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"George Washington"
also known as: “Enthroned Washington”
sculptor: Horatio Greenough, 1840
commissioned by the U.S. Congress for the centennial of Washington's birth
based on Phidias' great statue of Zeus
National Museum of American History museum
Washington, District of Columbia
----------
inscription:
SIMULACRUM ISTUD
AD MAGNUM LIBERTATIS EXEMPLUM
NEC SINE IPSA DURATURUM
HORATIUS GREENOUGH
FACIEBAT
translation:
"Horatio Greenough made this image as a great example of freedom, which will not survive without freedom itself."
Myths in Naples NAM – Ariadne in Naxos
The painting is one of the many replicas depicting Ariadne abandoned on Naxos from the Vesuvian area. The girl is depicted inside a cave on the beach, weeping and half-reclining. Behind her there is a winged figure, identified as Nemesis, who points out Theseus' ship as it recedes, and on the left, a weeping cupid. In Pompeian paintings and ceramic decorations, the depictions of the theme of Ariadne abandoned by Theseus can be divided into two series.
The first series of depictions, already widespread in the 5th century BC, features Theseus moving away from an unaware and sleeping Ariadne. Among the Pompeian works painted according to this scheme and preserved at the NAM of Naples, see the painting inv. no. 9052. These paintings are attributable to contexts of the III and IV Style.
The second series is linked to an exclusively Roman environment, and is represented by about twenty examples dating from the second half of the 1st century AD. According to this model Ariadne is depicted awakening and observing the sea, where Theseus' ship is indicated by Nemesis. Another example of the same pictorial series exhibited at the NAM, is the fresco inv. no. 9051.
For this series of paintings it is plausible to hypothesize a transposition into painting of the literary episode described by Ovid in his Heroids:
...
inde ego - nam ventis quoque sum crudelibus usa -
vidi praecipiti carbasa tenta Noto,
ut vidi haut dignam quae me vidisse putarein,
frigidior glacie semianimisque fui.
From there - for I found the winds cruel, too - I beheld your sails stretched full by the headlong southern gale. As I looked on a sight methought I had not deserved to see, I grew colder than ice, and life
half left my body.
(Heroids X, 31-34).
The pain turns her to stone in a vain gaze stretched out over the sea:
...
aut mare prospiciens in saxo frigida sedi,
quamque lapis sedes, tam lapis ipsa fui.
(Heroids X, 49-50).
I have sat all chilled upon the rock, as much a stone myself as was the stone I sat upon.
Fresco From Pompeii
AD 60 - 79 (4th style)
Naples, “Museo Archeologico Nazionale”, Inv. no. 9047
Exhibition: “Ovidio: Loves, Myths & Other Stories” - Scuderie del Quirinale, Rome
IMO: 9270828
MMSI: 538005226
Call Sign: V7CA4
Flag: Marshall Is (MH)
AIS Type: Cargo - Hazard A (Major)
Gross Tonnage: 21932
Deadweight: 24279 t
Length × Breadth: 196.82m × 28m
Year Built: 2004
Status: Active
Im Ortsteil Stein/Donau (GM Krems) steht an der Steiner Landstrasse, gegenüber der Strafanstalt, dieser 4m hohe wuchtige Renaissance-Bildstock aus Sandstein. Er ist der absolut wertvollste Tabernakelbildstock der Gemeinde Krems mit noch gotischen Merkmalen. Er ruht auf einem quadratischen Grundfundament mit einer überkragenden Sandsteindeckplatte darauf. Der Sockelstein ist am Fusse quadratisch mit Spätrenaissance Nasen in der Fasung und geht anschliessend in eine achtseitige Form über. Oberhalb ein im Mittelteil achtseitiger Schaft mit einem gewulsteten achtseitigen Basalring. Oberhalb wird die Fasung durch breite runde Zungen begrenzt in der auch Gravuren sind. Die Zungen führen wieder zum vierseitigen Querschnitt zurückführen. Am Schulterstück viele Inschriften und zwei Wappen. An der Vorderseite: ALLER WEISHEIT FVNDAMENT IST DAS MAN GOTT RECHT ANERKENNT. Darunter RENOVIERT ANNO 1852 und ein Steinmetzzeichen. In den Zungen: B.B.B.B.K.V.S 1610 = Abkürzung für: Blasius Bayrl, Bürgermeister beider Städte Krems und Stein. An der linken Seite in einer ovalen seichten Kartusche das Wappenrelief von Krems mit seinem Doppeladler. Überhalb des Wappens das Stiftungsjahr: 1610. Unter dem Wappen: KVS = Krems und Stein. An der Schulterstück Rückseite folgende Gravur: HOC DEVS EST QUOD IMAGO SED NON DEVS IPSA. DIE PILDNVS IST GOTT SELBER NID VND ER WIRT ALEIN BEDEIT DARMIT. DAS PILDT SIECH AN VND RICHT DEIN SIN, WER BEDEITET WIRD DARIN. An der rechten Seite des Schulterstückes in einer ovalen seichten Nische das Relief des Wappens des Bürgermeisters Blasius Bayrl. Am Schaft eine Kragenplatte die unterhalb stark gekehlt ist und mit einem feinen gestuften Sims abschliesst. Oberhalb ist sie zum Tabernakel hin dachartig abgeschrägt. Zum Schutz wurde oberhalb der Kragenplatte ist ein dezentes Blechschutzdach angebracht. In der Kehlung der Kragenplatte sind neuere gemalte Inschrift dazu gefügt = LOB PREISZ UND DANK DEM FRIEDENS GOTT DER UNS HAT BRACHT AUS KRIEGES NOTH. Eine verspätete Ergänzung des Erlasses Kaisers Rudolf II. (1589) nach dem Türkenkrieg. Auf der Kragenplatte ein quaderförmiger Volltabernakel mit viereckigen gekehlten seichten Nischen an allen vier Seiten. Die Nischen zeigen künstlerisch hervorragende Reliefs: an der Vorderseite eine Kreuzigungsszene. Es zeigt Jesus Christus am Kreuz mit einem Totenkopf (Adam) unterhalb. Neben dem Kreuz die Hl.Maria und der Apostel Johannes. In der linken Nische eine Ölbergszene: Jesus kniet am Ölberg und betet. Vor ihm ein in Wolken gehüllter Kelch. Unterhalb drei schlafende Jünger. In der rückwärtigen Nische: Christus an der Geisselsäule. Sie zeigt Jesus mit entblössten Oberkörper gefesselt an der Geisselsäule. Zwei Folterknechte schlagen ihn mit Geisseln. In der rechten Nische die bekannte Szene der Kreuztragung Christi. Jesus mit seinem Kreuz auf der Schulter am Weg zu seiner Kreuzigung. Am Tabernakel eine deckungsgleiche Dachplatte wie zuvor die Kragenplatte. Auch in dieser Kehlung sind teilweise unlesbare Gravuren vorhanden: ... HAT VNSERE KRANKHEIT AVF SICH GENOMMEN. ES IST VOLLBRACHT. Auf der Dachplatte ein steinernes Pyramidenstumpfdach das durch ein Blechdach geschützt wird. Bekrönend am Dach ein barockes schmiedeeisernes Kreuz mit Kleeblattenden. Im vorigen Jahrhundert fehlten bereits Teile der Tabernakelreliefs die um 2014 bei der letzte Renovierung vorbildlich ergänzt wurden. Die Stifter dieses Bildstockes waren die Gemeinden Krems und Stein unter Bürgermeister Blasius Bayrl. Es ist die Zeit der grossen Gegenreformation und die beiden Städte waren in der Reformationszeit zuvor streng protestantisch. Im Gegensatz zu Protestantismus sind die Heiligen sichtbarer Ausdruck der Katholizität und mit der Errichtung solcher prachtvollen Bildstöcke wurde wieder die erneuerte Treue zum katholischen Herrscherhaus demonstriert. Der Bildstock ist etwa 410 Jahre alt.
