Any kind of good sci-fi or Greek tragedies are sort of personifications for feelings and symbolic of different things.
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We drew up a chart of how its various characters (which are mainly based on personifications of human emotions) interact.
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In the book, Media takes on various personifications (Lucy Ricardo, a newscaster), promising fame to the protagonist in exchange for his loyalty.
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Especially when photographed, these embodiments have a curiously disembodied feel, almost akin to the personifications that people project onto constellations of stars.
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But they're all that defines her; so many of the characters here seem more like personifications of suffering or dysfunction than like people.
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Helen Mirren, Keira Knightley, and Jacob Latimore play the personifications of Death, Love, and Time — and it seems they have quite a lot to say to him.
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This twist — that the actors are actual personifications of Death, Time, and Love, moonlighting as struggling stage actors — makes less sense than any other part of this movie.
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The first stems from her contemporary exploration of Danse Macabre, a form of medieval memento mori art where skeletons and other personifications of death are embedded into otherwise typical scenes.
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There are Bauhaus-influenced graphics warning of factory hazards with block colors and cutouts, Art Deco personifications of electricity, and muted WPA illustrations calling attention to the new perils of the highways.
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The danger of this kind of story is that it can define its characters as personifications of social ills, so that we know them as problems before we know them as people.
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If something goes wrong — which is to say, if something endangers profit making — they can serve as convenient scapegoats, but any stupid or dangerous decisions they make result from being personifications of capital.
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Leaning over as they do, these works can be swollen or scrunched, ultimately becoming personifications of vulnerability, clumsiness, and inelegance – all the aspects of our body and behavior that call attention to our fallibilities.
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It also shows her dealing with personifications of five emotions: Joy (yellow), Sadness (blue), Fear (purple), Anger (red) and Disgust (green), voiced by Amy Poehler, Phyllis Smith, Bill Hader, Lewis Black and Mindy Kaling.
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One mosaic depicts the Greco-Roman sun-god Helios surrounded by the signs of the zodiac accompanied by personifications of the months, and another mosaic depicts an historical event that may involve Alexander the Great.
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Vickery serve as apprentices to Death and Memory, respectively (yes, the literal personifications of those concepts — and they are capital-C Creepy), and although they live under the same roof, they remain eternally invisible to each other.
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These personifications might seem absurd, but they represent the artists' very serious belief that wild urban plants are overlooked lifeforms in our daily environment that deserve attention— even at a moment when it seems like there's too much else going wrong to provide it.
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And personifications of inexplicable, snickering evil have shown up throughout human history, from folklore and legend all the way to characters like No Country for Old Men's Anton Chigurh, who stalks around with a captive bolt stunner randomly killing people based on the flip of a coin.
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But the first four episodes of the TV show, adapted by Gossip Girl creators Josh Schwartz and Stephanie Savage, take things slower, allowing the adults, previously flat personifications of evil, room to grow into real characters as they make calculated, often devastating sacrifices in the name of the Pride, the vague name for their mysterious collective.
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So if you've seen the bizarre trailer for this bizarre film, you know it's about an ad exec named Howard (Smith) being confronted by personifications of Death (Mirren), Time (Jacob Latimore), and Love (Keira Knightley) after he writes letters to them in a misguided attempt to understand his 6-year-old daughter's death, which happened three years prior.
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Sega Hard Girls features personifications of video game hardware by Sega.
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The piece, in bronze and marble, depicts personifications of telecommunications, war, and peace.
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As more new nations became independent in the Americas, new national personifications were adopted.
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Despite their name, they are educational visual aids, showing personifications of social classes or abstractions.
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In particular, personifications mostly remain tied to a single character trait, that of embodying their quality.
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Female personifications tend to outnumber male ones,Melion and Remakers, 5; Gombrich, 1 (of PDF) at least until modern national personifications, many of which are male. Sandro Botticelli, Calumny of Apelles (c. 1494–95), with 8 personification figures: (from left) Hope, Repentance, Perfidy, innocent victim, Calumny, Fraud, Rancour, Ignorance, the king, Suspicion. Personifications are very common elements in allegory, and historians and theorists of personification complain that the two have been too often confused, or discussion of them dominated by allegory.
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Certain honorifics and titles could be shared by different gods, divine personifications, demi-gods and divi (deified mortals).
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In Buddhism, her demeanor is in contrast to the wrathful attitudes of male personifications of the Wisdom Kings.
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Each fresco featured a principal mythological figure, supported by personifications of local rivers and the city, with city scenery in the background.
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Watson finds this "element of fantasy" to be behind Li Bai's use of hyperbole and the "playful personifications" of mountains and celestial objects.
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Finally, the presence of the basement on which the personifications of the noble cities are carved is linked to the same archaic traditions.
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451); he erroneously cites Pausanias, who does have a catalogue of personifications honored in Athens (1. 17. 1), but makes no mention of Apheleia.
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In front of City Hall is the Neptunbrunnen, a fountain featuring a mythological group of Tritons (personifications of the four main Prussian rivers) under Neptune.
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These results demonstrate that personifications are automatically evoked, as are other forms of synesthesia. In a slightly different task, in which letters that evoke either male or female personifications are arranged into a stick figure of either a boy or a girl, reactions times are slower when the letters do not match the figure than when they do, again demonstrating the automaticity of this form of synesthesia .
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It is a place in which countless personifications of illnesses and diseases dwell. Geckos, skinks, and tuatara were feared because of their spiritual association with Whiro.
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Like most anthropomorphic personifications of death, Death meets with the recently deceased and guides them into their new existence. However, unlike most personifications of death, she also visits people as they are born, according to Destruction in the Sandman Special: The Song of Orpheus. Evidently, only she seems to remember these encounters. In the special issue, it is also revealed that Death was known in Ancient Greece as Teleute.
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It thus came to be identified as a symbol of republican government. A number of national personifications, in particular France's Marianne, are commonly depicted wearing the Phrygian cap.
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However, Chaucer tends to take his personifications in the direction of being more complex characters and give them different names, as when he adapts part of the French Roman de la Rose (13th century). The English mystery plays and the later morality plays have many personifications as characters, alongside their biblical figures. Frau Minne, the spirit of courtly love in German medieval literature, had equivalents in other vernaculars. In Italian literature Petrach's Triomphi, finished in 1374, is based around a procession of personifications carried on "cars", as was becoming fashionable in courtly festivities; it was illustrated by many different artists.Hall, 310 Dante has several personification characters, but prefers using real persons to represent most sins and virtues.
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Liberty Leading the People by Eugène Delacroix (1830), celebrates the July Revolution (Louvre Museum). Since classical times it was common to represent ideas and abstract entities by gods, goddesses and allegorical personifications. During the French Revolution of 1789, many allegorical personifications of 'Liberty' and 'Reason' appeared. These two figures finally merged into one: a female figure, shown either sitting or standing, and accompanied by various attributes, including the cockade of France and the Phrygian cap.
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In order for the self-system to develop, Sullivan affirmed that "good me" and "bad me" personifications must first form. These personifications are organized perceptions that are account of certain experiences. The "good me" personification consists of experiences that are rewarded, which a child would sense a noticeable decrease of anxiety. The "bad me" personification on the other hand consists of experiences that are punished and cause greater anxiety to a child.
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The book tells the story of a day in the life of a beekeeper named Ambrose, and how he and his bees are affected by personifications of the four seasons.
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Time and fate deities are personifications of time, often in the sense of human lifetime and human fate, in polytheistic religions. In monotheism, Time can still be personified, like Father Time.
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The Wisdom King Gundari is a manifestation of one of the Five Buddhas, Ratnasambhava/ Hōshō Nyorai. The Wisdom Kings (Vidyârâjas) were initially divinities of Esoteric Buddhism but were then later adopted by Japanese Buddhism as a whole. These Gods are equipped with superior knowledge and power that give them influence on internal and external reality. These Kings became the object of personification, either peaceful in the case of female personifications, and wrathful in the case of male personifications.
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It may have arisen from a cult identifying the divine and royal aspect of the satrap's power, in a similar fashion to many deified personifications in Roman paganism, i.e. the goddess Pietas.
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Above the central bay is a pediment with a tympanum containing carved personifications of Justice, Mercy and Truth, and this is flanked by balustraded parapets. The original interiors are no longer present.
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From Hyperion and Theia came the celestial personifications Helios (Sun), Selene (Moon), and Eos (Dawn).Hesiod, Theogony 371-374. From Iapetus and Clymene came Atlas, Menoetius, Prometheus, and Epimetheus.Hesiod, Theogony 507-511.
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Set of porcelain figures of personifications of the four continents, German, c. 1775, from left: Asia, Europe, Africa, America. Formerly James Hazen Hyde collection. Of these, Africa has retained her classical attributes.
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Out Looking in: Early Modern Polish Art, 1890-1918. University of California Press. 2000. pp. 18, 106-107, 188. Other personifications of Poland were created by artists like Stanisław Wyspiański and Jacek Malczewski.
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Additionally, the inclusion of two differently adorned personifications of Peace hints at the fact that Rubens wanted to confuse or excite the viewer to look deeper into this particular painting as a whole.
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Hall, 321 Generally, personifications lack much in the way of narrative myths, although classical myth at least gave many of them parents among the major Olympian deities.Hall, 216; the example here is the Muses, daughters of Apollo and Mnemosyne, herself the personification of Memory. The iconography of several personifications "maintained a remarkable degree of continuity from late antiquity until the 18th century".Hall, 128, speaking of the Four Seasons, but the same is true for example of the personification of Africa (same page).
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Fischer, David Hackett, Liberty and Freedom: A Visual History of America's Founding Ideas, around p. 22, 2004, Oxford University Press, , 9780199883073 She had appeared on the coins of the assassins of Julius Caesar, defenders of the Roman republic. The medieval republics, mostly in Italy, greatly valued their liberty, and often use the word, but produce very few direct personifications. With the rise of nationalism and new states, many nationalist personifications included a strong element of liberty, perhaps culminating in the Statue of Liberty.
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Melion and Remakers, 73–77 In Elizabethan literature many of the characters in Edmund Spenser's enormous epic The Faerie Queene, though given different names, are effectively personifications, especially of virtues.Melion and Remakers, 121–122 The Pilgrim's Progress (1678) by John Bunyan was the last great personification allegory in English literature, from a strongly Protestant position (though see Thomson's Liberty below). A work like Shelley's The Triumph of Life, unfinished at his death in 1822, which to many earlier writers would have called for personifications to be included, avoids them, as does most Romantic literature,"All the commonplace figures of poetry, tropes, allegories, personifications, with the whole heathen mythology, were instantly discarded" according to William Hazlitt in "On the Living Poets" in Lectures on the English Poets, 1818 apart from that of William Blake.
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William I in March 1815 as king of Belgium & grand duke of Luxembourg on a medal by Michaut, obverse. On the reverse of this medal the personifications of Belgium and Holland show clasping hands.
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Jan Gonda (1982), The Popular Prajāpati, History of Religions, Vol. 22, No. 2 (Nov., 1982), University of Chicago Press, pp. 131-132 Prajapati is identified with the personifications of Time, Fire, the Sun, etc.
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7-9, who also uses fearsome-comic, derived from Robert Weimann's furchtbare Komik. On the other hand, Davidson suggests that the demons must have been portrayed in grim seriousness as personifications of real human fears.
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Early European personifications of America, meaning the Americas, typically come from sets of the Four continents, all that were then known in Europe. These were: Europe, Asia, Africa, and America. The addition of America made these an even more attractive group to represent visually, as sets of four could be placed around all sorts of four-sided objects, or in pairs along the facade of a building with a central doorway. A set of loose conventions quickly arose as to the iconography of the personifications.
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Gordon, Neta. A Tour of Fabletown: Patterns and Plots in Bill Willingham's Fables. McFarland (March 14, 2016). pp. 173-174. There were also personifications of genres, such as Comedy, Horror, Westerns, Science-Fiction, Fantasy and others.
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Another story, "The Tale of Truth and Falsehood", adapts the conflict of Horus and Set into an allegory, in which the characters are direct personifications of truth and lies rather than deities associated with those concepts.
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Woolf, pp. 117, 128. This would support a Wochengötterstein (a carving depicting the personifications of the seven days of the week), which, in turn, supported a column or pillar, normally decorated with a scale pattern.Woolf, p. 117.
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The personification of the Moon and the ancient cameo on the right arm of the cross The two round enamel medallions with personifications of the Sun and Moon, which symbolise the mourning of all creation at Christ's death, are located on the horizontal beam of the cross. Both personifications look towards Jesus, the Sun from the left and the Moon from the right. The background of the enamel plaque depicting the Sun is green. The bust of the Sun has a mournful expression and its hands are raised to its face.
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By the 15th and 16th century the form had developed into the morality play. These were allegories, in which the protagonists met personifications of various moral attributes, the net effect being the encouragement to live a virtuous life.
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His mythological canvases, for example Hercules and Herminia and the Shepherds are grounded in a peasant world. He also painted some allegorical paintings, including personifications of the seasons, such as Summer and Spring (both in the Ashmolean Museum).
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In Greek mythology, Kratos (or Cratos) is the divine personification of strength. He is the son of Pallas and Styx. Kratos and his siblings Nike ("Victory"), Bia ("Force"), and Zelus ("Zeal") are all essentially personifications of a trait.Gantz, pp.
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Many anthropomorphizations were the results of discussions on Japanese Internet forums such as 2channel or Futaba Channel. The trend spread out of dōjin circles as commercial anime and manga also prominently feature characters who are personifications of inanimate objects.
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Paphos Archaeological Park. House of Aion: Personifications of river Eurotas and Sparta ( Lakedaimonia ). In Greek mythology, Sparta (Doric Greek: Σπάρτα, Spártā; Attic Greek: Σπάρτη, Spártē) was the ancient Queen of Sparta, which was named in her honour.Pausanias, Description of Greece, 3.1.
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These include Piers Plowman by William Langland ( c. 1370–90), where most of the characters are clear personifications named as their qualities,Melion and Remakers, 99–101 and several works by Geoffrey Chaucer, such as The House of Fame (1379–80).
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Sullivan emphasized that psychotherapists' analyses should focus on patients' relationships and personal interactions in order to obtain knowledge of what he called personifications – one's internalised views of self and others, one's internal schemata.Paul Brinich/Christopher Shelley, The Self and Personality Structure (Buckingham 2002) p. 65 Such analyses would consist of detailed questioning regarding moment-to-moment personal interactions, even including those with the analyst himself. Personifications can form the basis for what Sullivan called parataxic distortions of the interpersonal field – distortions similar to those described as the products of transference and projective identification in orthodox psychoanalysis.
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As a personification it cannot be a real person, of the Father of the Nation type, or one from ancient history who is believed to have been real. Some early personifications in the Western world tended to be national manifestations of the majestic wisdom and war goddess Minerva/Athena, and often took the Latin name of the ancient Roman province. Examples of this type include Britannia, Germania, Hibernia, Helvetia and Polonia. Examples of personifications of the Goddess of Liberty include Marianne, the Statue of Liberty (Liberty Enlightening the World), and many examples of United States coinage.
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Composed in prose rather than verse, Pathomachia relies heavily on the tradition of allegory and the morality play; its characters are personifications of the human passions, Love, Hatred, Pride, Malice, Envy, Curiosity, etc. The play treats Love and Hatred as the King and Queen of the country of the emotions; but the royal figures have neglected their duties and a rebellion has sprung up among their subjects. The vices masquerade as virtues, until they are suppressed and brought to order by Justice. In fact there is no action in the play, which consists of three acts of dialogue among the personifications.
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2 (17) in a series of divine personifications with Terra and Mare (the Sea). The masculine and neuter forms of the name Caelus and Caelum differ only in the vocative and nominative cases; when a second-declension noun appears in the genitive, dative, or ablative case, there is no way to distinguish whether the neuter or masculine is meant. When the deity is conceived of as plural, "the Heavens," the masculine Caeli is used, and not the neuter Caela, which would create an ambiguity with first-declension nouns of feminine gender. Divine personifications in Latin are mostly feminine.
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The play concludes in a masque: Discord ushers in the personifications of Folly, Jealousy, Melancholy, and Madness, to "most untunable" music. They, however, are driven out by Harmony, who leads in Mercury, Cupid, Bacchus, and Apollo, who bring wit, love, wine, and health.
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In Luoist writings the symbol of wúshēng (無生 "unborn") means the state of "no birth and no death" that gives enlightenment.Seiwert, 2003. p. 390 The Unborn Venerable Mother or the Holy Patriarch of the Unlimited are personifications of this state.Seiwert, 2003. p.
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Schiller, pp. 108, 122 The Serpent, representing Satan, is twined round the bottom of the cross. In medallions at the ends of the arms are personifications of the sun and moon with heads bowed and surmounted by their symbols.Swartzenski, p. 42 and figs.
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They said that his characters were not personifications but pet peeves. This was Lewis at his least charitable and he made too strong a case for his conversion. They say the experience taught Lewis to wear his allegory a little more lightly.
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Cox, Michael, (ed.) 12 Victorian Ghost Stories. Oxford University Press, 1997. (p. 213). His 1899 story "The Black Reaper" features a supernatural personification of Death.Wendell, Leilah Encounters With Death: A Compendium of Anthropomorphic Personifications of Death from Historical to Present Day Phenomenon Westgate, 1996.
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Busts of Pachamama, Coquena, Anahí, Sisa-Huinaj are appealing personifications of deities linked to various aspects of Earth's rhythms. Once established in Fort Worth, she continued working in pottery and sculpture for three more years, until she decided to devote herself entirely to painting.
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Wepset (wps.t) is an ancient Egyptian goddess. She is one of the personifications of the uraeus cobra that protected the kings; she is also an Eye of Ra and is mentioned as "the Eye" in the Coffin Texts. Her name means "she who burns".
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Soos () was a partially mythological king of Sparta. According to Pausanias son of Procles and father of Eurypon.Pausanias. Hellenica III 7, 1; Plutarch. Lycurgus 1 His name means stability, a key concept for Spartan identity — such personifications of concepts are typical of orally transmitted lists.
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The origins of allegory can be traced at least back to Homer in his "quasi- allegorical" use of personifications of, e.g., Terror (Deimos) and Fear (Phobos) at Il. 115 f. [Small, S. G. P. (1949). "On Allegory in Homer". The Classical Journal 44 (7): 423.
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The Vision of Delight has been regarded as almost a prototypical or quintessential example of the masque; it features the mythological figures and personifications of abstractions that are standard for the form. The work opens with personifications of Delight, Harmony, Grace, Love, Laughter, Revel, Sport, and Wonder; they are later joined by the ancient Greek deities Zephyrus and Aurora. Jonson's verse, heralding the coming of Spring, is lush and vibrant; the nineteenth-century critic and editor William Gifford called the masque "one of the most beautiful of Jonson's little pieces, light, airy, harmonious, and poetical in no common degree. It stands without parallel among performances of this kind...."William Gifford, ed.
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At the same time the emblem book, describing and illustrating emblematic images that were largely personifications, became enormously popular, both with intellectuals and artists and craftsmen looking for motifs.Melion and Remakers, 13–26 The most famous of these was the Iconologia of Cesare Ripa, first published unillustrated in 1593, but from 1603 published in many different illustrated editions, using different artists. This set at least the identifying attributes carried by many personifications until the 19th century.Hall, 337 From the 20th century into the 21st, the past use of personification has received greatly increased critical attention, just as the artistic practice of it has greatly declined.
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Morality plays are a type of allegory in which the protagonist is met by personifications of various moral attributes who try to prompt him to choose a Godly life over one of evil. The plays were most popular in Europe during the 15th and 16th centuries.
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Under Constantine, the Tychai of Rome and Constantinople together might be presented as personifications of the empire ruling the world.Bardill, Constantine, Divine Emperor, p. 262. Tyche of Constantinople appears in two basic guises on coins and medallions. In one, she wears a helmet like Dea Roma.
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Prithu, an incarnation of Viṣṇu, milked her in cow's form. Despite strong historical Hindu influence, the name is also used for national personifications of countries Indonesia and Malaysia, where both countries in certain points have been internally referred to as "Ibu Pertiwi" (in Indonesian and Malaysian Malay).
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He illustrated the point by reference to local history and scholarship. Having argued that the saints of Ireland were disguised personifications of the tribes and political factions of Iron-age Ireland, he went on to suggest that the Old Testament could be the same for Jewish prehistory.
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On the arch's keystones are further personifications: Fortune on the outer, and Rome on the city side. The internal façade of the archway has two wide sculpted panels, portraying scenes of Trajan in Benevento: on the left (from inside the city) is the Sacrifice for the opening of the Via Traiana, with the emperor flanked by lictors, while on the right is the institution of the alimentaria (a beneficent institution created by Trajan to help children in Roman Italy), symbolized by pieces of bread on the table in the center, with personifications of Italian cities with children. The vault has a coffered ceiling, in the center of which is a personification of the Emperor crowned by Victory.
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The inclusion of the pagan figure of Caelus may seem strange, but he was not an important figure in Ancient Roman religion, so was evidently considered as a harmless pictorial convention by the Christian designer of the composition, as well as one of the elements showing continuity with Roman tradition. From the following century personifications of the River Jordan often appear in depictions of the Baptism of Jesus,G Schiller, Iconography of Christian Art, Vol. I,1971 (English trans from German), Lund Humphries, London, p.133 & figs, and the manuscript Chronography of 354, just a few years older than the sarcophagus and made for another elite Christian, is full of personifications of cities, months and other concepts.
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Personifications tend to co-occur with grapheme-color synesthesia and share many of the characteristics that are definitional of synesthesia, such as being consistent over considerable time intervals and generating concurrents automatically . To demonstrate that personifications are automatically evoked, Simner and Holenstein used a modified Stroop paradigm, in which a mismatch between the evoked personality and the gender leads to slower reaction times. To test this, synesthete AP was asked to report whether common names, like Brian or Betsy were male or female names. Because ‘b’ is a male letter for AP, she was faster to identify Brian as being a male name, and slower to identify Betsy as being a female name.
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Alfred Janniot's bronze engraving above the entrance depicts personifications of France and New York holding hands above the ocean and the heads of the personifications of poetry, beauty, and elegance. Above this bronze engraving, Janniot also sculpted a cartouche of a female personification of French freedom, proclaiming "Liberté, Egalité, Fraternité" (Liberty, Equality, Fraternity). In 1934, Rene Chambellan created four bronze bas-reliefs on the sixth floor, which symbolize historical eras of France: Charlemagne's Empire, New France, Louis XIV's Absolute Monarchy, and the French Republic. The one non-French artist was Lee Lawrie, who decorated the secondary entrances with scalloped and triangle-patterned lintels, gold-covered fleurs-de-lis, and a woman wearing a Phrygian cap.
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Among the many personifications of the Divine Mother is Lakshmi, Vishnu's wife. According to Shaktism, a man's wife is the source of his shakti, or loving, divine energy. In this sense, Lakshmi powers Vishnu's Stride, and the name Vikrama may be interpreted as signifying the active male expression of shakti.
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The personification of Moira appears in the newer parts of the epos. In the Odyssey, she is accompanied by the "Spinners", the personifications of Fate, who do not have separate names. Moira seems to spin the predetermined course of events. Agamemnon claims that he is not responsible for his arrogance.
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The choir stalls are decorated with statues sculpted by the Antwerp sculptor Jan (Frans) van Ussel or van Ursel (1760-1802). They represent the apostles, the seven Christian virtues and personifications of Love, Prayer, Penance and Teaching. The current, recent altar in natural stone is located under the eastern crossing arch.
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She, asserts the text, emerged at the tip of the plough symbolizing her link to Prakriti or nature that feeds and nourishes all life. She is all pervading. She, asserts the text, lights up everything in all worlds. "The wheel of time and the wheel of the Universe" are her personifications.
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Jean Goujon, The Four Seasons, reliefs on the Hôtel Carnavalet, Paris, c. 1550s. There are a number of deities associated with seasons and personifications of seasons in various mythologies, traditions, and fiction. Staffordshire figure of Spring, from a set of the Four Seasons, Neale & Co, c. 1780, 5 1/2 in.
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There is a bronze copy, executed by Massimiliano Soldani Benzi some time between 1705 and 1707, in the Liechtenstein Collection. Recent scholarship on the sculpture has queried whether its topic is not the Christian personifications of pain (possibly inspired by prints by Karel van Mallery), but a depiction of a satyr.
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In the corners of the ceiling there are small landscapes, in circular cornices. The walls bear depictions of various female personifications of virtues, all of which are now fragmentary except for "Temperance." The interior is also enriched by sixteenth century tapestries. The authorship of the works is not entirely certain.
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So the basic logic of Akilam is against these practices. Again, using idols and personifications is heavily countered by Akilam, but is still in practice among a minority section of the followers. Also there is a practice of using only the 'Thirunamam' without the 1008 Petaled Lotus. This too is occasionally in practice.
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Dysnomia (; "lawlessness"), imagined by Hesiod among the daughters of "abhorred Eris" ("Strife"),Hesiod, Theogony 225ff. is the daemon of "lawlessness", who shares her nature with Atë ("ruin"); she makes rare appearances among other personifications in poetical contexts that are marginal in ancient Greek religion but become central to Greek philosophy: see Plato's Laws.
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The Napoleonic Wars produced a particular outpouring of cartoons on all sides. In the 19th century various national personifications took on this form, some wearing the cap of liberty. The Dutch Maiden, accompanied by the Leo Belgicus became the official symbol of the Batavian Republic established after the French occupied the Netherlands.
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Venus, Cupid, Folly and Time, c. 1544–45, Agnolo Bronzino. Personifications, often in sets, frequently appear in medieval art, often illustrating or following literary works. The virtues and vices were probably the most common, and the virtues appear in many large sculptural programmes, for example the exteriors of Chartres Cathedral and Amiens Cathedral.
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Microsoft responded to the Get a Mac advertising campaign in late 2008 by releasing the I'm a PC campaign, featuring Microsoft employee Sean Siler as a John Hodgman look-alike. While Apple's ads show personifications of both Mac and PC systems, the Microsoft ads show PC users instead proudly defining themselves as PCs.
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Changing the scenery and depicting the locals based on historical context. After a few years, Egas moved away from painting romantic personifications and entered his second stage by portraying the Indigenous social condition. This stage would transform into Indigenist Pictorialism, which was seen later in the commissioned mural from the 1939 New York World’s Fair.
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232–232, summarizing the view of Tortorici (1991), pp. 56–61. Felicitas was a watchword used by Julius Caesar's troops at the Battle of Thapsus,Bellum Africanum 83.1; ILS 6631; Crawford, Roman Republican Coinage vol. 2, p. 735. the names of deities and divine personifications being often recorded for this purpose in the late Republic.
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On either side, he was accompanied by Bunene and Mišaru, as well as the personifications of "Respect" and "Awe". Children were ascribed to Šimige. A Hurrian oath from Mari mentions the seven daughters of Šimige and a fragmentary text lists his sons, who performed evil deeds. The Hittite may also be among his followers.
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The Otto III portrait does not include a reference to God. The majesty of the scene is enough to imply the emperor's divinity. Personifications of Rome and Provinces of the Empire approaching Otto III. The portrait of Otto also shows two military men on one side of him and two clergy on the other.
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In this manner one can meet one's own Shadow, Animus/Anima, Wise Old Wo/Man (Senex) and finally the Self, names that Jung gave to archetypal personifications of (unpersonal) unconscious contents which seem to span all cultures.Jung, C.G. (1968). Psychology and Alchemy, par. 63. See also: Individual dream symbolism in relation to Alchemy, 3.
