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Stretched out along a ridge, inappropriately referred to as “valley”, and nestling in the area to the south of it, are a series of temples which were all erected in the course of a century (5C BC), as if to testify to the prosperity of the city at that time. Having been set ablaze by the Carthaginians in 406 BC, the buildings were restored by the Romans (1C BC) respecting their original Doric style. Their subsequent state of disrepair has been put down either to seismic activity or the destructive fury of the Christians backed by an edict of the Emperor of the Eastern Empire, Theodosius (4C). The only one to survive intact is the Temple of Concord which, in the 6C, was converted into a Christian church. During the Middle Ages, masonry was removed to help construct other buildings, in particular, the Temple of Zeus, known locally as the Giant’s Quarry, provided material for the church of San Nicola and the 18C part of the jetty at Porto Empedocle.
All the buildings face east, respecting the Classical criterion (both Greek and Roman) that the entrance to the cella (Holy of Holies) where the statue of the god was housed could be illuminated by the rays of the rising sun, the source and blood of life.
On the whole, the temples are Doric and conform to the hexastyle format (that is with six columns at the front), the exception being the Temple of Zeus, which had seven engaged columns articulating the wall that encloses the building. Built of limestone tufa, the temples provide a particularly impressive sight at dawn, and even more so at sunset when they are turned a warm shade of gold.
(The Greek form of the names of the divinities has been used to describe the temples, with the Latin equivalents given in brackets). It is advisable to start a visit with the archeological site around the Temple of Zeus, as this is open at restricted times.
Sacrificial altar – Just beyond the entrance, on the right, slightly set back, are the remains of an enormous altar, used for large-scale sacrifices. As many as 100 oxen could be sacrificed at one time.
Tempio di Zeus Olimpico (Giove) – Having been razed to the ground, the Temple of Zeus (Jupiter) was re-erected following the victory of the people of Agrigentum (allied with the Syracusans) over the Carthaginians at Himera (in about 480 BC) as a gesture of thanks to Zeus, it was one of the largest temples built in ancient times, being 113m long by 36m wide, and is thought never to have been completed. The entablature was supported by half-columns 20m high, which probably alternated with giant male caryatids (atlantes or telamons), one of which can be seen in the local archeological museum (see below). A reproduction of an atlantes is displayed in the middle of the temple, giving some idea of scale proportional to the vast building. Instead of the more usual open colonnade, this temple is surrounded by a continuous screen wall sealing off the spaces between the columns which, inside, become square pilasters. Some blocks still bear the marks made for lifting them into place: these are deep U-shaped incisions through which a rape was threaded and then, attached to a kind of crane, could be used to lift or haul the blocks one upon another.
Tempio di Castore e Polluce o dei Dioscuri – The Temple of Castor and Pollux or of the Dioscuri is the veritable symbol of Agrigento. Built during the last decades of the 5C BC, it is dedicated to the twins born from the union of Leda and Zeus while transformed into a swan. Four columns and part of the entablature are all that remain of the temple, which was reconstructed in the 19C. Under one edge of the cornice is a rosette, one of the typical decorative motifs used. On the right are the remains of what was probably a sanctuary dedicated to the Chthonic Deities (the gods of the underworld): Persephone (Proserpina), queen of the underworld, and her mother, Demeter (Ceres), the goddess of corn and fertility and patroness of agriculture. On the site are a square altar, probably used for sacrificing piglets, and another round one with a sacred well in the centre. This is probably where the rite of the Thesmophoria, a festival held in honour of Demeter, was celebrated by married women.
In the distance, last on the imaginary line linking all the temples of the valley, is the Temple of Hephaistus (Vulcan), of which little remains. According to legend, the god of fire and the arts had a forge under Etna where he fashioned thunderbolts for Zeus, assisted by the Cyclops.
Retrace your steps, leave the fenced area and follow Via dei Templi, on the other side of the road, on the right.
Tempio di Eracle (Ercole) – Conforming to the Archaic Doric style, the Temple of Heracles (Hercules) is the earliest of the group. The remains enable us to imagine how elegant this temple must have been. Today, a line of eight tapering columns stands erect, re-erected during the first half of this century. From the temple, looking south, can be seen what is erroneously called the Tomb of Theron (see end of this section).
Continuing along the path, deep ruts in the paving can be made out on the left: these are generally interpreted as having been caused by cartwheels. The reason for them being so deep has been put down to water erosion.
On the right is Villa Aurea, formerly the residence of Sir Alexander Hardcastle, a passionate patron of archeology, who financed the reerection of the columns of the Temple of Heracles.
Necropoli paleocristiana – The Paleochristian necropolis is situated beneath the road, dug into the base rock, not far from the ancient walls of the city. There are various types of ancient tomb: loculi (cells or chamber for corpse or urn) and arcosolia (arched cavities like a niche), as often found in catacombs. Before the Temple of Concord there is another group of tombs on the right.
Tempio della Concordia – The Temple of Concord is one of the best-preserved temples surviving from Antiquity, thereby providing an insight into the elegance and majestic symmetry of other such buildings. The reason it has survived intact is due to its transformation into a church in the 6C AD. Inside the colonnade, the original arches through the cella walls of the Classical temple can still be made out. It is thought to have been built in about 430 BC, but it is not known to which god it was dedicated. The name Concord comes from a Latin inscription found in the vicinity. The temple is a typical example of the architectural refinement in temple building known as “optical correction”: the columns are tapered (becoming narrower at the top so as to appear taller) and have an entasis (a very slight convex curve at about two-thirds of the height of the column which counteracts the illusion of concavity); they are also slightly inclined towards the central axis of the temple façade. This allows the observer standing at a certain distance from the temple to see a perfectly straight image. The frieze consists of standard Classical features: alternating triglyphs and metopes, without further low-relief ornamentation. The pediment is also devoid of decoration.
Antiquarium di Agrigento Paleocristiana (Casa Pace) – Turn back through a section of the town, stopping perhaps to consult the various informotian boards set among the ruins that may be of interest: one in particular explains how the Temple of Concord was transformed into a basilica.
Antiquarium Iconografico della Collina del Templi (Casa Barbadoro) – In a modern but sympathetically designed building, are collected together a series of drawings, engravings and prints of the Valley of the Temples as seen in the past by travellers undertaking the Grand Tour.
Tempio di Hera Lacinia (Giunone) – The Temple of Hera Lacinia (Juno) is situated at the top of the hill and is traditionally dedicated to the protector of matrimony and childbirth. The name Lacinia derives from an erroneous association with the sanctuary of the same name situated on the Lacinian promontory near Crotone. The temple preserves its colonnade (albeit not in perfect condition), which was partially re-erected in the early 1900s. Inside, the columns of the pronaos and opisthodomos and the wall of the cella can still be seen. Built in about the mid-5C BC, it was set ablaze by the Carthaginians in 406 BC (evidence of burning is still visible on the walls of the cella).
To the east is the altar of the temple, while, at the back of the building (beside the steps), there is a cistern.
On the outskirts of the town are the so-called Tomb of Theron and the Temple of Asklepios (Aesculapius).
Tomba di Terone – Also visible from the Caltagirorne road. The monument, erroneously believed to have been the tomb of the tyrant Theron, in fact dates from Roman times and was erected in honour of soldiers killed during the Second Punic War. Made of tufa, it is slighly pyramidal in shape and probably once had a pointed roof. The high base supports a second order with false doors and Ionic columns at the corners.
Tempio di Asclepio (Esculapio) – Just beyond the Tomb of Theron, on the road to Caltanissetta. Look out for a sign (although obscured) on the right. The ruins of this 5C BC temple are to be found in the middle of the countryside. It was dedicated to Aesculapius (Asklepios), the Greek god of medicine, son of Apollo – who it was believed had the power to heal the sick through dreams. The interior, it is thought, harboured a beautiful statue of the god by the Greek sculptor Myron.
Telamons and Atlantes (or Atlas figures) – These imposing giants from Agrigento, more often referred to as atlantes, are sometimes called Telomons (Telamone in Italian) after the Latin word derived by the Romans from the Greek, Telamo(n) which indicated their function, that is to carry or bear, in this case the structure. Their supporting mole is accentuated by their position, with arms bent back to balance the weight upon their shoulders. The more common term alludes to the mythological figure Atlas, the giant and leader of the Titans who struggled against the gods of Olympus and was condemned by Zeus to support the weight of the sky on his head. When the earth was discovered to be spherical, he was often shown bearing the terrestrial globe on bis shoulders.
Dionysus (Dionysos) was the Olympian god of wine, vegetation, pleasure, festivity, madness, wild frenzy, grape harvest, winemaking, religious ecstasy, and theatre. (Roman Name?: ?Liber. Other Names?: ?Bacchus, Lyaeus)
He was depicted as either an long-haired youth OR older, bearded god or an effeminate. His attributes included the thyrsos (a pine-cone tipped staff), a drinking cup and a crown of ivy. He was usually accompanied by a troop of Satyrs and Mainades (wild female devotees).
MYTHS
Dionysos was a son of Zeus and the princess Semele of Thebes. During the course of her pregnancy, the god's jealous wife Hera tricked Semele into asking Zeus to appear before her in his full glory. Bound by oath, the god was forced to comply and she was consumed by the heat of his lightning-bolts. Zeus recovered their unborn child from her body, sewed him up in his own thigh, and carried him to term.
After his birth from the thigh of Zeus, Dionysos was first entrusted to the care of Seilenos (Silenus) and the nymphs of Mount Nysa, and later to his aunt Ino, Semele's sister, and her husband Athamas. Hera was enraged when she learned of the boy's location and drove the couple mad, causing them to kill both their children and themselves.
The Thrakian king Lykourgos (Lycurgus) attacked Dionysos and his companions as they were travelling through his land and drove them into the sea. As punishment, the god inflicted him with madness causing him to murder his wife and son and mutilate himself with an axe.
King Pentheus of Thebes refused to accept the god's divinity and tried to apprehend him. The god retaliated by driving the king's daughters into a crazed frenzy and they tore him apart limb from limb.
Dionysos instructed the hero Ikarios (Icarius) of Athens in the art of winemaking. However, some shepherds, upon drinking the wine, thought they had been poisoned and killed him. The sorrowful god then set him amongst the stars as the constellation Bootes.
As Dionysos was travelling through the islands of the Aegean Sea he was captured by a band of Tyrrhenian pirates who thought to sell him into slavery. The god infested their ship with phantoms of creeping vines and wild beasts, and in terror the men leapt overboard and were transformed into dolphins.
Dionysos married princess Ariadne of Krete (Crete) whom he discovered abandoned by Theseus on the island of Naxos.
The god launched a campaign against the Indian nation in the farthest reaches of Asia, leading an army composed of Satyrs, Mainades, and demigods.
Dionysos journeyed to the underworld to recover his mother Semele and brought her to Olympos where Zeus transformed into the goddess Thyone.
SYMBOLS & ATTRIBUTES
Dionysos' most distinctive attribute was the thyrsos, a pine-cone tipped staff. His other attributes included a drinking-cup (kantharos), fruiting grapevines and a panther.
The god was usually clothed in a long robe (chiton) and cloak (himation) and crowned with a wreath of ivy-leaves.
SACRED ANIMALS & PLANTS
Dionysos' sacred animals were the panther (leopard), tiger, bull and serpent. The god rode on the back of a panther or drove a chariot drawn by a pair of the beasts.
His sacred plants were the grapevine, ivy, bindweed (prickly ivy) and pine tree. Devotees of the god wore wreaths of ivy and carried pine-cone tipped staffs.
Dionysos was a son of Zeus, King of the Gods, and Semele, a mortal princess of Thebes. The god was known as the "twice-born" for his mother was slain by the lightning-bolts of Zeus during the course of her pregancy, but rescued by his father who carried him to term sown up inside his thigh.