Standort: GPS 48.405275, 15.588758
Denkmalschutz OID 77405 nach § 2a
ARUNA IPSA
Container Ship.
IMO: 9270828
MMSI: 538005226
Call Sign: V7CA4
Flag: Marshall Is (MH)
Gross Tonnage: 21932
Deadweight: 24279 t
Length × Breadth: 196.82m × 28m
Year Built: 2004
Status: Active
New sexy in town! An F-35A Lightning II, destined to be delivered to the Valkyries of the 495th Fighter Squadron, is seen on final approach to NAS JRB Fort Worth.
"George Washington"
also known as: “Enthroned Washington”
sculptor: Horatio Greenough, 1840
commissioned by the U.S. Congress for the centennial of Washington's birth
based on Phidias' great statue of Zeus
National Museum of American History museum
Washington, District of Columbia
----------
inscription:
SIMULACRUM ISTUD
AD MAGNUM LIBERTATIS EXEMPLUM
NEC SINE IPSA DURATURUM
HORATIUS GREENOUGH
FACIEBAT
translation:
"Horatio Greenough made this image as a great example of freedom, which will not survive without freedom itself."
Santa Susanna de Peralta
L'Església de Santa Susanna de Peralta és un monument del municipi de Forallac (Baix Empordà) protegit com a bé cultural d'interès local.
Descripció
L'edifici és d'una nau amb absis semicircular originàriament romànic, època de la qual resta l'absis decorat exteriorment amb arcuacions llombardes i amb una finestra de doble esqueixada, coberta amb volta de quart d'esfera. El mur meridional de la nau i la base d'un cloquer de torre que restà inacabat a la banda Nord. Les restants estructures de la nau corresponen a un engrandiment del temple fet a les darreries del segle XVIII, ja que fou gravat l'any 1791 a la portada del frontis, mur en el qual hi ha també un petit òcul. Al mur meridional de la nau hi ha una porta lateral d'arc de mig punt adovellat i s'hi conserva una altra finestra romànica de doble biaix.
Santa Susanna de Peralta 1.jpg
Damunt del campanar inacabat s'hi construí una espadanya de dues arcades. La volta de la nau és de llunetes. L'aparell romànic és de carreu i el dels sectors més tardans de rebles grans amb carreus angulars. Unes obres de restauració fetes els anus 1976-77 consistiren a descobrir els aparells, enderrocar una sagristia datada el 1650 en la seva porta que s'afegia a migdia i enretirar el cementiri situat vora el temple.
Història
L'església de Santa Susanna es troba a uns 200 metres al nord de les ruïnes del castell de Peralta, possessió medieval dels Cruïlles-Peratallada. A aquest lloc es deu referir la butlla del papa Benet VIII de l'any 1017 que confirma, entre molts d'altres, els dominis de l'abadia de Sant Esteve de Banyoles: " ... ipsa vinea de Susanna cum suo termino, cum eremo et culto, sicut in scriptura Sancti Stephani resonat. In Peralta et infra ejus termines."
L'església no figura en els nomenclàtors de parròquies del segle xiv ni del XVII; cal suposar que ha estat des de sempre sufragània de la veïna parròquia de Sant Climent de Peralta.
Myths in Naples NAM – Ariadne in Naxos
The painting is one of the many replicas depicting Ariadne abandoned on Naxos from the Vesuvian area. The girl is depicted inside a cave on the beach, weeping and half-reclining. Behind her there is a winged figure, identified as Nemesis, who points out Theseus' ship as it recedes, and on the left, a weeping cupid. In Pompeian paintings and ceramic decorations, the depictions of the theme of Ariadne abandoned by Theseus can be divided into two series.
The first series of depictions, already widespread in the 5th century BC, features Theseus moving away from an unaware and sleeping Ariadne. Among the Pompeian works painted according to this scheme and preserved at the NAM of Naples, see the painting inv. no. 9052. These paintings are attributable to contexts of the III and IV Style.
The second series is linked to an exclusively Roman environment, and is represented by about twenty examples dating from the second half of the 1st century AD. According to this model Ariadne is depicted awakening and observing the sea, where Theseus' ship is indicated by Nemesis. Another example of the same pictorial series exhibited at the NAM, is the fresco inv. no. 9051.
For this series of paintings it is plausible to hypothesize a transposition into painting of the literary episode described by Ovid in his Heroids:
...
inde ego - nam ventis quoque sum crudelibus usa -
vidi praecipiti carbasa tenta Noto,
ut vidi haut dignam quae me vidisse putarein,
frigidior glacie semianimisque fui.
From there - for I found the winds cruel, too - I beheld your sails stretched full by the headlong southern gale. As I looked on a sight methought I had not deserved to see, I grew colder than ice, and life
half left my body.
(Heroids X, 31-34).
The pain turns her to stone in a vain gaze stretched out over the sea:
...
aut mare prospiciens in saxo frigida sedi,
quamque lapis sedes, tam lapis ipsa fui.
(Heroids X, 49-50).
I have sat all chilled upon the rock, as much a stone myself as was the stone I sat upon.
