The early exploits of Winston Churchill are explored in this Richard Attenborough-directed film, which casts Simon Ward as the near-mythologic British politician.
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Sampson doesn't fit into this legacy of bigs with perimeter skills because he's simply far bigger than any other comparables, except maybe the mythologic young/skinny Arvydas Sabonis.
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Today Waralden Olmai is a mythologic figure in Nordic countries.
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Stanislao Campana (1794 – 1864) was an Italian painter, depicting historic- mythologic and sacred subjects.
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Ignazio Villa (19th century) was an Italian sculptor of mainly mythologic and sacred scenes, as well as portraits. He was a Lombard and resident in Milan. He painted near life size historical or mythologic tableaux. For example, he painted a 3/4 size group representing Diomede che precipita Pantasilea nello Scamandro.
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He learned early from Giovanni Tosolini, but was mainly self-trained.Istituto Matteucci, short biography. He painted landscapes and historic, mythologic, and religious subjects. He was mainly active in the Veneto.
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C. Elgood. A Medical history of Persia. Cambridge Univ. Press. p. 173 The idea of xenotransplantation dates to the days of Achaemenidae (the Achaemenian dynasty), as evidenced by engravings of many mythologic chimeras still present in Persepolis.
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Marco Liberi (c.1640 – after 1687) was an Italian painter of the Baroque period. He was the son of the painter Pietro Liberi in Padua, and received his training under his father. He painted mythologic and historic cabinet paintings.
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Wall canvases have paintings of Roman history. Other rooms have mythologic frescoes. In 2014, the palace housed offices of the Soprintendenza per i Beni Architettonici e per il Paesaggio per le province di Siena e Grosseto.Beniculturali entry, director Mario Scalini, Coordinator Laura Martini.
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The panels depict mythologic scenes and the life of Queen Zenobia, of the 3rd-century Palmyrene Empire, putatively ancestor of this family. The entrance has vedute by Luca Carlevarijis. The archive and library in the garden were designed by the Neoclassical architect Tommaso Temanza.Turismo Venezia entry on palace.
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Prior to its entrance to the Major Leagues, Phoenix used several different nicknames for its ball clubs. They were first known as the Phoenix Senators, then the Phoenix Giants after their big league affiliate, and lastly the Phoenix Firebirds, for the mythologic bird synonymous with the city's name.
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He painted the grand salon of the former Rucellai (now Ruspoli) palace in Rome with mythologic genealogies. Two canvases, representing the Ascension and Resurrection, are housed in the church of San Lorenzo Martire in San Lorenzo Nuovo (Italy). His brother Francesco Zucchi became a noted mosaicist, and died in 1621.
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In 1988, the palace became the host of the Museum of the Comune of Chiavenna. They have sought to maintain the villa and the surrounding vinyards. The interiors are extensively frescoed with mythologic themes (dated to 1577). Two canvases include a view of the town of Priuro prior to the landslide.
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In collaboration with Hayez, they painted a series of mythologic subjects: Convito degli Dei, Triumph and Marriage of Bacchus and Ariadne, Mars and Venus, and Venus and Ascanius (1821–24) in the Palazzo Rusconi Sacerdoti. In 1824-25, he painted the Story of Psyche, and episodes from Tasso's work in the Palazzo Gaudio.
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The palace still contains some of the original stucco decoration and frescoes of a mythologic theme in what was once a hall displaying some of the loot from Morea.The Chautauquan, Volume 34 (1902); p. 207. Also there are frescoes completed for the 1688 wedding of Francesco Morosini and Paulina Mocenigo.Fondo Ambiente Italia website.
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He taught design at the local gymnasium in Salò. In Brescia, he was commissioned to paint some mythologic frescoes for the casa Odassi and the home of the lawyer Zuliani.Memorie intorno alla Vita ed alle Opere di Romoaldo Turini, Pittore da Salò e Pubblicazione di Sei Lettere dell'Immortale Scultore Antonio Canova, Brescia, Tipografia Gilberti (1866).
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He also frescoed in the church of San Domenico and Palazzo Morelli (1773-5) in Spoleto. In Terni he painted a fresco depicting the Glory of the Trinity for the apse of the Duomo of that city. He also painted mythologic frescoes in two rooms of the Palazzo Gazzoli.Key to Umbria, entry on Liborio Coccetti.