Dionysos' grandparents were the Titans Kronos (Cronus) and Rheia, King Kadmos (Cadmus) of Thebes and the goddess Harmonia. He was a great-grandson of Ares and Aphrodite (Harmonia's parents) and also a distant descendant of the god Poseidon.
The god's half-brothers and sisters included Hermes, Ares, Aphrodite, Athena, Persephone, Apollon and Artemis.
He married Ariadne, daughter of King Minos of Krete (Crete), and their sons became kings and princes of the best wine-producing regions in ancient Greece.
ENCYCLOPEDIA
Dinysos, the youthful, beautiful, but effeminate god of wine. He is also called both by Greeks and Romans Bacchus (Bakchos), that is, the noisy or riotous god, which was originally a mere epithet or surname of Dionysus, but does not occur till after the time of Herodotus.
Eubouleus is associated with the mystery cult at Eleusis. According to tradition, he was a swineherd. When Persephone was abducted by Plouton, he was grazing his herd near the point where the earth opened to receive the god's chariot and a few of his pigs fell into the chasm. This episode of the myths is related to the practice of throwing pigs into subterranean chasms during the festival of the Skirophoria.
Lombard style bell tower illuminated.
The church of Our Lady of the Assumption is one of the most beautiful Romanesque churches Brionnais and one of the most interesting of Romanesque Burgundy by the quality of its carved decoration and its harmonious proportions.
The building, with its height two-story relates to the ancient architectural tradition of Burgundy. It is the antithesis of architectural principles illustrated in Cluny III.
The church plan
The church of Our Lady of the Assumption is, classically, facing east, toward Jerusalem.
Its floor plan replicates that of the church of Charlieu and recalled the ties between the two monasteries founded in the Carolingian period. The main vessel is a three-nave of five bays under edges. The transept, salient, is to arm with oriented apses. The whole forms a Latin cross. The choir and transepts are crowned by a series of five apses behind. This plan offers a picture perfect in its simplicity and in the rightness of its proportions.
Construction is medium blond limestone unit, uneven and grouted. Unlike the masonry of the apse and transept, compared to that of the nave, recalls that the church of Anzy-le-Duc was conducted in two campaigns, from the mid / late eleventh and early twelfth.
Outdoor Architecture
South side of the church, the corbels that support the entablature cornices are almost carved.
The transept and the main facade is highlighted by their stilted gables.
The bell tower
The church of Our Lady of the Assumption has a remarkable octagonal tower novel.
The elegance of this tower makes it one of the most beautiful Romanesque bell towers of Brionnais. Its high silhouette give slenderness to the entire building. Its octagonal building decorated with three floors of Lombard arches recalls the Romanesque bell towers of northern Italy.
It is decorated with the three upper floors of twin arched windows separated by pillars and topped with Lombard bands.
The western façade has a remarkable portal whose lintel, the eardrum and the archivolt double arch have a very rich sculptural decoration.
The eardrum dated twelfth. The church of Our Lady of the Assumption in three had originally. Today, one of them is located in Hiero Museum Paray-le-Monial. The eardrum visible on the building face Christ in glory in a mandorla. He sits on his throne. The mandorla is a symbol of rebirth, is supported by two angels with wings and whose feet are anchored to the ground. This iconography symbolizes the return of Christ on earth, to the end of time to judge the living and the dead.
The lintel is the scene of the Ascension.
The badly damaged lower arch as well as the four capitals, the 24 elders of the Apocalypse, crowned head, holding in his hand a cup and harp, celebrating the glory of the risen Christ. The 24 elders represent the 12 prophets and patriarchs and the 12 Apostles. They symbolize the meeting of the Old and New Testaments. This image is from a vision of St. John described in the Apocalypse.
The moldings were restored.
The sculptures were hammered during the period of the French Revolution.
The south facade
The south portal of the priory tells the story of the salvation of mankind. Tympanum represents the Adoration of the Magi and the Original Sin. The architrave shows the punishments imposed on the damned in hell, and its left end, a brief allusion to the heavenly Jerusalem. Figures could include the influence of the workshop Gislebertus Autun, although their flexibility departs somewhat from the impetuosity which characterizes the sculptures of the Saint-Lazare Cathedral of Autun. The style is much cruder. Perhaps we there see the hand of an artist who spoke at the Church of Neuilly-en-Donjon, located on the other side of the Loire.
The bedside
Like the second abbey of Cluny, the church of Anzy-le-Duc has a bedside level with five apsidal chapels.
interior architecture
The nave [change | modify the code]
The church of Anzy-le-Duc is regularly oriented.
The architecture of the nave is two stories with large arcades surmounted by tall windows.
The bays of the nave bear groin vaults separated by arches that give rise to simple architectural lines and great harmony. The quality of vaulting demonstrates the skills mastered craftsmen and architects. This bias construction is found in other Romanesque churches of Burgundy, including Vezelay. However, there is not here this momentum verticality that will characterize the buildings have adopted the principles of Cluny III. The vertical and horizontal lines are balanced to generate a feeling of peaceful serenity.
The capitals of the nave date from the eleventh. They are among the earliest examples of this form of typically Romanesque art.
They are carved mostly from plant or animal motifs are of great aesthetic value. There are approximately forty of which a head of cattle, Daniel and the lions, an acrobat, an angel fighting a demon, Samson controlling a lion ...
Saint Michael fighting the devil. He guards the entrance of Paradise. In its shield, the monstrous devil planted his trident, the handle and the right arm holding the were broken (3rd pillar to the left, entering the nave).
This scene could be the man, attached to the right, however, must fight against physical forces or the forces of evil. Nu (nudity in Roman art can represent the innocence of origins), he clings with both hands in the ring that forms the basis of capital. The ring is a symbol of a branch of the tree of life in Genesis. Two monstrous snakes to interlaced rings are preparing to bite his torso and heel. (2nd pillar to the left, entering the nave)
This capital, located on the 5th pillar to the left, entering the nave could illustrate the theme of the quarrel. Two figures evil their tongues, classic iconography in Roman art of lying, slander or insults. The lie is generating conflicts and wars. In the left corner of the tent, two characters kiss: a reconciliation? a hypocritical gesture as might suggest the two heads like monkeys. The monkey wants to imitate the man as the devil tries to imitate God. The monkey is a symbol of heresy, paganism, of all that is false, anything that distracts man from his likeness to God.
Here, in contrast, the most recent works it is possible to see in Autun and Saulieu, the block formed by the marquee itself is not entirely hidden: include seem like stone applied on their support. Yet we already discern a principle of composition which will remain true Burgundian sculpture submitted to the architectural structure of the capital, the figures of angles resume the role of ancient scrolls. They announce the development of the Cluny sculpture twelfth.
The choir
The choir is composed of a span with aisles that end in the apses. It extends an axial central apse and chapels.
The choir, vaulted cul-de-four with frescoes, and the transepts are crowned by a series of five apses behind. The octagonal cupola on tubes.
Two capitals, almost symmetrical, represent two majestic eagles with outspread wings. They open your eyes wide and yet set the rising sun. At the top of the wings, is carved a swastika, ancient Hindu symbol of the sun spinning. The eagle symbolizes the soul that rises above the vicissitudes of earthly experience. That is the spiritual equivalent of the temporal power of the lion. The eagle is the opposite of the snake, chthonic animal. It symbolizes the soul that rises to the Light, to Knowledge as the eagle, king of birds can fly in / from the sun. It is the oldest capitals of the church (circa 1050).
The murals are of medieval origin but were heavily restored in 1850 by a painter of Drill, Jean-François Maurice. The vault in this cul-de-four Ascension. The risen Christ joined his Father in heaven. Standing, surrounded by an oval glory, he blessed the people of believers. Two angels are for 12 Apostles and three holy women remained low. They say, "Men of Galilee, why do you stand looking into heaven? This Jesus who comes to you be taken to heaven, will come in the same way that you saw up there. " Under this Ascension in four areas bounded by pilasters, are represented the symbols of the four evangelists: the angel, emblem of St Matthew, the bull for Luke, the lion of St. Mark and the eagle for John. These four figures were the haloed head and holding the holy book, ie the Bible. Under the angel symbolizing St Matthew Letbald is shown. It was the lord of Anzy-le-Duc, who, in 876, donated his land to the Benedictine monks of Autun. Opposite, under the eagle of St. John, was his wife slope, Altasie.
The crypt
Recent excavations have rediscovered the crypt, clearing a passage of stairs from the north transept. This crypt dated eleventh century served as a burial place to Hugues de Poitiers. It is one of the Christian shrines preserved among the oldest of all the brionnais country. MM. of Canat and Surigny, made the plan of the crypt and worked in the study of sculptures and murals, the date is not earlier than the twelfth century.
It communicated with the church by two staircases that had come together in a single release in front of the choir. The vault is supported by pillars, two gray breccia from the broken barrel of an ancient column, whose base was still visible.
In 1576, the tomb of Hugues de Poitiers is desecrated by Huguenots. The body is thrown into the fire and the ashes scattered to the winds.
The crypt was decorated with frescoes of which only a fragment.
wp
Lombard style bell tower illuminated.
The church of Our Lady of the Assumption is one of the most beautiful Romanesque churches Brionnais and one of the most interesting of Romanesque Burgundy by the quality of its carved decoration and its harmonious proportions.
The building, with its height two-story relates to the ancient architectural tradition of Burgundy. It is the antithesis of architectural principles illustrated in Cluny III.
The church plan
The church of Our Lady of the Assumption is, classically, facing east, toward Jerusalem.
Its floor plan replicates that of the church of Charlieu and recalled the ties between the two monasteries founded in the Carolingian period. The main vessel is a three-nave of five bays under edges. The transept, salient, is to arm with oriented apses. The whole forms a Latin cross. The choir and transepts are crowned by a series of five apses behind. This plan offers a picture perfect in its simplicity and in the rightness of its proportions.
Construction is medium blond limestone unit, uneven and grouted. Unlike the masonry of the apse and transept, compared to that of the nave, recalls that the church of Anzy-le-Duc was conducted in two campaigns, from the mid / late eleventh and early twelfth.
Outdoor Architecture
South side of the church, the corbels that support the entablature cornices are almost carved.
The transept and the main facade is highlighted by their stilted gables.
The bell tower
The church of Our Lady of the Assumption has a remarkable octagonal tower novel.
The elegance of this tower makes it one of the most beautiful Romanesque bell towers of Brionnais. Its high silhouette give slenderness to the entire building. Its octagonal building decorated with three floors of Lombard arches recalls the Romanesque bell towers of northern Italy.
It is decorated with the three upper floors of twin arched windows separated by pillars and topped with Lombard bands.
The western façade has a remarkable portal whose lintel, the eardrum and the archivolt double arch have a very rich sculptural decoration.
The eardrum dated twelfth. The church of Our Lady of the Assumption in three had originally. Today, one of them is located in Hiero Museum Paray-le-Monial. The eardrum visible on the building face Christ in glory in a mandorla. He sits on his throne. The mandorla is a symbol of rebirth, is supported by two angels with wings and whose feet are anchored to the ground. This iconography symbolizes the return of Christ on earth, to the end of time to judge the living and the dead.
The lintel is the scene of the Ascension.
The badly damaged lower arch as well as the four capitals, the 24 elders of the Apocalypse, crowned head, holding in his hand a cup and harp, celebrating the glory of the risen Christ. The 24 elders represent the 12 prophets and patriarchs and the 12 Apostles. They symbolize the meeting of the Old and New Testaments. This image is from a vision of St. John described in the Apocalypse.
The moldings were restored.
The sculptures were hammered during the period of the French Revolution.
The south facade
The south portal of the priory tells the story of the salvation of mankind. Tympanum represents the Adoration of the Magi and the Original Sin. The architrave shows the punishments imposed on the damned in hell, and its left end, a brief allusion to the heavenly Jerusalem. Figures could include the influence of the workshop Gislebertus Autun, although their flexibility departs somewhat from the impetuosity which characterizes the sculptures of the Saint-Lazare Cathedral of Autun. The style is much cruder. Perhaps we there see the hand of an artist who spoke at the Church of Neuilly-en-Donjon, located on the other side of the Loire.
