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Daughter of Earth goddess Demeter, she was picking flowers with a clutch of nymphs when the earth split open and Hades grabbed her and whisked her off to the underworld, there to be his battered consort.
Angry Demeter gave the nymphs what-for by changing them into Sirens and then she set about searching for Persephone. This distracted her from her earthly duties, so the fields fell fallow, which did not sit well with Zeus. (Did I mention Zeus was Persephone's father? No? It hardly matters.) He sent Hermes to hell on a rescue mission.
Hades gave in and let her go, but on the condition she eat no infernal thing. Then he handed her a pomegranate. Now, everyone knows a pomegranate is a hell of a thing to eat, so Persephone, although she returned to earth the prodigal daughter, was bound by her contract to return every winter to serve as Queen of the Underworld. The earth would thus sleep in those months, but more importantly, people learned to go to warm, sinful places when it turned cold outside.
© Morgan Demeter Photography
Canon 5D mk ii with 50mm 1.4
AB800 up high thru softbox
AB800 down low thru softbox
Norman on right white bounce umbrella
Norman on Left white bounce umbrella
Chris is a friend of mine and just so happens to be the drummer for The Young Rapscallions. Check them out!
A goddess fetish made of antler which I ritually collected. She is meant to sit on an alter and be held in the hand as a tactile meditative instrument.
The voluptuous mature female form, She is the bearer of life.
The posture of her body is open and receptive, She is the mother and nurturer of life.
The rays around her head is the crown of heaven, she is the radiance of life. It is also symbolic of the crown of wheat commonly associated with the Greek/Eluesis goddess Demeter, the primary mature female power of the bringing forth of life in nature.
This piece is more two-dimensionally carved than the others, and fits nicely in the hand.
$25
A great hall in Eleusis, Telesterion was one of the primary centers of the Eleusinian Mysteries. At some point in the 5th century BC, Iktinos, the great architect of the Parthenon, built the Telesterion big enough to hold thousands of people.
As the climax of the ceremonies at Eleusis, the initiates entered the Telesterion where they were shown the sacred relics of Demeter and the priestesses revealed their visions of the holy night (probably a fire that represented the possibility of life after death). This was the most secretive part of the Mysteries and those who had been initiated were forbidden to ever speak of the events that took place in the Telesterion.
It was destroyed by the Persians and was subsequently rebuilt some time later by Pericles.
Impressive statue of woman wearing fine draperies steering a huge bull. It stands below the dome on the Clyde Navigation Trust Building, Broomielaw, Glasgow. Now the now known as the Clyde Port Authority building - so it still relates to the river. Not sure why there is a statue of a bull - or why its partner statue is a chariot drawn by 2 horses...... although I've just read that the woman portrayed there is Poseidon's wife, and they are in fact seahorses..... so at least that one does make sense.
The Peninsula Hotel Entrance Oculus Window Gargoyles - Lady Demeter with Cornucopia and Lady Artemis with bow and arrow - Night Street Midtown Manhattan off of 5th Avenue New York City 12/16/2013 NYC 2013 gargoyle statue ladies sculpture below stone trunk animal harvest goddess Window with animals nite dark shadow shadows
Made using Stable Diffusion. I'm using Stable Diffusion to make conceptual illustrations for a philosophy of paganism book. You can download it as a free PDF here: ericsteinhart.com/paganism/paganism-home.html
Heimatsmuseum of Wertheim a/d Main, Rathausgasse 7. Middle 16th cent. DEMETER, Karl (1961). Die Legende von den 'Vier Gekronten' (Quatuor Coronati)'. Im Akazien- Verlag Alfred Buss, Hamburg.
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In the (unpublished) book 'Four' - Marten Kuilman (2011) pp. 380ff:
4.3. The Quattuor Coronati
The legend of the Quattuor Coronati is a story of four stonemasons from Pannonia, who lived during the reign of the Roman emperor Diocletian (284 - 305 AD). They were called Claudius, Castorius, Simpronianus and Nicostratus (DEMETER, 1961; SIMON, 1988), and secretly devoted to Christianity.