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Three women from Chachnama, Dahar's wife, Queen Ladi, and Dahar's daughters Suriya and Preemal carry equal weight in the cultural memory of Sindhi and the broader Indian past. The stories are recited to explicate the nationhood of Sindh to argue against imperial aggressors. These women are seen as proud, daring personifications of ancient Sindhi culture that resisted conquest.
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Increasingly during the Hellenistic period, cities venerated their own Tychai, specific iconic versions of the original Tyche. This practice was continued in the iconography of Roman art, even into the Christian period, often as sets of the greatest cities of the empire. By then the Tyche were probably seen as merely personifications of the city with little religious significance.
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Hector and Penthesilea were portrayed as personifications of the ideals of chivalry. When kneeling before Hector's corpse, Penthesilea promises to avenge his death. Penthesilea fights at the side of the Trojan army, killing many Greek soldiers, but is slain by Achilles' son. In this tradition of the legend, her body is taken to the Thermodon for burial.
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Nevertheless, it is possible to find some places where this does occur: a very poetic tone appears to be sometimes objectionable, as personifications, metaphors or apostrophes are often not translated; the physical transformations narrated in the Metamorphoses need to be allegorically interpreted; some character traits (cruelty, doubts) are eliminated from the description of kings or powerful men and women.
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Three half-figures, the personifications of Faith, Hope, and Love, are depicted above. The two surfaces of the roof show four reliefs with scenes from the romanticised life of Charlemagne. A crest of gilded copper, with five towers, decorates the ridge and gable of the roof. Each of the long sides of the shrine depicts eight enthroned emperors.
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Alfred Agache The Three Parcae (1540-1550), by Marco Bigio, in Villa Barberini, Rome Fireback with Parcae In ancient Roman religion and myth, the Parcae (singular, Parca) were the female personifications of destiny who directed the lives (and deaths) of humans and gods. They are often called the Fates in English, and their Greek equivalent were the Moirai.
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Clark, Divine Qualities, p. 205. Felicitas Iulia ("Julian Felicitas") was the name of a colony in Hispania that was refounded under Caesar and known also as Olisipo, present-day Lisbon, Portugal.Clark, Divine Qualities, p. 11. During the Republic, only divine personifications known to have had a temple or public altar were featured on coins, among them Felicitas.
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David, between personifications of Wisdom and Prophecy, is depicted in a chlamys of patterned Byzantine silk. Paris Psalter, 10th century. Byzantine silk is silk woven in the Byzantine Empire (Byzantium) from about the fourth century until the Fall of Constantinople in 1453. The Byzantine capital of Constantinople was the first significant silk-weaving center in Europe.
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There are many examples of personifications, or symbols in his poetry. In his poem "Let's not Spoil the Water", he talks about water, the necessary and basic element of life which people must keep clean. He has used a special symbolism in these poems that makes the objects talk to the reader, rather than explaining those objects.Dastgheib, Abdolali.
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The cleft then opens revealing the Prison of Jealousy. Shackled inside, is Desengaño (Disillusion), an old man dressed in animal skins. Marte and Dragón fearfully enter the grotto and find the masked personifications of Fear, Suspicion, Envy, Anger, and Bitterness. Desengaño and the masked figures warn Marte that when love is pursued it turns into disillusion.
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However, their relationship with the Tuath Dé is complex and some of their members intermarry and have children. The Fomorians have thus been likened to the jötnar of Norse mythology. The Fomorians seem to have been gods who represent the harmful or destructive powers of nature; personifications of chaos, darkness, death, blight and drought.MacCulloch, John Arnott.
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In Greek mythology, Pistis (Πίστις) was the personification of good faith, trust and reliability. In Christianity and in the New Testament, pistis is the word for "faith". The word is mentioned together with such other personifications as elpis (Hope), sophrosyne (Prudence), and the charites, who were all associated with honesty and harmony among people.Theognis, Fragment 1.
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Mausoleum of San Martín at the Buenos Aires Metropolitan Cathedral. The three statues are national personifications of Argentina, Chile and Peru. José de San Martín died on 17 August 1850, in his house at Boulogne-sur-Mer, France. Between 1850 and 1861, his corpse was buried in the crypt of the Basilica of Notre-Dame de Boulogne.
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Routledge, 2001. The temple and the surrounding precinct were adorned with numerous statues depicting Hadrian, the gods, and personifications of the Roman provinces. A colossal statue of Hadrian was raised behind the building by the people of Athens in honor of the emperor's generosity. An equally colossal chryselephantine statue of Zeus occupied the cella of the temple.
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And with worshipping the king they are getting closer to the god Aten. It is highly probable that Akhenaten's religion is not monotheistic. Even though the Aten is actually the only God worshipped and provided with temples during this period, other gods still existed and are sometimes mentioned in inscriptions. However, these solar gods are personifications of abstract concepts.
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The brooch is a large disc made of hammered sheet silver inlaid with black niello and with a diameter of . Its centre roundel is decorated with personifications of the five senses. In the centre is Sight with large staring oval eyes, surrounded by the other four senses, each in his own compartment. Taste has a hand in his mouth.
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Fejfer, Jane (2008) Roman Portraits in Context. Walter de Gruyter. p. 10. Women of the emperor's family were often depicted dressed as goddesses or divine personifications such as Pax ("Peace"). Portraiture in painting is represented primarily by the Fayum mummy portraits, which evoke Egyptian and Roman traditions of commemorating the dead with the realistic painting techniques of the Empire.
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Many of his paintings were destroyed or disappeared; during the French Revolution, the Franco-Prussian War and World War II, although some works have newly attributed to him; notably, personifications of Grammar and Geometry, acquired by the Musée des beaux-arts de Bordeaux in 2011. A street and a school in Troyes have been named after him.
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Hedone () was the personification and goddess of pleasure, enjoyment, and delight. Hedone, also known as Voluptas in Roman mythology, is the daughter born from the union of the Greek gods Eros (Cupid) and Psyche in the realm of the immortals. She was associated more specifically with sensual pleasure. Her opposites were the Algos, personifications of pain.
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Haase and Reinhold, 6–74, especially 47–52 Some of the earliest recorded personifications came from the court of Cosimo I de' Medici, Grand Duke of Tuscany in Florence. Although not at all involved in the exploration of the Americas (the Habsburgs had by the 1520s made it very difficult for any Italians to travel there), the Medicis were very interested in them, and had acquired a good collection of artifacts, plants, and animals. For Cosimo's politically important wedding to Eleanor of Toledo, a distant cousin of Charles V, Holy Roman Emperor, in 1539, the lavish street decorations for the procession included images of Charles with personifications of Spain, New Spain and Peru. No images survive, but the official festival book has text descriptions, although they had clearly not been explained properly to the author.
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He grows into an attractive, kindhearted young man. In appearance, character, and ability, he is an exemplar of Madesi manhood. Under the guidance of the superbeing Annikadel, his adventures culminate in the completion of a mission to propel the Chools (personifications of the sun and moon) into the sky, along with their followers, the North Star and the South Star.
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The custom of merrymaking and feasting at Christmastide first appears in the historical record during the High Middle Ages (c 1100–1300). This almost certainly represented a continuation of pre-Christian midwinter celebrations in Britain of which—as the historian Ronald Hutton has pointed out—"we have no details at all." Personifications came later, and when they did they reflected the existing custom.
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Mausoleum of San Martín at the Buenos Aires Metropolitan Cathedral. The three statues are national personifications of Argentina, Chile and Peru. José de San Martín died on 17 August 1850, in his house at Boulogne- sur-Mer, France. He requested in his will to be taken to the cemetery without any funeral, and to be moved to Buenos Aires, Argentina, afterwards.
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Morality plays are a type of allegory in which the protagonist is met by personifications of various moral attributes who try to prompt him to choose a godly life over one of evil. The plays were most popular in Europe during the 15th and 16th centuries.Dictionary of Literary Terms and Literary Theory, p. 523. The Somonyng of Everyman (The Summoning of Everyman) (c.
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Personifications of Death rarely feature on these memorials, however, probably because the emphasis is typically on the self-sacrifice of the soldiers involved, rather than their being taken or claimed by Death.Borg, p.102. Death is more typically presented through images of widows, orphans and elderly parents on memorials, all popular inter-war allegorical forms for death and grieving.Prost, pp.14–15.
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The Oceanids' father Oceanus was the great primordial world- encircling river, their mother Tethys was a sea goddess, and their brothers the Potamoi (also three thousand in number) were the personifications of the great rivers of the world. Like the rest of their family, the Oceanid nymphs were associated with water, as the personification of springs.Fowler, p. 13; Most, p.
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Oceanids, p. 401. While their brothers, the Potamoi, were the usual personifications of major rivers, Styx (according to Hesiod the eldest and most important Oceanid) was also the personification of a major river, the underworld's river Styx.Tripp, s.v. Oceanids, p. 401; Hesiod, Theogony 361. And some, like Europa, and Asia, seem associated with areas of land rather than water.Fowler, pp.
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Directed by Derek Jarman, the "It's a Sin" video marked the experimental director's first of several collaborations with the band. It extended the lyrical themes of the song by showing Tennant under arrest by an inquisition with Lowe as his jailer and Ron Moody in the role of his judge, interspersed with brief clips of personifications of the seven deadly sins.
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These are surmounted by large windows, which may have been fitted with glass or latticework. Flanking the entrances are four pairs of Composite columns elevated on pedestals. A set of Corinthian columns stands directly above. The columns on the lower level frame four aediculae containing statues of female personifications of virtues: Sophia (wisdom), Episteme (knowledge), Ennoia (intelligence) and Arete (excellence).
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The over-riding theme is one of despair. Mourners are implored to "weep for Adonais—he is dead!" In Stanza 9 the "flocks" of the deceased appear, representing his dreams and inspirations. In Stanza 13, the personifications of the thoughts, emotions, attitudes, and skills of the deceased appear. In Stanza 22, Urania is awakened by the grief of Misery and the poet.
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Both the 1656 and 1657 editions include prefatory verses by John Tatham. The title pages describe the work as a "moral masque" — an accurate description, in that the drama combines the traits and characteristics of the traditional morality play with those of the 17th-century masque.Logan and Smith, p. 137. Featuring standard masque- style personifications, like Youth, Health, Delight, Time, Detraction, Fortune, etc.
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Such figures differ from those that serve as personifications of the nation itself, as Čechie did the Czech nation and Marianne the French.Eric Hobsbawm, "Mass-Producing Traditions: Europe, 1870–1914," in Eric Hobsbawm and Terence Ranger, eds., The Invention of Tradition (Cambridge, 1983), 276. He is usually depicted in a folk costume combining hat from Pilsen region with clothes from different regions.
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In ancient Greek culture, Dike or Dice ( or ; Greek: ) is the goddess of justice and the spirit of moral order and fair judgement based on immemorial custom, in the sense of socially enforced norms and conventional rules. According to Hesiod (Theogony, l. 901), she was fathered by Zeus upon his second consort, Themis. She and her mother are both personifications of justice.
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In a surviving fragment of Solon's poems, a contrast is made to Eunomia, a name elsewhere given to one of the Horae, the embodiments of order. Both were figures of rhetoric and poetry; neither figured in myth or Greek religious cult -- although other personifications did, like Harmonia, "Agreement";OCD s. "homonia" whether Harmonia is only a personification is debatable.Burkert, Greek Religion, p.283.
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Philemon makes appearances in later Persona games as a blue butterfly. Many of the major antagonists in the series are personifications of death generated by the human subconscious. The central theme of the Persona series is exploration of the human psyche and the main characters discovering their true selves. The stories generally focus on the main cast's interpersonal relationships and psychologies.
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The Naturhistorisches' façade has statues depicting personifications of Africa, Asia, Europe, and the Americas. The Kunsthistorisches façade features famous European artists, such as the Dutch Bruegel, among others. The Naturhistorisches Museum and the Kunsthistorisches Museum and the square adjoining them were built in 1889. At the center of the square is a large statue depicting Empress Maria Theresa, namesake of the square.
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13 and note, but also Graves, Kerenyi and Rose. There was a movement in the late nineteenth century to interpret all the Boeotian heroes as merely personifications of the constellations;Farnell (Greek Hero Cults p. 21) doubts it, even of Orion. there has since come to be wide agreement that the myth of Orion existed before there was a constellation named for him.
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Partholón comes from Bartholomaeus (Bartholomew) and he is likely an invention of the Christian writers, possibly being borrowed from a character of that name in the Christian histories of Saint Jerome and Isidore.Monaghan, p.376 The Fomorians have been interpreted as a group of deities who represent the harmful or destructive powers of nature; personifications of chaos, darkness, death, blight and drought.
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Daniel's text draws on classical mythology. The presenters are Iris, the Graces, a Sybil, and personifications of Night and Sleep. (These speaking roles were taken by boys and men who were not aristocrats but lower Court functionaries. Aristocratic participants in Court masques generally did not take speaking roles.)For later exceptions to the rule, see The Gypsies Metamorphosed and The Shepherd's Paradise.
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Jesus is surrounded by various righteous figures from the Old Testament (Abraham, David, etc.); the bottom of the icon depicts Hades as a chasm of darkness, often with various pieces of broken locks and chains strewn about. Quite frequently, one or two figures are shown in the darkness, bound in chains, who are generally identified as personifications of Death or the devil.
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New York: Robert Appleton Company, 1911. 6 October 2019 The Horae were originally personifications of seasonal aspects of nature, not of the time of day. The list of twelve Horae representing the twelve hours of the day is recorded only in Late Antiquity, by Nonnus.Nonnus, Dionysiaca 41.263 The first and twelfth of the Horae were added to the original set of ten: :1.
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When looking at the depictions of the personifications of the other planets along the fresco borders, we see that they are seen placed in both their houses. Venus on the other hand is only placed in Taurus, her daytime house. With this careful choice, Lorenzetti legitimizes her side as a planetary goddess. This is further enforced with her modest dress, instead of being depicted nude.
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Goddess Lakshmi holding and standing on a lotus. Several symbols (animals, flora, instruments, weapons, or even color) in Hindu iconography are associated with particular devas, and vice versa. In certain cases the deities themselves are personifications of natural forces, for instance Agni (fire), Vayu (wind), Surya (Sun) and Prithvi (Earth). In other instances, the associations arise from specific incidents or characteristics related in Hindu theology.
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This group of vices is surrounded by the personifications of four virtues and five philosophers or holy men. Another female figure with bare breasts resting on a cloud is watching a pot from which smoke is emerging. She is also holding a pair of compasses and a balance. The composition depicts the Triumph of the Virtues over the Vices as a trial of traitors.
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On top of the facade is a semicircular gable and a balustrade with three statues by Marino Gropelli: a free standing Saint Blaise (in the middle) and personifications of Faith and Hope. The barrel-vaulted interior is richly decorated in Baroque style. The Corinthian columns in the center bear the tambour of the cupola and lantern. The corners of the nave show blind cupolas.
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The cover art and accompanying artwork was created by photographer Allan Amato. The artwork features seven female models, who act as sexualized and "monster-ified" personifications of seven deadly sins. On the artwork, Al Jourgensen stated: The album artwork and the title were mocked by Josh Modell of the A.V. Club. In response and as a joke, Ministry posted new cover artwork, titled Whole Lotta Glove.
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The El Bagawat cemetery has a very large number of tombs in the form of chapel domes. They are built of mud bricks. The tombs have etchings of biblical stories, and also of saints and “personifications of virtues”. In the Exodus Chapel, there is depiction of martyrdom of Isiah; and also of Tekla postured with raised hands, in front of fire being doused by rain.
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National symbols of Italy are the symbols that uniquely identify Italy reflecting its history and culture. They are used to represent the Nation through emblems, metaphors, personifications, allegories, which are shared by the entire Italian people. Some of them are official, ie they are recognized by the Italian state authorities, while others are part of the identity of the country without being defined by law.
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In 1613, Gerhard returned to Munich, where he worked until his death seven years later. Gerhard's works includes sculptures in bronze of Perseus and Medusa, Venus and Mars with Cupid, Mercury, an allegory of Bavaria, Tarquinius attacking Lucretia, St. Michael slaying the Devil, the sea-god Neptune, and in terracotta, a quartet of personifications of the seasons. Important works are located in Augsburg and Munich.
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The Förderverein Dresdner Hauptbahnhof e. V. (Friends of Dresden Hauptbahnhof) supported the renovation and enabled the recovery of some details about the required conservation measures. So broken decorative elements on a sandstone facade of the clock tower were returned to their correct places, windows were equipped with arches and architraves and the crowning group statue of Saxonia with personifications of science and technology have been restored.
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The roundel includes a carving of a female bust representing Thought. The tympanum of the pediment contains carved personifications of Art, Science, Literature, Inspiration, and Commerce. The outer bays each incorporate a foundation stone in the plinth, a three-light window in an arcade in the lower floor, and carved panels in the upper floor. The panels are carved with allegories including Painting, Drama and Science.
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The primary figures were female, but there were also auxiliary human figures flanking each primary figure. In addition, Asia's figure was paired with a tiger, and Africa's figure was paired with a lion. Sculptures of seafaring nations Above the main cornice are a group of standing sculptures of personifications of seafaring nations. There are twelve such statues, which depict commercial hubs through both ancient and modern history.
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The 1 am chapter compares literary and mythological personifications of, or beings associated with, the night. The 2 am chapter tells the stories of the legends behind the moon and the constellations. The 3 am chapter is all about insomnia. The 4 am chapter provides a geographical aspect, touring the places with long nights, like Las Vegas, caves, the poles, and deep within the oceans.
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For hard polytheists, gods are individual and not only different names for the same being. This is often contrasted with "soft" polytheism, which holds that different gods may be aspects of only one god, that the pantheons of other cultures are representative of one single pantheon, psychological archetypes or personifications of natural forces. In this way, gods may be interchangeable for one another across cultures.
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His novels analyze the psychological and spiritual characteristics of rural, peasant life.Olav Duun -- Britannica Online Encyclopedia at www.britannica.com The dialogue of Duun's characters is often very light and earthy, and often a single paragraph will contain the speech of multiple characters, separated by a dash. In contrast, Duun's descriptions of nature and of landscapes are lyrical and beautiful, often including personifications of places or natural forces.
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His uncle beat him, causing him to run off. Lucian fell asleep and experienced a dream in which he was being fought over by the personifications of Statuary and of Culture. He decided to listen to Culture and thus sought out an education. Although The Dream has long been treated by scholars as a truthful autobiography of Lucian, its historical accuracy is questionable at best.
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Ishvara is, along with Shiva, Vishnu and Brahma, one of the 17 deities commonly found in Indonesian Surya Majapahit Hindu arts and records. However, Ishvara represents different concept in various Hindu philosophies. Another Hindu term that is sometimes translated as deity is Ishvara, or alternatively various deities are described, state Sorajjakool et al., as "the personifications of various aspects of one and the same Ishvara".
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Saturn has his sickle and is personified as Time here guiding France forward. Fame carries a trumpet to herald the occasion.Belkin, p. 189.) These personifications are accompanied in turn by several allegorical figures in the guise of four putti and three vanquished evil creatures (Envy, Ignorance, and Vice) as well as a number of other symbols that Rubens employed throughout the entire cycle of paintings.
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This story also introduces three national personifications of Ireland, Banba, Fódla and Ériu. The colour green was further associated with Ireland from the 1640s, when the green harp flag was used by the Irish Catholic Confederation. Green ribbons and shamrocks have been worn on St Patrick's Day since at least the 1680s. The Friendly Brothers of St Patrick, an Irish fraternity founded in about 1750,Kelly, James.
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Two small reliefs with the personifications of the virtues and the cardinal's insignia on the side pilasters belong to that period. The monument imitates the more famous tomb of Giovanni Garzia Mellini on the left side of the chapel. The centrepiece is the marble bust of the Cardinal in a similar pose than his counterpart opposite. He looks toward the altar holding a book and a biretta.
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In Sufism, for the Deist, no contact between man and God can be possible without the logos. The logos is everywhere and always the same, but its personification is "unique" within each region. Jesus and Muhammad are seen as the personifications of the logos, and this is what enables them to speak in such absolute terms.Sufism: love & wisdom by Jean-Louis Michon, Roger Gaetani 2006 p.
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Hartt, 332–333 An unusually powerful single personification figure is depicted in Melencolia I (1514) an engraving by Albrecht Dürer.Bartrum, 188 Venus, Cupid, Folly and Time (c. 1545) by Agnolo Bronzino has five personifications, apart from Venus and Cupid.Hartt, 662 In all these cases, the meaning of the work remains uncertain, despite intensive academic discussion, and even the identity of the figures continues to be argued over.
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See also Ludwig Preller, Römische Mythologie (Berlin, 1858), pp. 594–595, and Hermann Usener, Götternamen: Versuch einer Lehre von der Religiösen Begriffsbildung (Frankfurt, 1896), p. 77–78. Augustine mentions Bubona in two passages. In addition to the passage on theonyms and divine personifications, he lists her among several other deities who had specialized functions for the Romans, in contrast to the one god of the Jews.
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Varuna, a Vedic and Hindu god, rides a part-crocodile makara; his consort Varuni rides a crocodile. Similarly the goddess personifications of the Ganga and Yamuna rivers are often depicted as riding crocodiles. Also in India, in Goa, crocodile worship is practised, including the annual Mannge Thapnee ceremony. In Latin America, Cipactli was the giant earth crocodile of the Aztec and other Nahua peoples.
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In the first half of the 6th century the mosaics of the northern aisle and the eastern end of the southern aisle were installed. They depict native as well as exotic or mythological animals, and personifications of the Seasons, Ocean, Earth and Wisdom. Mosaic covered churches prove that the towns along the Nabatean spice road in the Negev Desert flourished in the Christian era. In Mamshit two great churches survived.
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Kings of Alba Longa would have claimed to be descendants of Jupiter as Virgil demonstrates in the Aeneid. He represents the Alban kings as being crowned with a civic oak-leaf crown.Virgil Aeneid VI. 772 The Roman kings then adopted the crown, becoming personifications of Jupiter on earth.James George Frazer The Golden Bough chapter XIII Latinus was thought to have become Jupiter LatiarisArthur Bernard Cook The European Sky-God III.
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Rembrandt Peale, The Court of Death was based on the poem, Death: A Poetical Essay by Beilby Porteus. The figures in the monumental painting were life-size. Death is surrounded by personifications including Despair, Fever, Consumption, Hypochondria, Apoplexy, Gout, Dropsy, Suicide, Delirium Tremens, Intemperance, Remorse, Pleasure, Pestilence, Famine, War, and Conflagration. To the right, a warrior, an orphaned infant, and a widow show some of the people afflicted.
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University of California Press, California. . He emphasised the striking harmonious musicality in his poetry by using onomatopoeia, phonetic instrumentation, and sonorous neologisms as well as selecting originally harmonious rare assonances and rhymes. Czechowicz is often described as a poet of the city, of small towns and provinces. The supernatural character of the worlds presented in his poetry is intensified by the use of personifications, including nature and landscape elements.
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"Not yet is thy fate (moira) to die and meet thy doom" (Ilias 7.52), "But thereafter he (Achilleus) shall suffer whatever Fate (Aisa) spun for him at his birth, when his mother bore him": (Ilias 20.128 ): M. Nilsson. (1967). Die Geschichte der Griechischen Religion Vol I, C.F.Beck Verlag., Műnchen pp. 363–364 Later Aisa is not alone, but she is accompanied by the "Spinners", who are the personifications of Fate.
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In 2010, Taiwanese illustrator known as "shinia" on Pixiv created a personification of Microsoft Silverlight named Hikaru Aizawa, who is officially promoted by Microsoft Taiwan. In 2013, Microsoft Singapore introduced Inori Aizawa, a mascot for Internet Explorer. The manga and anime series World War Blue features characters who are personifications of computer games. Video games with characters based on them include Sonic the Hedgehog, Super Mario and Tetris.
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Other things have also been given moe characteristics: ;Cells: The manga Cells at Work! depicts the cells of the human body as both male and female characters. ;Charcoal: Based on binchōtan and other types of charcoal, the anime and manga Binchō-tan uses the dajare in the Japanese word for to create a series of cute girls. ;Countries:As with national personifications, moe versions of various countries are present.
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The work was made of marble and sculpted by the Piccirilli Brothers, with each sculptural group costing $13,500. From east to west, the statues depicted larger-than-life-size personifications of Asia, America, Europe, and Africa. The primary figures were female, but there were also auxiliary human figures flanking each primary figure. In addition, Asia's figure was paired with a tiger, and Africa's figure was paired with a lion.
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The main theme of his altarpieces and pulpits is Christ's life on earth and in heaven as summarized in the Creed. Many of his altarpieces are centred on the Passion. The figures often appear to be conversing with each other in a setting framed by reliefs and decorations in the Auricular style. The works also frequently contain personifications of the Virtues or representations of the prophets, apostles and other Biblical figures.
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Male companions to the May Queen, sometimes associated with May Day customs in Great Britain, include personifications known as Father May, King of the May, May King, Garland King, Green Man, or Jack in the Green. As part of this folk custom, some villages would choose a man to act as consort for the May Queen. This man, the May King, would dress in greenery to symbolise springtime.
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The story begins where the classic tale of Cinderella leaves off and follows her wicked stepsister Isabelle as "personifications of fate and chance battle for control of her life, hinting that there may be hope after all for a girl labeled ugly since her first appearances in literature". Film rights for Stepsister are being handled by William Morris Endeavor and a deal is said to be in the works.
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References to the waves as 'Ægir's daughters' appear in the Poetic Edda. The poem Helgakviða Hundingsbana I describes how the hero Helgi's boat crashes through intense seas, in doing so referencing Rán, Ægir, and their daughters as personifications of the sea. For example, two sequential stanzas reference the wave daughters: > :Once the longships regrouped, only :Kolga's sisters could be heard > crashing. :a sound as if swells and bluffs were bursting.
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Baudoin translated Cesare Ripa's Iconologia of 1593 into French and published it in Paris in 1636 under the title Iconologie.Olga Vassilieva-Codognet, À la recherche des généalogies effigionaires de princes: Series of Retrospective Dynastic Portraits and the Social Implications of True Likeness (Antwerp, ca. 1600), p. 102-105 The Iconologia of Ripa was a highly influential emblem book based on Egyptian, Greek and Roman emblematical representations, many of them personifications.
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In the Buddhist Tantras, Buddhas and Bodhisattvas often manifest in unusual and fierce forms, which are used in tantra as yidams or meditation deities.Wrathful Deities While some of these deities have a hideous and fierce appearance,Wrathful Guardians of Buddhism - Aesthetics and Mythology they are not personifications of evil or demonic forces. The ferocious appearance of these deities is used to instill fear in evil spirits which threaten the Dharma.
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On the other hand, the language is full of unique metaphors, personifications, analogies, and hyperbolas which make it highly poetical. It is in quantitative dactylic hexameters as often used for Latin and Ancient Greek poetry, but due to the nature of the Lithuanian language it has far fewer dactyls than in Virgil or Homer, and in more than half of the lines the only dactylic foot is the 5th.
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As in her previous books, Angelou uses inventive metaphors and personifications of abstract objects and concepts. Even her descriptions exhibit the style, developed after years of maturity as a writer, of "displaying vivid and captivating sentences and phrases". Angelou's self-portrait of a Black woman and her ability to communicate her misfortunes destroys stereotypes and demonstrates "the trials, rejections, and endurances which so many Black women share".O'Neale, p. 26.