The bedside
Like the second abbey of Cluny, the church of Anzy-le-Duc has a bedside level with five apsidal chapels.
interior architecture
The nave [change | modify the code]
The church of Anzy-le-Duc is regularly oriented.
The architecture of the nave is two stories with large arcades surmounted by tall windows.
The bays of the nave bear groin vaults separated by arches that give rise to simple architectural lines and great harmony. The quality of vaulting demonstrates the skills mastered craftsmen and architects. This bias construction is found in other Romanesque churches of Burgundy, including Vezelay. However, there is not here this momentum verticality that will characterize the buildings have adopted the principles of Cluny III. The vertical and horizontal lines are balanced to generate a feeling of peaceful serenity.
The capitals of the nave date from the eleventh. They are among the earliest examples of this form of typically Romanesque art.
They are carved mostly from plant or animal motifs are of great aesthetic value. There are approximately forty of which a head of cattle, Daniel and the lions, an acrobat, an angel fighting a demon, Samson controlling a lion ...
Saint Michael fighting the devil. He guards the entrance of Paradise. In its shield, the monstrous devil planted his trident, the handle and the right arm holding the were broken (3rd pillar to the left, entering the nave).
This scene could be the man, attached to the right, however, must fight against physical forces or the forces of evil. Nu (nudity in Roman art can represent the innocence of origins), he clings with both hands in the ring that forms the basis of capital. The ring is a symbol of a branch of the tree of life in Genesis. Two monstrous snakes to interlaced rings are preparing to bite his torso and heel. (2nd pillar to the left, entering the nave)
This capital, located on the 5th pillar to the left, entering the nave could illustrate the theme of the quarrel. Two figures evil their tongues, classic iconography in Roman art of lying, slander or insults. The lie is generating conflicts and wars. In the left corner of the tent, two characters kiss: a reconciliation? a hypocritical gesture as might suggest the two heads like monkeys. The monkey wants to imitate the man as the devil tries to imitate God. The monkey is a symbol of heresy, paganism, of all that is false, anything that distracts man from his likeness to God.
Here, in contrast, the most recent works it is possible to see in Autun and Saulieu, the block formed by the marquee itself is not entirely hidden: include seem like stone applied on their support. Yet we already discern a principle of composition which will remain true Burgundian sculpture submitted to the architectural structure of the capital, the figures of angles resume the role of ancient scrolls. They announce the development of the Cluny sculpture twelfth.
The choir
The choir is composed of a span with aisles that end in the apses. It extends an axial central apse and chapels.
The choir, vaulted cul-de-four with frescoes, and the transepts are crowned by a series of five apses behind. The octagonal cupola on tubes.
Two capitals, almost symmetrical, represent two majestic eagles with outspread wings. They open your eyes wide and yet set the rising sun. At the top of the wings, is carved a swastika, ancient Hindu symbol of the sun spinning. The eagle symbolizes the soul that rises above the vicissitudes of earthly experience. That is the spiritual equivalent of the temporal power of the lion. The eagle is the opposite of the snake, chthonic animal. It symbolizes the soul that rises to the Light, to Knowledge as the eagle, king of birds can fly in / from the sun. It is the oldest capitals of the church (circa 1050).
The murals are of medieval origin but were heavily restored in 1850 by a painter of Drill, Jean-François Maurice. The vault in this cul-de-four Ascension. The risen Christ joined his Father in heaven. Standing, surrounded by an oval glory, he blessed the people of believers. Two angels are for 12 Apostles and three holy women remained low. They say, "Men of Galilee, why do you stand looking into heaven? This Jesus who comes to you be taken to heaven, will come in the same way that you saw up there. " Under this Ascension in four areas bounded by pilasters, are represented the symbols of the four evangelists: the angel, emblem of St Matthew, the bull for Luke, the lion of St. Mark and the eagle for John. These four figures were the haloed head and holding the holy book, ie the Bible. Under the angel symbolizing St Matthew Letbald is shown. It was the lord of Anzy-le-Duc, who, in 876, donated his land to the Benedictine monks of Autun. Opposite, under the eagle of St. John, was his wife slope, Altasie.
The crypt
Recent excavations have rediscovered the crypt, clearing a passage of stairs from the north transept. This crypt dated eleventh century served as a burial place to Hugues de Poitiers. It is one of the Christian shrines preserved among the oldest of all the brionnais country. MM. of Canat and Surigny, made the plan of the crypt and worked in the study of sculptures and murals, the date is not earlier than the twelfth century.
It communicated with the church by two staircases that had come together in a single release in front of the choir. The vault is supported by pillars, two gray breccia from the broken barrel of an ancient column, whose base was still visible.
In 1576, the tomb of Hugues de Poitiers is desecrated by Huguenots. The body is thrown into the fire and the ashes scattered to the winds.
The crypt was decorated with frescoes of which only a fragment.
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The Earth Houses, or Souterrains that remain have often been found in agricultural expansion when demand for land and productivity have brought horses and then machines to seek out new pastures and more and more arable. Many Earth Houses have been destroyed in continuing agricultural improvements with records remaining and understanding escaping. The finds, or the accounts of the finds from the underground passages and chambers and the style of their stonework are the key dating features relied upon. Those Earth Houses that include megalithic carved stones are often said to be reusing the ancient stones. Sometimes the style and shape of the passages can create notions of mystery school traditions that run on into enclosed temple spaces and chthonic symbolism with even relatively modern cults not leaving open access to their rites.
Ordnance Survey Map Grid Reference and Global Position
OS Grid Ref: NO 51118 35972
Latitude: 56° 30' 47" N
Longitude: 2° 47' 45" W
Carlungie Earth House, Near Templehall, Angus
www.historicenvironment.scot/visit-a-place/places/carlung...
Carlungie
canmore.org.uk/site/34535/carlungie
Carlungie Souterrain
www.themodernantiquarian.com/site/2812/carlungie.html
Carlungie - Souterrain (Fogou, Earth House) in Scotland in Angus
www.megalithic.co.uk/article.php?sid=5951
PHH Sykes ©2020
phhsykes@gmail.com
"The Tempio di Castore e Polluce (or Tempio dei Dioscuri) is probably Agrigento's most iconic temple, even a symbol of Classical Sicily. Unfortunately, it is misleading, because the northwest corner of which is in a modern reconstruction from 1836, created using pieces from various other temples. It includes four columns and a portion of the entablature. The traces of stucco are original. The temple itself measured 31 m × 13.39 m (101.7 ft × 43.9 ft), and would likely have been a Doric peripteral with 6 x 13 columns, dating to about the mid-5th century BC."
The Dioscuri twin brothers, Castor and Pollux, were sons of Leda and Zeus, who transformed himself into a swan to seduce her.
The temple rises inside the sanctuary of the chthonic divinities (Demeter and Core) and is therefore likely to have been built in honor of these deities and not of Castor and Pollux (the Dioscuri).
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Valle dei Templi, an archaeological site in Agrigento, is one of the most outstanding examples of Greater Greece art and architecture and the largest archaeological site in the world (1,300 hectares).
Valle dei Templi, Sicily. 2018
Lombard style bell tower illuminated.
The church of Our Lady of the Assumption is one of the most beautiful Romanesque churches Brionnais and one of the most interesting of Romanesque Burgundy by the quality of its carved decoration and its harmonious proportions.
The building, with its height two-story relates to the ancient architectural tradition of Burgundy. It is the antithesis of architectural principles illustrated in Cluny III.
The church plan
The church of Our Lady of the Assumption is, classically, facing east, toward Jerusalem.
Its floor plan replicates that of the church of Charlieu and recalled the ties between the two monasteries founded in the Carolingian period. The main vessel is a three-nave of five bays under edges. The transept, salient, is to arm with oriented apses. The whole forms a Latin cross. The choir and transepts are crowned by a series of five apses behind. This plan offers a picture perfect in its simplicity and in the rightness of its proportions.
Construction is medium blond limestone unit, uneven and grouted. Unlike the masonry of the apse and transept, compared to that of the nave, recalls that the church of Anzy-le-Duc was conducted in two campaigns, from the mid / late eleventh and early twelfth.
Outdoor Architecture
South side of the church, the corbels that support the entablature cornices are almost carved.
The transept and the main facade is highlighted by their stilted gables.
The bell tower
The church of Our Lady of the Assumption has a remarkable octagonal tower novel.
The elegance of this tower makes it one of the most beautiful Romanesque bell towers of Brionnais. Its high silhouette give slenderness to the entire building. Its octagonal building decorated with three floors of Lombard arches recalls the Romanesque bell towers of northern Italy.
It is decorated with the three upper floors of twin arched windows separated by pillars and topped with Lombard bands.
The western façade has a remarkable portal whose lintel, the eardrum and the archivolt double arch have a very rich sculptural decoration.
The eardrum dated twelfth. The church of Our Lady of the Assumption in three had originally. Today, one of them is located in Hiero Museum Paray-le-Monial. The eardrum visible on the building face Christ in glory in a mandorla. He sits on his throne. The mandorla is a symbol of rebirth, is supported by two angels with wings and whose feet are anchored to the ground. This iconography symbolizes the return of Christ on earth, to the end of time to judge the living and the dead.
The lintel is the scene of the Ascension.
The badly damaged lower arch as well as the four capitals, the 24 elders of the Apocalypse, crowned head, holding in his hand a cup and harp, celebrating the glory of the risen Christ. The 24 elders represent the 12 prophets and patriarchs and the 12 Apostles. They symbolize the meeting of the Old and New Testaments. This image is from a vision of St. John described in the Apocalypse.
The moldings were restored.
The sculptures were hammered during the period of the French Revolution.
The south facade
The south portal of the priory tells the story of the salvation of mankind. Tympanum represents the Adoration of the Magi and the Original Sin. The architrave shows the punishments imposed on the damned in hell, and its left end, a brief allusion to the heavenly Jerusalem. Figures could include the influence of the workshop Gislebertus Autun, although their flexibility departs somewhat from the impetuosity which characterizes the sculptures of the Saint-Lazare Cathedral of Autun. The style is much cruder. Perhaps we there see the hand of an artist who spoke at the Church of Neuilly-en-Donjon, located on the other side of the Loire.
The bedside
Like the second abbey of Cluny, the church of Anzy-le-Duc has a bedside level with five apsidal chapels.
interior architecture
The nave [change | modify the code]
The church of Anzy-le-Duc is regularly oriented.
The architecture of the nave is two stories with large arcades surmounted by tall windows.
The bays of the nave bear groin vaults separated by arches that give rise to simple architectural lines and great harmony. The quality of vaulting demonstrates the skills mastered craftsmen and architects. This bias construction is found in other Romanesque churches of Burgundy, including Vezelay. However, there is not here this momentum verticality that will characterize the buildings have adopted the principles of Cluny III. The vertical and horizontal lines are balanced to generate a feeling of peaceful serenity.
The capitals of the nave date from the eleventh. They are among the earliest examples of this form of typically Romanesque art.
They are carved mostly from plant or animal motifs are of great aesthetic value. There are approximately forty of which a head of cattle, Daniel and the lions, an acrobat, an angel fighting a demon, Samson controlling a lion ...
Saint Michael fighting the devil. He guards the entrance of Paradise. In its shield, the monstrous devil planted his trident, the handle and the right arm holding the were broken (3rd pillar to the left, entering the nave).