Fresco From Pompeii
AD 60 - 79 (4th style)
Naples, “Museo Archeologico Nazionale”, Inv. no. 9047
Exhibition: “Ovidio: Loves, Myths & Other Stories” - Scuderie del Quirinale, Rome
Sant Andreu de Gitarriu
Sant Andreu de Gitarriu és una església romànica que es troba prop del coll de Faja I protegit del nord pel puig de Freixenet. Per arribar-hi amb vehicle cal anar a Montagut direcció a Sadernes poc abans d'arribar a Sadernes, just fent l'última pujada cal agafar un trencant a la dreta direcció al Bassegoda i Lliurona passant pel coll de Faja. Hem de fer uns 9 km per arribar a una esplanada on tobarem el mas del Serradell i a escassos metres després, a peu de pista, l'església. Cal destacar les vistes panoràmiques a la Vall del Llierca i part de l'Alta Garrotxa; molt recomanable.
Sant Andreu de Guitarriu està ubicada dins el terme municipal de Sales de Llierca (Garrotxa).
És una obra inclosa en l'Inventari del Patrimoni Arquitectònic de Catalunya.
Contingut
1 L'edifici
2 Història
3 Recull de documentació històrica
3.1 Cartoral de Carlemany
3.2 Cartoral de Carlemany
4 Altres referències
5 Referències
L'edifici
Sant Andreu de Gitarriu és una construcció romànica del segle xi, malgrat les modificacions que ha sofert. Està constituïda per una sola nau, capçada a l'est per un absis semicircular totalment llis. Dues finestres de mig punt I doble esqueixada, situades una en la part central de l'absis I l'altra orientada al sud, il·luminen el presbiteri. La nau està coberta amb volta de canó. En el sector més occidental es va construir un cos elevat, si bé només es conserva l'escala I les mènsules en què es recolzava l'estructura de fusta. A peu d'escala, s'ubicava la pila baptismal, que encara es conserva in situ, tot I que a dia d'avui ha perdut la seva base.
L'interior del temple està totalment enguixat, però en alguns punts del guix s'ha començat a despendre. Això ha perms veure una creu de consagració. El terra de la nau està pavimentada amb rajola ceràmica vermella; en la parla de la Garrotxa aquestes peces vermelles s'en diuen “cairats”; no són originaris sinó d'alguna millora posterior.
La porta d'entrada, amb arc de mig punt, es dirigeix a migjorn, banda a la qual hi ha, encastats al mur, uns nínxols així com, a l'extrem est, la sagristia afegida al segle xvii o XVIII. Sobre la paret de ponent s'assenta l'espadanya, campanar de cadireta de dos ulls mancada de campanes.[2], l'espadanya és menys ample que la façana de l'església I una petita finestra de mig punt I doble esqueixada sobre en el frontís.
Història
Sant Andreu de Guitarriu és un exemplar típic de l'art romànic de la primera fase, segle xi, tot i que parcialment modificat. El topònim -Gitarriu- té una arrel etimològica entroncada amb el mot germànic –Witirici-, genitiu de -Witiric-. S'ha dit que el seu origen podria ser el de –Rivus Guitardo-, nom del qual seria un derivat. Hi ha una 2ª hipotèsi de seu origen, de –Guntirig-, nom personal que estroba documentat a Catalunya en el segle x. Un document de l'any 1044 parla de la contrada, denominada "Iotericio", del temple, però, no en tenim cap notícia fins a l'any 1221 I 1288 que s'anomena la parròquia de -Sancti Andree de Iecoriu-. Del segle XIV és la cita "Ecclesia parrochialis sancti Andree de Gitarivio". Sant Andreu perdrà la seva condició de parròquia i passarà a dependre de Santa Cecília de Sardenes.
L'església té uns Goigs dedicats a Sant Andreu que canten:
Sempre és bo, si fe i coratge
són, dels pobles, el motiu.
Ara és temps de romiatge,
Sant Andreu de Gitarriu.
...
Ara és temps, i ho és tothora,
temple amic de Sant Andreu.
En l'Apòstol s'atresora
la virtut que ens durà a Déu.
Cal seguir-lo. Bell guiatge
per al tímid i el gasiu[1].
Recull de documentació històrica
Cartoral de Carlemany
Data: 7 de juliol de 1221
Descripció:
El bisbe Alemany firma la donació que Arnau de Sales ha fet a la capella de Santa Magdalena de Montpalau, el sínode de Sant Martí de Cabissó, el delme de Sant Miquel de Monteia i Sant Andreu de Gitarriu (Iecoriu), i pren la capella sota la seva guarda. I Alamanda de Sales, vídua de dit Arnau, amb les seves filles Agnès, Ermesenda i Guillema, rep en feu del bisbe, en compte dels esmentats delmes, dos masos seus, dits de Bosseganys, situats a la parròquia de Sant Esteve de Llanars, promet fer de cens a la capella una lliura de cera i es compromet, en cas d'alienar els esmentats masos, a convertir altres alous seus en feu episcopal.
Texte llatí:
"Actum est hoc nonis iulii anno Domini . MCCXX. primo. Sig+num Alamande de Salis, sig+num Agnetis filie eius, qui hoc firmamus et laudamus. Sig+num Ermesendis filie eius, sig+num Guilielme, filie eius qui supradicta firmauerunt de mandato dicti Gerundensis episcopi et Bernardi Stephani notarii, in manu Guilielmi de Cabanellis, Gerundensis canonici. Alamandus, gratia Dei Gerudensis episcopus. Ego Guilielmus de Cabanellis, qui firmamentum predictarum Ermesendis et Guilielme recepi, subscribo (s. man.). Sig+num Bernardi Seguini. Sig+num Guilielmi de Farneriis. Sig+num Petri de Aro. Ego Bernardus Sancii scripsi hoc mandato Bernardi Stephani, Gerundensis canonici et publici notarii. Bernardus Stephani, Gerundensis canonicus et publicus notarius subscribo (s. man.)".
Referència
Cart., p. 171b marge. Còpia; RC ff. 144-145. Reg.: B 529.
Cartoral de Carlemany
Data: 15 d'octubre de 1228
Descripció:
El bisbe Guillem de Cabanelles, a precs d'Alamanda de Sales, consagra l'església de Santa Magdalena de Montpalau, i la rep sota la seva protecció, després d'assegurar-se una recompensa pels delmes de Sant Martí de Cabissó i Sant Miquel de Monteia, donats per a dotar la capella.