The stonemasons opposed an assignment of the emperor to make a statue of Aesculapius, the god of surgery and medicine. Earlier they had, in cooperation with the sculpture Simplicius, finished a statue of the sun god (Sol invictor) on a quadriga. The refusal of the stonemasons provoked anger with the emperor, who had the man whipped and put into lead coffins to be thrown in the river Save. This happened, according to legend, on the eighth of November, around 302 AD.
The Roman Catholic Church in the ‘Breviarium Romanum’ sanctioned this story, being part of the old-Christian and early mediaeval hagiolatry. In this version there were, together with the four stonemasons, another four martyrs (the brothers Severus, Severianus, Carpophorus and Victorinus), who were also tortured and killed under the reign of Diocletian. They were supposedly buried at the same place, along the Via Labicana in Rome, as where the Quattuor Coronati found their last resting-place.
The source in the 'Brevarium' is not indicated. The work was a compilation of the 'Vita', which circulated as legends. The story of the four stone-masons was only added to the 'Brevarium' in the revision of 1568. KELSCH (1987) gave four primary sources of the legend of the martyrs:
1. A Roman calendar of the fourth century, which provided the anniversary of the martyrs. This was before the early Christian church became the state-religion within the Roman Empire;
2. The so-called 'Depositio martyrium' of Furius Dionysius Philocalus from the year 354;
3. The 'Martyrologium Hieronymianum', from the beginning of the fifth century and
4. A 'Passio SS. Quattuor Coronatorum'.
A church on the Mons Caelius in Rome was mentioned in the year 595 AD as a place of pilgrimage for the 'Quattuor Coronati'. Travelogues from the seventh century recorded a catacomb along the Via Labicana as their last resting-place.
Pope Leo IV (847 - 855) had a particular affinity with the four martyrs, as described in the 'Histoire des Papes et souverains chefs de l'eglise' by Francois DUCHESNE (1653): 'Il auoit vne affection & deuotion particuliere aux saints Martyrs appelez les Quatre Couronnez. A cette cause il fit principalement rechercher leurs Os; & les ayent trouuez auec peine, les mit en la Basilique de leur nom, laquelle il regissoit auant son Pontificat. Il y transfera pareillement les Corps saints de Claude, Nicostrat, Symphorien, Castorius, & Simplicius ...' (Tome I, p. 489)(He had an affection with and a particular devotion to the saints called the Quattuor Coronati. For that reason he searched for their bones; and after having found them with difficulty, he put them in the basilica bearing their name. He organised this before he received the pontificate. He moved apparently the holy bodies of Claudius, Nicostratus, Symphorianus, Castorius and Simplicius...). Historical evidence showed that Leo IV enlarged the old basilica, which is named after the 'Quattuor Coronati'.
The saints on the ceiling of the church of SS. Quattro Coronati in Rome by an unknown master are of a much later date. The church itself (the emporium) dated from the twelfth century. In the apses are frescos of Giovanni Manozzi, also called Giovanni da San Giovanni, painted around 1630. DUFFY (1997) gave an illustration of the 'Donation of Constantine' as a fresco in the Quattro Santi Coronati by Raphael.
Also in other places in Italy are representations of the 'Quattro Coronati', for instance, in Florence in the guildhall of San Michele at the Via Calzaiolio. The sculptor Nanni d'Antonio di Banco (c. 1373 - 1421) depicted the saints around 1415 (GOLDTHWAITE, 1980).
Portraits of the saints also occur in Pavia (in the S. Pietro church on the Arca of the Holy Augustine, around 1360), in Venice (in the dome of the San Marco and in the Dogen Palace, Colonna degli Scultori, around 1400), in Arezzo (S. Francesco church, painted by Parri Spinelli in 1400, destroyed) and on the isle of Sicily (DU COLOMBIER, 1953).
Further north, in Austria, are representations at the Stadtpfarrkirch of Neunkirchen (Lower Austria), dating from around 1500. In the Pfarrkirche of Steyr (Upper Austria) is an epitaph of the builder-master Wolfgang Tenk, made of sandstone, with the heraldry of the building guild St. Stephan and the Quattuor Coronati.