This scene could be the man, attached to the right, however, must fight against physical forces or the forces of evil. Nu (nudity in Roman art can represent the innocence of origins), he clings with both hands in the ring that forms the basis of capital. The ring is a symbol of a branch of the tree of life in Genesis. Two monstrous snakes to interlaced rings are preparing to bite his torso and heel. (2nd pillar to the left, entering the nave)
This capital, located on the 5th pillar to the left, entering the nave could illustrate the theme of the quarrel. Two figures evil their tongues, classic iconography in Roman art of lying, slander or insults. The lie is generating conflicts and wars. In the left corner of the tent, two characters kiss: a reconciliation? a hypocritical gesture as might suggest the two heads like monkeys. The monkey wants to imitate the man as the devil tries to imitate God. The monkey is a symbol of heresy, paganism, of all that is false, anything that distracts man from his likeness to God.
Here, in contrast, the most recent works it is possible to see in Autun and Saulieu, the block formed by the marquee itself is not entirely hidden: include seem like stone applied on their support. Yet we already discern a principle of composition which will remain true Burgundian sculpture submitted to the architectural structure of the capital, the figures of angles resume the role of ancient scrolls. They announce the development of the Cluny sculpture twelfth.
The choir
The choir is composed of a span with aisles that end in the apses. It extends an axial central apse and chapels.
The choir, vaulted cul-de-four with frescoes, and the transepts are crowned by a series of five apses behind. The octagonal cupola on tubes.
Two capitals, almost symmetrical, represent two majestic eagles with outspread wings. They open your eyes wide and yet set the rising sun. At the top of the wings, is carved a swastika, ancient Hindu symbol of the sun spinning. The eagle symbolizes the soul that rises above the vicissitudes of earthly experience. That is the spiritual equivalent of the temporal power of the lion. The eagle is the opposite of the snake, chthonic animal. It symbolizes the soul that rises to the Light, to Knowledge as the eagle, king of birds can fly in / from the sun. It is the oldest capitals of the church (circa 1050).
The murals are of medieval origin but were heavily restored in 1850 by a painter of Drill, Jean-François Maurice. The vault in this cul-de-four Ascension. The risen Christ joined his Father in heaven. Standing, surrounded by an oval glory, he blessed the people of believers. Two angels are for 12 Apostles and three holy women remained low. They say, "Men of Galilee, why do you stand looking into heaven? This Jesus who comes to you be taken to heaven, will come in the same way that you saw up there. " Under this Ascension in four areas bounded by pilasters, are represented the symbols of the four evangelists: the angel, emblem of St Matthew, the bull for Luke, the lion of St. Mark and the eagle for John. These four figures were the haloed head and holding the holy book, ie the Bible. Under the angel symbolizing St Matthew Letbald is shown. It was the lord of Anzy-le-Duc, who, in 876, donated his land to the Benedictine monks of Autun. Opposite, under the eagle of St. John, was his wife slope, Altasie.
The crypt
Recent excavations have rediscovered the crypt, clearing a passage of stairs from the north transept. This crypt dated eleventh century served as a burial place to Hugues de Poitiers. It is one of the Christian shrines preserved among the oldest of all the brionnais country. MM. of Canat and Surigny, made the plan of the crypt and worked in the study of sculptures and murals, the date is not earlier than the twelfth century.
It communicated with the church by two staircases that had come together in a single release in front of the choir. The vault is supported by pillars, two gray breccia from the broken barrel of an ancient column, whose base was still visible.
In 1576, the tomb of Hugues de Poitiers is desecrated by Huguenots. The body is thrown into the fire and the ashes scattered to the winds.
The crypt was decorated with frescoes of which only a fragment.
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Altar of Zeus on 275m hill watching Adramyttian Gulf and Lesbos Island at land of Troy, near Kücükkuyu, in Turkey. It is a rock structure with stairs upon which offerings such as sacrifices and votive offerings were made for religious purposes, or some ceremonies took place. High places and elevated areas on which altars have been erected for worship in the belief that, as they were nearer heaven than the plains and valleys, they are more favourable places for prayer.
Mount Ida
The mountain is the scene of several mythic events in the works of Homer. At its summit, the Olympian gods gathered to watch the progress of the epic fight. But the mountain was the sacred place of the Goddess, and Hera's powers were so magnified on Mount Ida, that she was able to distract Zeus with her seductions, just long enough to permit Poseidon to intercede on behalf of the Argives to drive Hektor and the Trojans back from the ships.
During the Trojan War, in an episode recorded in Apollodorus's Epitome, Achilles with some of the Achaean chiefs laid waste the countryside, and made his way to Ida to rustle the cattle of Aeneas. But Aeneas fled, and Achilles killed the cowherds and Nestor, son of Priam, and drove away the sacred kine (Epitome 3.32). Achilles briefly refers to this incident as he prepares to duel with Aeneas during the siege of Troy. (Iliad XX)
After the Trojan War, the only surviving son of Priam, Helenus, retired to Mount Ida, where he was surprised and became the captive of Neoptolemus.
Paris
On the sacred mountain, the nymphs who were the daughter-spirits of the river Cebrenus, had their haunt, and one, Oenone, who had the chthonic gifts of prophetic vision and the curative powers of herb magic, wed Paris, living as a shepherd on Mount Ida. Unbeknownst to all, even to himself, Paris was the son of Priam, king of Troy. He was there on Mount Ida, experiencing the rustic education in exile of many heroes of Greek mythology, for his disastrous future effect on Troy was foretold at his birth, and Priam had him exposed on the sacred slopes. When the good shepherd who was entrusted with the baby returned to bury the exposed child, he discovered that he had been suckled by a she-bear (a totem animal of the archaic goddess Artemis) and took the child home to be foster-nursed by his wife.
When Eris ("discord") cast the Apple of Discord, inscribed "for the fairest", into the wedding festivities of Peleus with Thetis, three great goddesses repaired to Mount Ida to be appraised. By a sacred spring on the mountainside, in "the Judgment of Paris", the grown youth Paris awarded it to Aphrodite, who offered Helen for a bribe, earning the perpetual enmity of the discredited goddesses Hera and Athena to the Trojan cause (Apollodorus, 3:12.5).
I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.
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Laurence Edwards, Messums, Tisbury, Wiltshire
The Apollo Belvedere or Apollo of the Belvedere—also called the Pythian Apollo— is a celebrated marble sculpture from classical antiquity. It was rediscovered in central Italy in the late 15th century, during the Renaissance. From the mid-18th century, it was considered the greatest ancient sculpture by ardent neoclassicists and for centuries epitomized ideals of aesthetic perfection for Europeans and westernized parts of the world.
The Greek god Apollo is depicted having just shot a death-dealing arrow. The episode represented may be the slaying of Python, the primordial serpent guarding Delphi—making the sculpture a Pythian Apollo. Alternatively, it may be the slaying of the giant Tityos, who threatened his mother Leto, or the episode of the Niobids.
The large white marble sculpture—2.24 m (7.3 feet) high—depicts the Greek god Apollo as a standing archer. The complex contrapposto of the work has been much admired; it appears to position the figure both frontally and in profile. Although there is no agreement as to the precise narrative detail being depicted, the conventional view has been that the god has just overtaken the serpent Python, the chthonic serpent of Delphi. The arrow has just left his bow and the effort impressed on his musculature still lingers. His hair, lightly curled, flows in ringlets down his neck and rises gracefully to the summit of his head, which is encircled with the strophium, a band symbolic of gods and kings. His quiver is suspended across his left shoulder. He is entirely nude except for his sandals and that his robe (chlamys) is clasped at his right shoulder and is turned up only on his left arm and thrown back.
The lower part of the right arm and the left hand were missing when discovered and were restored by Giovanni Angelo Montorsoli (1506–63), a sculptor and pupil of Michelangelo.
The Apollo became one of the world's most celebrated art works when in 1755 it was championed by the German art historian and archaeologist Johann Joachim Winckelmann (1717–1768) as the best example of the perfection of the Greek aesthetic ideal. Its noble simplicity and quiet grandeur, as he described it, became one of the leading lights of neo-classicism and an icon of the Enlightenment. Goethe, Schiller, and Byron all endorsed it. The Apollo was one of the artworks brought back to Paris by Napoleon after his 1796 Italian Campaign. From 1798 it formed part of the collection of the Louvre during the First Empire. (Wikipedia)
The Song of Songs IV
Found in the Song of Songs IV, a little of the atmosphere of large pictures on Genesis and Exodus. The composition is clearly dominated by the diagonal that takes on a winged horse, King David and Bathsheba. Its dynamic effect is increased by the movement of the wings courier and the presence of the city over which the crew appears projected in the sky.
Delicate pink previous paintings gave way to darker harmonies: Red orange accented with black lines. In this atmosphere of fire reappears the crowd of large paintings: maternity, rabbis wandering Jews, love. The crowd that celebrates the love of man and the famous woman through her their Creator.
The winged horse is a very old theme of legendary Russian. The symbolism of the horse is actually pretty much the same in all people, and is twofold: chthonic the origin and linked to the fire, it appears the impetuousness of desire, youth rights and fertility; but sometimes it leaves its dark origins to rise to heaven. Uranian and solar, heavenly white horse represents mastered and sublimated instinct.
We thought we knew all of the work of Marc Chagall ... The course painter but also a sculptor, ceramicist without forgetting mosaics, stained glass windows and the upholsterer . This is what we discover until January 11 at the Modern Art Museum of Troyes , a place that has already spent exposures to glass, ceramics and textile art.
Chagall is interested in Tapestry in 1962, when the Israeli government commissioned a decoration for the hall of the Knesset. The triptych of a monumental tapestry is entrusted to the renowned Gobelins . He will again appeal to the factory in 1973 for a tapestry located in the entrance of the Marc Chagall National Museum in Nice.
Meanwhile, in 1964, the artist met the supervisor Yvette Cauquil-Prince and is immediately seduced by its ability to achieve tapestries without losing the soul so special original paintings.
The exhibition represents 17 tapestries Yvette Cauquil-Prince who was inspired lithographs and paintings of Marc Chagall the exposed side to put them in parallel and compared.
These tapestries include Peace , loaned by the city of Sarrebourg Moselle, La Baie des Anges , Le Coq Rouge, Harlequin and A wife , a work by Chagall in homage to his Bella Rosenfeld wife died in 1944.
In these tapestries themes dear to Marc Chagall are all present , religion, nature, circus, musicians and animals, this lively and colorful medley that transports us like a dream and reminds this excerpt from a poem of Aragon:
" Chagall color is your people
Give games and bread
God it's nice when the shadow is red
and blue love "
Christophe Dard
to mark the 30 th anniversary of the death of Chagall, Marc Chagall National Museum invites the public to discover a wealth less known production of the artist: woven work.
After World War II, set in the south of France, Marc Chagall was introduced to other techniques as painting or engraving. The artist seeks to expand its plastic experiments: ceramics, stained glass, sculpture, mosaic and tapestry mobilize energy.
During his lifetime, Chagall and sees "fall of the loom" 20 tapestries for the decoration of public buildings or private collectors. Made from Chagall's works, these tapestries were executed in close collaboration with the weavers of the national Gobelins or with a large tapestry specialist, Yvette Cauquil-Prince.
Chagall and upholstery
The first tapestries are woven Manufacture Nationale des Gobelins in Paris between 1965 and 1968. This is a set of three monumental tapestries for the hall of the Knesset in Jerusalem. In 1970 - 1971, it is again the Manufacture des Gobelins is responsible for the execution of a tapestry for the future National Museum Marc Chagall Biblical Message in Nice.
But much of the work is performed woven from the works of Chagall led by Yvette Cauquil-Prince. Major protagonist of the revival of the tapestry in the XX th century, Yvette Cauquil-Prince (1928-2005) devoted his expertise and talent to the transcription tapestry works of the greatest artists of the time: Pablo Picasso, Max Ernst, Paul Klee ... Chagall meeting in 1964. Since then, is established a fruitful dialogue that lasts two decades and beyond, in tapestries pursued Yvette Cauquil-Prince after the death of Chagall in 1985. brilliant performer of the master's work, she excels in the return of pictorial effects by means of the tapestry. It imports into the work woven throughout the expressive richness of the painted work, etched or drawn. The first tapestries, small size, are followed by large parts, giving see the model in a new format. As prime contractor, Yvette Cauquil-Prince does not limit its intervention to the reproduction of a model or its expansion. It proposes, by changing the medium and format, another reading of the work of Marc Chagall.