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The palace now presents a low, long brick facade on a busy street, and is not highly distinctive except for its prominent portal. The interior rooms have ceilings frescoed with grottesche and mythologic scenes. The furniture, while befitting the epoch, is not original. The palazzina houses a 15th-century marble bust of Duke Ercole I d'Este.
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In 1825, in the Palazzo Rossi, now Moschini, he painted mythologic subjects. In 1828, in Palazzo Revedin, he painted La Fortuna, Laocoon, Ulysses kills Procedus. In this same decade he painted the Education of Achilles and Apotheosis of Canova in Palazzo Crescini-Trieste.The Palace Crescini has been destroyed, but frescoes were detached and placed at Banca Antoniana.
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Macmillan, 1995. pg 241. Due to perceived similarities between the Great Spirit and the Christian concept of God, colonial European missionaries frequently used such existing beliefs as a means of introducing indigenous Americans to Christianity and encouraging conversion.References: Schoolcraft, Henry R. The Myth of Hiawatha and other oral Legends, Mythologic and Allegoric of the North American Indians.
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The local sculptors took over only the iconographic scheme of the Renaissance tomb; their works (e.g. tomb of Lew Sapieha, ca. 1633, at Church of St. Michael) are characterized by conditionality of forms, stylization. During this period local and Western European painters created religious, mythologic compositions, portraits, which were intertwined with late Gothic and Baroque features.
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The films tells the story of Count Jones (Bejamín Rausseo), a far cousin of Indiana Jones, who is called by the North American government, the Interpol and other international security agencies in order to find a strange mythologic object called "The Crystal Creole Ball", which, if captured by Venezuelan military leader, Er General (Chile Veloz), could lead him to win the upcoming presidential elections. To find the location of the mythologic ball, Count Jones needed to travel to Paris, Libano, Jordania, Egypt, the United States and finally Venezuela, in which most of the story happens. Throughout the story, Count Jones had to find his niece, Melissa Jones, who is also his love interest, and travel with her and his nephew Goyito (Honorio Torrealba Jr.), who finally betrays Jones and brings the ball to Er General.
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In the Cathedral of Milan he painted St. Benedict in the act of interceding for the city. He painted frescoes on mythologic themes for the Villa Brentano Carones in Corbetta, along with Mattia Bortoloni. Cilla Brentano Carones, now a school. He also painted a Glory of the Saint (1755) for the cupola of the church dedicated to San Omobono of Cremona.
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Paolo and Francesca by Louis Rubio - oil on canvas, 1833 Louis II of Bourbon Luigi or Louis Rubio (Rome, between 1797 and 1808 – Florence, August 2, 1882) was an Italian painter, active in both Neoclassicism but later Romantic styles, painting mainly historic-mythologic canvases, as well as some genre subjects, and portraits. His works harked back to the Troubadour style twenty years earlier.
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Later works were produced mainly for the Teatro Obizzi of Padua. He worked in a style of opera seria similar to Apostolo Zeno, Francesco Silvani, and Adriano Morselli. His libretti consisted of five acts and were about historic and mythologic subjects, and were called tragedies or tragic-comedies. he also wrote the text for seven musical oratorios, performed between 1697 and 1702.
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Thomas Aquinas Altarpiece, in San Domenico (Siena) Galgano Perpignani (1694 - 1770) was an Italian painter, active in painted sacred and mythologic subjects. He studied in Bologna under Giovanni Gioseffo dal Sole. He was an honorary member of the Accademia Clementina, and died in Bologna.Guida del forestiere per la città di Bologna e suoi sobborghi, by Girolamo Bianconi; Annesio Nobili, Bologna, 1820, page 529.
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Also called Lo Schivenoglia after the town, just outside the city of Mantua, of his birth. He was a pupil of Giovanni Canti. Among his works, he was known for his paintings of battle scenes, landscapes, and capriccios (vedute of imaginary scenes) with historical or mythologic figures. He was named director of the Academy of painters in Mantua in 1752.
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1620-1664/1673) was an Italian painter of the Baroque period, active mainly in Genoa, and painting mythologic scenes and still lifes.Antonio Maria Vassallo - Biography His biography is poorly documented, and mainly depends on the Genoese biographer Raffaele Soprani (1674) as a source. He initially apprenticed with Vincenzo Malò (c. 1605-c. 1650), a Flemish artist who had studied with Teniers the Elder and Rubens.
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He was born in Siena and trained in Rome, following the style of François de Poilly. Among his engravings is a Sant'Agnese based on a design of Francesco Rustici. He also engraved a St Sebastian, St George slays the Dragon, Four Seasons, The Golden Age, The Prodigal Son, and a mythologic subject. A painting in San Nicola di Bari, Sestola is attributed to Brunetti.
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The villa was built by the aristocratic Alamandini family in the early 17th century, and in 1773 it was purchased by the Genoese Giovanni Luca Pallavicini, who was a Field marshal of the Holy Roman Empire. In 1770, a young Mozart stayed here in preparation for appearing before the Accademia Filarmonica di Bologna. The interior is frescoed with landscapes, quadratura, and mythologic themes.Villa and FAM website.
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A house on the site was once linked to Albertino Mussato, an orator and notary of the late 13th to 14th century. The present structure was rebuilt in the 18th century by the architect Girolamo Frigimelica. The rooms contain ceilings frescoed with mythologic and allegoric frescoes painted by Francesco Zugno and Fabio Canal.Comune di Padova – Assessorato alla Cultura Settore Cultura, Turismo, Musei e Biblioteche, entry on palace.
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He was born in Borgo San Sepolcro and pupil of Giorgio Vasari, for whom in 1538 he made designs from Roman monuments, specifically grotteschi. He then aided Cristoforo Gherardi in the decoration, with mythologic subjects and grotteschi, of the Castello Bufalini in San Giustino in Umbria. An Annunciation by Cungi is present in the Museo Civico di Sansepolcro.Museo Civico di Sansepolcro, biographies of artists.
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Giovanni Gaibazzi (1808 – 1888) was an Italian painter, depicting mythologic and sacred subjects, as well as portraits. He trained in his native Parma, at the city's Academy of Fine Arts under Giovanni Tebaldi. He moved to Rome, and returned to Parma in 1840 where he was named professor of the Academy. He completed portraits of the ruling family and painted altarpieces for the church of Santa Maria del Quartiere, Parma.
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The Immaculate Conception, in the Sacro Convento Andrea Pozzi (1778-1833) was an Italian painter, active mainly in his native Rome, as a painter of religious and mythologic histories. He painted a Virgin and Saints, painted for the City of Camerino. In 1820 he painted a Martyrdom of St. Stephen for a chapel of Santa Maria Rotundo in Rome. He was President of the Accademia di San Luca for many years.
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Michele Plancher (1808 – 1888)Nuova Guida di Parma Third edition, page 175. was an Italian painter, depicting historic-mythologic and sacred subjects. He trained, along with Giovanni Tebaldi, in his native Parma under Domenico Muzzi at the city's Academy of Fine Arts. Upon the death of Muzzi, he studied under Biagio Martini, whose contemporary pupils also included Antonio Isac, Paolo Toschi, Giambattista Callegari, Giambattista Borghesi, Tommaso Gasparotti, and Stanislao Campana.
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Mario Spinetti (1848-1925)The Istituto Matteucci cites dates of 1859-1918 for a painter of the same general biography was an Italian painter, whose works depict mythologic, Neo-Pompeian, and sacred subjects. He was born and resident in Rome. Among his works: a half-figure, Lidia, in 1881 in Milan. At the 1883 Exposition of Fine Arts in Rome, he exhibited a painting titled: Virginibus puerisque canto.
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The palace was commissioned by a rich merchant and Marquis of the Dosi family, and built during 1742-1749 using designs of the painter and architect Giovanni Battista Natali. The palace entrance includes a scenic interior staircase leading to the Piano Nobile. It contains a vedute by Antonio Contestabili. The large salon is decorated with Rococo stucco work, and painted with mythologic frescoes with quadratura by Natali and figures by Giuseppe Galeotti.
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The Invention of Gunpowder by Jacopo Coppi The walls were also covered with 34 paintings representing mythologic or religious subjects, or representing trades. The arrangement was such that paintings were somehow related to their neighbors, and emblematic of the objects in the cabinets below. The arrangement we see today is somewhat speculative; and the relationships are not always clear. For example, Tommaso d'Antonio Manzuoli's Diamond Mines hangs above the Maso de Sanfriano's Fall of Icarus.
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Even before his ordination he concerned himself with historical and art-historical matters. In 1854 his Ungarische Mythologic came out, as the first-fruit of his work, in which he treats of the ancient religion of Hungary. Although the work won the prize offered by the Hungarian Academy of Sciences, the author afterwards withdrew it from the press, so that at the present time it is very rare. In 1860 Ipolyi became parish priest at Törökszentmiklós.
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A depiction of Lucifer for Dante's Divine comedy Francesco Scaramuzza (14 July 1803 – 20 October 1886) was an Italian painter and poet of the Romantic period in Northern Italy. He painted mythologic and historic canvases, but is best known for his interpretations of literary subjects including Dante, an enterprise to which he dedicated decades. He was born in Sissa. He trained at the Academy of Fine Arts of Parma, training under Antonio Pasini and Giovanni Tebaldi.
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Santos Dumont posing near the statue in his honour in 1913. On the Avenue de Longchamp is a bronze statue commissioned by the Airclub of France representing the Greek mythologic figure Icarus, in honour of Santos Dumont. It was inaugurated on October 19, 1913, and is on a square near the old Aerostation of Saint-Cloud, where Santos Dumont performed his experiments with the heavier than air. Dumont was also responsible for the construction of the world's first hangar in Saint-Cloud.
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There he fell under the influence of neoclassical artists such as Canova. Returning to Venice, De Min mainly dedicated himself to fresco or panel decoration of houses and salons. His decorations (1817) of mythologic themes in the Palazzo Cicognara in Venice, using designs by Hayez, are now lost. The next year, in collaboration with Hayez he helped decorate the Palazzo of the Count Giovanni Papadopoli in San Marina with depictions of Leda, Diana and Acteon, Salmace and Hermaphrodite, Callisto, Venus and the Graces.
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He was a scenic designer for the Royal Theater of Turin and the Teatro Carignano for five decades. He painted the sipario of the theater. He taught this line of work at the Accademia Albertina. He also painted canvases depicting historic and mythologic subjects, such as Votive prayer of the people of Carmagnola asking for the cessation of the plague (1810) for the Collegiata di Carmagnola, Turin and La vendetta di Latona, exhibited posthumously at the Promotrice of Turin 1892.
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His style was modified by exposure to Correggio and Parmigianino,Whose name was formerly attached to Nicolò's Portrait of a Young Man. when he moved to Bologna in 1547. In Bologna, most of his painting depicted elaborate landscapes and aristocratic genre scenes of hunting and courtly loves, often paralleled in mythologic narratives. It was during this time that he decorated the Palazzo Poggi, and executed a cycle of frescoes illustrating Orlando Furioso in the ducal palace at Sassuolo, near Modena.
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Caroline was in self-imposed exile from her husband, the unpopular George IV of the United Kingdom In 1876 it housed the Scuola pratica di Agricoltura, and in 1924 it transformed to the Scuola Agraria Media; and today houses the Istituto Tecnico Agrario. The landscaping suffered during the second world war. As of 2015, the gardens and fountains are open for visitors; the interiors of the villa are in need of restoration. They are frescoed with mythologic subjects in the 17th century by Giulio Cesare Begni.
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While the western, southern and eastern facades of the mausoleum are arched, the northern facade is closed by a wall put up having a rectangular door opening in its underside. A decorative belt between the basement and the body showing heads of mythologic monster Medusa, who turned gazing people upon her to stone, surrounds the mausoleum. The mausoleum body has four columns of Corinthian order carrying arches. The form of the structure is unknown However, it is considered from the remains that the roof was vaulted.
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He painted a Charity of St Thomas of Villanova for San Giacomo Maggiore in Bologna; and a St Anne and the Virgin (1829) for Santa Maria Maggiore in Bologna. By 1797, he had completed the mythologic scenes for the Villa Muratori-Guerrini-Meriggiano, in collaboration with the landscape artists Vincenzo Martinelli. This collaboration was continued in the Palazzo Hercolani (1802) and the Villa Pallavacini, later Coccapani Tacoli. They also collaborated in canvases found in the Weiss Collection in Bologna, also in tombs of the Certosa of Bologna.
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Born in Arezzo in Tuscany, he was influenced by the style of Jacques-Louis David. He was a student of the Academy of Fine Arts of Florence, then studied in Rome, 1792–1803, where he formed an informal academy with his friend of long standing, Vincenzo Cammuccini, and Luigi Sabatelli. He returned to practice in Arezzo. With a group of collaborators and students Benvenuti was commissioned in 1811–12 to decorate the new rooms in Palazzo Pitti, where he painted a series of mythologic scenes for the Salon of Hercules on the Greek demigod.
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The Martyrs of Gorkum, now in the Vatican Museums Cesare Fracassini (or Fracassi) (December 18, 1838 – December 13, 1868) was an Italian painter, mainly of large mythologic or religious topics. He was born in Rome, and studied painting there with Tommaso Minardi before enrolling in the Accademia di San Luca, where he executed several frescoes for San Lorenzo fuori le Mura. He lived alongside the painter Cesare Mariani as a young man. He often collaborated or obtained commissions with his friend Paolo Mei, as well as a colleague of Guglielmo de Sanctis and Bernardo Celentano.
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When the papal government was restored, Agneni was forced to flee, and he went first to Savona, then Genoa (where he frescoed the Palazzo Rocca), then Florence, then Paris, and finally London, where he painted mythologic themes the ceiling of the Queen's loggia in the Royal Opera House at Covent Garden and Buckingham Palace. In 1859 and 1866, he returned to Italy to join the Garibaldini, in the quest for Italian independence and unity. He then returned to Florence, and finally to Rome in 1870–1871.Treccani Encyclopedia short biography.
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The southern facade has two double-headed eagles, the symbol of the Habsburg dynasty. Atop the arch is an equestrian statue, putatively of Francis Stephen himself, apparently marching out of the city. Atop the apparently safe perch of the plinth, cringe nearly a half-dozen allegorical mythologic statues, as if they were the last Austrian contingent in Tuscany, besieged by the swirling Italian traffic around the park. It is said that crowds in 1859 belittled the fleeing Duke Leopold II as the second Baby Leopold, the prior one entering Florence under regency.
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The Electra complex: the matricides Electra and Orestes. In countering Freud's proposal that the psychosexual development of boys and girls is equal, i.e. equally oriented – that each initially experiences sexual desire (libido) for mother, and aggression towards father, student–collaborator Carl Jung counter-proposed that girls experienced desire for father and aggression towards mother via the Electra complex—derived from the 5th-century BC Greek mythologic character Electra, who plotted matricidal revenge with Orestes, her brother, against Clytemnestra, their mother, and Aegisthus, their stepfather, for their murder of Agamemnon, her father (cf. Electra, by Sophocles).
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L'Abcedario pittorico, by Pellegrino Antonio Orlandi, page 73. Together the brothers painted for the Casa Ranuzzi in Bologna, Casa Miti in Imola, at the Camaldolese church of Monte d'Alvernia, at the church of the Scalzi and the Refectory of the Canons Lateranensi in Bologna, and at the cupoletta of San Lionardo in Bologna. By himself, Giuseppe painted the ceiling of the church of the Barnabites, the oratory of the Confraternity of San Giovanni Battista, and the cupola of San Bartolomeo. He was recruited by the Prince of Baden to paint mythologic themes in frescoes.
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He was born in Rovereto and trained at the Academy of Fine Arts of Florence, to where he moved in 1802. He died in Florence. Conversion of St Paul in choir of San Paolino, Florence He painted history and mythologic themes, winning the premio triennale in Rome in 1816 with a painting depicting Theseus leads back to Oedipus the two daughters taken by Creon. In 1821, he participated in the decoration of the Camera Rossa of the Palazzo Borghese, with frescoes depicting Venus intervenes with Mars in favor of the Thebans.
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Both Tiepolo and Diziani were prolific, although Diziani's commissions, especially the early ones, were more playful bedroom, small salon, and perishable scenographic decorations, works for private ornamentLanzi, Luigi. The History of Painting in Italy from the Period of the Revival of the Fine Arts (1853)H.G. Bohn; page 305 while the more eminent Tiepolo was able to attract the more vast ceiling decorations encompassing devotional, mythologic, and allegorical topics beyond and above the quotidian. Diziani does show the influence of Tiepolo, although not the lightness of coloration that the latter had gained from the frescoes of Luca Giordano.
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Fox Feature Syndicate's 1930s–1940s superhero the Flame. The word superhero dates back to 1917. Antecedents of the archetype include such mythologic characters like Gilgamesh, Hanuman, Perseus, Odysseus, David, and demigods like Heracles,Roger Ebert. Roger Ebert's review of Watchmen rogerebert.com; March 4, 2009 as well as folkloric heroes as Robin Hood, who adventured in distinctive clothing. Real life inspirations behind costumed superheroes can be traced back to the "masked vigilantes" of the American Old West such as the San Diego Vigilantes April 30, 1992San Diego Vigilantes and the Bald Knobbers January 20, 2019 who fought and killed outlaws while wearing masks.