Texte en llatí:
Idus octobris anno Domini millesimo .CC. uicesimo octauo uenit dompnus Guilielmus miseracione diuina Gerundensis episcopus ad consegrandam ecclesiolam siue capellam in honore Sancte Marie Magdalene de Monte Palatio hedifficatam et pie ac deuote a nobilibus et reuerendis Arnaldo condam de Salis et domna Alamanda uxore sua constructam. Cui scilicet consegrationi interfuerunt Raimundus scilicet de Albuciano archidiaconus Impuritanensis, Raimundus de Basso abbas Sancti Felicis Gerunde atque Berengarius de Locustaria thesaurarius ecclesie Gerundensis et prior de Riuodazer et prior Sancti Tome de Caiano et sacrista Sancti Iohannis de Abbatissis et plures alii tam clerici quam milites et uicini illius loci. Quam quidem ecclesiolam siue capellam prephatus episcopus in sua recepit defensione pariter et ecclesie Gerundensis, cum una libra cere quam clerici ipsius capelle teneantur dare et soluere annis singulis sibi et successoribus suis in festo Pasche, sicut continetur in instrumento concessionis facte a predecessore suo predicte capelle. Confirmauit etiam ipsa die prephatus episcopus et concessit predicte capelle in perpetuum omnia alodia posessiones et mansos cum hominibus et feminis et cum omni integritate et proprietate sua que uel quos predicti Arnaldus condam de Salis et domna Alamanda uxor eius dederunt et Concesserunt pro alodio capelle prephate, sicut plenius et melius continetur in instrumentis inde confectis, uel que adhuc erat dante Domino ipsa ecclesiola seu capella adeptura et habitura. Saluis tamen condicionibus seu paccionibus quos predicti Arnaldo de Salis et Alamanda uxor eius antecessori suo fecerant de duobus scilicet mansis qui uocantur de Bosseganys qui sunt in parochia Sancti Stephani de Lanars, quos predicta Alamanda de Salis accepit ab eo in feudum ratione decime que accipiebat ipsa et maritus eius pro sinodo in decima Sancti Martini de Cabissono et in decima Sancti Michaelis de Montilio et in decima Sancti Andree de Iecoriu, que assensu predecessoris sui prephate capelle dederunt et concesserunt, quam sinodum Arnaldus predictus tenebat in feudum, et saluo iure in omnibus ecclesie parochialis cui ius suum plene et integre conseruatur et episcopus Gerundensis habeat potestatem instituendi et destituendi, approbandi et reprobandi in perpetuum clericos capelle a dominis castri de Montepalacio et patronis ipsius capelle electis et sibi representatis. Sig+num Guilielmi, Dei gratia Gerundensis episcopus. Ego Raimundus de Albuciano, Impuritanensis archidiaconus subscribo. Berengarius de Locustaria, presbiter et thesaurarius. Ego Raimundus abbas Uillebertrandi subscribo. (s. man.) Bonus Homo, notarius domini episcopi Gerundensis, qui hoc scripsit cum litteris suprascriptis in prima linea, ubi dicitur "Guilielmus" et rasis et emendatis in octaua linea, ubi dicitur "suo" et suprascriptis in tertia decima linea ubi dicitur "eius" et rasis et emendatis in eadem linea ubi dicitur "sue" et in sextadecima, ubi dicitur "predecessoris" et suprascriptis in nonadecima ubi dicitur "et" et in eadem ubi dicitur "capelle", die et anno quibus supra.
"George Washington"
also known as: “Enthroned Washington”
sculptor: Horatio Greenough, 1840
commissioned by the U.S. Congress for the centennial of Washington's birth
based on Phidias' great statue of Zeus
National Museum of American History museum
Washington, District of Columbia
----------
inscription:
SIMULACRUM ISTUD
AD MAGNUM LIBERTATIS EXEMPLUM
NEC SINE IPSA DURATURUM
HORATIUS GREENOUGH
FACIEBAT
translation:
"Horatio Greenough made this image as a great example of freedom, which will not survive without freedom itself."
Mille modi veneris; simplex minimique laboris,
Cum iacet in dextrum semisupina latus.
[Ars III, 787 – 788]
“There’s a thousand ways to do it: simple and least effort, is just to lie there half-turned on your right side.”
Mirror cover decorated with erotic scene. The two naked protagonists, lying on a richly decorated bed, are making sex in an elegant alcove. They are engaged in one of the “mille modi veneris” - “the thousand positions of love” - that Ovid, as a good tutor, describes at the end of the 3rd book of his work "Ars Amatoria". Among the furnishings in the room, you can see, behind the two lovers, a panel decorated with a different example of the “mille modi veneris”.
Nota sibi sit quaeque: modos a corpore certos
Sumite: non omnes una figura decet.
Quae facie praesignis erit, resupina iaceto:
Spectentur tergo, quis sua terga placent.
Milanion umeris Atalantes crura ferebat: 775
Si bona sunt, hoc sunt accipienda modo.
Parva vehatur equo: quod erat longissima, numquam
Thebais Hectoreo nupta resedit equo.
Strata premat genibus, paulum cervice reflexa,
Femina per longum conspicienda latus. 780
Cui femur est iuvenale, carent quoque pectora menda,
Stet vir, in obliquo fusa sit ipsa toro.
Nec tibi turpe puta crinem, ut Phylleia mater,
Solvere, et effusis colla reflecte comis.
[Ars III, 773 – 782],
“Let each girl know herself: adopt a reliable posture for her body, one posture is not suitable for all. If a woman has a lovely face, let her lie upon her back: let her back be seen, she who’s back delights. Milanion bore Atalanta’s legs on his shoulders: if your legs are as beautiful as hers, put them in the same position. Let the small be carried by a horse: Andromache, his Theban bride, was too tall to straddle Hector’s horse. Let a woman noted for her length of body, press the bed with her knees, arch her neck slightly. She who has youthful thighs, and faultless breasts, the man might stand, she spread, with her body downwards. Don’t think it shameful to loosen your hair, like a Maenad, and throw back your head with its flowing tresses.”
Translation by A. S. Kline © 2001
Source: exhibition notes (Giulia Salvo)
Mirror cover
Bronze and lead, cast and embossed
Diameter 16,5 cm
End of the 1st Century BC
Rome, “Musei Capitolini”
Exhibition: “Ovidio: Loves, Myths & Other Stories”
Scuderie del Quirinale, Rome
----------
"George Washington"
also known as: “Enthroned Washington”
sculptor: Horatio Greenough, 1840
commissioned by the U.S. Congress for the centennial of Washington's birth
based on Phidias' great statue of Zeus
National Museum of American History museum
Washington, District of Columbia
----------
inscription:
SIMULACRUM ISTUD
AD MAGNUM LIBERTATIS EXEMPLUM
NEC SINE IPSA DURATURUM
HORATIUS GREENOUGH
FACIEBAT
translation:
"Horatio Greenough made this image as a great example of freedom, which will not survive without freedom itself."