First tapestry exhibition at the National Marc Chagall Museum
This is the first time the Marc Chagall National Museum celebrates this technique, represented in its collections by a single piece, created for the museum, Mediterranean landscape .
The exhibition Marc Chagall. Woven works unfolds throughout the museum. It provides exceptional confrontation 12 shimmering tapestry or more nuanced and 12 original works by Chagall, who served as models for weaving.
The achievements will be discussed with the Gobelins tapestry created for the opening of the Museum (1973) and by the test printing, retail validated by Marc Chagall tapestries for the Knesset. Other tapestries presented show vividly the talented performer Yvette Cauquil-Prince.
The exhibition also explains the part of freedom of interpretation left to the contractor. One room is dedicated to the art of tapestry where the public can find the materials needed for weaving.
Monumental transposition of colorful verve of Marc Chagall, the woven work is an extension of the painted or engraved work. It invites to think the deregulation of creation, beyond the boundaries between artistic disciplines.
Police station
Anne Dopffer, general heritage curator, director of the National Museums of XX th century in the Alpes-Maritimes
Sarah Highlighting conservative Heritage National Museum Marc Chagall
Dionysus (Dionysos) was the Olympian god of wine, vegetation, pleasure, festivity, madness, wild frenzy, grape harvest, winemaking, religious ecstasy, and theatre. (Roman Name?: ?Liber. Other Names?: ?Bacchus, Lyaeus)
He was depicted as either an long-haired youth OR older, bearded god or an effeminate. His attributes included the thyrsos (a pine-cone tipped staff), a drinking cup and a crown of ivy. He was usually accompanied by a troop of Satyrs and Mainades (wild female devotees).
MYTHS
Dionysos was a son of Zeus and the princess Semele of Thebes. During the course of her pregnancy, the god's jealous wife Hera tricked Semele into asking Zeus to appear before her in his full glory. Bound by oath, the god was forced to comply and she was consumed by the heat of his lightning-bolts. Zeus recovered their unborn child from her body, sewed him up in his own thigh, and carried him to term.
After his birth from the thigh of Zeus, Dionysos was first entrusted to the care of Seilenos (Silenus) and the nymphs of Mount Nysa, and later to his aunt Ino, Semele's sister, and her husband Athamas. Hera was enraged when she learned of the boy's location and drove the couple mad, causing them to kill both their children and themselves.
The Thrakian king Lykourgos (Lycurgus) attacked Dionysos and his companions as they were travelling through his land and drove them into the sea. As punishment, the god inflicted him with madness causing him to murder his wife and son and mutilate himself with an axe.
King Pentheus of Thebes refused to accept the god's divinity and tried to apprehend him. The god retaliated by driving the king's daughters into a crazed frenzy and they tore him apart limb from limb.
Dionysos instructed the hero Ikarios (Icarius) of Athens in the art of winemaking. However, some shepherds, upon drinking the wine, thought they had been poisoned and killed him. The sorrowful god then set him amongst the stars as the constellation Bootes.
As Dionysos was travelling through the islands of the Aegean Sea he was captured by a band of Tyrrhenian pirates who thought to sell him into slavery. The god infested their ship with phantoms of creeping vines and wild beasts, and in terror the men leapt overboard and were transformed into dolphins.
Dionysos married princess Ariadne of Krete (Crete) whom he discovered abandoned by Theseus on the island of Naxos.
The god launched a campaign against the Indian nation in the farthest reaches of Asia, leading an army composed of Satyrs, Mainades, and demigods.
Dionysos journeyed to the underworld to recover his mother Semele and brought her to Olympos where Zeus transformed into the goddess Thyone.
SYMBOLS & ATTRIBUTES
Dionysos' most distinctive attribute was the thyrsos, a pine-cone tipped staff. His other attributes included a drinking-cup (kantharos), fruiting grapevines and a panther.
The god was usually clothed in a long robe (chiton) and cloak (himation) and crowned with a wreath of ivy-leaves.
SACRED ANIMALS & PLANTS
Dionysos' sacred animals were the panther (leopard), tiger, bull and serpent. The god rode on the back of a panther or drove a chariot drawn by a pair of the beasts.
His sacred plants were the grapevine, ivy, bindweed (prickly ivy) and pine tree. Devotees of the god wore wreaths of ivy and carried pine-cone tipped staffs.
Dionysos was a son of Zeus, King of the Gods, and Semele, a mortal princess of Thebes. The god was known as the "twice-born" for his mother was slain by the lightning-bolts of Zeus during the course of her pregancy, but rescued by his father who carried him to term sown up inside his thigh.
Dionysos' grandparents were the Titans Kronos (Cronus) and Rheia, King Kadmos (Cadmus) of Thebes and the goddess Harmonia. He was a great-grandson of Ares and Aphrodite (Harmonia's parents) and also a distant descendant of the god Poseidon.
The god's half-brothers and sisters included Hermes, Ares, Aphrodite, Athena, Persephone, Apollon and Artemis.
He married Ariadne, daughter of King Minos of Krete (Crete), and their sons became kings and princes of the best wine-producing regions in ancient Greece.
ENCYCLOPEDIA
Dinysos, the youthful, beautiful, but effeminate god of wine. He is also called both by Greeks and Romans Bacchus (Bakchos), that is, the noisy or riotous god, which was originally a mere epithet or surname of Dionysus, but does not occur till after the time of Herodotus.
Bal-Sagoth - Chthonic Demon artwork. From the digipak special edition of "The Chthonic Chronicles" and the "Vespertine Viper's Nest" t-shirt. Artwork by M. Hanford.
Preparation of the maiden for marriage.
First half of the 5th c. BCE
From the sanctuary of Persephone at Locri, loc. Mannella.
Museo Archeologico Nazionale di Locri Epizefiri (ArcheoCalabriaVirtual, Locri Antica)
Soprintendenza per i Beni Archeologici della Calabria
Dionysus (Dionysos) was the Olympian god of wine, vegetation, pleasure, festivity, madness, wild frenzy, grape harvest, winemaking, religious ecstasy, and theatre. (Roman Name?: ?Liber. Other Names?: ?Bacchus, Lyaeus)
He was depicted as either an long-haired youth OR older, bearded god or an effeminate. His attributes included the thyrsos (a pine-cone tipped staff), a drinking cup and a crown of ivy. He was usually accompanied by a troop of Satyrs and Mainades (wild female devotees).
MYTHS
Dionysos was a son of Zeus and the princess Semele of Thebes. During the course of her pregnancy, the god's jealous wife Hera tricked Semele into asking Zeus to appear before her in his full glory. Bound by oath, the god was forced to comply and she was consumed by the heat of his lightning-bolts. Zeus recovered their unborn child from her body, sewed him up in his own thigh, and carried him to term.
After his birth from the thigh of Zeus, Dionysos was first entrusted to the care of Seilenos (Silenus) and the nymphs of Mount Nysa, and later to his aunt Ino, Semele's sister, and her husband Athamas. Hera was enraged when she learned of the boy's location and drove the couple mad, causing them to kill both their children and themselves.
The Thrakian king Lykourgos (Lycurgus) attacked Dionysos and his companions as they were travelling through his land and drove them into the sea. As punishment, the god inflicted him with madness causing him to murder his wife and son and mutilate himself with an axe.
King Pentheus of Thebes refused to accept the god's divinity and tried to apprehend him. The god retaliated by driving the king's daughters into a crazed frenzy and they tore him apart limb from limb.
Dionysos instructed the hero Ikarios (Icarius) of Athens in the art of winemaking. However, some shepherds, upon drinking the wine, thought they had been poisoned and killed him. The sorrowful god then set him amongst the stars as the constellation Bootes.
As Dionysos was travelling through the islands of the Aegean Sea he was captured by a band of Tyrrhenian pirates who thought to sell him into slavery. The god infested their ship with phantoms of creeping vines and wild beasts, and in terror the men leapt overboard and were transformed into dolphins.
Dionysos married princess Ariadne of Krete (Crete) whom he discovered abandoned by Theseus on the island of Naxos.
The god launched a campaign against the Indian nation in the farthest reaches of Asia, leading an army composed of Satyrs, Mainades, and demigods.
Dionysos journeyed to the underworld to recover his mother Semele and brought her to Olympos where Zeus transformed into the goddess Thyone.
SYMBOLS & ATTRIBUTES
Dionysos' most distinctive attribute was the thyrsos, a pine-cone tipped staff. His other attributes included a drinking-cup (kantharos), fruiting grapevines and a panther.
The god was usually clothed in a long robe (chiton) and cloak (himation) and crowned with a wreath of ivy-leaves.
SACRED ANIMALS & PLANTS
Dionysos' sacred animals were the panther (leopard), tiger, bull and serpent. The god rode on the back of a panther or drove a chariot drawn by a pair of the beasts.
His sacred plants were the grapevine, ivy, bindweed (prickly ivy) and pine tree. Devotees of the god wore wreaths of ivy and carried pine-cone tipped staffs.
Dionysos was a son of Zeus, King of the Gods, and Semele, a mortal princess of Thebes. The god was known as the "twice-born" for his mother was slain by the lightning-bolts of Zeus during the course of her pregancy, but rescued by his father who carried him to term sown up inside his thigh.
Dionysos' grandparents were the Titans Kronos (Cronus) and Rheia, King Kadmos (Cadmus) of Thebes and the goddess Harmonia. He was a great-grandson of Ares and Aphrodite (Harmonia's parents) and also a distant descendant of the god Poseidon.
The god's half-brothers and sisters included Hermes, Ares, Aphrodite, Athena, Persephone, Apollon and Artemis.
He married Ariadne, daughter of King Minos of Krete (Crete), and their sons became kings and princes of the best wine-producing regions in ancient Greece.
ENCYCLOPEDIA
Dinysos, the youthful, beautiful, but effeminate god of wine. He is also called both by Greeks and Romans Bacchus (Bakchos), that is, the noisy or riotous god, which was originally a mere epithet or surname of Dionysus, but does not occur till after the time of Herodotus.
Dionysus (Dionysos) was the Olympian god of wine, vegetation, pleasure, festivity, madness, wild frenzy, grape harvest, winemaking, religious ecstasy, and theatre. (Roman Name?: ?Liber. Other Names?: ?Bacchus, Lyaeus)
He was depicted as either an long-haired youth OR older, bearded god or an effeminate. His attributes included the thyrsos (a pine-cone tipped staff), a drinking cup and a crown of ivy. He was usually accompanied by a troop of Satyrs and Mainades (wild female devotees).
MYTHS
Dionysos was a son of Zeus and the princess Semele of Thebes. During the course of her pregnancy, the god's jealous wife Hera tricked Semele into asking Zeus to appear before her in his full glory. Bound by oath, the god was forced to comply and she was consumed by the heat of his lightning-bolts. Zeus recovered their unborn child from her body, sewed him up in his own thigh, and carried him to term.
After his birth from the thigh of Zeus, Dionysos was first entrusted to the care of Seilenos (Silenus) and the nymphs of Mount Nysa, and later to his aunt Ino, Semele's sister, and her husband Athamas. Hera was enraged when she learned of the boy's location and drove the couple mad, causing them to kill both their children and themselves.
The Thrakian king Lykourgos (Lycurgus) attacked Dionysos and his companions as they were travelling through his land and drove them into the sea. As punishment, the god inflicted him with madness causing him to murder his wife and son and mutilate himself with an axe.
King Pentheus of Thebes refused to accept the god's divinity and tried to apprehend him. The god retaliated by driving the king's daughters into a crazed frenzy and they tore him apart limb from limb.