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There are two main types of Pangool: non-human Pangool and human Pangool. Both are sacred and ancient, but the former is more ancient as a general rule. The non-human Pangool include ancient sacred places with vital spiritual energies and personalized as such. These Pangool generally are the personifications of natural forces.Granvrand, "Pangool", p 327 Human Pangool on the other hand became Pangool once they are canonized after death.
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These explored regions were mainly the tropical regions of Central and South America.Le Corbeiller, 210 Depictions of America included exotic background details, especially fauna unknown in Europe such as "the parrot or macaw, turtle, armadillo, tapir, sloth, jaguar, and alligator." However, the tattoos worn by both sexes, which astonished early writers, were omitted by artists based in Europe, though drawn by travelers. They may have been thought indecorous on female personifications.
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Death is a fictional character in Terry Pratchett's Discworld series and a parody of several other personifications of death. Like most Grim Reapers, he is a black-robed skeleton who usually carries a scythe. His jurisdiction is specifically the Discworld itself; he is only a part, or minion, of Azrael: the universal Death. He has been generally used by Pratchett to explore the problems of human existence, and has become more sympathetic throughout the series.
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The Corryvreckan whirlpool (Scottish Gaelic: Coire Bhreacain - 'cauldron of the plaid') washtub of the Cailleach Meteorological patterns and phenomena, especially wind, rain and thunder, were acknowledged as inspirited and propitiated. Inscribed dedications and iconography in the Roman period show that these spirits were personifications of natural forces. Taranis's name indicates not that he was the god of thunder but that he actually was thunder. Archaeological evidence suggests that the thunder was perceived as especially potent.
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Aathara Stala are Shiva temples which are considered to be personifications of the Tantric chakras of human anatomy. The Annamalaiyar temple is called the Manipooraga stalam, and is associated with the Manipooraga chakra. The temple is revered in Tevaram, the Tamil Saiva canon and classified as Paadal Petra Sthalam, one of the 276 temples that find mention in the Saiva canon. The sacred hill with the Deepam lit during the annual festival.
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The morality play is a genre of Medieval and early Tudor theatrical entertainment. In their own time, these plays were known as "interludes", a broader term given to dramas with or without a moral theme.Richardson and Johnston (1991, 97-98). Morality plays are a type of allegory in which the protagonist is met by personifications of various moral attributes who try to prompt him to choose a Godly life over one of evil.
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Finnish politician and linguist Eemil Nestor Setälä rejected the idea that the heroes of Kalevala are historical in nature and suggested they are personifications of natural phenomena. He interprets Pohjola as the northern heavens and the Sampo as the pillar of the world. Setälä suggests that the journey to regain the Sampo is a purely imaginary one with the heroes riding a mythological boat or magical steed to the heavens.Eemil Nestor Setälä.
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Augusta, the feminine form, is an honorific and title associated with the development and dissemination of Imperial cult as applied to Roman Empresses, whether living, deceased or deified as divae. The first Augusta was Livia, wife of Octavian, and the title is then shared by various state goddesses including Bona Dea, Ceres, Juno, Minerva, and Ops; by many minor or local goddesses; and by the female personifications of Imperial virtues such as Pax and Victoria.
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Lyrically, dainas concern themselves with native mythology and traditional festivals but, in contrast to most similar forms, do not have any legendary heroes. Stories often revolve around pre-Christian deities like the sun goddess Saule and the moon god Mēness. There are dainas that do not have a mythical theme as well – many simply describe the daily life of agrarian society and nature. However, these still often include personifications of natural phenomena.
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Cabinet with personifications of the five senses, raised work, third quarter 17th century Following the death of James I and the accession of Charles I, elaborately embroidered clothing faded from popularity under the dual influences of rising Puritanism and the new court's taste for French fashion with its lighter silks in solid colours accessorised with masses of linen and lace.Gueter, Ruth. "Embroidered Biblical Narratives and Their Social Context." In Morrall and Watt 2008, p.
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A central, main division in modern polytheistic practices is between soft polytheism and hard polytheism. "Hard" polytheism is the belief that gods are distinct, separate, real divine beings, rather than psychological archetypes or personifications of natural forces. Hard polytheists reject the idea that "all gods are one god." "Hard" polytheists do not necessarily consider the gods of all cultures as being equally real, a theological position formally known as integrational polytheism or omnism.
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Stick, who resided in Bay Roberts, later became the first Member of the Canadian Parliament for the district of Bonavista-Trinity Conception. Ted Russell was born in Coley's Point. He wrote about the Newfoundland experience as he saw it. He is recognized as one of the first and foremost writers to use Newfoundland outport settings and characters as personifications of themes which, while appearing to be local, are actually universal in their scope and appeal.
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Detail of a miniature of ladies watching knights jousting, illustrating 'Le Duc des vrais amants', from a collection of works presented in 1414 by Christine to Isabeau of Bavaria. Illumination from The Book of the City of Ladies. Christine is shown before the personifications of Rectitude, Reason, and Justice in her study, and working alongside Justice to build the 'Cité des dames'. Christine produced a large number of vernacular works, in both prose and verse.
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Saward, pp.137 The wedding, which was thought to secure peace between France and Spain, took place on a float midway across the Bidassoa River, along the French-Spanish border. In Ruben's depiction, the princesses stand with their right hands joined between personifications of France and Spain. Spain with a recognizable symbol of a lion on her helmet is on the left, whereas France, with fleur-de-lis decorating her drapery, is on the right.
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Near the ceiling of the octagonal entrance hall of the bank building were originally eight mosaic murals. The dome was decorated with frescos depicting the twelve signs of the zodiac, as well personifications of the Sun and Moon. An enterprising architect had the mosaics covered over in stucco and paint to save them from destruction during the Cultural revolution. Red Guards intent on the mosaics' destruction initially wanted to chip away the mosaics' tiles.
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The chapel in the left transept houses the relics of Saint John Berchmans. The chapel just to the right of the church's presbytery (at the south-east corner) houses the funerary monuments of Pope Gregory XV and his nephew, Cardinal Ludovisi, the church's founder. Pierre Le Gros designed the monument and executed most of it himself c. 1709–14 with the exception of the two flying personifications of Fame which are by Pierre-Étienne Monnot.
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The county building was added by right and left wings, modernised facade in Neobaroque, new balcony, Zsolnay roof tile patterns and several other things like electrical lightning and telephone line. At that time, it was the most modern building in southern part of the Kingdom of Hungary. Main stairs are decorated by three stained glasses, depicting personifications of "Justice", "Wisdom" and "Power". They were damaged during storm in the summer 2003, and repaired aftermath.
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See hendiadys and hendiatris. There are placeholder names, such as the legal fiction reasonable person (whose existence is not in question), an experimental artifact, or personifications such as gremlin. Linguists often prefer to define nouns (and other lexical categories) in terms of their formal properties. These include morphological information, such as what prefixes or suffixes they take, and also their syntax – how they combine with other words and expressions of particular types.
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The Hysminai (Ancient Greek: ; singular: hysmine "battle, conflict, combat""ὑσμίνη": Lexicon entry in LSJ) are figures in Greek mythology. Descendants of Eris, they are personifications of battle.Hesiod, Theogony 226 ff Quintus SmyrnaeusQuintus Smyrnaeus, Fall of Troy 5. 25 ff wrote of them in Book V of the Fall of Troy in a passage translated by Arthur Way: > Around them hovered the relentless Fates; > Beside them Battle incarnate onward pressed > Yelling, and from their limbs streamed blood and sweat.
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She was even able to fill a bullfight arena with enthusiastic spectators. Her 1944 dance, "The Masks of Lucifer", showed intrigue, terror and hatred as personifications of political totalitarianism and became famous as the embodiment during an ominous time. Emigration led Bodenwieser to Australia where she lived the rest of her life. In Sydney, she taught dance and founded the Bodenwieser Ballet (1939-1959), which was described as "the first truly influential modern dance company in Australia".
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The other notable early centre was Ferrara, from the 1460s, which probably produced both sets of the so- called "Mantegna Tarocchi" cards, which are not playing cards, but a sort of educational tool for young humanists with fifty cards, featuring the Planets and Spheres, Apollo and the Muses, personifications of the Seven liberal arts and the four Virtues, as well as "the Conditions of Man" from Pope to peasant.Landau and Parshall, 71–72. Spangeberg, 4–5.
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Mundus et Infans, a morality play The morality play is a genre of medieval and early Tudor theatrical entertainment. In their own time, these plays were known as interludes, a broader term for dramas with or without a moral.Richardson and Johnston (1991, 97-98). Morality plays are a type of allegory in which the protagonist is met by personifications of various moral attributes who try to prompt them to choose a good life over one of evil.
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Cossack Mamay, one of several national personifications of Ukrainians. Portrait of Ukrainian woman in national dress, 1860. The watershed period in the development of modern Ukrainian national consciousness was the struggle for independence during the creation of the Ukrainian People's Republic from 1917 to 1921. A concerted effort to reverse the growth of Ukrainian national consciousness was begun by the regime of Joseph Stalin in the late 1920s, and continued with minor interruptions until the most recent times.
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These books, along with the Paris Psalter, were, in all likelihood, produced in the same Constantinopolitan scriptorium. The manuscript’s importance in art history is based on the 14 superb, full-page illuminations that illustrate its texts. These singleton pages were tipped in to the manuscript and are not part of its regular gathering structure. The first seven images preceding the text depict scenes from the life of David, the author of the psalms, who is usually accompanied by personifications.
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The deceased bride is visiting her sleeping husband in his dreams. Above her are three stars, along with the vestiges of two small boys, who are probably personifications of Phosphorus and Hesperus, the morning and evening stars. Their presence implies that Selene's visits occur between the evening and morning and are also representative of recurring dream visits by the deceased. Looking at Selene and Endymion as representative of a married couple, the myth itself relates a cosmic love.
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Likewise, the manga 090 Eko to Issho features girls who are mobile phones. ;Military hardware: Mecha Musume are anthropomorphic personifications of military hardware, such as guns, tanks, ships, aircraft or even missiles. Popular subjects of this kind of anthropomorphism include World War II military vehicles; collectible mecha musume figures of these vehicles have been released. Moe anthropomorphisms of historical military ships as girls and young women ("ship girls") are also notable, as popularized by Kantai Collection and Azur Lane.
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Raymond Arrieta (born March 26, 1965) is a Puerto Rican actor, comedian, host and philanthropist. Starting his career as a comedian in various local shows, Arrieta gained popularity in the 1990s when he hosted a string of successful comedy shows where he showcased his various characters and personifications. Since 2007, Arrieta has been hosting the mid-day variety show Día a Día, along with Dagmar. Arrieta is also a radio show host and a theater actor.
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It contains a reredos with carvings of personifications of virtues, framed by carved friezes, and posts surmounted by angels. There are stained glass windows by David Evans of Shrewsbury dating from the early 19th century, and by J. C. Bewsey dated 1932. There is a ring of six bells. Four of these, dated 1757, 1761 (2), and 1765 are by Rudhall of Gloucester and a bell dated 1826 is by Thomas Mears II of the Whitechapel Bell Foundry.
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Aelian, Hist. Anim. xi. 20 Adranus was said to have lived under Mount Etna before being driven out by the Greek god Hephaestus, or Vulcan. According to Hesychius, Adranus was the father of the Palici, born to Adranus' lover, the nymph Thalia. Some modern commentators have suggested that Adranus may have been related to the similarly named gods Adar and Adrammelech, from Persia and Phoenicia respectively, who were also personifications of the sun or of fire in general.
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He invites John to join him on his travels to Claptrap but John decides to continue his search for the Island. In the cities of Thrill and Eschropolis (meaning an ugly city in Greek), he meets personifications of romantic love, the modern literary movement and Freudianism. He thinks he found the island through aesthetic experience, but damaged by these characters and seeing his error he abandons the cities. Eventually, the Spirit of the Age captures John.
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The harpies seem originally to have been wind spirits (personifications of the destructive nature of wind). Their name means "snatchers" or "swift robbers"Adrian Room, Who's Who in Classical Mythology, p. 147 and they steal food from their victims while they are eating and carry evildoers (especially those who have killed their family) to the Erinyes. When a person suddenly disappeared from the Earth, it was said that he had been carried off by the harpies.
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The four parts of the world or the four corners of the world refers to the Americas (the "west"), Europe (the "north"), Asia (the "east"), and Africa (the "south"). Depictions of personifications of the four continents became popular in several media. Sets of four could be placed around all sorts of four-sided objects, or in pairs along the facade of a building with a central doorway. They were common subjects for prints, and later small porcelain figures.
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The captives begin seeing flashes of their real lives, and realize what the Dominators have done to them. Their escape attempt is blocked by personifications of their enemies: Malcolm Merlyn, Deathstroke and two of his Mirakuru soldiers (who killed Ray's fiancée Anna Loring), and Damien Darhk and two of his H.I.V.E. soldiers. The adversaries are defeated, and the five awaken in the Dominators' ship and escape in a shuttle. Felicity, Curtis Holt, and Cisco try to hack into the Dominators' mainframe.
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Flynn, Jonathan, and Walter explore two different timelines of Tokyo: one where law dominates, and another where chaos reigns supreme. In both of them, Flynn's previous incarnation was slain. After viewing the alternate worlds, a score based on Flynn's moral choices throughout the game decides whether the player is on the Law path, Chaos path, or Neutral path. Additionally, the player always has the option to destroy the world at the behest of The White, personifications of human despair who desire complete oblivion.
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Similarly, the appearance of both personifications varied wildly. For example, one depiction of Uncle Sam in 1860 showed him looking like Benjamin Franklin,An appearance echoed in Harper's Weekly, June 3, 1865 "Checkmate" political cartoon (Morgan, Winifred (1988) An American icon: Brother Jonathan and American identity University of Delaware Press pg 95) while a contemporaneous depiction of Brother JonathanOn page 32 of the January 11, 1862 edition Harper's Weekly. looks more like the modern version of Uncle Sam, though without a goatee.
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Queen Elizabeth, the Bishops' Bible includes a portrait of the queen on its title page. The 1569 quarto edition shows Elizabeth accompanied by female personifications of Justice, Mercy, Fortitude, and Prudence. The Bishops' Bible is an English translation of the Bible which was produced under the authority of the established Church of England in 1568. It was substantially revised in 1572, and the 1602 edition was prescribed as the base text for the King James Bible that was completed in 1611.
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Litae ( meaning "Prayers") are personifications in Greek mythology. They appear in Homer's Iliad in Book 9 as the lame and wrinkled daughters of Zeus (no mother named and no number given) who follow after Zeus' exiled daughter Atë ("Folly") as healers but who cannot keep up with the fast-running Atë. They bring great advantage to those who venerate them, but if someone dishonors them, they go to Zeus and ask that Atë be sent against that person.Homer, Iliad, 9.
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Death in Weird War Tales #80 Other personifications of Death have appeared in the DC Universe. In Captain Atom #42 Death appears alongside Black Racer of the New Gods and Nekron (a being embodying the will of "The Black", the solitude and peace death represents from Green Lantern). The story stated that all three were equal, representing different aspects of death. Gaiman has denied this, however, and his stories make it clear that Death of the Endless is the ultimate personification of Death.
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Other season sarcophagi even more strongly referenced the notion of an unshakeable ever-repeating cosmic order underlying the world. A good example is the season sarcophagus in Washington D.C.'s Dumbarton Oaks Museum. Here the standing personifications of the Four Seasons flank a central tondo/roundel (Romans called this a clipeus, the term for a round shield) which contains (unfinished) portrait busts of the deceased couple buried inside. Note that carved around the rim of the clipeus are the twelve zodiac signs.
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Like the majority of epics that precede him (with the notable exception of Lucan's Bellum civile), Statius makes full use of the gods as plot devices; however, Statius employs them in his own creative way.Coleman in Bailey, pp. 17–18. Denis Feeney has pointed out that the role and effectiveness of the Olympian gods is drastically reduced in comparison with chthonic deities. Jupiter's power in particular is usurped by the gods of the underworld, personifications and allegories, and human heroes (like Theseus).
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Within the text, both the Faerie Queene and Belphoebe serve as two of the many personifications of Queen Elizabeth, some of which are "far from complimentary". Though it praises her in some ways, The Faerie Queene questions Elizabeth's ability to rule so effectively because of her gender, and also inscribes the "shortcomings" of her rule. There is a character named Britomart who represents married chastity. This character is told that her destiny is to be an "immortal womb" – to have children.
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They are usually allegorical, the characters representing, for example, Faith, Hope, Air, Sin, Death, etc. There were some indeed, in which not a single human character appeared, but personifications of the Virtues, the Vices, the Elements, etc. The auto sacramental was always presented in the streets in connection with the celebration of the feast of Corpus Christi. It was preceded by a solemn procession through the principal streets of the city, the houses along the route being decorated in honor of the occasion.
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It supported a group of figures made of limestone with the personifications of the Rhine and Moselle. Because of severe weathering the sculpture was removed shortly after 1817. A copy is now in the garden of the Electoral Palace. In the 1950s the fountain, which the French had placed on the axis of the Kastorgasse, and thus in the line of sight of the basilica, was moved a few meters to the north to clear the view of the church.
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The Statue of Liberty (Liberty Enlightening the World) in New York derives from the ancient goddess Libertas. The goddess Libertas is also depicted on the Great Seal of France, created in 1848. This is the image which later influenced French sculptor Frederic-Auguste Bartholdi in the creation of his statue of Liberty Enlightening the World. Libertas, along with other Roman goddesses, has served as the inspiration for many modern-day personifications, including the Statue of Liberty on Liberty Island in the United States.
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The celestial creator deity of Dahomey mythology is Mawu-Lisa, formed by a merger of the twin brother and sister gods Lisa (the moon) and Mawa (the sun). In combined form, they presented as intersex or transgender (with changing gender). Other androgynous gods include Nana Buluku, the "Great mother" that gave birth to Lisa and Mawa and created the universe, and contains both male and female essences. The Akan people of Ghana have a pantheon of gods that includes personifications of celestial bodies.
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Death and suicide are recurring themes in Starlin's work: Personifications of Death appeared in his Captain Marvel series and in a fill-in story for Ghost Rider; Warlock commits suicide by killing his future self; and suicide is a theme in a story he plotted and drew for The Rampaging Hulk magazine. Starlin occasionally worked for Marvel's chief competitor DC Comics and drew stories for Legion of Super-Heroes and the "Batman" feature in Detective Comics in the late 1970s.
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The "Bamberger Gunthertuch", an embroidered imperial hanging depicting the return of John Tzimiskes from a successful campaign of about 970. In addition to woven dress and furnishing fabrics, Byzantine workshops were also known for woven tapestries and richly embroidered textiles with decoration that often included figurative scenes. The most impressive example to survive is the 10th century "Bamberger Gunthertuch", a woven tapestryMuthesius, "Silk in the Medieval World", pp. 350-351. piece over two metres square, with a mounted emperor between two female personifications.
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The ǃKung people of southern Africa recognize a Supreme Being (Khu/Xu/Xuba/Huwa) who is the Creator and Upholder of life. Like other African High Gods, he also punishes man by means of the weather, and the Otjimpolo- ǃKung know him as Erob, who "knows everything". They also have animistic and animatistic beliefs, which means they believe in both personifications and impersonal forces. For example, they recall a culture hero named Prishiboro who had a wife who was an elephant.
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The Cross of Mathilde was equipped with forty enamel tablets, of which 37 remain: the enamel with the donor portrait, the enamel with the cross inscription, two round enamels with the personifications of the Sun and the Moon, and 33 ornamental enamels. Three further ornamental enamels were lost before the first description of the cross. Of all the objects in the Essen treasury, the Cross of Mathilde is the most richly decorated with enamel. All the enamel frames are filigreed.
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The King James version systematically translates the word as "sodomites", while the Revised Standard version renders it, "male cult prostitutes". At 1 Kings 15:12 the Septuagint hellenises them as teletai - personifications of the presiding spirits at the initiation rites of the Bacchic orgies. There may have been a transvestite element too. Various classical authors assert this of male initiates of Eastern goddess cults, and in the Vulgate for all four of these references St. Jerome renders the kadeshim as "effeminati".
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Adjacent to this area is the Rotes Rathaus (City Hall), with its distinctive red-brick architecture. In front of it is the Neptunbrunnen, a fountain featuring a mythological group of Tritons, personifications of the four main Prussian rivers and Neptune on top of it. The Brandenburg Gate is an iconic landmark of Berlin and Germany; it stands as a symbol of eventful European history and of unity and peace. The Reichstag building is the traditional seat of the German Parliament.
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Ultimately the Lutici and the Obotrites were able to liberate themselves from the German rule for the next two centuries. Personifications of Sclavinia/Wends, Germania, Gallia, and Roma, bringing offerings to Otto III; from a gospel book dated 990 The Emperor left a minor successor, Otto III. The right to care for him and the regency powers were claimed by Henry II of Bavaria. Like in 973, Mieszko and the Czech duke Boleslav II took the side of the Bavarian duke.
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The film ends when rich kid could still hear the flute sound through the window in spite of the loud noises of his toys and ponders over his deeds as the toy robot he had left playing hits the toy tower and makes it fall to the ground. Since it was made during Vietnam War , it is very probable that the rich bossy kid and the poor street kid are personifications of the United States of America and Vietnam respectively.
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A prologue was added to the play when it was performed for James I. The play opens with an induction that consists of a meta-theatrical flyting between the allegorical personifications Comedy and Envy. Envy declares that he will turn this pleasant comedy into a tragedy. Comedy challenges Envy to do so and claims that mirth will triumph in the end. The scenes usually labelled as act one, scenes one and two were new additions to the text with its Jacobean revision.
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In the Hebrew Bible, Oholah (אהלה) and Oholibah (אהליבה) (or Aholah and Aholibah in the King James Version and Young's Literal Translation) are pejorative personifications given by the prophet Ezekiel to the cities of Samaria in the Kingdom of Israel and Jerusalem in the kingdom of Judah, respectively. They appear in chapter 23 of the Book of Ezekiel. There is a pun in these names in the Hebrew. Oholah means "her tent", and Oholibah means "my tent is in her".
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The parable stems from the classical era of ancient Greece and is reported by Xenophon in Memorabilia 2.1.21–34. In Xenophon's text, Socrates tells how the young Heracles, as the hero contemplates his future, is visited by the female personifications of Vice and Virtue (Ancient Greek: Κακία and Ἀρετή; Kakía and Areté). They offer him a choice between a pleasant and easy life or a severe but glorious life, and present their respective arguments. Xenophon credits the invention of the parable to Prodicus.
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The unusual "Mary-Ecclesia" depiction (folio 40, verso) The Petershausen Sacramentary is an Ottonian illuminated manuscript of around 960–980, produced in the scriptorium of Reichenau Abbey and containing the sacramentary and liturgical calendar. It is now held in the Heidelberg University library. The miniature on folio 40 originally opened the manuscript and has been the subject of much debate. It displays attributes of the Virgin Mary and Ecclesia (personifications of the church), but differs from usual representations of either.
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Homeopathy Looks at the Horrors of Allopathy, an 1857 painting by Alexander Beydeman, showing historical figures and personifications of homeopathy observing the brutality of medicine of the 19th century.Homeopathy achieved its greatest popularity in the 19th century. It was introduced to the United States in 1825 by Hans Birch Gram, a student of Hahnemann. The first homeopathic school in the US opened in 1835, and in 1844, the first US national medical association, the American Institute of Homeopathy, was established.
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Ancient Egypt had Sobek, the crocodile-headed god, with his cult-city Crocodilopolis, as well as Taweret, the goddess of childbirth and fertility, with the back and tail of a crocodile. In Hinduism, Varuna, a Vedic and Hindu god, rides a makara, a water-beast like a crocodile, and he is called Nāgarāja, lord of snakes. Similarly the goddess personifications of the Ganga and Yamuna rivers are often depicted as riding crocodiles. In Goa, crocodile worship is practised, as at the annual Mannge Thapnee ceremony.
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English personifications of Christmas were first recorded in the 15th century, with Father Christmas himself first appearing in the mid 17th century in the aftermath of the English Civil War. The Puritan-controlled English government had legislated to abolish Christmas, considering it papist, and had outlawed its traditional customs. Royalist political pamphleteers, linking the old traditions with their cause, adopted Old Father Christmas as the symbol of 'the good old days' of feasting and good cheer. Following the Restoration in 1660, Father Christmas's profile declined.
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English personifications of Christmas were first recorded in the 15th century, with Father Christmas himself first appearing in the mid 17th century in the aftermath of the English Civil War. The Puritan-controlled English government had legislated to abolish Christmas, considering it papist, and had outlawed its traditional customs. Royalist political pamphleteers, linking the old traditions with their cause, adopted Old Father Christmas as the symbol of 'the good old days' of feasting and good cheer. Following the Restoration in 1660, Father Christmas's profile declined.
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The earliest type of personification of the Americas, seen in European art from the 16th century onwards, reflected the tropical regions in South and Central America from which the earliest travellers reported back. These were most often used in sets of female personifications of the Four Continents. America was depicted as a woman who, like Africa, was only partly dressed, typically in bright feathers, which invariably formed her headress. She often held a parrot, was seated on a caiman or alligator, with a cornucopia.
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On the Isle of Man, where She is known as Caillagh ny Groamagh, the Cailleach is said to have been seen on St. Bride's day in the form of a gigantic bird, carrying sticks in her beak. In Scotland, the Cailleachan (lit. 'old women') are also known as The Storm Hags, and seen as personifications of the elemental powers of nature, especially in a destructive aspect. They are said to be particularly active in raising the windstorms of spring, during the period known as A' Chailleach.
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The subject consisted of two figures representing personifications of the coast of Attica, Paralus and Hammonias. For the council chamber at Athens, he painted figures of the Thesmothetae, but in what form or character is not known. Probably, they were executed in Athens, and it may have been then that he met Aristotle, who recommended him to take for subjects the deeds of Alexander the Great. In his Alexander and Pan, he may have followed that advice in the idealizing spirit to which he was accustomed.
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Ki was the earth goddess in Sumerian religion, chief consort of the sky god An. In some legends Ki and An were brother and sister, being the offspring of Anshar ("Sky Pivot") and Kishar ("Earth Pivot"), earlier personifications of heaven and earth. By her consort Anu, Ki gave birth to Anunnaki, the most prominent of these deities being Enlil, god of the air. According to legends, heaven and earth were once inseparable until Enlil was born; Enlil cleaved heaven and earth in two. An carried away heaven.
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Ichthyocentaur statue outside the State of Missouri's capitol building. In late Classical Greek art, ichthyocentaurs (, plural: ) were centaurine sea- beings with the upper body of a human, the lower anterior half and fore-legs of a horse, and the tailed half of a fish. The earliest example dates to the 2nd century B. C., among the friezes in the Pergamon Altar. There are further examples of Aphros and/or Bythos, the personifications of foam and abyss, respectively, depicted as ichthyocentaurs in mosaics and sculptures.
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The equestrian statue of Victor Emmanuel II, architectural centre of the Vittoriano, whose marble base the statues of the Italian noble cities are carved After the Altar of the Fatherland is the equestrian statue of Victor Emmanuel II, a bronze work by Enrico Chiaradia and architectural centre of the Vittoriano. The personifications of the noble Italian cities are carved on the marble base of the statue. The statue is bronze, high, long, and weighs 50 tons. Including the marble base, the entire sculptural group is high.