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He is said to have collaborated with Giuseppe Maria Crespi. Giovanni Gioseffo dal Sole, Death of Priam, c.1680. He was one of the painters who contributed a canvas depicting the mythologic scene of Andromache weeping before Aeneas for the renowned Aenid Gallery of the Palazzo Buonaccorsi in Macerata; a decoration that employed many of the premier contemporary artists: with frescoes by Rambaldi, Dardani, and Solimena; and canvases by Garzi, Gambarini, Balestra, Lazzarini, and Franceschini. Two paintings by Dal Sole, Diana with cupids and Ecstasy of the Magdalen are found in the Palazzo Spalletti-Trivelli in Bologna.
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Rossi was called to Vienna, to paint a Hall for the Marquis of Refrano, a counselor for the Holy Roman Emperor Charles VI. He depicted Heroic virtue crowned by Glory, Fame, and other Virtues. In Vienna, he also painted portraits of the chancellor, the Count of Zinzendorff, and others in the court. Her returned to Naples, where he worked for the Viceroy Aloys Thomas Raimund Graf Harrach. He painted allegoric and mythologic panels, as well as large canvases depicting the viceroys functions in various public ceremonies, to be sent to his palace (Palais Harrach) in Vienna.
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Construction for the "villa di delizia" (or villa of delights) was begun in 1703 and concluded in 1719, commissioned by Giacinto Alari (1668-1753) from the architect Giovanni Ruggeri. The piano nobile was decorated with stucco and frescoes in 1720-1725. The design of the interior decoration is also assigned to Ruggeri, but the mythologic and allegoric frescoes were completed with the help of Giovanni Angelo Borroni, Francesco Fabbrica, Pietro Maggi, Salvatore Bianchi, Giovanni Antonio Cucchi, and Francesco Bianchi. At one time the private rooms had genre and pastoral paintings respectively by the painters Enrico Albricci and Francesco Londonio.
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Baschenis, along with the more eccentric 16th-century painter Milanese Arcimboldo, represents provincial outputs with idiosyncratic tendencies that appear to appeal to the discernment of forms and shapes rather than grand manner themes of religious or mythologic events. For Arcimboldo, the artifice is everything; for Baschenis, the items, man-made musical instruments, have a purpose and a beauty even in their silent geometry. One source for his photographic style of still life could be Caravaggio's early painting of peaches, or alternatively, Dutch paintings. The most faithful imitator of his style is a younger contemporary Bergamese, Bartolomeo Bettera.
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1st–2nd century lamp in the shape of Kunlun Mountain as the pillar of the sky, realm of the Queen Mother of the West (1st–2nd century CE). The Kunlun () or Kunlun Shan is a mountain or mountain range in Chinese mythology, an important symbol representing the axis mundi and divinity. The mythological Kunlun is based on various sources, mythologic and geographic, the modernly so-called Kunlun Mountains of the Tibetan Plateau and Mount Kailash (as an archetypal omphalos). The term "Kunlun" has also been applied to Southeastern Asian lands or islands and seemingly even Africa, although the relationship to the mountain is not clear, other than the nomenclature.
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A second hypothesis, formulated in the 18th century by Luigi Dutens, is that the scene is the marriage of Alexander the Great and Roxana. These interpretations were pre-eminent until 1994, when Frank Müller proposed a scene from the play Hippolytus by Euripides as a guide for the correct reading of the fresco. Others have proposed some passages of Alcestis as defining the scene. Setting aside these mythologic-literary interpretations, it is clear that the sequence relates to a wedding, with a focus on the universal anxiety experienced by a young bride, comforted and supported by Venus, waiting to meet the bridegroom and lose her virginity.
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Among other works are the Toilette of Venus, and the statue semicolossale depicting: Archimedes Burning the Ships of Marcellus with Concave Mirrors exhibited in 1872 at Milan, along with La sera che indica ai popoli il riposo, il silenzio e la calma. In 1884 at Turin, he exhibited an equestrian group, depicting: Una lotta; and a marble statue: The discovery of Archimedes. Other works of Villa are: L'Aurora che sveglia i popoli dal sonno; Hagar heals Samuel, and other statues of biblical and mythologic themes. he was made a knight of the Order of the Crown of Italy and Academic of Merit by many academies and institutes of art in Italy.
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Electra and Orestes, matricides As a psychoanalytic term for daughter–mother psychosexual conflict, the Electra complex derives from the Greek mythologic character Electra, who plotted matricidal revenge with Orestes, her brother, against Clytemnestra, their mother, and Aegisthus, their stepfather, for their murder of Agamemnon, their father (cf. Electra, by Sophocles). Sigmund Freud developed the female aspects of the sexual development theory—describing the psychodynamics of a girl's sexual competition with her mother for sexual possession of the father—as the feminine Oedipus attitude and the negative Oedipus complex; yet it was his collaborator Carl Jung who coined the term Electra complex in 1913.Jung, Carl (1913).
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He painted frescoes (1568) in the church of the Maestà delle Volte in Perugia, the Resurrection (1569 in Panicale) and an Annunciation (1577, now in the Pinacoteca Comunale, Città di Castello). He painted frescoes (starting 1574) on mythologic themes including a Judgement of Paris, Stories from the Aenid, and others, in collaboration with Giovanni Antonio Pandolfi in the Palazzo della Corgna in Castiglione del Lago. From 1579 he returned to Rome to work with Matthijs Bril and decorated the Sala della Meridiana in the Torre dei Venti (finished before the end of 1580) as well as in the Loggie (1580–83) in the Vatican. He then became one of the artists favored by the Jesuits.
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For example, in the era of ancient Greece, when medical science as we now know it did not yet exist, all medicine was unscientific and traditional; theories of etiology, pathogenetic mechanism, and therapeutic mechanism of action were based on religious, mythologic, or cosmologic ideas. For example, humorism could dictate that bloodletting was indicated for a certain disorder because a supposed excess of water could be rebalanced. However, because such theories involved a great deal of fanciful notions, their safety and efficacy could be slim to negative. In the example of bloodletting to correct excess water, the fact that fluid balance is a legitimate physiologic concern didn't mean that the then-state- of-the-art "understanding" of causation was well founded overall.
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His mythologic subjects are often as violent as his martyrdoms: for example, Apollo and Marsyas, with versions in Brussels and Naples, or the Tityos in the Prado. The Prado owns fifty six paintings and other six attributed to Ribera, algonside with eleven drawings, like Jacob’s Dream (1639); Louvre contain four of his painting and seven drawings; the National Gallery, London, three; The Real Academia de Bellas Artes de San Fernando owns a nice ensamble of five paintings including The Assumption of Mary Magdalene from El Escorial, an early Ecce Homo or The head of St. John the Baptist. He executed several fine male portraits and a self-portrait. Saint Jerome Writing in the Prado now has been credited to him by Gianni Papi, a Caravaggio expert.
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These Sages are found in the "Uruk List of Kings and Sages" (165 BC) discovered in 1959/60 in the Seleucid era temple of Anu in Bit Res; The text consisted of list of seven kings and their associated sages, followed by a note on the 'Deluge' (see Gilgamesh flood myth), followed by eight more king/sage pairs. A tentative translation reads: Lenzi notes that the list is clearly intended to be taken in chronological order. It is an attempt to connect real (historic) kings directly to mythologic (divine) kingship and also does the same connecting those real king's sages (ummanu) with the demi- godly mythic seven sages (apkallu). Though the list is taken to be chronological, the texts do not portray the Sages (nor the kings) as genealogically related to each other or their kings.
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In their book About Time, Lawrence Miles and Tat Wood have equally mixed feelings about the serial, praising the setting and the performances of Barron and Brown, and suggesting that it "...carries on the tradition of putting symbols from the world we know into disconcerting environments... ...(it) completes the grand illusion of making the history and the fantasy feel like part of the same continuum." They are less complimentary about other elements however, citing the conclusion as feeling "rushed and tacked on" with too much emphasis on the Guardians and little on the fates of the Eternals. They also dismiss the reveal of enlightenment as being the nature of Turlough's choice, as coming "perilously close to tweeness" and accuse it of being "cod-mythologic moralising". Enlightenment was placed in 72nd position in Doctor Who Magazine's Mighty 200 reader survey in 2009, which ranked every Doctor Who serial to that point in order of preference.
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