Dionysos instructed the hero Ikarios (Icarius) of Athens in the art of winemaking. However, some shepherds, upon drinking the wine, thought they had been poisoned and killed him. The sorrowful god then set him amongst the stars as the constellation Bootes.
As Dionysos was travelling through the islands of the Aegean Sea he was captured by a band of Tyrrhenian pirates who thought to sell him into slavery. The god infested their ship with phantoms of creeping vines and wild beasts, and in terror the men leapt overboard and were transformed into dolphins.
Dionysos married princess Ariadne of Krete (Crete) whom he discovered abandoned by Theseus on the island of Naxos.
The god launched a campaign against the Indian nation in the farthest reaches of Asia, leading an army composed of Satyrs, Mainades, and demigods.
Dionysos journeyed to the underworld to recover his mother Semele and brought her to Olympos where Zeus transformed into the goddess Thyone.
SYMBOLS & ATTRIBUTES
Dionysos' most distinctive attribute was the thyrsos, a pine-cone tipped staff. His other attributes included a drinking-cup (kantharos), fruiting grapevines and a panther.
The god was usually clothed in a long robe (chiton) and cloak (himation) and crowned with a wreath of ivy-leaves.
SACRED ANIMALS & PLANTS
Dionysos' sacred animals were the panther (leopard), tiger, bull and serpent. The god rode on the back of a panther or drove a chariot drawn by a pair of the beasts.
His sacred plants were the grapevine, ivy, bindweed (prickly ivy) and pine tree. Devotees of the god wore wreaths of ivy and carried pine-cone tipped staffs.
Dionysos was a son of Zeus, King of the Gods, and Semele, a mortal princess of Thebes. The god was known as the "twice-born" for his mother was slain by the lightning-bolts of Zeus during the course of her pregancy, but rescued by his father who carried him to term sown up inside his thigh.
Dionysos' grandparents were the Titans Kronos (Cronus) and Rheia, King Kadmos (Cadmus) of Thebes and the goddess Harmonia. He was a great-grandson of Ares and Aphrodite (Harmonia's parents) and also a distant descendant of the god Poseidon.
The god's half-brothers and sisters included Hermes, Ares, Aphrodite, Athena, Persephone, Apollon and Artemis.
He married Ariadne, daughter of King Minos of Krete (Crete), and their sons became kings and princes of the best wine-producing regions in ancient Greece.
ENCYCLOPEDIA
Dinysos, the youthful, beautiful, but effeminate god of wine. He is also called both by Greeks and Romans Bacchus (Bakchos), that is, the noisy or riotous god, which was originally a mere epithet or surname of Dionysus, but does not occur till after the time of Herodotus.
Dionysus (Dionysos) was the Olympian god of wine, vegetation, pleasure, festivity, madness, wild frenzy, grape harvest, winemaking, religious ecstasy, and theatre. (Roman Name?: ?Liber. Other Names?: ?Bacchus, Lyaeus)
He was depicted as either an long-haired youth OR older, bearded god or an effeminate. His attributes included the thyrsos (a pine-cone tipped staff), a drinking cup and a crown of ivy. He was usually accompanied by a troop of Satyrs and Mainades (wild female devotees).
MYTHS
Dionysos was a son of Zeus and the princess Semele of Thebes. During the course of her pregnancy, the god's jealous wife Hera tricked Semele into asking Zeus to appear before her in his full glory. Bound by oath, the god was forced to comply and she was consumed by the heat of his lightning-bolts. Zeus recovered their unborn child from her body, sewed him up in his own thigh, and carried him to term.
After his birth from the thigh of Zeus, Dionysos was first entrusted to the care of Seilenos (Silenus) and the nymphs of Mount Nysa, and later to his aunt Ino, Semele's sister, and her husband Athamas. Hera was enraged when she learned of the boy's location and drove the couple mad, causing them to kill both their children and themselves.
The Thrakian king Lykourgos (Lycurgus) attacked Dionysos and his companions as they were travelling through his land and drove them into the sea. As punishment, the god inflicted him with madness causing him to murder his wife and son and mutilate himself with an axe.
King Pentheus of Thebes refused to accept the god's divinity and tried to apprehend him. The god retaliated by driving the king's daughters into a crazed frenzy and they tore him apart limb from limb.
Dionysos instructed the hero Ikarios (Icarius) of Athens in the art of winemaking. However, some shepherds, upon drinking the wine, thought they had been poisoned and killed him. The sorrowful god then set him amongst the stars as the constellation Bootes.
As Dionysos was travelling through the islands of the Aegean Sea he was captured by a band of Tyrrhenian pirates who thought to sell him into slavery. The god infested their ship with phantoms of creeping vines and wild beasts, and in terror the men leapt overboard and were transformed into dolphins.
Dionysos married princess Ariadne of Krete (Crete) whom he discovered abandoned by Theseus on the island of Naxos.
The god launched a campaign against the Indian nation in the farthest reaches of Asia, leading an army composed of Satyrs, Mainades, and demigods.
Dionysos journeyed to the underworld to recover his mother Semele and brought her to Olympos where Zeus transformed into the goddess Thyone.
SYMBOLS & ATTRIBUTES
Dionysos' most distinctive attribute was the thyrsos, a pine-cone tipped staff. His other attributes included a drinking-cup (kantharos), fruiting grapevines and a panther.
The god was usually clothed in a long robe (chiton) and cloak (himation) and crowned with a wreath of ivy-leaves.
SACRED ANIMALS & PLANTS
Dionysos' sacred animals were the panther (leopard), tiger, bull and serpent. The god rode on the back of a panther or drove a chariot drawn by a pair of the beasts.
His sacred plants were the grapevine, ivy, bindweed (prickly ivy) and pine tree. Devotees of the god wore wreaths of ivy and carried pine-cone tipped staffs.
Dionysos was a son of Zeus, King of the Gods, and Semele, a mortal princess of Thebes. The god was known as the "twice-born" for his mother was slain by the lightning-bolts of Zeus during the course of her pregancy, but rescued by his father who carried him to term sown up inside his thigh.
Dionysos' grandparents were the Titans Kronos (Cronus) and Rheia, King Kadmos (Cadmus) of Thebes and the goddess Harmonia. He was a great-grandson of Ares and Aphrodite (Harmonia's parents) and also a distant descendant of the god Poseidon.
The god's half-brothers and sisters included Hermes, Ares, Aphrodite, Athena, Persephone, Apollon and Artemis.
He married Ariadne, daughter of King Minos of Krete (Crete), and their sons became kings and princes of the best wine-producing regions in ancient Greece.
ENCYCLOPEDIA
Dinysos, the youthful, beautiful, but effeminate god of wine. He is also called both by Greeks and Romans Bacchus (Bakchos), that is, the noisy or riotous god, which was originally a mere epithet or surname of Dionysus, but does not occur till after the time of Herodotus.
Dionysus (Dionysos) was the Olympian god of wine, vegetation, pleasure, festivity, madness, wild frenzy, grape harvest, winemaking, religious ecstasy, and theatre. (Roman Name?: ?Liber. Other Names?: ?Bacchus, Lyaeus)
He was depicted as either an long-haired youth OR older, bearded god or an effeminate. His attributes included the thyrsos (a pine-cone tipped staff), a drinking cup and a crown of ivy. He was usually accompanied by a troop of Satyrs and Mainades (wild female devotees).
MYTHS
Dionysos was a son of Zeus and the princess Semele of Thebes. During the course of her pregnancy, the god's jealous wife Hera tricked Semele into asking Zeus to appear before her in his full glory. Bound by oath, the god was forced to comply and she was consumed by the heat of his lightning-bolts. Zeus recovered their unborn child from her body, sewed him up in his own thigh, and carried him to term.
After his birth from the thigh of Zeus, Dionysos was first entrusted to the care of Seilenos (Silenus) and the nymphs of Mount Nysa, and later to his aunt Ino, Semele's sister, and her husband Athamas. Hera was enraged when she learned of the boy's location and drove the couple mad, causing them to kill both their children and themselves.
The Thrakian king Lykourgos (Lycurgus) attacked Dionysos and his companions as they were travelling through his land and drove them into the sea. As punishment, the god inflicted him with madness causing him to murder his wife and son and mutilate himself with an axe.
King Pentheus of Thebes refused to accept the god's divinity and tried to apprehend him. The god retaliated by driving the king's daughters into a crazed frenzy and they tore him apart limb from limb.
Dionysos instructed the hero Ikarios (Icarius) of Athens in the art of winemaking. However, some shepherds, upon drinking the wine, thought they had been poisoned and killed him. The sorrowful god then set him amongst the stars as the constellation Bootes.
As Dionysos was travelling through the islands of the Aegean Sea he was captured by a band of Tyrrhenian pirates who thought to sell him into slavery. The god infested their ship with phantoms of creeping vines and wild beasts, and in terror the men leapt overboard and were transformed into dolphins.
Dionysos married princess Ariadne of Krete (Crete) whom he discovered abandoned by Theseus on the island of Naxos.
The god launched a campaign against the Indian nation in the farthest reaches of Asia, leading an army composed of Satyrs, Mainades, and demigods.
Dionysos journeyed to the underworld to recover his mother Semele and brought her to Olympos where Zeus transformed into the goddess Thyone.
SYMBOLS & ATTRIBUTES
Dionysos' most distinctive attribute was the thyrsos, a pine-cone tipped staff. His other attributes included a drinking-cup (kantharos), fruiting grapevines and a panther.
The god was usually clothed in a long robe (chiton) and cloak (himation) and crowned with a wreath of ivy-leaves.
SACRED ANIMALS & PLANTS
Dionysos' sacred animals were the panther (leopard), tiger, bull and serpent. The god rode on the back of a panther or drove a chariot drawn by a pair of the beasts.
His sacred plants were the grapevine, ivy, bindweed (prickly ivy) and pine tree. Devotees of the god wore wreaths of ivy and carried pine-cone tipped staffs.
Dionysos was a son of Zeus, King of the Gods, and Semele, a mortal princess of Thebes. The god was known as the "twice-born" for his mother was slain by the lightning-bolts of Zeus during the course of her pregancy, but rescued by his father who carried him to term sown up inside his thigh.
Dionysos' grandparents were the Titans Kronos (Cronus) and Rheia, King Kadmos (Cadmus) of Thebes and the goddess Harmonia. He was a great-grandson of Ares and Aphrodite (Harmonia's parents) and also a distant descendant of the god Poseidon.
The god's half-brothers and sisters included Hermes, Ares, Aphrodite, Athena, Persephone, Apollon and Artemis.
He married Ariadne, daughter of King Minos of Krete (Crete), and their sons became kings and princes of the best wine-producing regions in ancient Greece.
ENCYCLOPEDIA
Dinysos, the youthful, beautiful, but effeminate god of wine. He is also called both by Greeks and Romans Bacchus (Bakchos), that is, the noisy or riotous god, which was originally a mere epithet or surname of Dionysus, but does not occur till after the time of Herodotus.
Dionysus (Dionysos) was the Olympian god of wine, vegetation, pleasure, festivity, madness, wild frenzy, grape harvest, winemaking, religious ecstasy, and theatre. (Roman Name?: ?Liber. Other Names?: ?Bacchus, Lyaeus)
He was depicted as either an long-haired youth OR older, bearded god or an effeminate. His attributes included the thyrsos (a pine-cone tipped staff), a drinking cup and a crown of ivy. He was usually accompanied by a troop of Satyrs and Mainades (wild female devotees).
MYTHS
Dionysos was a son of Zeus and the princess Semele of Thebes. During the course of her pregnancy, the god's jealous wife Hera tricked Semele into asking Zeus to appear before her in his full glory. Bound by oath, the god was forced to comply and she was consumed by the heat of his lightning-bolts. Zeus recovered their unborn child from her body, sewed him up in his own thigh, and carried him to term.