The consecration of the Munster of Aachen (Germany) took place in 1474 and was dedicated to the Quattuor Coronati. The only profane representation of the 'Coronati' in Germany is at Wertheim on the Main. A sixteenth century house (now the Heimatmuseum in the Rathausgasse) is decorated with the 'Quattor Coronati' in red sandstone.
The 'Quattuor Coronati’ were, especially in Belgium and Holland, a popular motif. Paintings and sculptures can be found in Brussels, Antwerp, Brugues, Gent, Leuven, Mechelen, Amsterdam, Dordrecht and Haarlem. The following historical occurrences are also noticed by KELSCH (1987): Middelburg (Guildhouse 'In de Steenrotse', around 1590, lost), Leiden (Guildhouse of the carpenters and masons, 1615, destroyed), Delft (silver guild-beakers, 1633); Arnhem (Eusebius church, destroyed and Appingedam (Groningen, fourteenth century, restored).
Many representations of the 'Quattuor Coronati' are connected with the building guilds, which flowered in the fifteenth and sixteenth century. The guild of the 'Maestri' in Florence was, for example, a considerable political power block (GOLDTHWAITE, 1980) Their shield of arms showed the attributes of the 'Quattuor Coronati' , with a waller's instrument for mixing mortar in the centre.
The guild sign of the masons and thatchers of Middelburg (Holland), dated from 1607, exhibited at its reverse four persons with tools from the trade. Their names (Claudus, Nicostracius, Dicideryus and Syplycus) indicated that the knowledge of the original legend had become somewhat distorted.
A medal with the arms of the building guild of St. Stephan in Vienna is dated from 1651. In the outer rim of the sign is written: 'Der Purgerlichen Steinmezen unndt Maurer Sigill der Haupthitten peu S. Steffan in Wien' and in the inner rim: 'S (= Sigillum) Fraternita Lapicidarum Vienensiu Austriae'.
The influence of the building- and crafts-guilds diminished during the seventeenth and eighteenth century, and tradition became the main motive to continue the societies. The prominence of the 'Quattuor Coronati', as the patron saints of the construction-workers, declined in due course. They are remembered in literature and on the calendar of the holy days (the 8th of November) of the Roman Catholic Church.
The building guilds found an interesting continuation in the Freemasonry. More and more 'members of honor' were allowed in the original medieval trade union. They were not only interested in the (financial) aspects of the building trade, but were also concerned with religious and moral questions within the union. The 'Grand Lodge' of the Freemasons in London was established in 1717. This event was the beginning of a movement, which subsequently spread over greater parts of Europe.
The union was open, in theory, for all races and creeds. To quote Alfred Robbins: 'Freemasonry can be described as an organized system of morality, derived from divine wisdom and age-long experience, which, for preservation from outer assault and inner decay, is veiled in allegory and illustrated by symbol.' This latter quality gave the movement a 'secret' aspect, aiming at knowledge, which was outside the mainstream of Christian thinking. The use of allegorical aspects and symbols with a pagan background brings Freemasonry sometimes within the realm of the tetradic world. The movement, however, is not guided by a specific form of division thinking, but seems to be attracted to the dynamic character of the (numerological) phenomenon as such.
The 'secret' character is enhanced by the fact that the type of ‘division’ is not explicitly mentioned as a philosophical force. What remains is a puzzling game of various observational stances. There are references to 'divine wisdom and age-long experience' - pointing to the Egyptian cultural period - but the quintessence of division-thinking remains in the dark. Despite these objections, it should be noted that Freemasonry is a valuable historical effort to explore the depths of multiple understanding. It is not surprising that the movement gained popularity in Mozart's time (1780 - 1790): from the Latin 'ars quadrataria' to the mediaeval guilds of masons and the Freemasonry runs a conceptual line, which favored a square and quadrated world, either in reality (of a building) or in the mind.
The oldest written record of devotion to the 'Quattuor Coronati' as a patron saint of the masons in England was discovered by James Orchard Halliwell in a document of the second half of the fourteenth century in the British Museum (Bibl. Reg. 17.A.I). A loge of the Freemasons in England was founded in 1886 under the name 'Quator Coronati'. The same happened in Germany in 1951. The more recent publication of KELSCH (1987) was published by the 'Forschungsloge 'Quatuor Coronati' in Bayreuth.
DEMETER (1961) pointed to some obvious contradictions in the story of the 'Quattuor Coronati': why did the sculptors make a representation of the pagan sun god (in a quadriga), but refused to make a sculpture of Asclepius? Furthermore, the connotation with four completely different persons, which were killed two years later - on the eighth of November - in Rome, because they were Christians, is peculiar. They were described as 'cornicularii' (with horns). A 'cornicularius' was a soldier of a civil servant with a certain rank. This title is very similar to the 'coronati'. It seems as if an old popular story - maybe collected in the provinces - was used by the Roman Catholic church for their own good use.
The name 'Coronati' has been subject to various interpretations of its meaning. The word could point to the martyrs - with a crown of thorn, a well-known Christian symbol. The term could also be associated with Asclepios, the son of Apollo, the sun god, and with the Koronids. The latter name is, in this assumption, subsequently being corrupted to Coronati. The number four was probably only of numerological importance.
Longterm VS-ers at the Children's Home, from left to right: Carolyn Burkholder, Esther Demeter and Janet Headings.
Citation: Mennonite Board of Missions Photographs, 1900-1971. IV-10-007.2. Mennonite Church USA Archives - Goshen. Goshen, Indiana.
Just outside the village of Sangri on Naxos Island in the Cyclades is the ruins of the Temple of Demeter. Demeter was a grain goddess, so it seems only natural to find her temple out here among the rich fields of Naxos.
The Temple of Demeter was built in the 6th-century BC and is one of the few known temples with a square floor plan. The temple was partially dismantled in the 6th century AD when it was replaced with a church. In later centuries it was abandoned and plundered for its marble.
Until recently, the temple was in complete ruin. But a few years ago it was discovered that most of the columns and stones of the original temple still remained on site, either buried or used in the ruined chapel.
The site is open to the public and free. It can be reached by car or on foot (about a 30-minute walk) south of Sangri.
Information source: www.sacred-destinations.com
The Peninsula Hotel Entrance Oculus Window Gargoyles - Lady Demeter with Cornucopia and Lady Artemis with bow and arrow - Night Street Midtown Manhattan off of 5th Avenue New York City 12/16/2013 NYC 2013 gargoyle statue ladies sculpture below stone trunk animal harvest goddess Window with animals nite dark shadow shadows
On a doll. :)
SD/SD+ necklace made of gold plated wire-wrapped chain with natural faceted hessonite and rhodolite garnet and two citrine gemstones in gold plated setting.
Ceres (Greek Demeter), the Roman goddess of agriculture, on the rear of the Ara Pacis Augustae. She is wearing the corona spicea and holding her attribute: poppies.
This area of the cavern recalls the entrance to Hades: it was associated with the abduction of Persephone by Pluto in the autumn and her ascent to earth again in the spring. The myth is connected with the fructification of the earth after the sowing of the seed, which was regarded as Demeter's gift to the human race. The temple of Pluto is Archaic in date but was remodelled on many occasions from the fourth century BC down to Roman times.
Fotografia e tratamento: Lucas Gabriel da Silva
Modelo: Gabriela Rocha
Produção e maquiagem: Hállena Lepchak e Leticia Thiele
SD/SD+ necklace made of gold plated wire-wrapped chain with natural faceted hessonite and rhodolite garnet and two citrine gemstones in gold plated setting.
Londres. British Museum. Estàtua de marbre de Demèter. Procedent del santurari de Demèter a Cnidos. 350-330 aC.
Persephone story
Demeter and Zeus had a beautiful daughter named Persephone. Demeter loved Persephone very much and wanted to keep her near always. So one day, while Persephone was out alone picking flowers, Hades came up from the dark Underworld on his great black chariot and stole her away.
Design and make up-Baffera
Model-Baffera