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The Presentation of Her Portrait to Henry IV To fully appreciate and value this particular cycle piece and the collection as a whole, there is one historical principle to take into account. This painting was created on the cusp of the age of absolutism and, as such, one must remember royalty were considered above corporeal existence. So from birth, Marie would have led a life more ornamental than mortal. This painting of classical gods, along with allegorical personifications, aptly shows the viewer how fundamental this idea was.
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A nymph (, ; Ancient: , Modern: ) in ancient Greek folklore is a minor female nature deity. Different from Greek goddesses, nymphs are generally regarded as personifications of nature, are typically tied to a specific place or landform, and are usually depicted as beautiful maidens. They were not necessarily immortal, but lived much longer than humans before they died. They are often divided into various broad subgroups, such as the Meliae (ash tree nymphs), the Naiads (freshwater nymphs), the Nereids (sea nymphs), and the Oreads (mountain nymphs).
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Personifications of American destroyer USS Laffey (DD-459), British destroyer HMS Javelin and German destroyer Z23 (Chinese, English release) or Japanese destroyer Ayanami (Japanese, Korean release) are available for players to select as a starter ship. They are referred to as protagonists in-game. , more than 450 characters have been introduced to the game, representing ships from nine countries that participated in the war. The game is also notable for including preserved museum ships as its characters such as Japanese Mikasa and Russian Avrora.
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In 2015, Saint Joseph's University in Philadelphia commissioned a large sculpture by Joshua Koffman showing the pair in harmony.St Joseph's University website The sculpture is aimed to commemorate the 50th anniversary of the Declaration Nostra aetate. Both personifications wear crowns and hold their respective Holy Scriptures, the pair suggesting the notion of learning one from another.Mariano Akerman, "Acervo e Memória II: Tragédia e Lembrança" (lecture), ASA, Rio de Janeiro, 18 October 2015 (Rio de Janeiro, Consulate of Belgium, Programa Estimulo Vesalius: Anatomia da Arte, August 2015).
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Kachinas are spirits or personifications of things in the real world. These spirits are believed to visit the Hopi villages during the first half of the year. The local pantheon of kachinas varies from pueblo community to community. A kachina can represent anything in the natural world or cosmos, from a revered ancestor to an element, a location, a quality, a natural phenomenon, or a concept; there may be kachinas for the sun, stars, thunderstorms, wind, corn, insects, as well as many other concepts.
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In one of the interludes of The Loves of the Plants, the voice of the Poet, which would seem to be Darwin's voice as well, argues that poetry is meant to appeal to the senses, particularly vision. Darwin's primary tool for accomplishing this was personification. Darwin's personifications were often based on the classical allusions embedded with Linnaeus's own naming system. However, they were not meant to conjure up images of gods or heroes; rather, the anthropomorphized images of the plants depict more ordinary images.
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For instance, the goddess Demeter is a presentation of the archetypal mother; Zeus an archetypal father; Apollo the archetypal intellectual, and so on. Jung went on to personify many archetypes by using general expressions such as 'the Great Mother’, 'Old Wise Man’, 'Shadow archetype’, etc. which have now become standard expressions in the field of analytical psychology. Jung writes “The fact that the unconscious spontaneously personifies is the reason why I have taken over these personifications in my terminology and formulated them in names”.
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In many polytheistic early religions, deities had a strong element of personification, suggested by descriptions such as "god of". In ancient Greek religion, and the related Ancient Roman religion, this was perhaps especially strong, in particular among the minor deities.Paxson, 6–7 Many such deities, such as the tyches or tutelary deities for major cities, survived the arrival of Christianity, now as symbolic personifications stripped of religious significance. An exception was the winged goddess of Victory, Victoria/Nike, who developed into the visualization of the Christian angel.
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Helios with a radiate halo driving his chariot (Ilion, 4th century BC; Pergamon Museum) A solar symbol is a symbol representing the Sun. Common solar symbols include circles (with or without rays), crosses, and spirals. In religious iconography, personifications of the Sun or solar attributes are indicated by means of a halo or a radiate crown. When the systematic study of comparative mythology first became popular in the 19th century, scholarly opinion tended to over-interpret historical myths and iconography in terms of "solar symbolism".
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This probably draws on the Europa regina map schematic. Africa, by contrast (illustration, right) wears the elephant headdress and is accompanied by animals common to Africa such as a lion, the scorpion of the desert sands, and Cleopatra's asps. These depictions come straight from Roman coins with personifications of the Roman province of Africa,As coin of Hadrian, 136 AD, described as: "Africa, wearing elephant’s skin headdress, reclining left, holding scorpion and cornucopia, modius at her feet". a much smaller strip of the Mediterranean coast.
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Her right hand is raised to the emperor's right foot in a gesture of submission. She personifies Earth, representing the emperor's universal domination and with the fruits symbolising the prosperity of his reign. This personification was often presented in this role on images of the triumphant emperor or the emperor in majesty, as for example on the missorium of Theodosius (with Tellus similarly represented at the bottom of the composition, under the figure of Theodosius I enthroned in majesty) and on the relief of the pietas augustorum on the arch of Galerius (where the Tetrarchs are accompanied by a series of personifications, including Gaia)The thematic comparison with the reliefs on the arch of Galerius is also justified by the arch and the Barberini ivory both being memorials to an imperial triumph – the arch is a monument to the triumph of the emperor Galerius as vanquisher of the Persians in 297. These personifications of Tellus/Gaia are generally recognisable by their principal attribute of a cornucopia – this is not actually present on the ivory, but the fruit-filled fold in the woman's robe is of the same form and fulfils the same symbolic function.
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Brueghel, the still life specialist, painted the flower garland, while van Balen, a specialist figure painter, was responsible for the image of the Virgin.Susan Merriam, Seventeenth-Century Flemish Garland Paintings. Still Life, Vision and the Devotional Image, Ashgate Publishing, Ltd., 2012 Garland of Fruit surrounding a Depiction of Cybele Receiving Gifts from Personifications of the Four Seasons The genre of garland paintings was inspired by the cult of veneration and devotion to Mary prevalent at the Habsburg court (then the rulers over the Habsburg Netherlands) and in Antwerp generally.
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With the redesign of the four gold denominations completed by 1908, Roosevelt turned his attention to the cent. The centennial of the birth of assassinated president Abraham Lincoln would occur in , and large numbers of privately manufactured souvenirs were already being issued. Many citizens had written to the Treasury Department, proposing a Lincoln coin, and Roosevelt was interested in honoring his fellow Republican. This was a break with previous American numismatic tradition; before the Lincoln cent, no regularly circulating U.S. coin had featured an actual person (as opposed to idealized personifications, as of "liberty").
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An early Dutch engraving in a series of prints depicting Personifications of Industrial and Professional Life suggests that it is this goddess who inspires the invention of war materiels, showing her seated in a factory workshop with all manner of arms at her feet (plate 6, see the Gallery below). In the fresco by Constantino Brumidi in the U.S. Capitol (1855–60), her image is updated. There she is shown standing next to an artillery piece and has the stars and stripes on her shield. Not all representations of Bellona wear armour.
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The earliest type of symbols are allegories, personifications or deifications, mostly in the form of an Earth goddess (in the case of Egyptian mythology a god, Geb). Before the recognition of the spherical shape of the Earth in the Hellenistic period, the main attribute of the Earth was its being flat. The Egyptian hieroglyph for "earth, land" depicts a stretch of flat alluvial land with grains of sand (Gardiner N16: 𓇾). Similarly, the Sumerian cuneiform sign for "earth" KI (𒆠) originates as a picture of a "threshing floor".
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The Death of Rats, also known as the Grim Squeaker, is not, strictly speaking, a personification in his own right but rather an aspect of Death allowed an independent existence. His purpose is to usher on the souls of dead rodents, as well as assisting Death in other ways. His jurisdiction also seems to cover certain kinds of "ratty" humans, such as Mr. Clete in Soul Music, Mr. Pin in The Truth, and Mr. Pounder in Maskerade. He was one of a disparate multitude of death-personifications created during Death's absence in Reaper Man.
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The emperor is flanked by two Tyche figures, female personifications of a city's fortune. They are crowned with mural crowns and dressed in ankle-long yellow undergarments and coloured transparent over- tunics. The Tyche on the right, with a green over-tunic, presents the emperor probably with a crown, while the left one, dressed in blue, holds the toupha, a headgear reserved exclusively for triumphs. Both figures are represented barefoot, a symbolic convention typical of slaves, signifying their submission to the emperor, or to represent their divinity as the goddess of fortune.
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Some gods, such as Apollo and Dionysus, revealed complex personalities and mixtures of functions, while others, such as Hestia (literally "hearth") and Helios (literally "sun"), were little more than personifications. The most impressive temples tended to be dedicated to a limited number of gods, who were the focus of large pan-Hellenic cults. It was, however, common for individual regions and villages to devote their own cults to minor gods. Many cities also honored the more well-known gods with unusual local rites and associated strange myths with them that were unknown elsewhere.
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Some main signs are abstract, some are pictures of the object they represent, and others are "head variants", personifications of the word they represent. Affixes are smaller rectangular elements, usually attached to a main sign, although a block may be composed entirely of affixes. Affixes may represent a wide variety of speech elements, including nouns, verbs, verbal suffixes, prepositions, pronouns, and more. Small sections of a main sign could be used to represent the whole main sign, and Maya scribes were highly inventive in their usage and adaptation of glyph elements.
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In Irish and Scottish mythology, the cailleach is a hag goddess concerned with creation, harvest, the weather, and sovereignty. In partnership with the goddess Bríd, she is a seasonal goddess, seen as ruling the winter months while Bríd rules the summer. In Scotland, a group of hags, known as The Cailleachan (The Storm Hags) are seen as personifications of the elemental powers of nature, especially in a destructive aspect. They are said to be particularly active in raising the windstorms of spring, during the period known as A Chailleach.
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Some scholars argue that the unfinished Buddha statue was established in the crowning stupa as the central figure of Borobudur mandala, and that its unfinished quality is symbolic. One of some reasons that lead to the opinion that this statue is the symbol of the Adi Buddha (or Vairochana as one of some personifications of Adi Buddha) is the interpretation of its imperfect form. It shows the local genius of the artists of that time. The imperfect form describes moksha: from the existence into the non-existence, from rūpa into arupa.
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Archetypal psychology is a polytheistic psychology, in that it attempts to recognize the myriad fantasies and myths that shape and are shaped by our psychological lives. The ego is but one psychological fantasy within an assemblage of fantasies. To illustrate the multiple personifications of psyche Hillman made reference to gods, goddesses, demigods and other imaginal figures which he referred to as sounding boards "for echoing life today or as bass chords giving resonance to the little melodies of daily life"Hillman, J. 'Who Was Zwingli?', SPRING Journal 56, p.
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Two more columns stood on either side of the roadway exiting the western side of the plaza, and two more high columns framed the roadway's termination at Arlington Ridge Road. At the base of each column was a massed sculptural group reflecting the unification of North and South, the achievement of national goals, and personifications of national values. One or more large Neoclassical structures were also placed on Columbia Island. The architectural style of this structure (or structures) had not yet been worked out, but it was agreed that something should be built.
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Despite her obscurity, Agenoria is the title character of the first of four Latin apologues written in 1497 by the Italian humanist Pandolfo Collenuccio in honor of Ercole II d'Este, duke of Ferrara. The allegorical fiction Agenoria, influenced by Lucian, begins with the betrothal of Inertia (Inactivity) to Labor, whose wedding gifts such as farm animals and sweat result in a breakup. Labor then weds Agenoria (Activity). Their wedding is attended by a number of other personifications, including Ubertas (Abundance) and Voluptas (Pleasure), whose presence arouses the violence of Inertia and her followers.
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Fatso the Fat-Arsed Wombat, a popular symbol of the Sydney 2000 Summer Olympics created as a parody of the blandly commercial official mascots. For branding, merchandising, and representation, figures known as mascots are now often employed to personify sports teams, corporations, and major events such as the World's Fair and the Olympics. These personifications may be simple human or animal figures, such as Ronald McDonald or the ass that represents the United States's Democratic Party. Other times, they are anthropomorphic items, such as "Clippy" or the "Michelin Man".
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Paul Veyne, Le Pain et le Cirque, Paris: Seuil, 1976, , p. 655 He supported the creation of provincial towns (municipia), semi-autonomous urban communities with their own customs and laws, rather than the imposition of new Roman colonies with Roman constitutions.András Mócsy, Pannonia and Upper Moesia (Routledge Revivals): A History of the Middle Danube Provinces of the Roman Empire, Routledge, 2014 A cosmopolitan, ecumenical intent is evident in coin issues of Hadrian's later reign, showing the emperor "raising up" the personifications of various provinces.Paul Veyne, " Humanitas: Romans and non-Romans".
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In Greek mythology, the Androctasiae or Androktasiai (Ancient Greek: ; singular: Androktasia) were the female personifications of manslaughter, and daughters of the goddess of strife and discord, Eris. This name is also used for all of Eris' children collectively, as a whole group. Hesiod in the Theogony names their mother as Eris ("Discord"), and their siblings as: Ponos (Hardship), Lethe (Forgetfulness), Limos (Starvation), the Algea (Pains), the Hysminai (Battles), the Makhai (Wars), the Phonoi (Murders), the Neikea (Quarrels), the Pseudea (Lies), the Logoi (Stories), the Amphillogiai (Disputes), Dysnomia (Anarchy), Ate (Ruin), and Horkos (Oath).Caldwell, p.
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Time orders Old Age to destroy Beauty is a 1746 allegorical oil on canvas painting by the Italian artist Pompeo Batoni. It was commissioned from him by Bartolomeo Talenti, a collector from Lucca, as a pendant for La lascivia, now in the Hermitage Museum. It shows personifications of Time as an old man with a scythe, Old Age as an old woman and Beauty as a young woman. It came into the collection of the Russian count Nikolai Alexandrovich Kushelev-Bezborodko, before being acquired in 1961 by the National Gallery, London where it now hangs.
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Jonson's text has an unusual cast, even by the standards of the masque form. It opens with the entrance of a personified Fame, accompanied by "the Curious" -- who are three, "the Eyed, the Eared, and the Nosed." These three personifications of the sense organs were apparently costumed with multiple iterations of their specific parts; in one of his (or its?) speeches, the Eyed refers to his (or its) four eyes. Their conversation on the nature of Fame and Time is broken in upon by Chronomastix, a satyr with a whip or scourge.
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Wiese states that he had been a Christian since 1970, but had never studied Hell before his experiences on the night of November 23, 1998. According to the book, Wiese, then a real estate broker, found himself in a cell approximately high and by in area, where there were two foul-smelling beasts, personifications of evil and terror, who spoke in a blasphemous language. Wiese says that the creatures had strength approximately one thousand times greater than a man's strength. Wiese states that he heard the screams of the billions of damned people in hell.
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Gouda: Praesidium atque decus quae sunt et gaudia vitae – Formant hic animos Graeca Latina rudes The Latin school was the grammar school of 14th- to 19th-century Europe, though the latter term was much more common in England. Emphasis was placed, as the name indicates, on learning to use Latin. The education given at Latin schools gave great emphasis to the complicated grammar of the Latin language, initially in its Medieval Latin form. Grammar was the most basic part of the trivium and the Liberal arts — in artistic personifications Grammar's attribute was the birch rod.
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Mansfield, Monroe and Barbara Windsor have been described as representations of a historical juncture of sexuality in comedy and popular culture. Academics also added Anita Ekberg and Bettie Page to the list of catalysts of the trend of exaggerated female sexuality, along with Mansfield and Monroe. M. Thomas Inge describes Mansfield, Monroe and Jane Russell as personifications of the bad girl in popular culture. Judy Holliday and Goldie Hawn are also identified to have established the stereotype of the "dumb blonde", typified by their combination of overt sexuality, and apparent inability to understand everyday life.
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After the recognition of the Church by Constantine I in 313, the Book of Revelation is the source from which are derived most of the decorative themes of Christian Art. The lamb is now the most important of these, and its meaning is either the same as before or, more frequently perhaps, it is symbolic of Christ the expiatory victim. The dove is the Holy Spirit, and the four animals that St. John saw in HeavenRevelation, 4, v are used as personifications of the Four Evangelists.Jerome, Preface to Commentary on MatthewMale, Emile.
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Furth introduced the idea that the Bends o' the Rainbow, 13 magic spheres created by Maerlyn in the distant past, are sentient beings able to project personifications which can interact with other characters. Marten has a sexual relationship with the female personification of Maerlyn's Grapefruit, one of the spheres. This is described as incestuous, since the beings were given life by Maerlyn, Walter's biological father; Marten and the Grapefruit repeatedly call each other as brother and sister. The siblings also refer to the Crimson King as their "cousin", indicating that Maerlyn is related to him.
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At the base of a large sculpture of George I, suitably attired singers portrayed Britain, Ireland, France, America and the House of Hanover. In the epilogue gods of water and wind were joined by personifications of the rivers Thames and Isis, with the backdrop changing from the dreaming spires of Oxford to the night sky over London with ships on the river. A "Martial Symphony" ended with the firing of 45 cannons heralding the firework display, after which all the windows and skylights in the theatre had to be opened to release the smoke.
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In this interpretation the contents of the urn beside the clothed woman are the ashes of the bride's father, and the naked figure is Venus as Truth, and/or Charity. Although the first record of a version of what is now the usual title is only in an inventory of 1693,Brilliant, 75-80. On p. 78 he lists a number of titles the work has been given it remains possible that the two female figures are indeed intended to be personifications of the Neoplatonic concepts of sacred and profane love.
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With this suggestion Klenze created a new type of national allegory. For a long time previously there had been personifications of Bavaria, but whereas, for example, the attributes of Tellus Bavarica on the Hofgartentempel represented the material wealth of the nation, Klenze gave his Bavaria attributes of culture and statesmanship. Klenze's design reflected a new understanding of the ideal state as virtuous and enlightened, replacing traditional agrarian symbolism. In another proposal dating from 1834, Klenze planned the Bavaria statue as an exact copy of the Athena Promachos which once stood in front of the Acropolis.
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The town hall was renovated in 1661. Krzysztof Palm decorated its façade with rich painting. It included, inter alia, a picture of Virgin Mary with Baby Jesus and St. Wenceslas and coats of arms of the Duchy of Cieszyn and the town as well as personifications of Faith, Hope, Wisdom and Justice entwined in a ribbon with a sentence in Latin: Haec domus odit, punit, conservat, honorat: nequitiam, pace, orimina, iura, probus (This house hates iniquity, loves peace, punishes crimes, supports the virtuous, honours the worthy). In approx.
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Michael Leapman, Inigo: The Troubled Life of Inigo Jones, Architect of the English Renaissance, London, Headline Book Publishing, 2003; p. 125. In this it was different from Jonson's earlier masques like The Masque of Blackness and others, though similar to the immediately preceding masque, Love Freed from Ignorance and Folly. Even more unusually, Love Restored was staged without the participation of Inigo Jones, who had designed the costumes, sets, and stage effects of the prior masques. Aristocratic amateurs of the Court danced ten roles, personifications of Honour, Courtesy, Valour, etc.
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Rubens thus turned to mythological allusions, emblematic references, personifications of vices and virtues and religious analogies to veil an often unheroic or ambiguous reality. Within this context Rubens' approach to 'historical truth' may appear selective or, worse, dishonest, but he was neither a historian in the modern sense, nor a journalist; the Medici cycle is not reportage, but rather poetic transformation.Belkin p. 179 As a narrative source for the Marie de' Medici cycle Rubens used an ancient genera of writing in which ideal kingship, and good government were explored.
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The crowd below in the basilica raise their hands in acclamation of the new Queen, and above, the classical personifications of Abundantia and a winged Victoria shower the blessings of peace and prosperity upon the head of Marie by pouring the golden coins of Jupiter.Saward, p. 97Smith, p 129. Also, her pet dogs are placed in the foreground of the painting. Rubens inspiration for the blue coronation orb emblazoned with golden lilies was Guillaume Dupres’ presentation medal struck in 1610 at Marie's’ request portraying her as Minerva with Louis XIII as Apollo-Sol .
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Personifications of Sclavinia, Germania, Gallia, and Roma, bringing offerings to Otto III; from a gospel book dated 990. Medieval notions of a relation of the peoples of Europe are expressed in terms of genealogy of mythical founders of the individual groups. The Europeans were considered the descendants of Japheth from early times, corresponding to the division of the known world into three continents, the descendants of Shem peopling Asia and those of Ham peopling Africa. Identification of Europeans as "Japhetites" is also reflected in early suggestions for terming the Indo-European languages "Japhetic".
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Winter is dressed as a farmworker and points to winter activities with a slaughtered animal and a wine amphora. The other three personifications allude to deities, who are symbolically associated with the four seasons by authors of the literary tradition, such as Ovid and Lucretius. A girdle of flowers recalls that of the Spring goddesses Venus and Flora; ears of corn and poppies refer to the goddess of fertility and summer, Ceres. The cherub of autumn recalls a satyr and holds a basket of grapes - symbolising the wine and autumn god Bacchus.
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The focus of the religion is on creating a reciprocal relationship with them, with adherents believing that oricha can intercede in human affairs and help people if they are appeased. There are various origin myths and other stories about the oricha, known as patakíes. Each oricha is understood to "rule over" a particular aspect of the universe, and have been described as personifications of different facets of the natural world. They are perceived as living in a realm called orún, which is contrasted with ayé, the realm of humanity.
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The Holly King and Oak King are personifications of the winter and summer in various folklore and mythological traditions. The two kings engage in endless "battle" reflecting the seasonal cycles of the year: not only solar light and dark, but also crop renewal and growth. During warm days of Midsummer the Oak King is at the height of his strength; the Holly King regains power at the Autumn equinox, then his strength peaks during Midwinter, at which point the Oak King is reborn, regaining power at the Spring equinox, and perpetuating the succession.
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However, it is rarely seen in funerary art "before the Counter-Reformation".Hall, 94 When not illustrating literary texts, or following a classical model as Botticelli does, personifications in art tend to be relatively static, and found together in sets, whether of statues decorating buildings or paintings, prints or media such as porcelain figures. Sometimes one or more virtues take on and invariably conquer vices. Other paintings by Botticelli are exceptions to such simple compositions, in particular his Primavera and The Birth of Venus, in both of which several figures form complex allegories.
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The Last Judgement His brother Cornelis designed a palace for him in Antwerp with a façade of blue limestone and with luxurious decorations such as gilded leather wall-coverings in the bedroom.Frans Floris in Karel van Mander, Het Schilderboeck, 1604 The façade itself was designed by Frans. His design program for the façade was intended to illustrate the high status of artists in society. He painted the façade with seven personifications symbolizing the qualities and skills of an artist: Accuracy (Diligentia), Practice (Usus), Labor (Labor), Diligence (Industria), Experience (Experientia), Praise (Lauda) and Architecture (Architectura).
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The depiction of the world of Kamigawa is heavily inspired by oriental culture, especially that of sengoku-era Japan. The backdrop of the story involves the physical realm of mortals, which is called the utsushiyo, and the spiritual realm of the kami, which is called the kakuriyo. Each realm living in harmony, the denizens of the physical realm worship the kami, most of whom are personifications of everyday objects or aspects of nature. The conflict of the story begins when suddenly the kami attack the physical realm, killing many denizens in their wake.
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This miniature is an altogether original creation and, with the inclusion of the personifications and the putti, shows the endurance of the classical tradition in Constantinople, despite the fact that Anicia herself was a pious Christian. The series of frontispieces in the manuscript begins with two full-page miniatures, each having a group of seven noted pharmacologists. In the second picture (folio 3 verso, see here), the most prominent and only one sitting on a chair is Galen. He is flanked by three pairs of other physicians, seated on stones or the ground.
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These personifications then fuse into what Sullivan called the self-system. Furthermore, Sullivan emphasized that the self-system was the product of two additional factors: # The exploration of an infant's own body: Sullivan provided thumb sucking as an example of the exploration a child has during mid-infancy. The very act of thumb sucking would help differentiate the infant from himself or herself and others. # The appraisals from caregivers: Sullivan believed that interpersonal relationships were vital in personality development and specifically in the formation of the self-system.
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Le Corbelier, 219 America has been shown with a number of animals not naturally found on the American continents. America is shown with a camel in a set of glasses, and a depiction of a woman with an elephant had been labelled “America” for many years. These inaccuracies were encompassed in a larger conundrum of America and Africa being allowed to share iconography, even within the same context, as in one instance where America’s and Africa’s personifications are portrayed as children in the act of playing with each other.
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With the redesign of the four gold denominations completed by 1908, Roosevelt turned his attention to the cent. The centenary of the birth of assassinated president Abraham Lincoln would occur in February 1909, and large numbers of privately manufactured souvenirs were already being issued. Many citizens had written to the Treasury Department, proposing a Lincoln coin, and Roosevelt was interested in honoring his fellow Republican. This was a break with previous American numismatic tradition; before the Lincoln cent, no regularly circulating U.S. coin had featured an actual person (as opposed to idealized personifications, as of "liberty").
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Her work on iconography has included research on the depiction of Aphrodite and personifications in Greek art. Smith's current work centres on the 2017/18 anniversary of Johann Joachim Winckelmann. She is a member of the Winckelmann-Gesellschaft's International Committee focusing on events to celebrate the 300th anniversary of Winckelmann's birth. Smith is a co-organiser of a series of conferences to mark the anniversary and is also the co-curator (with Katherine Harloe) of the exhibition Winckelmann in Italy: Curiosity and connoisseurship in the 18th- century gentleman’s study at Christ Church Upper Library from 29 June to 26 October 2018.
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Hooriger Bär, the pea-straw-covered wild man from Singen developed from a straw bear Straw bears may be derived from the medieval carnival figure of the Wild Man. They were also interpreted by early folklorists as personifications of Winter, and their appearance in late winter or early spring was seen as a ritual expulsion of winter from the community. Others think they were merely intended to represent the real "dancing" bears that used to be taken from place to place for entertainment. The bears were originally accompanied by groups of costumed attendants and musicians and visited houses, begging from door to door.
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424 ff Other Greek personifications of war and the battlefield include Ares, Eris, the Makhai, the Hysminai, the Androktasiai, the Phonoi and the Keres. In Aesop's fable of "War and his Bride", told by Babrius and numbered 367 in the Perry Index,Aesopica it is related how Polemos drew Hubris (insolent arrogance) as his wife in a marriage lottery. So fond has he become of her that the two are now inseparable. Therefore, Babrius warns, "Let not Insolence ever come among the nations or cities of men, finding favour with the crowd; for after her straightway War will be at hand".
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The ten Mahāvidyās are bestowers or personifications of transcendent and liberating religious knowledge; the term Vidyā in this context refers to power, essence of reality and the mantras. The gentle and motherly forms of Goddess Sri Vidyā are 'right-handed'. When the awareness of the 'exterior' (Shiva) combined with the "I" encompasses the entire space as "I" it is called sada-siva-tattva. When later, discarding the abstraction of the Self and the exterior, clear identification with the insentient space takes place, it is called isvara-tattva; the investigation of these two last steps is pure vidyā (knowledge).
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In Hinduism, goddesses are personifications of the deepest level of power and energy. The concept of Shakti, in its most abstract terms, relates to the energetic principle of ultimate reality, the dynamic aspect of the divine. This concept surfaces in the Kena Upanishad as Goddess Umā bestowing Brahma-vidya on Indra; when linked with shakti and maya, she embodies the power of illusion (maya), encompassing ignorance (avidya) and knowledge (vidyā) and thereby presented with a dual personality. According to the Saktas, Māyā is basically a positive, creative, magical energy of the Goddess that brings forth the universe.