After his birth from the thigh of Zeus, Dionysos was first entrusted to the care of Seilenos (Silenus) and the nymphs of Mount Nysa, and later to his aunt Ino, Semele's sister, and her husband Athamas. Hera was enraged when she learned of the boy's location and drove the couple mad, causing them to kill both their children and themselves.
The Thrakian king Lykourgos (Lycurgus) attacked Dionysos and his companions as they were travelling through his land and drove them into the sea. As punishment, the god inflicted him with madness causing him to murder his wife and son and mutilate himself with an axe.
King Pentheus of Thebes refused to accept the god's divinity and tried to apprehend him. The god retaliated by driving the king's daughters into a crazed frenzy and they tore him apart limb from limb.
Dionysos instructed the hero Ikarios (Icarius) of Athens in the art of winemaking. However, some shepherds, upon drinking the wine, thought they had been poisoned and killed him. The sorrowful god then set him amongst the stars as the constellation Bootes.
As Dionysos was travelling through the islands of the Aegean Sea he was captured by a band of Tyrrhenian pirates who thought to sell him into slavery. The god infested their ship with phantoms of creeping vines and wild beasts, and in terror the men leapt overboard and were transformed into dolphins.
Dionysos married princess Ariadne of Krete (Crete) whom he discovered abandoned by Theseus on the island of Naxos.
The god launched a campaign against the Indian nation in the farthest reaches of Asia, leading an army composed of Satyrs, Mainades, and demigods.
Dionysos journeyed to the underworld to recover his mother Semele and brought her to Olympos where Zeus transformed into the goddess Thyone.
SYMBOLS & ATTRIBUTES
Dionysos' most distinctive attribute was the thyrsos, a pine-cone tipped staff. His other attributes included a drinking-cup (kantharos), fruiting grapevines and a panther.
The god was usually clothed in a long robe (chiton) and cloak (himation) and crowned with a wreath of ivy-leaves.
SACRED ANIMALS & PLANTS
Dionysos' sacred animals were the panther (leopard), tiger, bull and serpent. The god rode on the back of a panther or drove a chariot drawn by a pair of the beasts.
His sacred plants were the grapevine, ivy, bindweed (prickly ivy) and pine tree. Devotees of the god wore wreaths of ivy and carried pine-cone tipped staffs.
Dionysos was a son of Zeus, King of the Gods, and Semele, a mortal princess of Thebes. The god was known as the "twice-born" for his mother was slain by the lightning-bolts of Zeus during the course of her pregancy, but rescued by his father who carried him to term sown up inside his thigh.
Dionysos' grandparents were the Titans Kronos (Cronus) and Rheia, King Kadmos (Cadmus) of Thebes and the goddess Harmonia. He was a great-grandson of Ares and Aphrodite (Harmonia's parents) and also a distant descendant of the god Poseidon.
The god's half-brothers and sisters included Hermes, Ares, Aphrodite, Athena, Persephone, Apollon and Artemis.
He married Ariadne, daughter of King Minos of Krete (Crete), and their sons became kings and princes of the best wine-producing regions in ancient Greece.
ENCYCLOPEDIA
Dinysos, the youthful, beautiful, but effeminate god of wine. He is also called both by Greeks and Romans Bacchus (Bakchos), that is, the noisy or riotous god, which was originally a mere epithet or surname of Dionysus, but does not occur till after the time of Herodotus.
Left, terracotta male head, made with multiple molds, wearing a vegetal crown.
Right, terracotta figure wearing a helmet and a wide belt, possibly a soldier or the goddess Minerva.
Below, a bird.
From the votive deposit (closed late 2nd/early 1st c. BCE) at loc. Privati above and south of ancient Stabiae (see on Pleiades). The sanctuary at Privati shows many similarities in material culture to that of the Doric temple in the triangular forum at Pompeii attributed to Athena.
Photographed on display at the Antiquarium of Pompeii.
Collection of the Antiquarium Stabiano.
4th-3rd c. BCE
From the votive deposit (closed late 2nd/early 1st c. BCE) at loc. Privati above and south of ancient Stabiae (see on Pleiades). The sanctuary at Privati shows many similarities in material culture to that of the Doric temple in the triangular forum at Pompeii attributed to Athena.
Photographed on display at the Antiquarium of Pompeii.
Collection of the Antiquarium Stabiano.
This elegant figurine holding snakes represents a goddess and by implication, the term 'snake goddess' also describes the chthonic deity depicted.
The figurine is made of faience, a technique for glazing earthenware and other ceramic vessels by using a quartz paste. After firing this produces bright colors and a lustrous sheen. In Oxford Ashmolean Museum a modern copy of these figurines is exhibited, and gives an idea of the original colors.
Minoan faïence figurines
About 1600 BC
From Knossos
Heraklion Archaeological Museum
Feb 2018 Vatican museums
he Apollo Belvedere or Apollo of the Belvedere—also called the Pythian Apollo[1]—is a celebrated marble sculpture from Classical Antiquity.
It was rediscovered in central Italy in the late 15th century, during the Renaissance. From the mid-18th century it was considered the greatest ancient sculpture by ardent neoclassicists, and for centuries epitomized ideals of aesthetic perfection for Europeans and westernized parts of the world. It is now found in the Cortile delle Statue of the Pio-Clementine Museum of the Vatican Museums complex.
The Greek god Apollo is depicted as a standing archer having just shot an arrow. Although there is no agreement as to the precise narrative detail being depicted, the conventional view has been that he has just slain the serpent Python, the chthonic serpent guarding Delphi—making the sculpture a Pythian Apollo. Alternatively, it may be the slaying of the giant Tityos, who threatened his mother Leto, or the episode of the Niobids.
The large white marble sculpture is 2.24 m (7.3 feet) high. Its complex contrapposto has been much admired, appearing to position the figure both frontally and in profile. The arrow has just left Apollo's bow and the effort impressed on his musculature still lingers. His hair, lightly curled, flows in ringlets down his neck and rises gracefully to the summit of his head, which is encircled with the strophium, a band symbolic of gods and kings. His quiver is suspended across his left shoulder. He is entirely nude except for his sandals and a robe (chlamys) clasped at his right shoulder, turned up on his left arm, and thrown back.
The lower part of the right arm and the left hand were missing when discovered and were restored by Giovanni Angelo Montorsoli (1507–1563), a sculptor and pupil of Michelangelo.
Dionysus (Dionysos) was the Olympian god of wine, vegetation, pleasure, festivity, madness, wild frenzy, grape harvest, winemaking, religious ecstasy, and theatre. (Roman Name?: ?Liber. Other Names?: ?Bacchus, Lyaeus)
He was depicted as either an long-haired youth OR older, bearded god or an effeminate. His attributes included the thyrsos (a pine-cone tipped staff), a drinking cup and a crown of ivy. He was usually accompanied by a troop of Satyrs and Mainades (wild female devotees).
MYTHS
Dionysos was a son of Zeus and the princess Semele of Thebes. During the course of her pregnancy, the god's jealous wife Hera tricked Semele into asking Zeus to appear before her in his full glory. Bound by oath, the god was forced to comply and she was consumed by the heat of his lightning-bolts. Zeus recovered their unborn child from her body, sewed him up in his own thigh, and carried him to term.
After his birth from the thigh of Zeus, Dionysos was first entrusted to the care of Seilenos (Silenus) and the nymphs of Mount Nysa, and later to his aunt Ino, Semele's sister, and her husband Athamas. Hera was enraged when she learned of the boy's location and drove the couple mad, causing them to kill both their children and themselves.
The Thrakian king Lykourgos (Lycurgus) attacked Dionysos and his companions as they were travelling through his land and drove them into the sea. As punishment, the god inflicted him with madness causing him to murder his wife and son and mutilate himself with an axe.
King Pentheus of Thebes refused to accept the god's divinity and tried to apprehend him. The god retaliated by driving the king's daughters into a crazed frenzy and they tore him apart limb from limb.
Dionysos instructed the hero Ikarios (Icarius) of Athens in the art of winemaking. However, some shepherds, upon drinking the wine, thought they had been poisoned and killed him. The sorrowful god then set him amongst the stars as the constellation Bootes.
As Dionysos was travelling through the islands of the Aegean Sea he was captured by a band of Tyrrhenian pirates who thought to sell him into slavery. The god infested their ship with phantoms of creeping vines and wild beasts, and in terror the men leapt overboard and were transformed into dolphins.
Dionysos married princess Ariadne of Krete (Crete) whom he discovered abandoned by Theseus on the island of Naxos.
The god launched a campaign against the Indian nation in the farthest reaches of Asia, leading an army composed of Satyrs, Mainades, and demigods.
Dionysos journeyed to the underworld to recover his mother Semele and brought her to Olympos where Zeus transformed into the goddess Thyone.
SYMBOLS & ATTRIBUTES
Dionysos' most distinctive attribute was the thyrsos, a pine-cone tipped staff. His other attributes included a drinking-cup (kantharos), fruiting grapevines and a panther.
The god was usually clothed in a long robe (chiton) and cloak (himation) and crowned with a wreath of ivy-leaves.
SACRED ANIMALS & PLANTS
Dionysos' sacred animals were the panther (leopard), tiger, bull and serpent. The god rode on the back of a panther or drove a chariot drawn by a pair of the beasts.
His sacred plants were the grapevine, ivy, bindweed (prickly ivy) and pine tree. Devotees of the god wore wreaths of ivy and carried pine-cone tipped staffs.
Dionysos was a son of Zeus, King of the Gods, and Semele, a mortal princess of Thebes. The god was known as the "twice-born" for his mother was slain by the lightning-bolts of Zeus during the course of her pregancy, but rescued by his father who carried him to term sown up inside his thigh.
Dionysos' grandparents were the Titans Kronos (Cronus) and Rheia, King Kadmos (Cadmus) of Thebes and the goddess Harmonia. He was a great-grandson of Ares and Aphrodite (Harmonia's parents) and also a distant descendant of the god Poseidon.
The god's half-brothers and sisters included Hermes, Ares, Aphrodite, Athena, Persephone, Apollon and Artemis.
He married Ariadne, daughter of King Minos of Krete (Crete), and their sons became kings and princes of the best wine-producing regions in ancient Greece.
ENCYCLOPEDIA
Dinysos, the youthful, beautiful, but effeminate god of wine. He is also called both by Greeks and Romans Bacchus (Bakchos), that is, the noisy or riotous god, which was originally a mere epithet or surname of Dionysus, but does not occur till after the time of Herodotus.
Found at Agrigento, Greek Akragas (see Akragas/Agrigentum on Pleiades), sanctuary of the Chthonic Deities (Santuario delle Divinità Ctonie), excavations of 1927-1932
Late Archaic period, late 6th-early 5th c. BCE
Photographed on display in the Museo archeologico regionale "Pietro Griffo" di Agrigento, Sicily, Italy
Inv. ?
A bit blurry; will have to go back.
Dionysus (Dionysos) was the Olympian god of wine, vegetation, pleasure, festivity, madness, wild frenzy, grape harvest, winemaking, religious ecstasy, and theatre. (Roman Name?: ?Liber. Other Names?: ?Bacchus, Lyaeus)
He was depicted as either an long-haired youth OR older, bearded god or an effeminate. His attributes included the thyrsos (a pine-cone tipped staff), a drinking cup and a crown of ivy. He was usually accompanied by a troop of Satyrs and Mainades (wild female devotees).
MYTHS
Dionysos was a son of Zeus and the princess Semele of Thebes. During the course of her pregnancy, the god's jealous wife Hera tricked Semele into asking Zeus to appear before her in his full glory. Bound by oath, the god was forced to comply and she was consumed by the heat of his lightning-bolts. Zeus recovered their unborn child from her body, sewed him up in his own thigh, and carried him to term.
After his birth from the thigh of Zeus, Dionysos was first entrusted to the care of Seilenos (Silenus) and the nymphs of Mount Nysa, and later to his aunt Ino, Semele's sister, and her husband Athamas. Hera was enraged when she learned of the boy's location and drove the couple mad, causing them to kill both their children and themselves.
The Thrakian king Lykourgos (Lycurgus) attacked Dionysos and his companions as they were travelling through his land and drove them into the sea. As punishment, the god inflicted him with madness causing him to murder his wife and son and mutilate himself with an axe.
King Pentheus of Thebes refused to accept the god's divinity and tried to apprehend him. The god retaliated by driving the king's daughters into a crazed frenzy and they tore him apart limb from limb.
Dionysos instructed the hero Ikarios (Icarius) of Athens in the art of winemaking. However, some shepherds, upon drinking the wine, thought they had been poisoned and killed him. The sorrowful god then set him amongst the stars as the constellation Bootes.
As Dionysos was travelling through the islands of the Aegean Sea he was captured by a band of Tyrrhenian pirates who thought to sell him into slavery. The god infested their ship with phantoms of creeping vines and wild beasts, and in terror the men leapt overboard and were transformed into dolphins.
Dionysos married princess Ariadne of Krete (Crete) whom he discovered abandoned by Theseus on the island of Naxos.
The god launched a campaign against the Indian nation in the farthest reaches of Asia, leading an army composed of Satyrs, Mainades, and demigods.
Dionysos journeyed to the underworld to recover his mother Semele and brought her to Olympos where Zeus transformed into the goddess Thyone.
SYMBOLS & ATTRIBUTES
Dionysos' most distinctive attribute was the thyrsos, a pine-cone tipped staff. His other attributes included a drinking-cup (kantharos), fruiting grapevines and a panther.
The god was usually clothed in a long robe (chiton) and cloak (himation) and crowned with a wreath of ivy-leaves.
SACRED ANIMALS & PLANTS
Dionysos' sacred animals were the panther (leopard), tiger, bull and serpent. The god rode on the back of a panther or drove a chariot drawn by a pair of the beasts.
His sacred plants were the grapevine, ivy, bindweed (prickly ivy) and pine tree. Devotees of the god wore wreaths of ivy and carried pine-cone tipped staffs.
Dionysos was a son of Zeus, King of the Gods, and Semele, a mortal princess of Thebes. The god was known as the "twice-born" for his mother was slain by the lightning-bolts of Zeus during the course of her pregancy, but rescued by his father who carried him to term sown up inside his thigh.
Dionysos' grandparents were the Titans Kronos (Cronus) and Rheia, King Kadmos (Cadmus) of Thebes and the goddess Harmonia. He was a great-grandson of Ares and Aphrodite (Harmonia's parents) and also a distant descendant of the god Poseidon.
The god's half-brothers and sisters included Hermes, Ares, Aphrodite, Athena, Persephone, Apollon and Artemis.
He married Ariadne, daughter of King Minos of Krete (Crete), and their sons became kings and princes of the best wine-producing regions in ancient Greece.
ENCYCLOPEDIA
Dinysos, the youthful, beautiful, but effeminate god of wine. He is also called both by Greeks and Romans Bacchus (Bakchos), that is, the noisy or riotous god, which was originally a mere epithet or surname of Dionysus, but does not occur till after the time of Herodotus.
I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.
More information at fransimo.info/?p=1100
ID:338d8a144e3b0323ce33ca3408879cfd
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The sima of the Tholos bears lavish floral decoration and has water spouts in the form of lion's heads.
The Tholos, built 365-335 BC, is the largest rotunda in Greek architecture. According to the inscription found at Epidauros, the building was called the Thymele (altar). The travel writer Pauanias, who visited Asklepieion in the 2nd century AD, calls it the Tholos and attributes its erection, along with the construction of the Theatre, to the architect Polykleitos of Argos. The rotunda was regarded as the subterranean home of Asklepios and was connected with the chthonic cult of god.
From the votive deposit (closed late 2nd/early 1st c. BCE) at loc. Privati above and south of ancient Stabiae (see on Pleiades). The sanctuary at Privati shows many similarities in material culture to that of the Doric temple in the triangular forum at Pompeii attributed to Athena.
Photographed on display at the Antiquarium of Pompeii.
Collection of the Antiquarium Stabiano.
Chthonic here applied to a more open definition of godliness than either dark and underground, or even cavern dwelling spirits. When in the dark be happy with those surround you and be well advised by those that bring you back to the light. We such strange animals enjoying dark fiction to unwind and revelling in shadow worlds that are revealed around us. The darkness and I are good companions together and I am very happy to return from restful night and close dark focus to the opening brightness of the day and greater activity all around all of us.
From underground concentrated release I return to confined structured day to day activity. A moment to meditate in stillness can be the way to much action. Just a short time away from the usual can gives us insight into a better way. Sometimes Spiralling into Moon Magic is the only way to appreciate Subterranean Style intensely deep Chthonic encounters As You Like It because the world need not always be turned upside down, just viewed from below the ground up.
Crichton Mains, or Crichton Souterrain is an underground earth house in Midlothian in Scotland. Souterrains include some similar patterned construction and lots of subterranean places as Souterrain from the French for underground is a great catch all term. This underground earth house seems to be constructed without mortar an includes several worked stones that Roman masonry in origin. The most famous part of this structure is the carving of a Pegasus, or winged horse which is the emblem of the Legio II Augusta, Second Legion Augustus, also an ‘august legion’. The standard badges of the Second legion Augusta include the Capricornus fish goat, the Pegasus winged horse and Mars the war god. In the late third century depictions only the Capricornus is found as their legionary emblem. In 208 when Septimius came to Britain to conquer Scotland Legio II Augusta moved north to Carpow on the river Tay where it shared a large fortress with Legio VI Victrix. During or the reign of Severus Alexander the conquest of Scotland was given up and the Second Legion returned to Caerleon, or Carlisle and the legion was still there in 255. The next mention finds the Legio II Augusta at Richborough in the fourth century as a part of the coastal defence of Kent. Stone depictions of Capricornus and Pegasus survive from Chesters Roman Fort Northumberland, Hadrian’s Wall and Duntocher in West Dunbartonshire Scotland. In 139 Legio II Augusta were working in Scotland building the Antonine Wall. In 142 this work on the wall between what is now Edinburgh and Glasgow was finished. The Antonine Wall is said not to have been in service for very long with the Romans falling back South and constructing Hadrian's wall between what is now Newcastle and Carlisle. The Pegasus at Crichton Mains maybe a design created as Legio II Augusta marched North and South fighting on the edge of the Roman Empire
© PHH Sykes 2022
phhsykes@gmail.com
Ancient World map illustration by Byron Roberts. This is the colourized version which appeared in the lyric booklet of "The Chthonic Chronicles". For more info on Byron's lyrical universe, visit www.byron-a-roberts.co.uk
Female figure sitting on a throne, wearing a chiton and himation, nursing an infant.
5th-3rd c. BCE.
From the votive deposit (closed late 2nd/early 1st c. BCE) at loc. Privati above and south of ancient Stabiae (see on Pleiades). The sanctuary at Privati shows many similarities in material culture to that of the Doric temple in the triangular forum at Pompeii attributed to Athena.
Photographed on display at the Antiquarium of Pompeii.
Collection of the Antiquarium Stabiano.
First half of the 5th c. BCE
From the sanctuary of Persephone at Locri, loc. Mannella.
Museo Archeologico Nazionale di Locri Epizefiri (ArcheoCalabriaVirtual, Locri Antica)
Soprintendenza per i Beni Archeologici della Calabria
A female figure placing folded cloth in a kibotos/chest.
First half of the 5th c. BCE
From the sanctuary of Persephone at Locri, loc. Mannella.
Museo Archeologico Nazionale di Locri Epizefiri (ArcheoCalabriaVirtual, Locri Antica)
Soprintendenza per i Beni Archeologici della Calabria
The Earth Houses, or Souterrains that remain have often been found in agricultural expansion when demand for land and productivity have brought horses and then machines to seek out new pastures and more and more arable. Many Earth Houses have been destroyed in continuing agricultural improvements with records remaining and understanding escaping. The finds, or the accounts of the finds from the underground passages and chambers and the style of their stonework are the key dating features relied upon. Those Earth Houses that include megalithic carved stones are often said to be reusing the ancient stones. Sometimes the style and shape of the passages can create notions of mystery school traditions that run on into enclosed temple spaces and chthonic symbolism with even relatively modern cults not leaving open access to their rites.
Ordnance Survey Map Grid Reference and Global Position
OS Grid Ref: NO 51118 35972
Latitude: 56° 30' 47" N
Longitude: 2° 47' 45" W
Carlungie Earth House, Near Templehall, Angus
www.historicenvironment.scot/visit-a-place/places/carlung...
Carlungie
canmore.org.uk/site/34535/carlungie
Carlungie Souterrain
www.themodernantiquarian.com/site/2812/carlungie.html
Carlungie - Souterrain (Fogou, Earth House) in Scotland in Angus
www.megalithic.co.uk/article.php?sid=5951
PHH Sykes ©2020
phhsykes@gmail.com
Dedication to Apollo
The name Delphoi is connected with δελφ delph "hollow" or δελφός delphus "womb" and may indicate archaic veneration of Gaia, Grandmother Earth, the Earth Goddess at the site. Apollo is connected with the site by his epithet Δελφίνιος Delphinios, "the Delphinian", i.e. either "the one of Delphi", or "the one of the womb". The epithet is connected with dolphins (the "womb-fish") in the Homeric Hymn to Apollo (line 400), recounting the legend of how Apollo first came to Delphi in the shape of a dolphin, carrying Cretan priests on his back. The Homeric name of the oracle is Pytho (Πυθώ).
Another legend held that Apollo walked to Delphi from the north and stopped at Tempe, a city in Thessaly to pick laurel, a plant sacred to him (generally known in English as the bay tree). In commemoration of this legend, the winners at the Pythian Games received a wreath of laurel (bay leaves) picked in Tempe.
Delphi became the site of a major temple to Phoebus Apollo, as well as the Pythian Games and the famous prehistoric oracle. Even in Roman times, hundreds of votive statues remained, described by Pliny the Younger and seen by Pausanias. Supposedly carved into the temple were three phrases: γνῶθι σεαυτόν (gnothi seauton = "know thyself") and μηδὲν ἄγαν (meden agan = "nothing in excess"), as well as a large letter E. Among other things epsilon signifies the number 5. Plutarch's essay on the meaning of the “E at Delphi" is the only literary source for the inscription.
From a late myth that deviates from much older ones, when young, Apollo killed the chthonic serpent Python, named Pythia in older myths, but according to some later accounts his wife, Pythia, who lived beside the Castalian Spring, according to some because Python had attempted to rape Leto while she was pregnant with Apollo and Artemis. The bodies of the pair were draped around his Rod, which, with the wings created the caduceus symbolic of the god. This spring flowed toward the temple but disappeared beneath, creating a cleft which emitted vapors that caused the Oracle at Delphi to give her prophecies. Apollo killed Python but had to be punished for it, since she was a child of Gaia. The shrine dedicated to Apollo was originally dedicated to Gaia and then, possibly to Poseidon. The name Pythia remained as the title of the Delphic Oracle. As punishment for this murder Apollo was sent to serve in menial tasks for eight years. A festival, the Septeria, was performed annually portraying the slaying of the serpent, the flight, the atonment and the return of the God. The Pythian Games took place every four years to commemorate his victory.
Erwin Rohde wrote that the Python was an earth spirit, who was conquered by Apollo, and buried under the Omphalos, and that it is a case of one deity setting up a temple on the grave of another. Another view holds that Apollo was a fairly recent addition to the Greek pantheon coming originally from Lydia. The Etruscans coming from northern Anatolia also worshiped Apollo, and it may be that he was originally identical with Mesopotamian Aplu, an Akkadian title meaning "son", originally given to the plague God Nergal, son of Enlil. Apollo Smintheus (Greek Απόλλων Σμινθεύς), the mouse killer eliminates mice, a primary cause of disease, hence he promotes preventive medicine.