Baphomet (/ˈbæfoʊmɛt/; from Medieval Latin Baphometh, Baffometi, Occitan Bafometz) is a term originally used to describe an idol or other deity that the Knights Templar were accused of worshipping and that subsequently was incorporated into disparate occult and mystical traditions. It appeared as a term for a pagan idol in trial transcripts of the Inquisition of the Knights Templar in the early 14th century.[The name first came into popular English usage in the 19th century, with debate and speculation on the reasons for the suppression of the TemplarsSince 1856, the name Baphomet has been associated with a "Sabbatic Goat" image drawn by Eliphas Levi which contains binary elements representing the "sum total of the universe" (e.g. male and female, good and evil, etc.The name Baphomet appeared in July 1098 in a letter by the crusader Anselm of Ribemont: Sequenti die aurora apparente, altis vocibus Baphometh invocaverunt; et nos Deum nostrum in cordibus nostris deprecantes, impetum facientes in eos, de muris civitatis omnes expulimus. As the next day dawned, they called loudly upon Baphometh; and we prayed silently in our hearts to God, then we attacked and forced all of them outside the city walls. A chronicler of the First Crusade, Raymond of Aguilers, called the mosques Bafumarias. The name Bafometz later appeared around 1195 in the Occitan poems "Senhors, per los nostres peccatz" by the troubadour Gavaudan. Around 1250 a poem bewailing the defeat of the Seventh Crusade by Austorc d'Aorlhac refers to Bafomet. De Bafomet is also the title of one of four surviving chapters of an Occitan translation of Ramon Llull's earliest known work, the Libre de la doctrina pueril, "book on the instruction of children". Two Templars burned at the stake, from a French 15th-century manuscript. When the medieval order of the Knights Templar was suppressed by King Philip IV of France, on Friday October 13, 1307, Philip had many French Templars simultaneously arrested, and then tortured into confessions. Over 100 different charges had been leveled against the Templars. Most of them were dubious, as they were the same charges that were leveled against the Cathars and many of King Philip's enemies; he had earlier kidnapped Pope Boniface VIII and charged him with near identical offenses of heresy, spitting and urinating on the cross, and sodomy. Yet Malcolm Barber observes that historians "find it difficult to accept that an affair of such enormity rests upon total fabrication".The "Chinon Parchment suggests that the Templars did indeed spit on the cross," says Sean Martin, and that these acts were intended to simulate the kind of humiliation and torture that a Crusader might be subjected to if captured by the Saracens, where they were taught how to commit apostasy "with the mind only and not with the heart". Similarly Michael Haag suggests that the simulated worship of Baphomet did indeed form part of a Templar initiation ritual. The indictment (acte d'accusation) published by the court of Rome set forth ... "that in all the provinces they had idols, that is to say, heads, some of which had three faces, others but one; sometimes, it was a human skull ... That in their assemblies, and especially in their grand chapters, they worshipped the idol as a god, as their saviour, saying that this head could save them, that it bestowed on the order all its wealth, made the trees flower, and the plants of the earth to sprout forth."The name Baphomet comes up in several of these confessions. Peter Partner states in his 1987 book The Knights Templar and their Myth, "In the trial of the Templars one of their main charges was their supposed worship of a heathen idol-head known as a 'Baphomet' ('Baphomet' = Mahomet)."The description of the object changed from confession to confession. Some Templars denied any knowledge of it. Others, under torture, described it as being either a severed head, a cat, or a head with three faces.The Templars did possess several silver-gilt heads as reliquaries,including one marked capud lviiim,another said to be St. Euphemia,and possibly the actual head of Hugues de Payens. The claims of an idol named Baphomet were unique to the Inquisition of the Templars.Karen Ralls, author of the Knights Templar Encyclopedia, argues that it is significant that "no specific evidence [of Baphomet] appears in either the Templar Rule or in other medieval period Templar documents."Gauserand de Montpesant, a knight of Provence, said that their superior showed him an idol made in the form of Baffomet; another, named Raymond Rubei, described it as a wooden head, on which the figure of Baphomet was painted, and adds, "that he worshipped it by kissing its feet, and exclaiming, 'Yalla,' which was," he says, "verbum Saracenorum," a word taken from the Saracens. A templar of Florence declared that, in the secret chapters of the order, one brother said to the other, showing the idol, "Adore this head—this head is your god and your Mahomet."Modern scholars such as Peter Partner and Malcolm Barber agree that the name of Baphomet was an Old French corruption of the name Muhammad, with the interpretation being that some of the Templars, through their long military occupation of the Outremer, had begun incorporating Islamic ideas into their belief system, and that this was seen and documented by the Inquisitors as heresy.Alain Demurger, however, rejects the idea that the Templars could have adopted the doctrines of their enemies. Helen Nicholson writes that the charges were essentially "manipulative"—the Templars "were accused of becoming fairy-tale Muslims." Medieval Christians believed that Muslims were idolatrous and worshipped Muhammad as a god, with mahomet becoming mammet in English, meaning an idol or false god. This idol-worship is attributed to Muslims in several chansons de geste. For example, one finds the gods Bafum e Travagan in a Provençal poem on the life of St. Honorat, completed in 1300.In the Chanson de Simon Pouille, written before 1235, a Saracen idol is called Bafumetz.
Alternative etymologies
Knights Templar Seal representing the Gnostic figure Abraxas. While modern scholars and the Oxford English Dictionary state that the origin of the name Baphomet was a probable Old French version of "Mahomet",alternative etymologies have also been proposed.In the 18th century, speculative theories arose that sought to tie the Knights Templar with the origins of Alchemy.Bookseller, Freemason and Illuminatus [33] Christoph Friedrich Nicolai (1733–1811), in Versuch über die Beschuldigungen welche dem Tempelherrenorden gemacht worden, und über dessen Geheimniß (1782), was the first to claim that the Templars were Gnostics, and that "Baphomet" was formed from the Greek words βαφη μητȢς, baphe metous, to mean Taufe der Weisheit, "Baptism of Wisdom". Nicolai "attached to it the idea of the image of the supreme God, in the state of quietude attributed to him by the Manichaean Gnostics", according to F. J. M. Raynouard, and "supposed that the Templars had a secret doctrine and initiations of several grades" which "the Saracens had communicated ... to them." He further connected the figura Baffometi with the pentagram of Pythagoras:
What properly was the sign of the Baffomet, 'figura Baffometi,' which was depicted on the breast of the bust representing the Creator, cannot be exactly determined ... I believe it to have been the Pythagorean pentagon (Fünfeck) of health and prosperity: ... It is well known how holy this figure was considered, and that the Gnostics had much in common with the Pythagoreans. From the prayers which the soul shall recite, according to the diagram of the Ophite-worshippers, when they on their return to God are stopped by the Archons, and their purity has to be examined, it appears that these serpent-worshippers believed they must produce a token that they had been clean on earth. I believe that this token was also the holy pentagon, the sign of their initiation (τελειας βαφης μετεος).
Émile Littré (1801–1881) in Dictionnaire de la langue francaise asserted that the word was cabalistically formed by writing backward tem. o. h. p. ab, an abbreviation of templi omnium hominum pacis abbas, 'abbot' or 'father of the temple of peace of all men.' His source is the "Abbé Constant", which is to say, Alphonse-Louis Constant, the real name of Eliphas Levi.
Hugh J. Schonfield (1901–1988),one of the scholars who worked on the Dead Sea Scrolls, argued in his book The Essene Odyssey that the word "Baphomet" was created with knowledge of the Atbash substitution cipher, which substitutes the first letter of the Hebrew alphabet for the last, the second for the second last, and so on. "Baphomet" rendered in Hebrew is בפומת; interpreted using Atbash, it becomes שופיא, which can be interpreted as the Greek word "Sophia", meaning wisdom. This theory is an important part of the plot of the novel The Da Vinci Code.
Joseph Freiherr von Hammer-Purgstall
Joseph von Hammer-Purgstall (1774-1856) associated a series of carved or engraved figures found on a number of supposed 13th century Templar artifacts (such as cups, bowls and coffers) with the Baphometic idol.
In 1818, the name Baphomet appeared in the essay by the Viennese Orientalist Joseph Freiherr von Hammer-Purgstall, Mysterium Baphometis revelatum, seu Fratres Militiæ Templi, qua Gnostici et quidem Ophiani, Apostasiæ, Idoloduliæ et Impuritatis convicti, per ipsa eorum Monumenta "Discovery of the Mystery of Baphomet, by which the Knights Templars, like the Gnostics and Ophites, are convicted of Apostasy, of Idolatry and of moral Impurity, by their own Monuments"), which presented an elaborate pseudohistory constructed to discredit Templarist Masonry and, by extension, Freemasonry. Following Nicolai, he argued, using as archaeological evidence "Baphomets" faked by earlier scholars[citation needed] and literary evidence such as the Grail romances, that the Templars were Gnostics and the "Templars' head" was a Gnostic idol called Baphomet.
His chief subject is the images which are called Baphomet ... found in several museums and collections of antiquities, as in Weimar ... and in the imperial cabinet in Vienna. These little images are of stone, partly hermaphrodites, having, generally, two heads or two faces, with a beard, but, in other respects, female figures, most of them accompanied by serpents, the sun and moon, and other strange emblems, and bearing many inscriptions, mostly in Arabic ... The inscriptions he reduces almost all to Mete[, which] ... is, according to him, not the Μητις of the Greeks, but the Sophia, Achamot Prunikos of the Ophites, which was represented half man, half woman, as the symbol of wisdom, unnatural voluptuousness and the principle of sensuality ... He asserts that those small figures are such as the Templars, according to the statement of a witness, carried with them in their coffers. Baphomet signifies Βαφη Μητεος, baptism of Metis, baptism of fire,or the Gnostic baptism, an enlightening of the mind, which, however, was interpreted by the Ophites, in an obscene sense, as fleshly union ... the fundamental assertion, that those idols and cups came from the Templars, has been considered as unfounded, especially as the images known to have existed among the Templars seem rather to be images of saints.
Hammer's essay did not pass unchallenged, and F. J. M. Raynouard published an "Etude sur 'Mysterium Baphometi revelatum'" in Journal des savants the following year. Charles William King criticized Hammer saying he had been deceived by "the paraphernalia of ... Rosicrucian or alchemical quacks,"[43] and Peter Partner agreed that the images "may have been forgeries from the occultist workshops." At the very least, there was little evidence to tie them to the Knights Templar—in the 19th century some European museums acquired such pseudo-Egyptian objects,[citation needed] which were catalogued as "Baphomets" and credulously thought to have been idols of the Templars.
Eliphas Lévi
Androgyne of Heinrich Khunrath, Amphitheatrum Sapientiae Aeternae.
Later in the 19th century, the name of Baphomet became further associated with the occult. Eliphas Levi published Dogme et Rituel de la Haute Magie ("Dogma and Rituals of High Magic") as two volumes (Dogme 1854, Rituel 1856), in which he included an image he had drawn himself which he described as Baphomet and "The Sabbatic Goat", showing a winged humanoid goat with a pair of breasts and a torch on its head between its horns (illustration, top). This image has become the best-known representation of Baphomet. Lévi considered the Baphomet to be a depiction of the absolute in symbolic form and explicated in detail his symbolism in the drawing that served as the frontispiece:
The goat on the frontispiece carries the sign of the pentagram on the forehead, with one point at the top, a symbol of light, his two hands forming the sign of occultism, the one pointing up to the white moon of Chesed, the other pointing down to the black one of Geburah. This sign expresses the perfect harmony of mercy with justice. His one arm is female, the other male like the ones of the androgyne of Khunrath, the attributes of which we had to unite with those of our goat because he is one and the same symbol. The flame of intelligence shining between his horns is the magic light of the universal balance, the image of the soul elevated above matter, as the flame, whilst being tied to matter, shines above it. The beast's head expresses the horror of the sinner, whose materially acting, solely responsible part has to bear the punishment exclusively; because the soul is insensitive according to its nature and can only suffer when it materializes. The rod standing instead of genitals symbolizes eternal life, the body covered with scales the water, the semi-circle above it the atmosphere, the feathers following above the volatile. Humanity is represented by the two breasts and the androgyne arms of this sphinx of the occult sciences.
Witches' Sabbath
Lévi's depiction of Baphomet is similar to that of The Devil in early Tarot. Lévi, working with correspondences different from those later used by S. L. MacGregor Mathers, "equated the Devil Tarot key with Mercury," giving "his figure Mercury's caduceus, rising like a phallus from his groin."
Lévi believed that the alleged devil worship of the medieval Witches' Sabbath was a perpetuation of ancient pagan rites. A goat with a candle between its horns appears in medieval witchcraft records, and other pieces of lore are cited in Dogme et Rituel.
Le Diable, from the early eighteenth century Tarot of Marseilles by Jean Dodal.
Below this figure we read a frank and simple inscription—THE DEVIL. Yes, we confront here that phantom of all terrors, the dragon of the all theogenies, the Ahriman of the Persians, the Typhon of the Egyptians, the Python of the Greeks, the old serpent of the Hebrews, the fantastic monster, the nightmare, the Croquemitaine, the gargoyle, the great beast of the Middle Ages, and—worse than all these—the Baphomet of the Templars, the bearded idol of the alchemist, the obscene deity of Mendes, the goat of the Sabbath. The frontispiece to this ‘Ritual’ reproduces the exact figure of the terrible emperor of night, with all his attributes and all his characters.... Yes, in our profound conviction, the Grand Masters of the Order of Templars worshipped the Baphomet, and caused it to be worshipped by their initiates; yes, there existed in the past, and there may be still in the present, assemblies which are presided over by this figure, seated on a throne and having a flaming torch between the horns. But the adorers of this sign do not consider, as do we, that it is a representation of the devil; on the contrary, for them it is that of the god Pan, the god of our modern schools of philosophy, the god of the Alexandrian theurgic school and of our own mystical Neoplatonists, the god of Lamartine and Victor Cousin, the god of Spinoza and Plato, the god of the primitive Gnostic schools; the Christ also of the dissident priesthood.... The mysteries of the Sabbath have been variously described, but they figure always in grimoires and in magical trials; the revelations made on the subject may be classified under three heads—1. those referring to a fantastic and imaginary Sabbath; 2. those which betray the secrets of the occult assemblies of veritable adepts; 3. revelations of foolish and criminal gatherings, having for their object the operations of black magic.
Lévi's Baphomet, for all its modern fame, does not match the historical descriptions from the Templar trials, although it may also have been partly inspired by grotesque carvings on the Templar churches of Lanleff in Brittany and
Saint-Merri in Paris, which depict squatting bearded men with bat wings, female breasts, horns and the shaggy hindquarters of a beast,[unreliable source] as well as Eugène Viollet-le-Duc's vivid gargoyles that were added to Notre-Dame de Paris about the same time as Lévi's illustration.[citation needed]
Goat of Mendes
Banebdjedet
Lévi called his image "The Goat of Mendes", possibly following Herodotus' account that the god of Mendes—the Greek name for Djedet, Egypt—was depicted with a goat's face and legs. Herodotus relates how all male goats were held in great reverence by the Mendesians, and how in his time a woman publicly copulated with a goat. E. A. Wallis Budge writes,
At several places in the Delta, e.g. Hermopolis, Lycopolis, and Mendes, the god Pan and a goat were worshipped; Strabo, quoting (xvii. 1, 19) Pindar, says that in these places goats had intercourse with women, and Herodotus (ii. 46) instances a case which was said to have taken place in the open day. The Mendisians, according to this last writer, paid reverence to all goats, and more to the males than to the females, and particularly to one he-goat, on the death of which public mourning is observed throughout the whole Mendesian district; they call both Pan and the goat Mendes, and both were worshipped as gods of generation and fecundity. Diodorus (i. 88) compares the cult of the goat of Mendes with that of Priapus, and groups the god with the Pans and the Satyrs. The goat referred to by all these writers is the famous Mendean Ram, or Ram of Mendes, the cult of which was, according to Manetho, established by Kakau, the king of the IInd dynasty.Historically, the deity that was venerated at Egyptian Mendes was a ram deity, Banebdjedet (literally Ba of the lord of djed, and titled "the Lord of Mendes"), who was the soul of Osiris. Lévi combined the images of the Tarot of Marseilles Devil card and refigured the ram Banebdjed as a he-goat, further imagined by him as "copulator in Anep and inseminator in the district of Mendes".
Aleister Crowley
The Baphomet of Lévi was to become an important figure within the cosmology of Thelema, the mystical system established by Aleister Crowley in the early twentieth century. Baphomet features in the Creed of the Gnostic Catholic Church recited by the congregation in The Gnostic Mass, in the sentence: "And I believe in the Serpent and the Lion, Mystery of Mysteries, in His name BAPHOMET."[55]
In Magick (Book 4), Crowley asserted that Baphomet was a divine androgyne and "the hieroglyph of arcane perfection": Seen as that which reflects. "What occurs above so reflects below, or As above so below" The Devil does not exist. It is a false name invented by the Black Brothers to imply a Unity in their ignorant muddle of dispersions. A devil who had unity would be a God... 'The Devil' is, historically, the God of any people that one personally dislikes... This serpent, SATAN, is not the enemy of Man, but He who made Gods of our race, knowing Good and Evil; He bade 'Know Thyself!' and taught Initiation. He is 'The Devil' of The Book of Thoth, and His emblem is BAPHOMET, the Androgyne who is the hieroglyph of arcane perfection... He is therefore Life, and Love. But moreover his letter is ayin, the Eye, so that he is Light; and his Zodiacal image is Capricornus, that leaping goat whose attribute is Liberty. For Crowley, Baphomet is further a representative of the spiritual nature of the spermatozoa while also being symbolic of the "magical child" produced as a result of sex magic. As such, Baphomet represents the Union of Opposites, especially as mystically personified in Chaos and Babalon combined and biologically manifested with the sperm and egg united in the zygote. Crowley proposed that Baphomet was derived from "Father Mithras". In his Confessions he describes the circumstances that led to this etymology: I had taken the name Baphomet as my motto in the O.T.O. For six years and more I had tried to discover the proper way to spell this name. I knew that it must have eight letters, and also that the numerical and literal correspondences must be such as to express the meaning of the name in such a ways as to confirm what scholarship had found out about it, and also to clear up those problems which archaeologists had so far failed to solve ... One theory of the name is that it represents the words βαφὴ μήτεος, the baptism of wisdom; another, that it is a corruption of a title meaning "Father Mithras". Needless to say, the suffix R supported the latter theory. I added up the word as spelt by the Wizard. It totalled 729. This number had never appeared in my Cabbalistic working and therefore meant nothing to me. It however justified itself as being the cube of nine. The word κηφας, the mystic title given by Christ to Peter as the cornerstone of the Church, has this same value. So far, the Wizard had shown great qualities! He had cleared up the etymological problem and shown why the Templars should have given the name Baphomet to their so-called idol. Baphomet was Father Mithras, the cubical stone which was the corner of the Temple.
Modern interpretations and usage
The Devil in the Rider-Waite tarot deck.
Lévi's Baphomet is the source of the later Tarot image of the Devil in the Rider-Waite design. The concept of a downward-pointing pentagram on its forehead was enlarged upon by Lévi in his discussion (without illustration) of the Goat of Mendes arranged within such a pentagram, which he contrasted with the microcosmic man arranged within a similar but upright pentagram. The actual image of a goat in a downward-pointing pentagram first appeared in the 1897 book La Clef de la Magie Noire by Stanislas de Guaita. It was this image that was later adopted as the official symbol—called the Sigil of Baphomet—of the Church of Satan, and continues to be used among Satanists.Promotional poster for Léo Taxil, Les Mystères de la franc-maçonnerie dévoilés (1886), adapts Lévi's invention. Baphomet, as Lévi's illustration suggests, has occasionally been portrayed as a synonym of Satan or a demon, a member of the hierarchy of Hell. Baphomet appears in that guise as a character in James Blish's The Day After Judgment.[citation needed] Christian evangelist Jack T. Chick claimed that Baphomet is a demon worshipped by Freemasons,a claim that apparently originated with the Taxil hoax. Léo Taxil's elaborate hoax employed a version of Lévi's Baphomet on the cover of Les Mystères de l'Alchimie dévoilés, his lurid paperback "exposé" of Freemasonry, which in 1897 he revealed as a hoax intended to ridicule the Catholic Church and its anti-alchemic propaganda. In 2014 The Satanic Temple commissioned an 8 1/2 foot statue of Baphomet to stand alongside a monument of the Ten Commandments at Oklahoma State Capitol, citing "respect for diversity and religious minorities" as reasons for erecting the monument. After the Ten Commandments monument was vandalized plans to erect the Baphomet statue were put on hold as the Satanic Temple did not want their statue to stand alone by the Oklahoma capitol. The Oklahoma Supreme Court declared all religious displays illegal and on 25 July 2015 the statue was erected near a warehouse in Detroit, as a symbol of the modern Satanist movement. The Satanic Temple may take the statue to Arkansas where another 10 Commandments monument is proposed. Baphomet appears in Dungeons & Dragons as a powerful demon lord, and is also known as the "Horned King", or the "Prince of Beasts". Baphoment is followed by minotaurs and other savage creatures. He desires the end of civilizations so all creatures may embrace their most basic, brutal instincts. He is described as a massive, black minotaur, with blood around his mouth and red eyes. He wears an iron crown topped with the heads of his enemies, along with spiked armor. He wields a huge glaive, named "Heartcleaver", but commonly fights with his hooves, claws, and horns. He rules of the 600th layer of The Abyss, known as the "Endless Maze", and is the sworn enemy of Yeenoghu, another demon lord.
IMO: 9270828
MMSI: 538005226
Call Sign: V7CA4
Flag: Marshall Is (MH)
AIS Type: Cargo - Hazard A (Major)
Gross Tonnage: 21932
Deadweight: 24279 t
Length × Breadth: 196.82m × 28m
Year Built: 2004
Status: Active
Im Ortszentrum der 1000-Seelen-Stadtgemeinde Pulkau (HL) steht am Brückenplatz diese etwa 5m hohe barocke Figurensäule aus örtlichen Sandstein. Sie ruht in 260m SH im Ortsried auf einem 1832 neu errichteten Grundfundament auf dem sich die Marien-Säule erhebt. Es hat unterhalb einen nach obenhin gestuften Sockel auf dem ein quaderförmiges einst polychromes Postament aufliegt. Es hat an allen vier Seiten viereckige seichte Kartuschen mit eingezogenen Ecken. In der vorderen Kartusche ist folgende Information eingraviert: "Diese Bildsäule wurde von der alten steinernen Brücke durch Zusamenwirken mehrere Bürger bei Gelegenheit der glücklichen überstandenen Cholerakrankheit hier her versetzt und renoviert im Jahre MDCCCXXXII". In der linken Kartusche folgende weitere Information: " Diese Statue wurde hier aufgestellt als Herr Joseph Schranzhofer senior Bürgermeister war im Jahre 1832". In der rückwärtigen Kartusche die Stifterinschrift: "ERHÖHT BIN ICH WORDEN IM 1695 JAHR ALS JOHAN ROTH HIER MARKTRICHTER WAR. MATHIAS V. WARNUNG POSTMEISTER ZU PULKAU". Auf dem Postament eine vorkragende Deckplatte die unterhalb dreifach nach unten gestuft ist. Auf der Deckplatte ein quadratischer Säulensockel auf dem sich eine hohe korinthische Säule erhebt. Sie hat unterhalb einen Basalring mit einem Zwischenring darüber. Darüber ist eine kunstvolle Friedhofsblechlaterne montiert. Oberhalb der Säule noch ein Halsring. Auf der Säule ein korinthische Kapitell mit Diagonalvoluten und Akanthusblattreliefen. Am Kapitell ein polygoner goldfarbener Figurensockel auf dem sich die einst polychrome und gut gearbeitete hochbarocke Figur der Maria Immaculata befindet. Sie blickt betend zum Himmel, an ihren Hinterhaupt ein goldener Sternenkranz mit 12 Sternen. Sie steht auf der polychromen Weltkugel und zertritt mit einem Fuss die Schlange die sich um den Erdball windet. Sie symbolisiert das Böse, die Erbsünde. Im blau gefärbten Erdball ist noch eine lateinische Inschrift zu erkennen: "IPSA CONTERET CAPU" (Sie wird den Kopf zertreten). Wie aus den Inschriften zu lesen stifteten 1695 Bürgermeister Johann Roth, der auch Marktrichter im Ort war und Postmeister Mathias Warnung diese Statue und richteten sie inmitten auf der alten Brücke über den Pulkau-Bach auf. 1832 gab es in Pulkau eine fürchterliche Cholera-Epidemie und wenig später trat noch die Pulkau nach einem Starkregen weit über sein Ufer. Das Hochwasser zerstörte diese Brücke und 108 Häuser wobei 11 Menschen ums Leben kamen. Die alte Steinbrücke musste grosszügig saniert werden und die Statue erhielt nur wenige Meter von ihrem ursprünglichen Errichtungsort ihren heutigen sicheren Standort 1832 zugewiesen. Sie dürfte eine ex-voto-Mariensäule zum Erlöschen der grossen Pest von 1691 gewesen sein.
Standort 1832: GPS 48.704168, 15.859298
Standort 1695: GPS 48.704515, 15.859745
Denkmalschutz OID 20228 nach § 2a