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Janet Farrar and Gavin Bone have observed that Wicca is becoming more polytheistic as it matures, and embracing a more traditional pagan worldview.Farrar, Janet and Bone, Gavin Progressive Witchcraft Many groups and individuals are drawn to particular deities from a variety of pantheons (often Celtic, Greek, or from elsewhere in Europe), whom they honour specifically. Some examples are Cernunnos and Brigit from Celtic mythology, Hecate, Lugh, and Diana. Still others do not believe in the gods as real personalities, yet attempt to have a relationship with them as personifications of universal principles or as Jungian archetypes.
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From the same year is Saggio sopra gli errori popolari degli antichi ("Essay on the popular errors of the ancients"), which brings the ancient myths back to life. The "errors" are the fantastic and vague imaginings of the ancients. Antiquity, in Leopardi's vision, is the infancy of the human species, which sees the personifications of its myths and dreams in the stars. The year 1815 saw the production of Orazione agli Italiani in Occasione della Liberazione del Piceno ("Oration to the Italians on the liberation of Piceno"), a paean to the 'liberation' achieved by Italy after the intervention of the Austrians against Murat.
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In 2011, two stained glass lunette windows by Robert Anning Bell, which had been in storage since 1966, were placed in the nave of the church following restoration. They had originally been in a mausoleum built in the churchyard to house the remains of Lady Isabel Wilson, which also contained her marble effigy. One of the windows depicts Lady Isabel and her dead baby being carried to heaven by six angels watched by her husband. The other window depicts the personifications of Lady Isabel's virtues – Courage, Hope and "Love to the Death" – surrounded by child-angel musicians.
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The niches and the flanks of the side cabinets, as well as the door to the staircase are covered with murals by Johann Anton Gumpp, that show numerous Asian gods. The ceiling is adorned with paintings of female personifications of four continents. Around 1770 the original furnishing of the Salettl was replaced by Rococo-style furniture, which with its blue and white framing picks up on the colors of the wall design and can still be seen in the Pagodenburg. This includes a round extendable table with the Wittelsbacher coat of arms on top, two canapes and a chandelier.
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Invidia is the uneasy emotion denied by the shepherd Melipoeus in Virgil's Eclogue 1.Explored in terms of the language of emotions and applied to a passage in Virgil's Georgics by Robert A. Kaster, "Invidia and the End of Georgics 1" Phoenix 56.3/4 (Autumn - Winter, 2002:275-295). In Latin, invidia might be the equivalent of two Greek personifications, Nemesis and Phthonus. Invidia might be personified, for strictly literary purposes, as a goddess, a Roman equivalent to Nemesis in Greek mythology, though Nemesis did receive cultus, notably at her sanctuary at Rhamnous, north of Marathon, Greece.
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They depict native as well as exotic or mythological animals, and personifications of the Seasons, Ocean, Earth and Wisdom.Petra Church – Mosaic Floors – Petra, Jordan « Mosaic Art Source The Arab conquest of the Middle East in the 7th century did not break off the art of mosaic making. Arabs learned and accepted the craft as their own and carried on the classical tradition. During the Umayyad era Christianity retained its importance, churches were built and repaired and some of the most important mosaics of the Christian East were made during the 8th century when the region was under Islamic rule.
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The organization teaches that in contrast to worshiping the Buddha or Dharma as anthropomorphized personifications, Nichiren deliberately made a calligraphic mandala, rather than Buddhist statues as the central object of devotion. American author, Richard Seager explains the following: The Soka Gakkai often uses Nichiren's metaphor of a mirror to explain its faith in the Gohonzon. The Gohonzon "reflects life's innate enlightened nature and cause it to permeate every aspect of member's lives". Members chant to the Gohonzon "to reveal the power of their own enlightened wisdom and vow to put it to use for the good of themselves and others".
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The Old Norse (Icelandic) Saga literature has a mythological background. The characters of the Sagas originated as personifications of mythological concepts such as fertility, justice, time, death and the four elements. Einar argued that many of the potential symbols in the Sagas would become meaningful when matched with symbols occurring in Mediterranean and Celtic mythology. In Njáls saga in particular, Kári would become associated with time and air, Njáll with creation, fertility and water, Skarphéðinn with death, justice and fire, Höskuldr with grain and fertility, Gunnar with the Sun, Mörðr with the Earth and Bergthora with the Underworld.
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The Iconologia was a highly influential emblem book based on Egyptian, Greek and Roman emblematical representations, many personifications. The book was used by orators, artists, poets and "modern Italians" to give substance to qualities such as virtues, vices, passions, arts and sciences. The concepts were arranged in alphabetical order, after the fashion of the Renaissance. For each there was a verbal description of the allegorical figure proposed by Ripa to embody the concept, giving the type and color of its clothing and its varied symbolic attributes, along with the reasons why these were chosen, reasons often supported by references to literature (largely classical).
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According to the Physical theory the elements of air, fire, and water were originally the objects of religious adoration, and the principal deities were personifications of the powers of nature.T. Bulfinch, Bulfinch's Greek and Roman Mythology, 242 Jupiter et Thétis by Jean Auguste Dominique Ingres, 1811. The sciences of archaeology and linguistics have been applied to the origins of Greek mythology with some interesting results. Historical linguistics indicates that particular aspects of the Greek pantheon were inherited from Indo-European society (or perhaps both cultures borrowed from another earlier source), as were the roots of the Greek language.
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They were replaced by new versions on the new bridge, which was built in 1874 and completely destroyed during World War II. While the original Father Rhine was never recovered, the original Mother Kinzig was retrieved in 1897. The pairing of a male statue representing the river Rhine with a female statue representing one of its tributaries was something of a local tradition in the 19th century. The two pairs on the railway bridge are lost, but a third pair, personifications of Rhenus and Mosella, can still be seen today in Strasbourg's Neustadt (see gallery below).
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In Greek mythology, the Phonoi (Ancient Greek: ; singular: Phonos) were male personifications of murder. Hesiod in the Theogony names their mother as Eris ("Discord"), and their siblings as: Ponos (Hardship), Lethe (Forgetfulness), Limos (Starvation), the Algea (Pains), the Hysminai (Battles), the Makhai (Wars), the Androktasiai (Manslaughters), the Neikea (Quarrels), the Pseudea (Lies), the Logoi (Stories), the Amphillogiai (Disputes), Dysnomia (Anarchy), Ate (Ruin), and Horkos (Oath)Caldwell, p. 6 Table 5; Hesiod, Theogony 226-232. In the epic poem the Shield of Heracles, attributed to Hesiod, Phonos (singular) was one of the many figures, depicted on Heracles' shield.
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An episode from the Trojan War is shown on the obverse; this illustration depicts the death of Sarpedon, son of Zeus and Laodamia. The reverse of the krater shows a contemporary scene of Athenian youths from the sixth century BC arming themselves before battle. In the scene of Sarpedon's death, the god Hermes directs the personifications of Sleep (Hypnos) and Death (Thanatos) to carry the fallen away to his homeland for burial. While the subject of Sarpedon's death might normally be depicted as a stylized tableau, the figures in this scene are painted in naturalistic poses and with schematic but accurate anatomy.
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One of Pratt's most famous students at the School was John A. Wilson. During this time, Pratt sculpted a series of busts of Boston's intellectual community, including Episcopal minister Phillips Brooks (1899, Brooks House, Harvard University), Colonel Henry Lee (1902, Memorial Hall, Harvard University), and Boston Symphony Orchestra founder Henry Lee Higginson (1909, Symphony Hall, Boston). He became an associate of the National Academy in 1900. (1) 1908 Quarter eagle Indian Head design When Saint-Gaudens' uncompleted group for the entrance to the Boston Public Library was rejected, Pratt was awarded a commission for personifications of Art and Science.
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Jan Brueghel (I) and Hendrick van Balen (I), Garland of Fruit surrounding a Depiction of Cybele Receiving Gifts from Personifications of the Four Seasons, ca. 1620-1622 at the Netherlands Institute for Art History More recently an identification of the goddess with Ceres, the Roman goddess of agriculture, grain crops, fertility and motherly relationships, has been proposed. The reason is that the goddess in the medallion has none of the attributes traditionally connected with Cybele. Around the medallion is suspended a garland of flowers, vegetables and fruit – a tribute to the goddess and an ode to plenty and fertility.
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Thjazi and Loki. Beginning of the myth of the abduction of Iðunn, attested in Skáldskaparmál. Manuscript NKS 1867 4to (Iceland, 1760), Copenhagen, Royal Library Skáldskaparmál (Old Icelandic 'the language of poetry'Faulkes (1982: 59).) is the third section of Edda, and consists of a dialogue between Ægir, a jötunn who is one various personifications of the sea, and Bragi, a skaldic god, in which both Norse mythology and discourse on the nature of poetry are intertwined. The origin of a number of kennings are given and Bragi then delivers a systematic list of kennings for various people, places, and things.
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Philip V of Spain in a 1705 portrait by Miguel Jacinto Meléndez. The opera is preceded by the customary loa (dedicatory prologue or allegorical paenA song or hymn of praise, joy, or triumph, originally sung by the ancient Greeks in gratitude to Apollo. (In the Spanish libretto, this section is called the Loa.) celebrating Philip V, and emphasizing his goodness and justice. In Apollo's Temple on Mount Parnassus, the Muses Calliope, Terpsichore and Urania, the personifications of Time (Tiempo) and Spain (España), and a chorus of the remaining six Muses sing to the glory of Spain and its new king.
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Sponsa de Libano (The Bride of Lebanon) is a painting by the Pre-Raphaelite artist Edward Burne-Jones dated 1891. The painting is based on extracts from the Song of Solomon in the Bible. "Come with me from Lebanon, my spouse ..."Chapter 4, verse 8, King James Version "Awake, O north wind; and come thou south; blow upon my garden ..."Chapter 4, verse 16, King James Version It shows the bride walking in the garden with female personifications of the two winds blowing towards her. On each side of the bride are white lilies, symbolising her virginity.
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There are other images of Hindu deities around the sabha-mandapa including those of the regional deities Vithoba and Khandoba, personifications of Shukla chaturthi and Krishna chaturthi (the 4th lunar day in bright fortnight and dark fortnight of a lunar month, both of which are sacred for Ganesha worship) and the Ganapatya saint Morya Gosavi. On the circumambulation path (Pradakshina path), there is a Tarati tree (a thorny shrub) near the Kalpavrushka Mandir. The tree is believed to be the spot where Morya Gosavi underwent penance. There are two sacred trees in the courtyard: shami and bilva.
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Spes was one of the divine personifications in the Imperial cult of the Virtues. Spes Augusta was Hope associated with the capacity of the emperor as Augustus to ensure blessed conditions.J. Rufus Fears, "The Theology of Victory at Rome: Approaches and Problem," Aufstieg und Niedergang der römischen Welt II.17.2 (1981), pp. 812–814. Like Salus ("Salvation, Security"), Ops ("Abundance, Prosperity"), and Victoria ("Victory"), Spes was a power that had to come from the gods, in contrast to divine powers that resided within the individual such as Mens ("Intelligence"), Virtus ("Virtue"), and Fides ("Faith, Fidelity, Trustworthiness").
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The Endless spend most of their time fulfilling their functions as embodiments of natural forces. For example, Death leads the souls of the dead away from the realm of the living, while Dream oversees the realm of dreams and imagination ("The Dreaming") and regulates dreams and inspiration. One notable facet of their depiction is that none of them are "representations" or "personifications" of their function, they simply are their function; as Sto-Oa says of Death in Endless Nights, "She is Death, just as he is Dream, and that one is Desire." In The Sandman (vol.
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Pluto's court as a literary setting could bring together a motley assortment of characters. In Huon de Méry's 13th-century poem "The Tournament of the Antichrist", Pluto rules over a congregation of "classical gods and demigods, biblical devils, and evil Christians."John Block Friedman, Orpheus in the Middle Ages (Syracuse University Press, 2000), p. 238; Li Tournoiemenz Anticrit (Le tornoiement de l'Antéchrist) text. In the 15th-century dream allegory The Assembly of Gods, the deities and personifications are "apparelled as medieval nobility"Theresa Lynn Tinkle, Medieval Venuses and Cupids: Sexuality, Hermeneutics, and English Poetry (Stanford University Press, 1996), p. 132.
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Mankind's Eternal Dilemma: The Choice Between Virtue and Vice A large portion of the output of Frans Francken the Younger consisted of allegorical paintings. An example is the Allegory on the Abdication of Emperor Charles V in Brussels (Rijksmuseum). The composition is an allegorical representation of the abdication of Emperor Charles V in Brussels. Charles V who is dividing his empire after a life of continuous warfare and ill health is seated on his throne flanked by his successors Ferdinand I and Philip II. In front of Philip the personifications of the territories of the Empire with their banners are kneeling down.
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The interior of the portico has a polychrome marble floorTouring Club Italiano, Guida rossa Italia centrale, 1925 and a coffered ceiling—the latter of which was designed by Gaetano Koch, is called the "ceiling of the sciences". The ceiling owes its name to the bronze sculptures of Giuseppe Tonnini placed inside the portico, collectively known as The Allegories of The Sciences. They are all made up of female personifications: The Geometry, The Chemistry, The Physics, The Mineralogy, The Mechanics, The Astronomy and The Geography. The vertical wall opposite the columns is decorated at the top with mosaics at gilded backgrounds, after 1925.
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Basilica of Santa Maria in Ara Coeli. The Vittoriano can be seen on the left. The allegories of the monument mostly represent the virtues and feelings, very often rendered as personifications, also according to the canons of the neoclassical style, which animate the Italians during the Italian unification, or from the revolutions of 1820 to the capture of Rome (1870), through which national unity was achieved. Due to the complex process of unification undertaken by Victor Emmanuel II throughout the second half of the 19th Century, the Italians gave him the epithet of Father of the Fatherland ().
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The sketch shows Henry of Navarre bowing down in Henry III's presence, which eyewitness accounts confirm was accurate. Rubens represented a putto taking the crown of Henry III, with the intention of placing it on the willing future Henry IV, although the actual transfer of power didn't occur until Henry III's assassination several months later (August 1, 1589). A page stands behind Henry of Navarre holding his personal badge: a white plumed helmet, while the dog at his feet represents fidelity. The two ominous figures behind Henry III most likely represent personifications of Fraud and Discord.
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Sometimes the buildings were shaded—using darker-colored materials at the base, and then gradually lightening towards the top—to increase the building's visibility. Art Deco buildings in the city were also richly appointed inside and out with reliefs, mosaics, murals, and other art. Allegorical depictions—such as beehives of industry on the French Building, personifications of virtues at Rockefeller Center, or figures portraying industry and the arts at the International Magazine Building—were common decorative elements. The entries and lobbies of these skyscrapers often drew direct influence from the painted sets and stages of theaters, with framing like hanging curtains.
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Ancient Roman mosaic depicting the Greek goddess Gaia, lying on the ground with her four children, the personifications of the four seasons Many people involved in the Goddess movement regard the Earth as a living Goddess. For some this may be figurative, for others literal. This literal belief is similar to that proposed by Gaia hypothesis, and the Goddess-name Gaia is sometimes used as a synonym for the Earth. For the Goddess-movement practitioners, Gaia personifies the entire earthly ecosystem and is the means to achieve harmonic symbiosis or the wholeness and balance within the natural worlds and physical environment.
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It is in white, grey and white marble, with some gilt and was made by Thomas Green. In the centre of the monument is the seated effigy of a judge, flanked by statues representing personifications of Justice and Vigilance, all contained in an elaborately carved aedicule. Also on the north wall is a tablet to the children of E. Bacon that was erected in 1660. On the south wall is a black and white tablet to Lady Gawdy, who died in 1621, by Nicholas Stone, and a simple tablet to the children of another E. Bacon dated 1683.
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Florida Center for Instructional Technology, College of Education, University of South Florida, 2005. Accessed 12 February 2006. (to a lesser degree concerning Wagner but especially in the case of Beethoven, the fact that the Nazi propagandists claimed that deceased, and therefore unable to object composers are personifications of their ideology does not mean that they would have approved of such a label). The claim of "fundamental Jewishness" was repeated, but with a completely opposite meaning, by 20th century Jews like Leonard Bernstein (regarding Mahler), who viewed that the dual Jewishness and success of the composers is something to be championed and celebrated.
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1465–75) are sets of fifty educational cards depicting personifications of social classes, the planets and heavenly bodies, and also social classes.Spangeberg K.L (ed), Six Centuries of Master Prints, Cincinnati Art Museum, 1993, no 5, A new pair, once common on the portals of large churches, are Ecclesia and Synagoga.Rowe, Nina, The Jew, the Cathedral and the Medieval City: Synagoga and Ecclesia in the Thirteenth Century, 2011, Cambridge University Press, , , google books Death envisaged as a skeleton, often with a scythe and hour-glass, is a late medieval innovation, that became very common after the Black Death.
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The murals contain imagery relating to the revolutionary struggles of the peasants and working class of Mexico and the fertility and cycles of nature. Covering an area of over 700m2, the work divides into three parts. The left panels depict man’s struggle to have land, the right panels show the evolution of Mother Nature and the center shows the communion between man and earth. The most prominent panel at the front of the room is titled Tierra Fecunda (translated Abundant Earth) and features a nude woman reclining in a landscape accompanied by the personifications of the natural forces of wind, water, and fire.
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Baroque allegorical figures of Lady Justice, Prudence, fame and glory, on the façade of the 18th century Castellania, in Valletta Allegorical sculpture are sculptures of personifications of abstract ideas as in allegory. Common in the western world, for example, are statues of Lady Justice representing justice, traditionally holding scales and a sword, and the statues of Prudence, representing Truth by holding a mirror and squeezing a serpent. This approach of using human form and its posture, gesture and clothing to wordlessly convey social values and themes. It may be seen in funerary art as early as 1580.
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The term astro-theology is used in the context of 18th- to 19th-century scholarship aiming at the discovery of the original religion, particularly primitive monotheism. Unlike astrolatry, which usually implies polytheism, frowned upon as idolatrous by Christian authors since Eusebius, astrotheology is any "religious system founded upon the observation of the heavens",OED, citing Derham (1714) as the first attestation of the term. and in particular, may be monotheistic. Gods, goddesses, and demons may also be considered personifications of astronomical phenomena such as lunar eclipses, planetary alignments, and apparent interactions of planetary bodies with stars.
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The abundance and fertility of Africa is symbolized in the cornucopia that she holds. Other personifications of Africa at the time depict her nude, symbolizing the Eurocentric perceptions of Africa as an uncivilized land. While the illustration of Africa in Ripa’s Iconologia is light-skinned, it was also common to illustrate her with dark skin. Asia: woodcut in Ripa's Iconologia 1603 Asia (illustration, right), seen by Europe as a continent of exotic spices, silk, and the seat of Religion, wears rich clothing and carries a smoking censer. The continent’s warm climate is represented by the wreath of flowers in her hair.
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She is known as Tara Bosatsu (多羅菩薩) in Japan, and occasionally as Duōluó Púsà (多羅菩薩) in Chinese Buddhism.Buddhist Deities: Bodhisattvas of Compassion Tārā is a meditation deity worshiped by practitioners of the Tibetan branch of Vajrayana Buddhism to develop certain inner qualities and to understand outer, inner and secret teachings such as karuṇā (compassion), mettā (loving-kindness), and shunyata (emptiness). Tārā may more properly be understood as different aspects of the same quality, as bodhisattvas are often considered personifications of Buddhist methods. There is also recognition in some schools of Buddhism of twenty-one Tārās.
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In the engraving, symbols of geometry, measurement, and trades are numerous: the compass, the scale, the hammer and nails, the plane and saw, the sphere and the unusual polyhedron. Panofsky examined earlier personifications of geometry and found much similarity between Dürer's engraving and an allegory of geometry from Gregor Reisch's Margarita philosophica, a popular encyclopedia.Klibansky, Panofsky & Saxl, 315 Other aspects of the print reflect the traditional symbolism of melancholy, such as the bat, emaciated dog, purse and keys. The figure wears a wreath of "wet" plants to counteract the dryness of melancholy, and she has the dark face and dishevelled appearance associated with the melancholic.
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In the fresco cycle Lorenzetti expresses the idea that the cause of peace lays not only from the effects of good government, but also from the citizens acting in “accord[ance] with the temporal and astral force that governs” them.Burke, Suzanne Maureen, Ambrogio Lorenzetti's Sala della Pace: Its Historiography and "Sensus Astrologicus", Ph.D. diss., New York University, 1994 Lorenzetti expresses this idea in part with the border along the three frescos, which display medallions featuring the personifications of the planets as well as the seasons. Above the mural depicting The Effects of Good Government, these medallions follow the natural order of the seasons and alignment of the planets.
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While the sword and scales are traditional attributes of Iustitia, the Bernese statue's blindfold is a novelty;Balances: Instruments, Manufacturers, History by Erich Robens, Shanath Amarasiri a. Jayaweera, Susanne Kiefer () only later did it become a common element in personifications of Justice and a general symbol for the principle of equality before the law. The blindfold implies that justice ought to be done without respect to rank or standing; that a just verdict is arrived at through introspection rather than with a view to outward looks. Gieng's Iustitia is a symbol of republican justice, and was a forceful public reminder of the Bernese Republic's authority through law.
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These concepts of Discworld physics are also exploited in both wizard and witch magic. For example, when a character wishes to turn a cat into a human, the easiest way is to convince the cat, on a deep level, that he is a human. In fact, the main reason the Auditors of Reality dislike sentient beings in the Discworld universe is that the Auditors are the personifications of the real- world laws of physics, but the Discworld physics' power of belief and the humans' ignorance constantly remake the world, making their work fruitless. More significantly, it is also belief that gives Discworld's gods their powers.
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The most infamous of Epps' unorthodox views regards the devil (1842). He was one of a long line of Dissenters to take this view, stretching back through Simpson (1804), Lardner (1742), Sykes (1737), going back to the Dutch Anabaptist, David Joris (1540). According to Epps, references in the Bible to the devil and Satan are, in the main, to be understood as personifications of the lustful principle in humans. In 1842 he anonymously published The Devil: a Biblical exposition of the truth concerning that old serpent, the devil and Satan and a refutation of the beliefs obtaining in the world regarding sin and its source.
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Orcadian tales were strongly influenced by Scandinavian mythology with a blending of traditional Celtic stories. Folklorist and writer Ernest Marwick describes the Sea Mither and Teran as "pure personifications of nature." Several ancient myths were based upon the natural elements of the turbulent and ever changing sea surrounding Orkney, but the stories of the two spirits are among the oldest legends on the islands. People had to be able to explain the vagaries of weather and other natural life cycles without the benefit of science; Traill Dennison hypothesises that this is why "the imagination of some half savage" may have formed the foundations of the myth.
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The Greek poet Hesiod established in his Theogony that Thánatos is a son of Nyx (Night) and Erebos (Darkness) and twin of Hypnos (Sleep).Hesiod, Theogony 758 ff, trans. Evelyn-White, Greek epic 8th or 7th century BC Homer also confirmed Hypnos and Thanatos as twin brothers in his epic poem, the Iliad, where they were charged by Zeus via Apollo with the swift delivery of the slain hero Sarpedon to his homeland of Lycia. Counted among Thanatos' siblings were other negative personifications such as Geras (Old Age), Oizys (Suffering), Moros (Doom), Apate (Deception), Momus (Blame), Eris (Strife), Nemesis (Retribution) and even the Acherousian/Stygian boatman Charon.
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Dainas feature several stylistic devices to ensure euphony. Common devices use repetition; these include alliteration (repetition of similar consonants in stressed syllables), anaphora and epiphora (the use of the same words at the beginning and end of lines, the repetition of a word, combination of words or previous line, or starting new sentence with a word that has the same root as the last word of the previous sentence). Comparisons and other symbolic devices are also found in their range, including straightforward comparisons, epithets, metaphors, synecdoches, allegories, personifications and parallelisms where seemingly unrelated concepts are used to liken events from nature to human life and different social classes.
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Townshend's text was published shortly after its 1632 premier, in a quarto edition issued by the booksellers R. Allel and G. Baker. In that edition, Townshend specifies that "the subject and allegory of the masque, with the descriptions and appearances of the scenes," originated with Inigo Jones and not with the author of the verse. (The masque features personifications of Invention, Knowledge, Theory, and Practice, who talk about the glories of architecture.) Scholars have speculated that Townshend might well have been unhappy with Jones's primacy in the project, and that this may have been why he generally avoided masque writing for the Court during the remainder of his career.
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The top depicts Christ in a mandorla supported by two angels on the left and on the right Michael the Archangel, flanked by a cherub and a seraph, battling a dragon. The bottom row shows eight apostles in various poses, all apparently speaking. The band reads: ASCENDENS XPS IN ALTUM CAPTIVAM DUXIT CAPTIVITATE / MICAEL ARCANGELUS PUGNAVIT CUM DRACONE ("Ascending on high, Christ led the captive from captivity / Michael the Archangel fought with the dragon"). The lid bears a detailed portrayal of Christ's crucifixion, including the two thieves, the Virgin Mary, the "disciple whom Jesus loved" (John), angels with censers, and personifications of the sun and moon.
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Story telling also played a significant role in education during pre-colonial Africa. Parents, other older members of households and Griots used oral story telling to teach children about the history, norms and values of their household/tribe/community. Children usually gathered around the storyteller who then narrates stories, usually, using personifications to tell stories that encourage conformity, obedience and values such as endurance, integrity, and other ethical values that are important for co-operations in the community. Festivals and rituals in most cases were also used as means to teach younger members of a household/tribe/community about the history of their household, community and or tribe.
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The genre was initially connected to the visual imagery of the Counter-Reformation movement.David Freedberg, "The Origins and Rise of the Flemish Madonnas in Flower Garlands, Decoration and Devotion", Münchener Jahrbuch der bildenden Kunst, xxxii, 1981, pp. 115–150. An example of a collaborative garland painting he made with Jan Brueghel the Elder is the Garland of Fruit surrounding a Depiction of a Goddess Receiving Gifts from Personifications of the Four Seasons of which there are two versions, one in the Belfius collection and a second in the Mauritshuis in The Hague.A very similar composition (possibly a workshop copy) is in the collection of the Prado.
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8 is a very dignified lady, who acts appropriately, and who is linked with 7 and has much influence on him. She is the wife of 9. 9 is the husband of 8. He is self-centred, maniacal, selfish, thinks only about himself, is grumpy, endlessly reproaching his wife for one thing or another; telling her, for example, that he would have been better to have married a 9, since between them they would have made 18 – as opposed to only 17 with her… 10, and the other remaining numerals, have no personifications”. Calkins (1893) describes a case for whom “T’s are generally crabbed, ungenerous creatures.
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The statues stand on four pedestals on the lower flight of the grand staircase. Gentleman Magazine described as “a work of the highest merit ... such beautiful personifications.” The Illustrated London News declared “’The Goldsmiths’ is the most magnificent of all the Halls of the City of London.” The white marble statues of “The Seasons” are described as “exquisite” and that Nixon achieved “extreme delicacy” with his “masterly chisel.” Gentleman’s Magazine indicated that he has “been employed principally in sepulchral sculpture, and had executed numerous works of a superior character in that class, many of which have been sent to Canada.” He died at Kennington House, Kennington Common in 1854.
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The evolution of his style was notoriously non-existent and, because he did not date most of his works, it is very difficult to place his works in time apart from the few documentary records that exist. He stuck mainly to a narrow range of visual elements: botanical forms, birds and animals, clowns (self-portraits), and "Greedies" and "Evils" (malignant personifications). His work can be placed in a purely speculative chronological order by the subtle changes and progressions in his subject matter and style. His earlier pieces are thought to be generally more organic in composition and have less precise cross-hatching and detail.
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The word garðr means 'an enclosed piece of land' and is cognate with English yard and garth. The element garðr is commonly an element in place names such as Asgard, Midgard, Micklegard (a common Norse name for Constantinople), Holmgard (a common Norse name for Novgorod), and so forth. So, though Garðr does appear as a man's name, it is possible that Garðr Agði is in origin a personification of the Land of Agdir, and that his sons whose names end in -gard (-garðr) are similar personifications of other regions of Norway, euhemerized into first kings of those regions. Thrym is otherwise known only as the name of a giant.
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Another standard design was the Kurfürstenhumpen or "Elector's beaker", showing the Electors of the Holy Roman Emperor, often in procession on horseback, in two registers, or alternatively seated around the emperor. Drinking glasses with royal arms are often called hofkellereihumpen (court cellar beaker). Other subjects are seen, including religious ones such as the Apostelhumpen, with the twelve apostles, hunting scenes, standard groups of personifications such as the Four Seasons, Ages of Man and the like, and pairs of lovers.Osborne, 335, 401 In Renaissance Venice, "betrothal" pieces were made to celebrate engagements or weddings, with the coats of arms or idealized portraits of the couple.
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The layout of the Forum of Nerva was dictated by the existing space between pre- existing structures. The available space was long and narrow (131 x 45 meters), and had outer walls made from blocks of lava stone peperino, covered with marble slabs, and decorated with projecting paired columns. The frieze in the entablature depicted the myth of Arachne and other reliefs depicting representations of the personifications of Roman provinces. Access to the forum was from the sides, with three openings on the Roman Forum side and a monumental entrance on the opposing side with an exedra porticata in the shape of a horseshoe.
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His poetry has features of both romantic poetry and literary realism. It includes both traditions of Lithuanian folk songs (including common folk personifications, parallels, and precision of poetic scenes) – several of his poems have been transformed into popular folk songs – and elements of well known Russian and Polish poets. The poetry varies in topic (nature, history, patriotism, social inequality, religion, personal experiences) and in mood (love, regret, nostalgia, anger, irony), but often expresses ideas of serving your nation and seeking justice. His later poetry is particularly melancholic due to the sense of his approaching death; he was the first to write elegies in Lithuanian.
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With direct inspiration from the equestrian statue of Louis XIII at the centre of Place des Vosges, it depicts the king dressed like a Roman imperator with a Laurel wreathed helmet. The plinth is surrounded by four allegorical statues. Facing Charlottenborg Palace stand two figures of Minerva and Alexander the Great, representing prudence and fortitude, while the opposite side features statues of Herkules and Artemisia, personifications of strength and honour. Even though Lamoureux depicted the horse in a trot-like gait, with inspiration from Marcus Aurelius' horse at the Capitoline Hill, the design caused severe problems due to the soft metal used for the casting.
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Kim Il-sung, founder and president of the modern North Korean state and his successor Kim Jong-il are considered national heroes if not personifications. Mount Paektu is recognized as a symbol of Korea in the North and South alike, but North Korea has attached special significance to it by claiming that it is the birthplace of Kim Jong-il. Tangun, who is considered the founder-king of the Korean nation, is also said to be born at Mount Paektu and is celebrated in North Korea especially. In 1993 North Korean archaeologists located and dated remains in a tomb that they declared Tangun's grave.
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With airs by Jean de Cambefort, it was an extravagant court spectacle featuring forty-five entrees and three ballets within a ballet, which took about 13 hours to perform. The plot included mythological goddesses such as Venus and Diana, werewolves, demonic creatures and witches who celebrated a black Sabbath in the horrors of the night. Shepherds, gypsies, thieves, lamplighters, beggars and crippled are among the “realistic” characters of the play. King Louis XIV appears with the coming of the day as the sun god Apollo, one of his many personifications as the rising sun, emphasizing the power of the monarchy and its closeness to the divine.
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West Wind, 1928 on 55 Broadway, headquarters of London Underground Left Jab, 1972, coloured pastel on board After the Slade, Rabin studied in Paris where he met and was greatly impressed and influenced by sculptor Charles Despiau. Rabin's own sculpture from this time is little known as he was a perfectionist and destroyed work that he considered unsatisfactory. In 1928, working under his full surname, he was commissioned by architect Charles Holden to carve West Wind, one of eight personifications of the four winds for the headquarters of the Underground Electric Railways Company of London at 55 Broadway. The sculpture was partly completed in-situ on the building.
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The concept of liberty has frequently been represented by personifications, often loosely shown as a female classical goddess. Language from the June 1916 The Numismatist: "Supremely confident like the nation she represents, the protective goddess of America moves with a supple grace, while her garments of stars and stripes seem to catch an invisible breeze." Examples include Marianne, the national personification of the French Republic and its values of Liberté, Égalité, Fraternité, the female Liberty portrayed on United States coins for well over a century, and many others. These descend from images on ancient Roman coins of the Roman goddess Libertas and from various developments from the Renaissance onwards.
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She also carries a rod, which formed part of the ceremony for manumission. In the 18th century, due to antiquarians misunderstanding the shape, the pileus turned into the similar Phrygian cap carried on a pole by English-speaking "Liberty" figures, and then worn by Marianne and other 19th-century personifications, as the "cap of liberty". Libertas had been important under the Roman Republic, and was somewhat uncomfortably co-opted by the empire;Sear, 39 it was not seen as an innate right, but as granted to some under Roman law.Fischer, David Hackett, Liberty and Freedom: A Visual History of America's Founding Ideas, around p.
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Mytyl and her brother Tyltyl are peasant children who are led on a quest for the Blue Bird of Happiness by the Queen of Light, who gives them a hat with a magic diamond that allows them to call forth the souls of all things, both living and inanimate. On their journey, they are accompanied by the human personifications of a dog, a cat, water, sugar, bread, milk, and fire. They visit the kingdoms of the past and future and the queendoms of night and luxury, at each place absorbing more wisdom. Eventually they discover the blue bird they've been seeking has been in their own backyard all along.
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A postcard from 1916 showing national personifications of some of the Allies of World War I, each holding a national flag American philosopher and historian Hans Kohn wrote in 1944 that nationalism emerged in the 17th century. Other sources variously place the beginning in the 18th century during revolts of American states against Spain or with the French Revolution. The consensus is that nationalism as a concept was firmly established by the 19th century. In Britons, Forging the Nation 1707–1837 (Yale University Press, 1992), Linda Colley explores how the role of nationalism emerged about 1700 and developed in Britain reaching full form in the 1830s.
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In works like The Satanic Bible, LaVey often uses the terms "god" and "Satan" interchangeably, viewing both as personifications of human nature. Despite his professed atheism, some passages of LaVey's writings left room for a literal interpretation of Satan, and some members of his Church understood the Devil as an entity that really existed. It is possible that LaVey left some ambivalence in his writings so as not to drive away those Church members who were theistic Satanists. Both LaVey's writings and the publications of the church continue to refer to Satan as if he were a real being, in doing so seeking to reinforce the Satanist's self-interest.
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The Arunachalesvara temple is one of the Pancha Bhoota Stalams, or five Shiva temples, with each a manifestation of a natural element: land, water, air, sky and fire. In Arunachalesvara temple, Shiva is said to have manifested himself as a massive column of fire, whose crown and feet could not be found by the Hindu gods, Brahma and Vishnu. The main lingam in the shrine is referred as Agni Lingam, and represents duty, virtue, self-sacrifice and liberation through ascetic life at the end of the Agni kalpa. Aathara Stala are Shiva temples which are considered to be personifications of the Tantric chakras of human anatomy.
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The female personifications can be identified by the usual attributes: Justice - scale and sword; Fortitude - lion, column, helmet, mace; Temperance - glass of wine, chalice (?); Prudence - mirror, snake. In case of The Allegory of Temperance the 18th-century layer was totally different, depicting an angel mixing water with wine and the personification holding a bridle. The Allegory of Prudence was also heavily repainted, the 18th-century version was showing an additional angel. The entrance of the chapel is barred by a marble balustrade with richly carved wooden doors that are decorated with the coat-of-arms of Cardinal Mellini (the letter M and diagonal stripes).
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200px Die Einführung der Künste in Deutschland durch das Christentum (1834–1836) is a triptych by German artist Philipp Veit (1793-1877), which allegorically represents the introduction of the arts into Germany through Christianity. The central panel has a woman representing Christianity, surrounded by personifications of the arts (painting, sculpture, and architecture in the background, and poetry, music, and chivalry on the foreground, on the left). A group of people on the right are listening to a sermon by Saint Boniface, portrayed as the missionizer of Germany. A sad and dark figure on the front, holding a small harp, stands for paganism: his era has come to an end.
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Alfred Agache, c 1885 The Triumph of Truth (The Three Parcae Spinning the Fate of Marie de Medici) (1622-1625), by Peter Paul Rubens (1577-1640) Nona was one of the Parcae, the three personifications of destiny in Roman mythology (the Moirai in Greek mythology and in Germanic mythology, the Norns), and the Roman goddess of pregnancy. The Roman equivalent of the Greek Clotho, she spun the thread of life from her distaff onto her spindle. Nona, whose name means "ninth", was called upon by pregnant women in their ninth month when the child was due to be born. She, Decima and Morta together controlled the metaphorical thread of life.
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First World War German government propaganda poster describing rationing with personifications of meat, bread, sugar, butter, milk and meal (1916) Military sieges have often resulted in shortages of food and other essential consumables. In such circumstances, the rations allocated to an individual are often determined based on age, sex, race or social standing. During the Siege of Lucknow (part of the Indian Rebellion of 1857) a woman received three quarters the food ration a man received and children received only half. During the Siege of Ladysmith in the early stages of the Boer War in 1900 white adults received the same food rations as soldiers while children received half that.
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Isis's relationship with women was influenced by her frequent equation with Artemis, who had a dual role as a virgin goddess and a promoter of fertility. Because of Isis's power over fate, she was linked with the Greek and Roman personifications of fortune, Tyche and Fortuna. At Byblos in Phoenicia in the second millennium BCE, Hathor had been worshipped as a form of the local goddess Baalat Gebal; Isis gradually replaced Hathor there in the course of the first millennium BCE. In Noricum in central Europe, Isis was syncretized with the local tutelary deity Noreia, and at Petra she may have been linked with the Arab goddess al-Uzza.
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An example of a collaborative garland painting made by Jan Brueghel the Elder and Rubens is the Madonna in Floral Wreath (1621, Alte Pinakothek). An example of a collaborative garland painting he made with Hendrick van Balen is the Garland of Fruit surrounding a Depiction of a Goddess Receiving Gifts from Personifications of the Four Seasons of which there are two versions, one in the Belfius collection and a second in the Mauritshuis in The Hague.A very similar composition (possibly a workshop copy) is in the collection of the Prado. Both versions are considered to be autograph paintings, but small differences between the two suggest that the panel in the Belfius collection is the original version.
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The medallion in the centre is traditionally believed to depict Cybele, the ancient Phrygian goddess of the earth and nature as it was described as such in 1774 when it was catalogued in the collection of William V, Prince of Orange in The Hague.Jan Brueghel (I) and Hendrick van Balen (I), Garland of Fruit surrounding a Depiction of Cybele Receiving Gifts from Personifications of the Four Seasons, ca. 1620-1622 at the Netherlands Institute for Art History More recently an identification of the goddess with Ceres, the Roman goddess of agriculture, grain crops, fertility and motherly relationships, has been proposed. The reason is that the goddess in the medallion has none of the attributes traditionally connected with Cybele.
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She knows he deserved to build the pagoda and she thought Jubei should be punished for taking the job from her husband. Personifications In The Five-Storied Pagoda, there is a theme of deity comparison. Genta tells Jubei that Eiji has the ability to build something sturdier than “the deity Fudo’s pedestal” [pg 73]. Genta also talks about “fireball” spirit, which comes up again later when Eiji protects Jubei from Seikichi. The Abbot is considered a “King Lion or King Peacock” because of how much higher he stands in status compared to others in his field [pg 97]. When Jubei finishes the pagoda, it is considered a “Deva King” because of its tall stature and stability [pg 97].
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The star and crescent is an iconographic symbol used in various historical contexts, but is best known as a symbol of the Ottoman Empire, Turkey and Pakistan. It is also often errouneusly considered as a symbol of Islam by extension. It developed in the iconography of the Hellenistic period (4th–1st centuries BCE) in the Kingdom of Pontus, the Bosporan Kingdom and notably the city of Byzantium by the 2nd century BCE. It is the conjoined representation of a crescent and a star, both elements have a long prior history in the iconography of the Ancient Near East as representing either the Sun and Moon or the Moon and Morning Star (or their divine personifications).
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In pre-Victorian personifications, Father Christmas had been concerned essentially with adult feasting and games. He had no particular connection with children, nor with the giving of presents. But as Victorian Christmases developed into family festivals centred mainly on children, Father Christmas started to be associated with the giving of gifts. The Cornish Quaker diarist Barclay Fox relates a family party given on 26 December 1842 that featured "the venerable effigies of Father Christmas with scarlet coat & cocked hat, stuck all over with presents for the guests, by his side the old year, a most dismal & haggard old beldame in a night cap and spectacles, then 1843 [the new year], a promising baby asleep in a cradle".
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From metals discarded in his shop, Richard Dial welded single, metal chairs into anthropomorphized narratives of the people and communities that they could hold. In his analysis of Dial's Comfort Series of chairs Robert Hobbs wrote "Richard Dial's sculptures give new life to the dead metaphors of chair legs and arms at the same time that they transform these seats into personifications of tradition." Expressive faces are bent and welded into the backs and tops of the chairs, giving them a distinct personality. Extra legs or angles were added to chairs, such as in The Comfort of Prayer (1988), to convey that the character-cum-chair was in a kneeling position or had a hand on the hip.
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It is unusual, among other things, for showing the Four Evangelists on a side in a hilly landscape with a horizon, which creates the illusion of each of the four being in his own room. The landscape lines the horizon line with shadowy, almost silhouetted, trees in front of a rosy evening sky. Through the differing transparencies of the paint, sketches are visible which show that an architectural background in the form of crenellated walls was originally planned. The Evangelists are depicted with white halos in different stages of life from youth to old age and also as personifications of the four temperaments, wearing loose white togae in the manner of ancient philosophers.
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The New Testament includes Jesus' personification of money as Mammon, Paul's personification of sin ruling as a king in his body, and the "old man" and "new man" as personifications of two warring persons in the new creature after baptism. In Rom 8:19ff, Paul the Apostle depicts the creature as if they groan together and wait together with those who have been redeemed. When Paul said, the creature / creation is waiting for the revelation of the glory of God's children, he indicates the nature itself or the present world shall be transformed and redeemed when the Lord comes. The New Testament has a much more specific and developed language for the personification of evil than the Hebrew Bible.
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In June 2018, Grimes was featured in Apple's Behind the Mac advertisement campaign in which a snippet of a song titled "That's What the Drugs Are For" was featured. The album's title was announced on March 19, 2019. Grimes explained that the album would be a concept album about an "anthropomorphic goddess of climate change" in which "each song will be a different embodiment of human extinction". Grimes explained that she "love[s] godly personifications of abstract/horrific concepts", pointing to the Roman god of war Mars as an inspiration; and that by making a personification of climate change she hoped that it would "maybe ... be a bit easier to look at" and not be "just abstract doom".
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Eucleian Meeting Parlor, 1830s In 1832 sixteen students began the Eucleian Society at New York University, originally under the name "Adelphic Society". After debate the name Eucleian was chosen in honor of Eukleia- εὔκλεια, the Goddess of Repute, Glory and War, associated with Artemis, the Goddess of the Hunt and protector of women and children.Athenian Political Art from the Fifth and Fourth Centuries BCE: Images of Political Personifications The society had as a rival, the Philomathean Society at New York University. While both societies forbade membership in their rival society, early records show that members were sometimes punished when discovered to be holding mutual membership and a few resigned to join the rival society.
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The upper part of the front section is crowned with statues representing allegories of faith such as "Religion" and "Eucharist", and personifications of Christian virtues such as "Mercy" and "Penance". Plaster casts of some of these statues are displayed in the lapidarium inside the Barrage Vauban. The wooden portal (oak) and the walls east and west of the gate are decorated with trophies and heraldic symbols relating to the House of Rohan and the episcopal polity. The two pavilions connecting the Communs and the stable wings with the gate section are decorated with sixteen mascarons representing male and female Old Testament prophets, and with crescent-shaped pediments, in contrast to the triangular pediments of the façades.
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Perfidy, the victim, Calumny, Fraud and Rancour The figures are either personifications of vices or virtues, or in the case of the king and victim, of the roles of the powerful and the powerless. From left to right, they represent (with alternative names): Truth, nude and pointing upwards to Heaven; Repentance in black; Perfidy (Conspiracy) in red and yellow, over the innocent half-naked victim on the floor, who is being pulled forward by the hair by Calumny (Slander), in white and blue and holding a flaming torch. Fraud, behind, arranges Calumny's hair. Rancour (Envy), a bearded and hooded man in black, holds his hand towards the king's eyes to obscure their view.
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Hesperus is the personification of the "evening star", the planet Venus in the evening. His name is sometimes conflated with the names for his brother, the personification of the planet as the "morning star" Eosphorus (Greek , "bearer of dawn") or Phosphorus (Ancient Greek: , "bearer of light", often translated as "Lucifer" in Latin), since they are all personifications of the same planet Venus. "Heosphoros" in the Greek Septuagint and "Lucifer" in Jerome's Latin Vulgate were used to translate the Hebrew "Helel" (Venus as the brilliant, bright or shining one), "son of Shahar (Dawn)" in the Hebrew version of Isaiah 14:12. Eosphorus/Hesperus was said to be the father of CeyxHyginus, Fabulae, 65 and Daedalion.Ovid. Metamorphoses.
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The judge is surrounded by additional personifications including Peace, who is represented as a fashionable, white-clad contemporary female figure with elaborate blonde hair. The allegory carries a strong social message of the value of the stable republican government of Siena. It combines elements of secular life with references to the importance of religion: Justice resembles Mary, Queen of Heaven, the patron saint of Siena, on a throne; the Judge reflects the tradition in the Christian Last Judgment to have God or Christ judging the saved on the left and the damned on the right. While classified as medieval or proto (pre)-renaissance art, these paintings show a transition from earlier religious art.
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In the Christian Platonic tradition, the reality of other worlds, and an overarching structure of great metaphysical and moral importance, has lent substance to the fantasy worlds of modern works. The world of magic is largely connected with the later Roman Greek world. With Empedocles,(c. 490 – c. 430 BC) the elements, they are often used in fantasy works as personifications of the forces of nature.John Grant and John Clute, The Encyclopedia of Fantasy, "Elemental" p 313-4, Other than magic concerns include: the use of a mysterious tool endowed with special powers (the wand); the use of a rare magical herb; a divine figure that reveals the secret of the magical act.
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In Aeschylus' Oresteia trilogy, Clytemnestra kills her husband, King Agamemnon because he had sacrificed their daughter Iphigenia to proceed forward with the Trojan war. Apollo gives an order through the Oracle at Delphi that Agamemnon's son, Orestes, is to kill Clytemnestra and Aegisthus, her lover. Orestes and Pylades carry out the revenge, and consequently Orestes is pursued by the Erinyes or Furies (female personifications of vengeance). Apollo and the Furies argue about whether the matricide was justified; Apollo holds that the bond of marriage is sacred and Orestes was avenging his father, whereas the Erinyes say that the bond of blood between mother and son is more meaningful than the bond of marriage.
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And potter is angry with > potter, and craftsman with craftsman and beggar is jealous of beggar, and > minstrel of minstrel. In Hesiod's Theogony (226–232), Strife, the daughter of Night, is less kindly spoken of as she brings forth other personifications as her children: :And hateful Eris bore painful Ponos ("Hardship"), :Lethe ("Forgetfulness") and Limos ("Starvation") and the tearful Algea ("Pains"), :Hysminai ("Battles"), Makhai ("Wars"), Phonoi ("Murders"), and Androktasiai ("Manslaughters"); :Neikea ("Quarrels"), Pseudea ("Lies"), Logoi ("Stories"), Amphillogiai ("Disputes") :Dysnomia ("Anarchy") and Ate ("Ruin"), near one another, :and Horkos ("Oath"), who most afflicts men on earth, :Then willing swears a false oath.Caldwell, p. 42 lines 226-232, with the meanings of the names (in parentheses), as given by Caldwell, p.
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Harvest straw bales in a field of Schleswig-Holstein, Germany Association with the transition from warm to cold weather, and its related status as the season of the primary harvest, has dominated its themes and popular images. In Western cultures, personifications of autumn are usually pretty, well-fed females adorned with fruits, vegetables and grains that ripen at this time. Many cultures feature autumnal harvest festivals, often the most important on their calendars. Still extant echoes of these celebrations are found in the autumn Thanksgiving holiday of the United States and Canada, and the Jewish Sukkot holiday with its roots as a full-moon harvest festival of "tabernacles" (living in outdoor huts around the time of harvest).
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Rahl was commissioned by Greek philanthropist Simon Sinas to paint a number of works for the facade and vestibule of Vienna's Fleischmarkt Greek Church (Ludwig Thiersch being commissioned for the remainder of the frescoes), which was then being rebuilt by the Danish-Austrian neo-classical architect Theophil Hansen. In addition, Sinas commissioned four paintings depicting heroes of the Greek War of Independence, and a further four paintings to decorate his residence. Rahl decorated the Heinrichshof in 1861 with personifications of Art, Friendship, and Culture, and the Palais Todesco with representations from the mythology of Paris. In 1864, he painted a number of allegorical figures in the stairway of the Waffenmuseum (now part of the Kunsthistorisches Museum).
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In its form and structure, The Three Ladies of London looks back to the medieval allegory and the morality play, with characters who are personifications of abstract qualities rather than distinct individuals. The three ladies of the title are the Ladies Lucre, Love, and Conscience; the story shows Lady Lucre gaining control over Love and Conscience with the help of Dissimulation, Fraud, Simony, and Usury. Their regime of greed and deception penetrates the Baker's house, the Chandler's, Tanner's, and Weaver's houses too. Lady Lucre forces Lady Love into a marriage with Dissimulation; Lady Conscience protests vainly when Usury murders Hospitality ("Farewell, Lady Conscience; you shall have Hospitality in London nor England no more").
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Common examples of swing voters include "Reagan Democrats" (Democrats who voted for Republican Ronald Reagan in the 1980s) and "Clinton Conservatives" (Republicans who voted for Bill Clinton). In her 2012 book The Swing Vote, Linda Killian divides the American swing vote into 4 factions: NPR Republicans, America First Democrats, the Facebook Generation, and Starbucks Moms and Dads. On the Supreme Court of the United States, Associate Justices Potter Stewart, Byron White, Sandra Day O'Connor, Anthony Kennedy, and John Roberts have been described as swing votes between the two factions of the court. In the United Kingdom, the "Essex man", "Worcester woman" and "Holby City woman" are examples of personifications of swing voters.
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Education is a stained-glass window commissioned from Louis Comfort Tiffany's Tiffany Glass Company during the building of Yale University's Chittenden Hall (now Linsly-Chittenden Hall, after being connected to a nearby building), funded by Simeon Baldwin Chittenden. Personifications of Art, Science, Religion, and Music are represented in the work, as angels. Other angelic representations of related virtues, values, and ideas attend them, each identified by words in their halos. Education, 1890, by Louis Comfort Tiffany and Tiffany Studios Originally overlooking the main reading room of the then new university library when installed in 1890, the window's location is now identified as room 102 of Linsly-Chittenden Hall, on the High Street side of the building.
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Beyond them stand two crowned women with raised cornucopiae with blooming vines growing out of them. There are also two figures in three quarter view in the spandrels next to the baldachin - personifications of tribute bearing subject peoples. The green colour of the figures' faces is very noticeable - it suggests a high degree of sacredness by giving Henry and the figures who surround him a particular degree of (as it were) anticipated other worldliness. The easily readable golden inscription in three hexameter lines above and below the image says A very similar image of Charles the Bald found in the Codex Aureus of St Emmeram is the inspiration for this coronation image.
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At the end of the 19th century, there was a widespread notion of a coming new humanity, building on then-current esoteric myths such as those of Helena Blavatsky and Rudolf Steiner as well as on popularly accepted philosophy such as Nietzsche's Übermensch. May was no esoteric, but a devout (Protestant) Christian, published by Catholic publishing houses. He used Winnetou and other protagonists (Winnetou's mentor Klekih-Petra, a former German 48er, became a member of the Apache tribe) less as 'apple Indians' than as personifications of his dream of a German-Native American synthesis based on shared Christian faith. According to Mays' vision "in place of the Yankees, a new man will emerge whose soul is German-Indian".
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At the foot of the plinth, Lamoureux placed four allegorical statues. Facing Charlottenborg Palace stand figures of Minerva and Alexander the Great, representing prudence and fortitude, while the opposite side features statues of Herkules and Artemisia, personifications of strength and honour. Even though Lamoureux depicted the horse in a trot-like gait, with inspiration from Marcus Aurelius' horse at the Capitoline Hill, the design caused severe problems due to the soft metal used for the casting. The construction therefore had to be strengthened, and Lamoureux introduced a figure of a naked man crouched underneath the horse's hoof, personifying envy but in the same time affording support for the horse's barrel as the weakest point of the statue.
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The series begins with personifications of two of the five elements, Raindrop (water) and Shao Yen (wood), training with their Master, Yun, in the ancient art of Chitaido. However the strongest leader in the Land of a Thousand Legends, General Bu, upsets the peaceful world by taking Yun to begin his attempt to capture the four elements after Flamo, the fire element, joins him voluntarily. General Bu does this to stop the elements joining together and defeating him. Master Raindrop and Shao Yen are soon joined by the other two elements: Jin Hou, the metal element (an anthropomorphic golden monkey), and Niwa, the earth element (a humanoid girl who appears to be made of clay).
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While the magazine in general reports corruption, self-interest and incompetence in a broad range of industries and lines of work, certain people and entities have received a greater amount of attention and coverage in its pages. As the most visible public figures, prime ministers and senior politicians make the most natural targets, but Private Eye also aims its criticism at journalists, newspapers and prominent or interesting businesspeople. It is the habit of the magazine to attach nicknames, usually offensive or crude, to these people, and often to create surreal and extensive alternate personifications of them, which usually take the form of parody newspaper articles in the second half of the magazine.
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A cornucopia, representing the new edible plants from the Americas, was a very common feature (although the familiar apple often seems the most prominent). America is often accompanied by an improbably placid caiman or alligator, reasonably comparable to Old World crocodiles, though the earliest images may show an exotic armadillo. The pattern for Early Modern depictions was set by reports from Central and South America, and largely remained in place until some way into the 19th century, when European contact with North American Native Americans began to occur. In the 18th century, British America began to use personifications based on Britannia and Liberty, as well as Columbia, something of a combination of these.
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Trajan with barbarian princes The frieze on the entablature portrays Trajan's triumphal procession after his victory over Dacia. On each of the pylons, between the corner pilasters, are two panels, one above the other, with scenes and allegories of imperial activities (Trajan's formal arrival at Rome, the concession of Roman citizenship to the auxiliaries, Trajan welcomed by the Senate, the Roman People and the Equestrian order, and others). They are separated by narrower decorative panels depicting Victories offering sacrifices of bulls in the center and Amazons at the top. The pendentives of the archway depict personifications of the Danube and of Mesopotamia on the outer side, and Victory and Military Loyalty on the side facing the city, accompanied by the genii of the Four Seasons.
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Lukács restricted the application of the idea to capitalists only, claiming that Marx had considered capitalists as "mere character masks"Lukács, "Reification and the consciousness of the proletariat", section II, in History and class consciousness. – meaning that capitalists, as the personifications ("agents") of capital, did not do anything "without making a business out of it", given that their activity consisted of the correct management and calculation of the objective effects of economic laws. Marx himself never simply equated capitalists with their character masks; they were human beings entangled in a certain life predicament, like anybody else.See also: Barbara Roos and J.P. Roos, "The upper-class way of life: an alternative for what?". United Nations University Working Paper HSDRGPID-68/UNUP-452, 1983.
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Needham, 29 All eight figures are represented crouching or sideways, or hovering horizontally in the case of the angels, above and below clusters of gems. Sol and Luna, personifications of the sun and moon, occupy the top of the cross's shaft, a common feature in Crucifixion scenes of the period, although unusually they are here shown on the shaft of the cross itself, above Christ and with Luna above Sol. More usually they are to either side of the cross-shaft, or at the ends of the arms. Also Sol here lacks his usual rays, suggesting an eclipse is represented, following the Gospels.Needham, 28, note 4; for the usual treatment see Schiller, II, 90, 92-93, 95; also see Musto in further reading.
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The Sandman comic book series falls within the dark fantasy genre, albeit in a more contemporary and modern setting. Critic Marc Buxton described the book as a "masterful tale that created a movement of mature dark fantasy" which were largely unseen in previous fantasy works before it. Archive requires scrolldown The comic book also falls into the genres of urban fantasy, epic fantasy, historical drama, and superhero. It is written as a metaphysical examination of the elements of fiction, which Neil Gaiman accomplished through the artistic use of unique anthropomorphic personifications, mythology, legends, historical figures and occult culture, making up most of the major and minor characters as well as the plot device and even the settings of the story.
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Several of these, like others seeming to represent victory in a musical or dramatic context, feature palms and crowns and may well have been presented to celebrate victory in these fields in some amateur or professional setting, like the Alexandrian Gennadios portrait. Two identical glasses featuring two boxers with a trainer, all named, suggest that the glasses may sometimes have been ordered in sets; one may speculate that this may have been common.Lutraan, 24–25 Single examples show Athena presiding over shipbuilders, a pair of personifications of Rome and Constantinople, and female figures representing the monetae or mints, which are often shown on coins. A number have animals that may carry symbolic meaning, or objects such as scrolls or wreaths.
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The Japanese suffix is a mispronunciation of , an informal, intimate, and diminutive honorific suffix for a person, used for friends, family, and pets. In this case, the mispronunciation is used intentionally to achieve the contrived cute or charming effect that is commonly associated with its use by young children and is also sometimes added to the names of non-mascot characters. The personifications as a whole are commonly simply called mascots or mascot characters, and as such the -tan suffix itself means nothing outside its role as an honorific and its implications of cuteness. Normal suffixes, including -san, -chan, and -kun are also used in the name of some OS-tan, depending on the character and the speaker's preference; or the suffix may be omitted entirely.
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Garland of Fruit surrounding a Depiction of Cybele Receiving Gifts from Personifications of the Four Seasons Hendrick van Balen played a role in the development of the genre of garland paintings, which typically show a flower garland around a devotional image or portrait. Together with Jan Brueghel the Elder, he painted the first known garland painting around 1607–1608 for Italian cardinal Federico Borromeo, a passionate art collector and Catholic reformer. Borromeo requested the painting to respond to the destruction of images of the Virgin in the preceding century and it thus combined both his interests in Catholic reform and the arts. Brueghel, the still life specialist, painted the flower garland, while van Balen painted the image of the Virgin.
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The base includes a winged dragon, symbol of the Boncompagni family. The tablet of the epitaph is made of pietre dure. The inscription is surmounted by an allegory of Time (skull in wreath with wings), the coat-of- arms of the Principality of Piombino and two personifications (Charity and Humility). The tablet is set in a white marble frame with a conch in the lower part and a gable at the top with a shell, two flaming torches and another winged skull. 2\. Giovanni Battista Gisleni The lower part of the Gisleni monument The tomb of Giovanni Battista Gisleni, an architect and stage designer who worked for the Polish royal court during 1630-1668, is another rather macabre funeral monument.
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The masque was a bold and fresh departure from what was normal for the masque form, in that it featured none of the classical gods and goddesses, the mythological figures, or the personifications of abstract qualities that were standard in masques. Instead, the characters are, as the title indicates, gypsies, who behave for the most part in stereotypical gypsy fashion: they sing and dance frequently, they tell fortunes, and they pick the pockets of the common people who fall in among them. In the masque, the gypsies' "metamorphosis" is that their complexions change from "Ethiop" darkness to English white, under the beneficent royal influence of James.Jonson had earlier experimented with this theme of racial transformation in The Masque of Blackness (1605) and The Masque of Beauty (1608).
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Animation of the Moon as it cycles through its phases In Norse mythology, Hjúki (Old Norse, possibly meaning "the one returning to health"Simek (2007:151).) and Bil (Old Norse, literally "instant"Cleasby (1874).) are a brother and sister pair of children who follow the personified moon, Máni, across the heavens. Both Hjúki and Bil are solely attested in the Prose Edda, written in the 13th century by Snorri Sturluson. Scholarly theories that surround the two concern their nature, their role as potential personifications of the craters on the Moon or its phases, and their relation to later folklore in Germanic Europe. Bil has been identified with the Bilwis, an agriculture-associated figure that is frequently attested in the folklore of German-speaking areas of Europe.
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Mary and John (identified on the basis of his contemplative gesture) stand on either side. Above the horizontal arms of the Cross, personifications of the Sun and Moon watch the events. The enamel is surrounded by tiny pearls and due to its size it extends a little above and below the horizontal arm of the cross. At the ends of the members of the cross, inside a simplified border of gemstones, which matches the border of the cross' arms, four further large, irregularly shaped senkschmelz panels are found with the symbols of the Four Evangelists: at top the eagle of John, at bottom the winged man of Matthew, at right the winged bull of Luke and at left the winged lion of Mark.
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Stem duchies within the Kingdom of Germany and the Holy Roman Empire, circa 1000 \---- Personifications of Sclavinia ("land of the Slavs"), Germania, Gallia, and Roma (Italy), bringing offerings to Otto III; from the Gospels of Otto III Within East Francia were large duchies, sometimes called kingdoms (regna) after their former status, which had a certain level of internal solidarity. Early among these were Saxony and Bavaria, which had been conquered by Charlemagne.Reynolds, Kingdoms and Communities, pp. 290–91. In German historiography they are called the jüngere Stammesherzogtümer, or "younger stem duchies",glossed as "more recent tribal duchies" in Patrick J. Geary, Phantoms of Remembrance: Memory and Oblivion at the End of the First Millennium (Princeont, NJ: Princeton University Press, 1994), p. 44.
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William-Adolphe Bouguereau (1825–1905) – Orestes Pursued by the Furies (1862) L'art pompier, literally "Fireman Art", or style pompier is a derisive late- nineteenth-century French term for large "official" academic art paintings of the time, especially historical or allegorical ones. It derives from the helmets with horse-hair tails, worn at the time by French firemen, which are similar to the Attic helmet often worn in such works by allegorical personifications, classical warriors, or Napoleonic cavalry.Harding, 7, quoting the definition of Pompier in the Dictionnaire Larousse It also suggests half-puns in French with pompéien ("from Pompeii"), and pompeux ("pompous"). Pompier art was seen by those who used the term as the epitome of the values of the bourgeoisie, and as insincere and overblown.
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Au clair de la Lune ou Pierrot malheureux, sold in the United States as A Moonlight Serenade, or the Miser Punished and in Britain as Pierrot and the Moon, is a 1903 French short silent film by Georges Méliès. It was sold by Méliès's Star Film Company and is numbered 538–539 in its catalogues. Méliès plays the miser in his film, one of several of his in which the Moon plays a large part. As in his The Astronomer's Dream (1898), A Trip to the Moon (1902), and The Dream of an Opium Fiend (1908), the Moon appears in two personifications: the clownlike face of the Man in the Moon, and the classical Moon goddess Phoebe, in that order.
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The mythical blue men may have been part of a tribe of "fallen angels" that split into three; the first became the ground dwelling fairies, the second evolved to become the sea inhabiting blue men, and the remainder the "Merry Dancers" of the Northern Lights in the sky. The legendary creatures are the same size as humans but, as the name implies, blue in colour. Writer and journalist Lewis Spence thought they were the "personifications of the sea itself" as they took their blue colouration from the hue of the sea. Their faces are grey and long in shape and some have long arms, which are also grey, and they favour blue headgear; at least one account claims they also have wings.
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Sculptures Trade (male) and Tolerance (female) in Brno The classical repertoire of virtues, seasons, cities and so forth supplied the majority of subjects until the 19th century, but some new personifications became required. The 16th century saw the new personification of the Americas, and made the four continents an appealing new set, four figures being better suited to many contexts than three. The 18th-century discovery of Australia was not so quickly followed by an addition to the set, if only for reasons of geometry; Australia is not included in the continents at the corners of the Albert Memorial (1860s). This does have a set of three- figure groups representing agriculture, commerce, engineering and manufacturing, typical of the requirements for large public schemes of the period.
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Cartoon on the Entente Cordiale from Punch by John Bernard Partridge, 1904; John Bull stalks off with a defiant Marianne and turns his back on the Kaiser, who pretends not to care. A number of national personifications stick to the old formulas, with a female in classical dress, carrying attributes suggesting power, wealth, or other virtues. Britannia is an example, derived from her figure on Roman coins, with a glance at the ancient goddess Roma; Germania and Helvetia are others.Heuer, 43, 48–50 Libertas, the Roman goddess of liberty, had been important under the Roman Republic, and was somewhat uncomfortably co-opted by the empire;Sear, 39 it was not seen as an innate right, but as granted to some under Roman law.
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Sculptures at main entrance A large group of artists participated in the extensive decoration of both the exterior and the interior of the building. The shipping companies housed inside were all involved in global trade, their combined lines "circumnavigated the earth in several directions" from Dutch hub points in the East and West Indies. As it was intended to serve as a practical, modern and functional office and also refer to the rich maritime tradition of the Netherlands, there are numerous maritime symbols incorporated into the design. For example, the outside of the building is covered in carving and relief sculptures that reflect the Dutch colonial empire, with the sculpted personifications of the oceans around the main entrance presented as "exotic mysterious women".
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Adjacent to this area is the Rotes Rathaus ("City Hall"), with its distinctive red-brick architecture. In front of the Rotes Rathaus is the Neptunbrunnen, a fountain featuring a mythological group of Tritons, personifications of the four main Prussian rivers, with Neptune situated on top of it. The Brandenburg Gate The East Side Gallery is an open-air exhibition of art painted directly on the last existing portions of the Berlin Wall. It is the largest remaining evidence of the city's historical division and the inauguration of its restoration occurred in November 2009; the restoration project cost the Berlin city government more than €2 million. Berlin's Brandenburg Gate is an iconic landmark of Germany and appears on Germany's euro coins (10 cent, 20 cent, and 50 cent).
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There is no surviving evidence regarding when and why the piece was made, though there is general consensus among scholars that it was created in Alexandria, due to the blending of Ancient Egyptian and Ancient Greek or Roman iconography found in its relief carvings. This provides a range of time wherein it may have been created, spanning from approximately 300 BC to 20 BC. The underside has a large Gorgon's head occupying most of the area, probably intended to ward off evil. The upper side has a scene with several figures that has long puzzled scholars. It seems clearly an allegory containing several divine figures and perhaps personifications, but corresponds to no other known representation and has been interpreted in several different ways.
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Some new figures appear, including personifications of the Ganges and Yamuna rivers, not yet worshipped, but placed on either side of entrances; these were "the two great rivers encompassing the Gupta heartland".Harle, 87–88, 88 quoted The main bodhisattva appear prominently in sculpture for the first time,Rowland, 235 as in the paintings at Ajanta. Buddhist, Hindu and Jain sculpture all show the same style,Rowland, 232 and there is a "growing likeness of form" between figures from the different religions, which continued after the Gupta period. The Indian stylistic tradition of representing the body as a series of "smooth, very simplified planes" is continued, though poses, especially in the many standing figures, are subtly tilted and varied, in contrast to the "columnar rigidity" of earlier figures.
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Seventeen bacchantes (personifications of the female servants of Bacchus, the ancient Roman god of wine) standing on orbs, their outstretched arms holding candleholders, could be inserted into small rectangular pedestals at equidistant points around the centerpiece. Although surtout de table were common in elegant English and French dining rooms, few Americans had seen them and the piece deeply impressed those who saw it. Other ormolu items included three pedestals for crystal vases (one large, two small), consisting of the Three Graces holding up a basket; three porcelain vases in the Etruscan style and ornamented with festoons of flowers; and a pair of pedestal stands, or trepieds, consisting of sphinxes sitting on slender legs, their upraised wings supporting a shallow bowl. Monroe also ordered the White House's first tableware and dinnerware.
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In most of England the archaic word 'Yule' had been replaced by 'Christmas' by the 11th century, but in some places 'Yule' survived as the normal dialect term. The City of York maintained an annual St Thomas's Day celebration of The Riding of Yule and his Wife which involved a figure representing Yule who carried bread and a leg of lamb. In 1572 the riding was suppressed on the orders of the Archbishop, who complained of the "undecent and uncomely disguising" which drew multitudes of people from divine service. Such personifications, illustrating the medieval fondness for pageantry and symbolism, extended throughout the Tudor and Stuart periods with Lord of Misrule characters, sometimes called 'Captain Christmas', 'Prince Christmas' or 'The Christmas Lord', presiding over feasting and entertainment in grand houses, university colleges and Inns of Court.
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The American film The Congress of Nations, directed by J. Stuart Blackton of Vitagraph Studios for the Edison Manufacturing Company and copyrighted in September 1900, has a very similar plot, and may have been modeled on Méliès's film. Blackton's film, made in collaboration with the English magician and filmmaker Albert E. Smith and featuring Smith onscreen, survives as a paper print. Blackton and Smith also borrowed the dissolve technique used in the film from Méliès, who had pioneered it in his successful 1899 film Cinderella. The magician in the Blackton version, having produced flags and personifications of the nations involved, allows his Allied soldiers to attack a nonmilitary "Chinese" character (actually a Vitagraph clerk, Morris Brenner) for a few moments before replacing the conflict with a huge American flag and a patriotic tableau.
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Angelov claims that the image in the House of Antiope is among the few contemporaneous depictions of that episode. As in mythology, Zeus is portrayed as a young satyr who kidnaps Antiope, attracted by her beauty. The mosaic is accompanied by two inscriptions in Ancient Greek, which explicitly label the characters as ΣΑΤΥΡΟΣ ("satyr") and ΑΝΤΙΟΠΗ ("Antiope"). Other mosaics in the villa include the story of Ganymede, who is transported to Mount Olympus by Zeus transformed into an eagle, which covers the oecus, the largest premise; the badly damaged Seasons mosaic in the women's apartments, which features images of animals, geometric motifs and personifications of the four seasons, of which Autumn has been preserved; and the geometric Pannonian Volutes mosaic, moved to the museum from another ruined ancient building of Marcianopolis.
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His name and the date are inscribed in the work, which, in addition to the Provençal element, shows both classical and Byzantine influence. Later, in 1196, he was working with the sculptural decoration of the Baptistry of Parma, a building of which he was probably also the architect. Here, between 1196 and 1214, he made the lunettes of the three portals: on the outside portraying the Adoration of the Magi, the Last Judgement and an allegory of life, on the inside the Flight into Egypt, the Presentation at the Temple and David playing the harp. Also on the interiori can be seen alto-relievo personifications of the months and the seasons. These were probably intended for a portal on the facade of the Cathedral, but the work was interrupted by Antelami’s death.
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Jack of Fables is a spin-off comic book series of Fables written by Bill Willingham and Lilah Sturges (credited as "Matthew Sturges") and published by DC Comics' Vertigo imprint. The story focuses on the adventures of Jack Horner, a supporting character in the main series, that takes place after his exile from Fabletown in the story-arc Jack Be Nimble. The idea for the spin- off comic came after editor Shelly Bond suggested to put Jack in a separate comic when Willingham planned to write him out of the series. While Jack of Fables focused on the eponymous Jack Horner, the spin-off also allowed Willingham and Sturges to expand upon the Fables Universe by adding new characters, settings, and anthropomorphic personifications of philosophical and literary ideas in the series.
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Regent Moray's monument Medieval tomb recesses survive in the Preston Aisle, Holy Blood Aisle, Albany Aisle, and north choir aisle; alongside these, fragments of memorial stones have been re-incorporated into the east wall of the Preston Aisle: these include a memorial to "Johannes Touris de Innerleith" and a carving of the coat of arms of Edinburgh. A memorial brass to the Regent Moray is situated on his monument in the Holy Blood Aisle. The plaque depicts female personifications of Justice and Religion flanking the Regent's arms and an inscription by George Buchanan. The plaque was inscribed by James Gray on the rear of a fragment of a late 15th century memorial brass: a fibreglass replica of this side of the brass is installed on the opposite wall.
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Byzantine Emperor Nikephoros III flanked by personifications of Truth and Justice, and by his senior court dignitaries from illuminated manuscript dated between 1074 and 1081 During the reign of Nikephoros, he had to contend with four revolts and plots before the revolt of Alexios I Komnenos which ultimately ended his reign. The first revolt was that of Nikephoros Bryennios, who had contended for the throne of Michael VII at the same time as Nikephoros III; Nikephoros, now too old to command armies, sent Alexios Komnenos to defeat him. Once Bryennios was defeated, Nikephoros III had him blinded, but granted him and his partisans amnesty. The second revolt came from a supporter of Bryennios, Nikephoros Basilakes the protoproedros, rebelled in Dyrrhachium (modern-day Durrës) in 1078, however, he was quickly defeated by Alexios, and similarly blinded.
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Psalm 22:20, 35:17 and Wisdom 7:22 appear to be personifications of the soul (in Hebrew a masculine noun) and wisdom (feminine noun) as an "only son" and "only daughter" respectively.Lust, J., Eynikel, E., & Hauspie, K. (2003). A Greek-English Lexicon of the Septuagint: Revised Edition. Deutsche Bibelgesellschaft: Stuttgart: "μονογενής,-ής,-ές+ A 0-2-0-3-9=14 Jgs 11,34; Ps 21 (22),21; 24 (25),16; 34 (35),17 the only member of a kin, only-begotten, only (of children) Jgs 11,34; id. (of God) Od 14,13; alone in its kind, one only Wis 7,22 Cf. HARL 1960=1992a 206–207; 1986a 192; LARCHER 1984, 482–483; →MM; NIDNTT; TWNT" There is an increase in the use of monogenes in later versions of the Septuagint.
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His most famous work is the Fontana del Bacchino in the Giardino di Boboli, near the entrance to piazza Pitti in Florence. It shows a dwarf at the court of Cosimo I, ironically nicknamed Morgante (the giant of the poem Morgante by Luigi Pulci), portrayed nuded and sitting on a tortoise like a drunken Bacchus. Two more of Cioli's works (collaborations with Giovanni Simone Cioli) are to be found in the giardino di Boboli - the Uomo che vanga (digging man) and the Uomo che scarica il secchio in un tino (man emptying a bucket into a vat). Other works of his include a Satyr with a flask in the Museo del Bargello and sculptures of personifications of Painting, Sculpture and Architecture on the tomb of Michelangelo Buonarroti in the basilica of Santa Croce.
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Over millennia in the role, he has developed a fascination with humanity, even going so far as to create a house for himself in his personal dimension. Characters that often appear with Death include his butler Albert; his granddaughter Susan Sto Helit; the Death of Rats, the part of Death in charge of gathering the souls of rodents; Quoth, a talking raven (a parody of Edgar Allan Poe's "The Raven", although it flat-out refuses to say "Nevermore"); and the Auditors of Reality, personifications of the orderly physical laws and the closest thing Death has to a nemesis. Death or Susan appear as the main characters in five Discworld novels. He also appears in the short stories Death and What Comes Next, Theatre of Cruelty and Turntables of the Night.
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The staircase leading to the terrace of the redeemed cities is the best point of observation of the statues of the Italian regions, since the latter are found on the cornice of the portico, each in correspondence of a column. The presence of metaphorically depicting statues of the Italian regions is inspired by the allegorical personifications of the Roman provinces, often placed on commemorative monuments during the imperial era. The number of statues placed on the top of the portico is equal to 16, given that at the time of the drafting of the construction project, 16 Italian regions were identified. Each statue is high and was entrusted to a different sculptor who were almost always native to the region of which he would have carved the image.
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Set in suburban Liverpool, the series focuses on the devoutly Catholic Freeman family and their encounter and conflict with Eva Morrigan (Katharine Rogers). He storylined for the second series, but submitted fewer scripts; Granada had commissioned him to write for their soap The Grand, temporarily storyline for Coronation Street, and write the straight-to-video special, Coronation Street: Viva Las Vegas!. The second series of Springhill continued his penchant for symbolism; in particular, it depicted Marion Freeman (Judy Holt) and Eva as personifications of good and evil, and climaxed with a finale set in an ultra-liberal dystopian future where premarital sex and homosexuality are embraced by the Church. Boyce later commented that without Davies' input, the show would have been a "dry run" for Abbott's hit show Shameless.
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A medieval creation was the Four Daughters of God, a shortened group of virtues consisting of: Truth, Righteousness or Justice, Mercy, and Peace. There were also the seven virtues, made up of the four classical cardinal virtues of prudence, justice, temperance and courage (or fortitude), these going back to Plato's Republic, with the three theological virtues of faith, hope and charity. The seven deadly sins were their counterparts.Hall, 336; see "Further reading" for some recent examples of the very extensive literature on these. Two of the triumphal cars, carrying Chastity and Love, from a lavish illuminated manuscript (early 16th century) of Petrach's Triomphi The major works of Middle English literature had many personification characters, and often formed what are called "personification allegories" where the whole work is an allegory, largely driven by personifications.
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Ariel between Wisdom and Gaiety by Eric Gill, Broadcasting House, 1932 Around 300 BC, Demetrius of Phalerum is the first writer on rhetoric to describe prosopopoeia, which was already a well-established device in rhetoric and literature, from Homer onwards.Paxson, 12 Quintilian's lengthy Institutio Oratoria gives a comprehensive account, and a taxonomy of common personifications; no more comprehensive account was written until after the Renaissance.Paxson, 16–19 The main Renaissance humanists to deal with the subject at length were Erasmus in his De copia and Petrus Mosellanus in Tabulae de schematibus et tropis, who were copied by other writers throughout the 16th century.Paxson, 23 From the late 16th century theoretical writers such as Karel van Mander in his Schilder-boeck (1604) began to treat personification in terms of the visual arts.
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Pantomime or dumb-show Dumbshow, also dumb show or dumb-show, is defined by the Oxford Dictionary of English as "gestures used to convey a meaning or message without speech; mime." In the theatre the word refers to a piece of dramatic mime in general, or more particularly a piece of action given in mime within a play "to summarise, supplement, or comment on the main action"."dumbshow", The Oxford Dictionary of English, ed. Stevenson, Angus, Oxford University Press, 2010, retrieved 29 November 2015 In the Oxford Encyclopedia of Theatre and Performance, Michael Dobson writes that the dumbshow was originally "an allegorical survival from the morality play". It came into fashion in 16th- century English drama in interludes featuring "personifications of abstract virtues and vices who contend in ways which foreshadow and moralize the fortunes of the play's characters".
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The book was of great importance in defining the standard formula of academic learning from the Christianized Roman Empire of the fifth century until the Renaissance of the 12th century. This formula included a medieval love for allegory (in particular personifications) as a means of presenting knowledge, and a structuring of that learning around the seven liberal arts. The book, embracing in résumé form the narrowed classical culture of his time, was dedicated to his son. Its frame story in the first two books relates the courtship and wedding of Mercury (intelligent or profitable pursuit), who has been refused by Wisdom, Divination and the Soul, with the maiden Philologia (learning, or more literally the love of letters and study), who is made immortal under the protection of the gods, the Muses, the Cardinal Virtues and the Graces.
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On those occasions, the opera was adapted to suit Venetian taste as well as the strengths of the star singers, with fairly extensive cuts (particularly to the recitatives), the addition of new arias, and the expansion of some comic scenes. The Dance of the Moors was changed to The Dance of the Soldiers, and the prologue became an elaborate affair involving Apollo, Amor, and the personifications Inganno (Deception) and Invidia (Envy). The prologue for the performance in Vienna for Emperor Leopold I was even more elaborate and featured Mars, four Amazons, and the personification La Fama (Fame) all singing the praises of the emperor and his court. During the course of its performance history La Dori had at least 14 different prologues often devised to flatter the patron of the production or to suit local tastes.
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A detail of Horae Serenae by rightThey were originally the personifications of nature in its different seasonal aspects, but in later times they were regarded as goddesses of order in general and natural justice. "They bring and bestow ripeness, they come and go in accordance with the firm law of the periodicities of nature and of life", Karl Kerenyi observed: "Hora means 'the correct moment'."References to the Horai in classical sources are credited in Karl Kerenyi's synthesis of all the mythology, The Gods of the Greeks 1951, pp 101f and passim (index, "Horai") Traditionally, they guarded the gates of Olympus, promoted the fertility of the earth, and rallied the stars and constellations. The course of the seasons was also symbolically described as the dance of the Horae, and they were accordingly given the attributes of spring flowers, fragrance and graceful freshness.
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The masque featured the personifications standard to the form, including Opinion, Confidence, Fancy, Jollity, Novelty, and others; also, generic tradesmen, a Tailor, Carpenter, Painter, Feathermaker's Wife, Embroiderer's Wife, etc. The costumes were rich and fantastic: "Fancy in a suit of several-colored feathers, hooded, a pair of bat's wings on his shoulders...Jollity in a flame-colored suit, but tricked like a morris dancer, with scarfs and napkins, his hat fashioned like a cone...." Some of the costumes were "wrought as thick with silver spangles as they could be placed." At one point in the masque, a windmill, a knight and his squire entered -- an obvious allusion to Don Quixote -- and engaged in a mock combat. Shirley deliberately included elements in the masque, including "two wanton gamesters," that were precisely the type of elements criticized by Prynne in Histriomastix.
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This version is represented in the Achelous and Hercules mural painting by the American Regionalist artist Thomas Hart Benton. The cornucopia became the attribute of several Greek and Roman deities, particularly those associated with the harvest, prosperity, or spiritual abundance, such as personifications of Earth (Gaia or Terra); the child Plutus, god of riches and son of the grain goddess Demeter; the nymph Maia; and Fortuna, the goddess of luck, who had the power to grant prosperity. In Roman Imperial cult, abstract Roman deities who fostered peace (pax Romana) and prosperity were also depicted with a cornucopia, including Abundantia, "Abundance" personified, and Annona, goddess of the grain supply to the city of Rome. Hades, the classical ruler of the underworld in the mystery religions, was a giver of agricultural, mineral and spiritual wealth, and in art often holds a cornucopia.
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Two of the triumphal cars, carrying Chastity (pulled by unicorns) and Love, from a lavish illuminated manuscript (early 16th century) of Petrach's Triomphi Two elaborate sugar sculpture triomfi, personifications of Earth and Air from the Four Elements, for a dinner given by the Earl of Castlemaine, British Ambassador in Rome, 1687 Trionfo () is an Italian word meaning "triumph", also "triumphal procession", and a triumphal car or float in such a procession. The classical triumphal procession for victorious generals and Emperors known as the Roman Triumph was revived for "Entries" by rulers and similar occasions from the Early Renaissance in 14th and 15th-century Italy, and was a major type of festival, celebrated with great extravagance. The cars are shown as open-roofed, many clearly utilitarian four-wheeled carts dressed- up for the occasion. Others were two-wheeled chariots.
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Michel differs from figures that serve as personifications of the nation itself, as Germania did the German nation and Marianne the French, in that he represents the German people. He is usually depicted wearing a nightcap and nightgown, sometimes in the colors of the German flag, and represents the Germans' conception of themselves, especially in his easy-going nature and Everyman appearance. In any event, the nightgown and the night cap, which have been present in all pictorial representations of the German Michel - the first ones dating from the first half of the nineteenth century - are also interpreted in a way that the German Michel is, in fact, a rather naive and gullible person, not prone, for example, to question the authority of the government. On the contrary, he prefers a decent, plain and quiet lifestyle.
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The Vittoriano at sunset showing the propylaea and the quadrigas Continuing to climb the stairway beyond the equestrian statue of Victor Emmnauel II, is the most imposing and striking architectonic element—the large portico with Corinthian-style columns, slightly curved, located on the top of the monument, and inserted between two temple propylaea called "sommoportico" due to its elevated position. The propylaea are the two small porticos projecting with respect to the portico which are located at its lateral ends that constitute the entrances. The portico is long and is centrally supported by 16 tall columns surmounted by Corinthian capitals, embellished by the face of the Italia turrita (located in the centre) and acanthus leaves. The cornice above the colonnade is instead decorated with statues representing the 16 allegorical personifications of the Italian regions where each statue corresponds to a column.
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Marco Pizzo, Il Vittoriano - guida storico- artistica, Comunicare Organizzando (su concessione del Ministero per i Beni e le Attività Culturali), 2002. Even the mosaics have as their subject the metaphorical representation of virtues and feelings, very often rendered as allegorical personifications, which animated Italians during the unification of Italy. The interiors of the portico are decorated with the allegories of the sciences, while the doors that connect the propylaea and the portico are embellished with depictions on the arts. The decoration of the ceiling of the left propylaeum was entrusted to Giulio Bargellini; in these mosaics he adopted innovative technical devices, such as the use of materials of various kinds and tiles of different sizes and inclined so as to create studied reflections of light, and where the lines of the mosaic representations continue towards those of the columns below.
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The painting may be affiliated with the troubadour style, with its romantic nostalgia for the Middle Ages in France. Its location and appearance long unknown to scholars, Goyet's Héloïse et Abailard was rediscovered at an auction in Oakland, California, in 2020. In the 1840s, Goyet began a series of allegory paintings. These included l'Histoire de la vie des artistes en quatre figures, with personifications of Hope, Melancholy, Discouragement, and Perseverance, at the Salon of 1842; l'Empire de l’or (1845), inspired by Boileau's epigram, "L'or même à la laideur donne un teint de beauté: Mais tout devient affreux avec la pauvreté" ("Gold gives even ugliness a complexion of beauty: But everything becomes awful with poverty"); and Allegory of the Second Empire, not exhibited at a Salon, but painted sometime between the ascent of Napolean III in 1852 and Goyet's death in 1854.
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The long poem Liberty by the Scottish James Thomson (1734), is a lengthy monologue spoken by the "Goddess of Liberty", describing her travels through the ancient world, and then English and British history, before the resolution of the Glorious Revolution of 1688 confirms her position there.Higham, 59; text of Liberty online Thomson also wrote the lyrics for Rule Britannia, and the two personifications were often combined as a personified "British Liberty",Higham, 59–61 to whom a large monument was erected in the 1750s on his estate at Gibside by a Whig magnate.Green, Adrian, in Northern Landscapes: Representations and Realities of North-East England, 136-137, 2010, Boydell & Brewer, , 9781843835417, google books; "Column to Liberty", National Trust. But, sometimes alongside these formal figures, a new type of national personification has arisen, typified by John Bull (1712) and Uncle Sam (c. 1812).
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Juliana's name is attached to the Vienna Dioscurides, also known as the Anicia Juliana Codex, an illuminated manuscript codex copy of Pedanius Dioscorides's De materia medica, known as the one of the earliest and most lavish manuscripts still in existence. It has a frontispiece with a donor portrait of Anicia Juliana, the oldest surviving such portrait in the history of manuscript illumination. The patrikia is shown enthroned and flanked by the personifications of Megalopsychia (Magnanimity) and Phronesis (Prudence), with a small female allegory labelled "Gratitude of the Arts" () performing proskynesis in honour of the patrikia, kissing her feet. A putto is at Anicia Juliana's right side, handing her a codex and labelled with the , added in a later scribe's handwriting, interpreted as "the Desire to build", "the Love of building", or "the Desire of the building-loving woman".
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As productions go, the performances involved elaborate costumes because each of the Seven Deadly Sins was personified by a student that was appropriately dressed so he could be recognized as such, and an intricate dance sequence involved the deadly sins approaching the dying body of Cenodoxus. Some of the sins approached singly, others in pairs, and each came to the ear of the sleeping Cenodoxus, to whisper into it, and lead him astray, or stir within him a doubt, or magnify in him whatever flaw they could find to foster. This kind of movement, with up to seven personifications of the Seven Deadly Sins, taking the form of devils or demons, each dancing around on a stage that was mocked up to be a bedroom, naturally required a lot of choreographic preparation and rehearsal. It was a fairly complex play.
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Discworld gods start off as tiny spirits, and gain power as they gain believers; this is explored most thoroughly in Small Gods. A similar effect has led to the personalisation and "reification" in the Discworld universe of mythological beings symbolising abstract concepts, such as Death, the Hogfather and other anthropomorphic personifications. In Hogfather, the assassin Mr. Teatime tries to kill the patron of Hogswatch by using an old magic that involves controlling a person with a part of their body (in this case, the teeth collected by the Tooth Fairies), in order to stop children from believing in him, and almost succeeds. As explored in Small Gods, and to a lesser extent Pyramids, rigid, hierarchical church structures may prove detrimental to gods as belief is diverted away from them and into said structures, with 'believers' only worshipping out of habit or fear of punishment.
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Examples of goddesses attested in Norse mythology include Frigg (wife of Odin, and the Anglo-Saxon version of whom is namesake of the modern English weekday Friday), Skaði (one time wife of Njörðr), Njerda (Scandinavian name of Nerthus), that also was married to Njörðr during Bronze Age, Freyja (wife of Óðr), Sif (wife of Thor), Gerðr (wife of Freyr), and personifications such as Jörð (earth), Sól (the sun), and Nótt (night). Female deities also play heavily into the Norse concept of death, where half of those slain in battle enter Freyja's field Fólkvangr, Hel's realm of the same name, and Rán who receives those who die at sea. Other female deities such as the valkyries, the norns, and the dísir are associated with a Germanic concept of fate (Old Norse Ørlög, Old English Wyrd), and celebrations were held in their honor, such as the Dísablót and Disting.
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The opening four poems, invocations to the four seasons, are often seen as offering early versions of four of the figures of Blake's later mythology, each one represented by the respective season, where "abstract personifications merge into the figures of a new myth."Harold Bloom, "Commentary" in Erdman (1982: 968) Spring seems to predict Tharmas, the peaceful embodiment of sensation, who comes to heal "our love-sick land that mourns" with "soft kisses on her bosom." Summer is perhaps an early version of Orc, spirit of Revolution, and is depicted as a strong youth with "ruddy limbs and flourishing hair", who brings out artists' passions and inspires them to create. In later poems, Orc's fiery red hair is often mentioned as one of his most distinguishing characteristics; "The fiery limbs, the flaming hair, shot like the sinking sun into the western sea" (The Marriage of Heaven and Hell, 25:13).
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The general composition of the painting could have been borrowed from the Death of Meleager, represented on several ancient Roman sarcophagi present in Rome at the time of Poussin. A copy is kept in the Vatican Museums, another in the Capitoline Museums and yet another, currently in Wilton House but present in Rome at the beginning of the 17th century. The figure of Agrippina recalls the personifications of vanquished nations in Roman representations, such as vanquished Judea (judea capta) In addition to ancient influences, he also uses motifs present in the painting of his time or slightly earlier: the soldier represented on the far left is a revival of the one represented on the extreme right of the Crusaders in front of Jerusalem by Ambroise Dubois (castle de Fontainebleau). It also uses the curtain from The Last Supper by Frans Pourbus the Younger (Musée du Louvre).
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Amateur authors may also create characters out of personifications of abstract concepts (such as the personification of countries in Hetalia: Axis Powers) or complementary objects like salt and pepper.Galbraith, Patrick W. (31 October 2009) Moe: Exploring Virtual Potential in Post-Millennial Japan In Japan, the labelling of yaoi dōjinshi is typically composed of the two lead characters' names, separated by a multiplication sign, with the seme being first and the uke being second.Toku, Masami (6 June 2002) Interview with Mr. Sagawa While Gundam Wing does not have explicit gay romance content, its first airing in North America via Cartoon Network in 2000, five years after its initial broadcast in Japan, was crucial to Western fan creation of yaoi fiction, as noted by McHarry in his article that performs a reading of "Western yaoi story" with ideas of gender theorists such as Judith Butler and Eve Sedgewick.McHarry, Mark.
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There are two classes of deities in the Rig Veda' whose nature is founded on abstraction. The first class consisting of the direct personifications of abstract notions such as desire is rare, occurring only in the very latest hymns of the Rig Veda and due to that growth of speculation which is so plainly traceable in the course of the Vedic age. The second and more numerous class comprises deities whose names primarily either denote an agent, in the form of a noun derived from a root with the suffix "-tṛ", such as Dhatr, Creator, or designate some attribute, such as Prajapati (Lord of Creatures). This class, judged by the evolution of the mythological creations of the Veda, does not represent direct abstractions, but appears in each case to be derived from an epithet applied to one or more deities and illustrating a particular aspect of activity or character.
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As its title and subtitle indicate, the play portrays Lingua, the personification of language, asserting her importance against the traditional personifications of the senses. (Auditus is hearing, Visus is sight; Olfactus, Gustus, and Tactus round out the five.) This allegorical treatment of the five senses reaches far back into the literature and drama of the Middle Ages -- though Tomkis departs from the Medieval tradition by depicting the five senses as male rather than female figures. (The change allows Tomkis to cast the play's conflict in an anti-feminist, battle-of-the-sexes context.) As noted above, the play's plot derives from the story of the Judgement of Paris: like Eris among the Olympian gods, Lingua inspires dissension and competition among the five senses by offering a prize for the worthiest of them. She leaves a golden crown and a royal robe in a grove in "Microcosmus", with this inscription: :::He of the five that proves himself the best, :::Shall have his temples with this coronet blest.
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The upper cover (not illustrated here, see note for image) is very lavishly studded with large gems, and uses low repoussé relief.Zoomable image from the Morgan Library The composition also centres on a cross, but here a whole Crucifixion scene with a figure of Jesus on the cross and much smaller ones of the Virgin Mary and John the Evangelist. Each of these is in a compartment below the arms of the cross, paired with iconographically unusual female figures; the matching compartments above the arms each contain two angels. Identifications for these lower figures vary; they are described by the Morgan Library as anonymous mourners, "two dishevelled female figures thought to be personifications of Christian souls saluting their Redeemer" as their file note puts itMorgan notes, 3 quoted; Schiller, II, 108 agrees but Peter Lasko, calls them instead "the curiously duplicated figure of St Mary Magdalen (?)"Lasko, 66 To Needham they are Mary Magdalene and Mary Cleophas.
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The earliest certain cult to dea Roma was established at Smyrna in 195 BC, probably to mark Rome's successful alliance against Antiochus III.Tacitus, Annals, 4.56 Mellor has proposed her cult as a form of religio-political diplomacy which adjusted traditional Graeco-Eastern monarchic honours to Republican mores: honours addressed to the divine personification of the Roman state acknowledged the authority of its offices, Republic and city as divine and eternal.The Roma cult did not displace cult to individual Roman benefactors. The Hellenophile general Flamininus was given divine honours jointly with Roma for his military achievements on behalf of Greek allies: Plutarch, Flamininus, 16, gives the ending lines of what he describes as a lengthy Chalcidian hymn to Zeus, Roma and Flamininus: available online at Thayer's website (accessed June 29, 2009) Democratic city-states such as Athens and Rhodes accepted Roma as analogous to their traditional cult personifications of the demos (ordinary people). In 189 BC, Delphi and Lycia instituted festivals in her honour.
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From left to right: Lust, Envy, Sloth, Gluttony, Pride, Wrath, and Greed in the manga are artificial humans that serve as the primary antagonistic force in Fullmetal Alchemist who were created by the Homunculus Father by extracting what he believed to be his natural flaws into fragments of his Philosopher's Stone. Being personifications of Father's darkest aspects, each named after one of the seven deadly sins and identified through an Ouroboros tattoo located somewhere on their bodies, Homunculi possess physical prowess with the long life and nigh indestructibility provided by their stones playing in their arrogance while seeing themselves as superior to humans. The only means of permanently killing a Homunculus is dwindling their stone until they are unable to revive themselves once killed. While the majority of Homunculi are placed into artificial bodies created from his flesh, Father has also implanted two of his "children" into human bodies as were the case with King Bradley and the second Greed.
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Allegory on the Death of the Earl of Arundel Though he remained an artist in service of Lord Arundel, he seems not to have worked exclusively for him, and after the earl's death in Padua in 1646, Hollar earned his living by working for various authors and publishers, which was afterwards his primary means of distribution. After Lord Arundel's death in 1646, probably at the request of Hendrik van der Borcht, he etched a commemorative print done after a design by Cornelius Schut in Arundel's honour, dedicated to his widow Aletheia. Arundel is seated in melancholy mode on his tomb in front of an obelisk (perhaps commemorating the one he tried to import from Rome), and surrounded by works of art and their personifications. In 1745, George Vertue paid homage to their association in the vignette he published on page one of his Description of the Works of the Ingenious Delineator and Engraver Wenceslaus Hollar.
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The church was renamed Sant'Anna dei Lombardi in 1805. An Adoration of the Shepherds by a follower of Vasari was moved to its present position above the door in the counter-facade during the 17th century. The two side lunettes contain sculptures of the archangel Gabriel and the Virgin Mary, attributed to Giovan Battista Cavagna and resting on two marble lavabos leaning against the walls Cesare Cundari, Arnaldo Venditti, Il complesso di Monteoliveto, Gangemi, 1999. The central nave vault is divided into three quadrants, showing personifications of Faith, Religion and EternityLa Repubblica It is accompanied along the walls by 17th century furniture decorated with a cycle of precious wooden inlays by Fra Giovanni da Verona dating to 1506 (the third cycle after those of Santa Maria in Organo in Verona and the Territorial Abbey of Monte Oliveto Maggiore near Asciano) with views of the city and scenes of life in the Olivetan order.
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The ancient Greeks considered wisdom to be an important virtue, personified as the goddesses Metis and Athena. Metis was the first wife of Zeus, who, according to Hesiod's Theogony, had devoured her pregnant; Zeus earned the title of Mêtieta ("The Wise Counselor") after that, as Metis was the embodiment of wisdom, and he gave birth to Athena, who is said to have sprung from his head.Hesiod. Theogony. Athena was portrayed as strong, fair, merciful, and chaste. Apollo was also considered a god of wisdom, designated as the conductor of the Muses (Musagetes), who were personifications of the sciences and of the inspired and poetic arts; According to Plato in his Cratylus, the name of Apollo could also mean "Ballon" (archer) and "Omopoulon" (unifier of poles [divine and earthly]), since this god was responsible for divine and true inspirations, thus considered an archer who was always right in healing and oracles: "he is an ever-darting archer".Plato.
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Much of St John's literary inspiration is late Hebrew and Greek, but his dragon is more likely to have symbolized the dragons from the Near East. In the Roman Empire, each military cohort had a particular identifying signum (military standard); after the Parthian and Dacian Wars of Trajan in the east, the Dacian Draco military standard entered the Legion with the Cohors Sarmatarum and Cohors Dacorum (Sarmatian and Dacian cohorts)—a large dragon fixed to the end of a lance, with large, gaping jaws of silver and with the rest of the body formed of colored silk. With the jaws facing into the wind, the silken body inflated and rippled, resembling a windsock. Several personifications of evil or allusions to dragons in the Old Testament are translated as forms of draco in Jerome's Vulgate. e.g. Deuteronomy (32:33), Job (30:29), Psalms (73:13, 90:13 & 43:20), Isaiah (13:21, 27:1, 34:13 & 43:20), Jeremiah (9:11), and Malachi (1:3).
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Personifications, such as those of astronomical objects, time, and water bodies occur in Norse mythology. The Sun is personified as a goddess, Sól (Old Norse 'Sun'); the moon is personified as a male entity, Máni (Old Norse 'moon'); and the Earth too is personified (Jörð, Old Norse 'earth').On Sól, see Lindow (2001:278–280) and Simek (2007:297); on Máni, see Lindow (2001:222–223) and Simek (2007:201–202); and on Jörð, see Lindow (2001:205–206) and Simek (2007:179). Night appears personified as the female jötunn Nótt (Old Norse 'night'); day is personified as Dagr (Old Norse 'day'); and Dagr's father, the god Dellingr (Old Norse 'shining'), may in some manner personify the dawn.On Nótt, see Lindow (2001:246) and Simek (2007:238); on Dagr, see Lindow (2001:91–92) and Simek (2007:55); and on Dellingr, see for example Thorpe (1851:143) and Lindow (2001:92–93).
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Emperor Nikephoros III flanked by personifications of Truth and Justice, and by his senior court dignitaries, from an illuminated manuscript dating to the 1070s. From left: the proedros and epi tou kanikleiou, the prōtoproedros and prōtovestiarios (a eunuch, since he is beardless), the emperor, the proedros and dekanos, and the proedros and megas primikērios. In the 8th–11th centuries, according to information provided by the Taktikon Uspensky, the Klētorologion of Philotheos (899) and the writings of Constantine Porphyrogennetos, below the imperial titles, the Byzantines distinguished two distinct categories of dignities (): the "dignities by award" (), which were purely honorific court titles and were conferred by the award of a symbol of rank, and the "dignities by proclamation" (), which were offices of the state and were conferred by imperial pronouncement. The former were further divided into three subcategories, depending on who was eligible for them: different sets of titles existed for the "Bearded Ones" (βαρβάτοι from Latin barbati, i.e.
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The result was When The Gods Came Down (2000), in which he refined and extended his cataclysmic theory of myth while penning a hard-hitting rebuttal of the ancient astronaut interpretation. Coinciding with the publication of this book, Alford published on his website an extensive ‘Self-critique’ of his first book Gods of the New Millennium. At this time also the paperback edition of GOTNM began to carry a new foreword in which the author expressed his reservations about chapters 6 to 16. In The Atlantis Secret (2003), Alford attacked the Euhemerist and Von Daniken theories of myth, arguing that the Greek gods were not deified heroes or astronauts but personifications of cataclysmic events from the beginning of the world. As for the ancient belief that the gods had granted the gifts of civilisation to man – a myth commonly cited by ancient astronaut writers – this was a natural extension of the ‘birth from the earth’ myths which were popular in ancient times.
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As with many misericords, this was probably intended as a humorous version of iconography treated with full seriousness in more prominent locations.Schreckenburg, 61 In her book on the pair, Nina Rowe is sceptical of the traditional assumption of art historians that the hostility implicit in later depictions is found in the earliest ones. She relates the figures to Late Antique uses of personifications, including contrasting figures of orthodox Christianity and either paganism or heresy, especially Arianism,Rowe, 40–47 and suggests that the identity of "Synagoga" was more variable before the millennium, with Jerusalem or its Temple being alternative identifications.Rowe, 58–61 She describes the revival in use of the pair, now couched in more combative terms, as a reaction both to the influx into Western Europe of larger Jewish populations during the late 10th to the 12th centuries, and also to the Twelfth-century Renaissance, which involved contacts between Christian and Jewish scholars, who discussed their different interpretations of the Hebrew Bible.
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In the context of the original Fawcett stories published from 1940 to 1953, the Rock of Eternity is the lair of the Wizard Shazam, the ancient Egyptian mage who grants Captain Marvel and his Marvel Family associates Mary Marvel and Captain Marvel, Jr. with their powers. Resembling a large, barren mountain and positioned at the center of space and time, the wizard's spirit remained at the Rock after his death during the initial creation of Captain Marvel, as depicted in Whiz Comics #2 (February 1940). He had previously lived in an underground lair on Earth, accessible by a magic subway car, which included his throne and imprisoned stone personifications of the Seven Deadly Enemies of Man. Following the wizard's death, lighting the brazier in the underground lair would summon Shazam's spirit from the Rock of Eternity; alternately, the Marvels could choose to journey to the Rock itself by flying faster than the speed of light.
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Around the edge are eight personifications of winds, two on each side, labelled with the names of the twelve classical compass winds or Anemoi: clockwise from the top, Septentrio (T), Aquilo and Fulturnus (G), Subsolanus (cross), Eurus and Eurauster (S), Auster (O), Auster Affricus and Affricus (A), Favonius (P), Corus and Circius (M). The letters refer to the traditional labels of the compass rose: Tramontana to the north, Greco to the northeast, Levante to the east, Sirocco to the southeast, Ostro to the south, Affricus to the southwest, Ponente to the west, and Maestro (Mistral) to the northwest. The positions of each wind are more determined more by artistic considerations than the true orientation of the city in the image. At the top of the print is a depiction of Mercury, the Roman god of commerce, with the inscription "MERCVRIVS PRECETERIS HVIC FAVSTE EMPORIIS ILLVSTRO" (Latin: "I Mercury shine favourably on this emporium which surpasses all others".
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This was an obvious connection, since Dionysus, as god of grapes and wine, was closely associated with the natural products of a particular season and with sharing those gifts with the world. Hence many season sarcophagi include Dionysiac elements. A good example is the so-called "Badminton Sarcophagus" in New York's Metropolitan Museum, which shows in the center Dionysus on his panther, flanked by standing personifications of the Four Seasons marked by their seasonal gifts/attributes: winter stands at the far left with a brace of ducks, with a boar at his feet; then spring, holding a basket of flowers and a budding stalk; then summer, basket of grain in hand; and finally autumn at the far right, cradling a cornucopia of grapes and grape leaves in one arm while holding a captured hare. Celebration of Dionysus's natural (particularly viticultural) gifts, along with the rest of nature's never-ending abundance, and the happiness and pleasure that they bring in eternal cycle, is clearly foregrounded on a sarcophagus such as this.
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Kepping was the principal advocate of the theory that Tantric Buddhism was the state religion of the Tangut kingdom, and she suggested that tantric rites performed by the Emperor and Empress, as sacred personifications of the male and female principles, were central to the functioning of the state. In 1986 Japanese Tangutologist Nishida Tatsuo had noted that certain ritual Tangut odes are written using two different sets of vocabularies, which he suggested reflected the languages of two ethnic groups, a sedentary, agriculturalist population known as the "red-faced people", and a nomadic elite, known as the "black-headed people", who he thought were the ruling class of Tangut society. In a paper presented to a conference on Sino- Tibetan languages and linguistics in 1996, Kepping built on Nishida's work, formulating the terms "common language" and "ritual language" to refer to the two different forms of vocabulary. The "common language" was the ordinary Tangut language used in the vast majority of surviving Tangut texts, both secular and religious, but which only comprises about half of the nearly 6,000 Tangut characters given in Tangut dictionaries.
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A. S. D. Maunder finds antecedents of the planetary symbols in earlier sources, used to represent the gods associated with the classical planets. Bianchini's planisphere, produced in the 2nd century, shows Greek personifications of planetary gods charged with early versions of the planetary symbols: Mercury has a caduceus; Venus has, attached to her necklace, a cord connected to another necklace; Mars, a spear; Jupiter, a staff; Saturn, a scythe; the Sun, a circlet with rays radiating from it; and the Moon, a headdress with a crescent attached. A diagram in Johannes Kamateros' 12th century Compendium of Astrology shows the Sun represented by the circle with a ray, Jupiter by the letter zeta (the initial of Zeus, Jupiter's counterpart in Greek mythology), Mars by a shield crossed by a spear, and the remaining classical planets by symbols resembling the modern ones, without the cross-mark seen in modern versions of the symbols. The modern Sun symbol, pictured as a circle with a dot (☉), first appeared in the Renaissance.
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Most imaginable virtues and virtually every Roman province was personified on coins at some point, the provinces often initially seated dejected as "CAPTA" ("taken") after its conquest, and later standing, creating images such as Britannia that were often revived in the Renaissance or later.Sear, 36–42, 46–48, 49–51 Lucian (2nd century AD) records a detailed description of a lost painting by Apelles (4th century BC) called the Calumny of Apelles, which some Renaissance painters followed, most famously Botticelli. This included eight personifications of virtues and vices: Hope, Repentance, Perfidy, Calumny, Fraud, Rancour, Ignorance, Suspicion, as well as two other figures.Lightbown, Ronald, Sandro Botticelli: Life and Work, 234, 1989, Thames and Hudson Platonism, which in some manifestations proposed systems involving numbers of spirits,Luc Brisson, Seamus O'Neill, Andrei Timotin, Neoplatonic Demons and Angels, 1–5, 2018, Brill, , 9789004374980, google books was naturally conducive to personification and allegory, and is an influence on the uses of it from classical times through various revivals up to the Baroque period.
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Modern painted replica of the statue in Braga, Portugal Augustus is shown in this role of "Imperator", the commander of the army, as thoracatus —or commander-in-chief of the Roman army (literally, thorax-wearer)—meaning the statue should form part of a commemorative monument to his latest victories; he is in military clothing, carrying a consular baton and raising his right hand in a rhetorical adlocutio pose, addressing the troops. The bas-reliefs on his armored cuirass have a complex allegorical and political agenda, alluding to diverse Roman deities, including Mars, god of war, as well as the personifications of the latest territories he conquered: Hispania, Gaul, Germania, Parthia (that had humiliated Crassus, and here appears in the act of returning the standards captured from his legions); at the top, the chariot of the Sun illuminates Augustus's deeds. The statue is an idealized image of Augustus showing a standard pose of a Roman orator and based on the 5th-century BC statue of the Spear Bearer or Doryphoros by the sculptor Polykleitos. The Doryphoros's contrapposto stance, creating diagonals between tense and relaxed limbs, a feature typical of classical sculpture, is adapted here.
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During the September massacres of 1792, the Salpêtrière was stormed on the night of 3/4 September by a mob from the impoverished working-class district of the Faubourg Saint- Marcel, with the avowed intention of releasing the detained prisoners: 134 of the prostitutes were released; twenty-five madwomen were less fortunate and were dragged, some still in their chains, into the streets and murdered.This episode is discussed in detail by Mary Bosworth, "Anatomy of a Massacre: Gender, Power, and Punishment in Revolutionary Paris" