth of the Kingdom of Italy and the bricks used for new constructions all over the town. During the last decades of the 1800s and the early 1900s, Ferrara remained a modest trade centre for its large rural hinterland that relied on commercial crops such as sugar beet and industrial hemp.
Large land reclamation works were carried out for decades with the aim to expand the available arable land and eradicate malaria from the wetlands along the Po delta. Mass industrialisation came to Ferrara only at the end of the 1930s with the set-up of a chemical plant by the Fascist regime that should have supplied the regime with synthetic rubber. During the Second World War Ferrara was bombed by Allied warplanes that targeted and destroyed railway links and industrial facilities. After the war, the industrial area in Pontelagoscuro was expanded to become a giant petrochemical compound operated by Montecatini and other companies, tha
National Gallery of Art
The National Gallery of Art, its attached Sculpture Garden, is a national art museum in Washington, D. C. located on the National Mall, between 3rd and 9th Streets, at Constitution Avenue NW. Open to the public and free of charge, the museum was established in 1937 for the American people by a joint resolution of the United States Congress. Andrew W. Mellon donated funds for construction; the core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, Chester Dale; the Gallery's collection of paintings, prints, sculpture and decorative arts traces the development of Western Art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder. The Gallery's campus includes the original neoclassical West Building designed by John Russell Pope, linked underground to the modern East Building, designed by I. M. Pei, the 6.1-acre Sculpture Garden.
The Gallery presents temporary special exhibitions spanning the world and the history of art. It is one of the largest museums in North America. Pittsburgh banker Andrew W. Mellon began gathering a private collection of old master paintings and sculptures during World War I. During the late 1920s, Mellon decided to direct his collecting efforts towards the establishment of a new national gallery for the United States. In 1930 for tax reasons, Mellon formed the A. W. Mellon Educational and Charitable Trust, to be the legal owner of works intended for the gallery. In 1930–1931, the Trust made its first major acquisition, 21 paintings from the Hermitage Museum in St. Petersburg as part of the Soviet sale of Hermitage paintings, including such masterpieces as Raphael's Alba Madonna, Titian's Venus with a Mirror, Jan van Eyck's Annunciation. In 1929 Mellon had initiated contact with the appointed Secretary of the Smithsonian Institution, Charles Greeley Abbot. Mellon was appointed in 1931 as a Commissioner of the Institution's National Gallery of Art.
When the director of the Gallery retired, Mellon asked Abbot not to appoint a successor, as he proposed to endow a new building with funds for expansion of the collections. However, Mellon's trial for tax evasion, centering on the Trust and the Hermitage paintings, caused the plan to be modified. In 1935, Mellon announced in The Washington Star, his intention to establish a new gallery for old masters, separate from the Smithsonian; when asked by Abbot, he explained that the project was in the hands of the Trust and that its decisions were dependent on "the attitude of the Government towards the gift". In January 1937, Mellon formally offered to create the new Gallery. On his birthday, 24 March 1937, an Act of Congress accepted the collection and building funds, approved the construction of a museum on the National Mall; the new gallery was to be self-governing, not controlled by the Smithsonian, but took the old name "National Gallery of Art" while the Smithsonian's gallery would be renamed the "National Collection of Fine Arts".
Designed by architect John Russell Pope, the new structure was completed and accepted by President Franklin D. Roosevelt on behalf of the American people on March 17, 1941. Neither Mellon nor Pope lived to see the museum completed. At the time of its inception it was the largest marble structure in the world; the museum stands on the former site of the Baltimore and Potomac Railroad station, where in 1881 a disgruntled office seeker, Charles Guiteau, shot President James Garfield. As anticipated by Mellon, the creation of the National Gallery encouraged the donation of other substantial art collections by a number of private donors. Founding benefactors included such individuals as Paul Mellon, Samuel H. Kress, Rush H. Kress, Ailsa Mellon Bruce, Chester Dale, Joseph Widener, Lessing J. Rosenwald and Edgar William and Bernice Chrysler Garbisch; the Gallery's East Building was constructed in the 1970s on much of the remaining land left over from the original congressional action. Andrew Mellon's children, Paul Mellon and Ailsa Mellon Bruce, funded the building.
Designed by architect I. M. Pei, the contemporary structure was completed in 1978 and was opened on June 1 of that year by President Jimmy Carter; the new building was built to house the Museum's collection of modern paintings, drawings and prints, as well as study and research centers and offices. The design received a National Honor Award from the American Institute of Architects in 1981; the final addition to the complex is the National Gallery of Art Sculpture Garden. Completed and opened to the public on May 23, 1999, the location provides an outdoor setting for exhibiting a number of pieces from the Museum's contemporary sculpture collection; the National Gallery of Art is supported through a private-public partnership. The United States federal government provides funds, through annual appropriations, to support the museum's operations and maintenance. All artwork, as well as special programs, are provided through private funds; the museum is not part of the Smithsonian Institution. Noted directors of the National Gallery have included David E. Finley, Jr. John Walker, J. Carter Brown.
Earl A. "Rusty" Powell III was named director in 1993. In March 2019 he was be succeeded by Kaywin Feldman, past director and president of the Minneapolis In
Thebes is a city in Boeotia, central Greece. It played an important role in Greek myths, as the site of the stories of Cadmus, Oedipus and others. Archaeological excavations in and around Thebes have revealed a Mycenaean settlement and clay tablets written in the Linear B script, indicating the importance of the site in the Bronze Age. Thebes was the largest city of the ancient region of Boeotia and was the leader of the Boeotian confederacy, it was a major rival of ancient Athens, sided with the Persians during the 480 BC invasion under Xerxes. Theban forces under the command of Epaminondas ended the power of Sparta at the Battle of Leuctra in 371 BC; the Sacred Band of Thebes famously fell at the Battle of Chaeronea in 338 BC against Philip II and Alexander the Great. Prior to its destruction by Alexander in 335 BC, Thebes was a major force in Greek history, was the most dominant city-state at the time of the Macedonian conquest of Greece. During the Byzantine period, the city was famous for its silks.
The modern city contains an Archaeological Museum, the remains of the Cadmea, scattered ancient remains. Modern Thebes is the largest town of the regional unit of Boeotia. Thebes is situated in a plain, between Lake Yliki to the north, the Cithaeron mountains, which divide Boeotia from Attica, to the south, its elevation is 215 metres above mean sea level. It is about 50 kilometres northwest of Athens, 100 kilometres southeast of Lamia. Motorway 1 and the Athens–Thessaloniki railway connect Thebes with Athens and northern Greece; the municipality of Thebes covers an area of 830.112 square kilometres, the municipal unit of Thebes 321.015 square kilometres and the community 143.889 square kilometres. In 2011, as a consequence of the Kallikratis reform, Thebes was merged with Plataies and Vagia to form a larger municipality, which retained the name Thebes; the other three become units of the larger municipality. The record of the earliest days of Thebes was preserved among the Greeks in an abundant mass of legends that rival the myths of Troy in their wide ramification and the influence that they exerted on the literature of the classical age.
Five main cycles of story may be distinguished: The foundation of the citadel Cadmea by Cadmus, the growth of the Spartoi or "Sown Men". The immolation of Semele and the advent of Dionysus; the building of a "seven-gated" wall by Amphion, the cognate stories of Zethus and Dirce. The tale of Laius, whose misdeeds culminated in the tragedy of Oedipus and the wars of the "Seven Against Thebes", the Epigoni, the downfall of his house. See Theban pederasty and Pederasty in ancient Greece for detailed discussion and background; the exploits of Heracles. The Greeks attributed the foundation of Thebes to Cadmus, a Phoenician king from Tyre and the brother of Queen Europa. Cadmus was famous for teaching the Phoenician alphabet and building the Acropolis, named the Cadmeia in his honor and was an intellectual and cultural center. Archaeological excavations in and around Thebes have revealed cist graves dated to Mycenaean times containing weapons and tablets written in Linear B, its attested name forms and relevant terms on tablets found locally or elsewhere include, te-qa-i, understood to be read as *Tʰēgʷai̮s, te-qa-de, for *Tʰēgʷasde, and, te-qa-ja, for *Tʰēgʷaja.
It seems safe to infer that *Tʰēgʷai was one of the first Greek communities to be drawn together within a fortified city, that it owed its importance in prehistoric days — as — to its military strength. Deger-Jalkotzy claimed that the statue base from Kom el-Hetan in Amenhotep III's kingdom mentions a name similar to Thebes, spelled out quasi-syllabically in hieroglyphs as d-q-e-i-s, considered to be one of four tj-n3-jj kingdoms worthy of note. *Tʰēgʷai in LHIIIB lost contact with Egypt but gained it with "Miletus" and "Cyprus". In the late LHIIIB, according to Palaima, *Tʰēgʷai was able to pull resources from Lamos near Mount Helicon, from Karystos and Amarynthos on the Greek side of the isle of Euboia; as a fortified community, it attracted attention from the invading Dorians, the fact of their eventual conquest of Thebes lies behind the stories of the successive legendary attacks on that city. The central position and military security of the city tended to raise it to a commanding position among the Boeotians, from early days its inhabitants endeavoured to establish a complete supremacy over their kinsmen in the outlying towns.
This centralizing policy is as much the cardinal fact of Theban history as the counteracting effort of the smaller towns to resist absorption forms the main chapter of the story of Boeotia. No details of the earlier history of Thebes have been preserved, except that it was governed by a land-holding aristocracy who safeguarded their integrity by rigid statutes about the ownership of property and its transmission over time; as attested in Homer's Iliad, Thebes was o
Tiziano Vecelli or Tiziano Vecellio, known in English as Titian, was an Italian painter, the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near Belluno in the Republic of Venice). During his lifetime he was called da Cadore, taken from the place of his birth. Recognized by his contemporaries as "The Sun Amidst Small Stars", Titian was one of the most versatile of Italian painters adept with portraits, landscape backgrounds, mythological and religious subjects, his painting methods in the application and use of colour, would exercise a profound influence not only on painters of the late Italian Renaissance, but on future generations of Western art. His career was successful from the start, he became sought after by patrons from Venice and its possessions joined by the north Italian princes, the Habsburgs and papacy. Along with Giorgione, he is considered a founder of the Venetian School of Italian Renaissance painting. During the course of his long life, Titian's artistic manner changed drastically, but he retained a lifelong interest in colour.
Although his mature works may not contain the vivid, luminous tints of his early pieces, their loose brushwork and subtlety of tone were without precedent in the history of Western painting. The exact date of Titian's birth is uncertain; when he was an old man he claimed in a letter to Philip II, King of Spain, to have been born in 1474, but this seems most unlikely. Other writers contemporary to his old age give figures that would equate to birthdates between 1473 and after 1482. Most modern scholars believe a date between 1488 and 1490 is more though his age at death being 99 had been accepted into the 20th century, he was the son of whom little is known. Gregorio was superintendent of the castle of Pieve di Cadore and managed local mines for their owners. Gregorio was a distinguished councilor and soldier. Many relatives, including Titian's grandfather, were notaries, the family were well-established in the area, ruled by Venice. At the age of about ten to twelve he and his brother Francesco were sent to an uncle in Venice to find an apprenticeship with a painter.
The minor painter Sebastian Zuccato, whose sons became well-known mosaicists, who may have been a family friend, arranged for the brothers to enter the studio of the elderly Gentile Bellini, from which they transferred to that of his brother Giovanni Bellini. At that time the Bellinis Giovanni, were the leading artists in the city. There Titian found a group of young men about his own age, among them Giovanni Palma da Serinalta, Lorenzo Lotto, Sebastiano Luciani, Giorgio da Castelfranco, nicknamed Giorgione. Francesco Vecellio, Titian's older brother became a painter of some note in Venice. A fresco of Hercules on the Morosini Palace is said to have been one of Titian's earliest works. Others were the Bellini-esque so-called Gypsy Madonna in Vienna, the Visitation of Mary and Elizabeth, now in the Accademia, Venice. A Man with a Quilted Sleeve is an early portrait, painted around 1509 and described by Giorgio Vasari in 1568. Scholars long believed it depicted Ludovico Ariosto. Rembrandt borrowed the composition for his self-portraits.
Titian joined Giorgione as an assistant, but many contemporary critics found his work more impressive—for example in exterior frescoes that they did for the Fondaco dei Tedeschi. Their relationship evidently contained a significant element of rivalry. Distinguishing between their work at this period remains a subject of scholarly controversy. A substantial number of attributions have moved from Giorgione to Titian in the 20th century, with little traffic the other way. One of the earliest known Titian works, Christ Carrying the Cross in the Scuola Grande di San Rocco, depicting the Ecce Homo scene, was long regarded as by Giorgione; the two young masters were recognized as the leaders of their new school of arte moderna, characterized by paintings made more flexible, freed from symmetry and the remnants of hieratic conventions still found in the works of Giovanni Bellini. In 1507–1508 Giorgione was commissioned by the state to create frescoes on the re-erected Fondaco dei Tedeschi. Titian and Morto da Feltre worked along with him, some fragments of paintings remain by Giorgione.
Some of their work is known, through the engravings of Fontana. After Giorgione's early death in 1510, Titian continued to paint Giorgionesque subjects for some time, though his style developed its own features, including bold and expressive brushwork. Titian's talent in fresco is shown in those he painted in 1511 at Padua in the Carmelite church and in the Scuola del Santo, some of which have been preserved, among them the Meeting at the Golden Gate, three scenes from the life of St. Anthony of Padua, The Miracle of the Jealous Husband, which depicts the Murder of a Young Woman by Her Husband, A Child Testifying to Its Mother's Innocence, The Saint Healing the Young Man with a Broken Limb. In 1512 Titian returned to Venice from Padua, he became superintendent of the government works charged with completing the paintings left unfinished by Giovanni Bellini in the hall of the great council in the ducal palace. He set up a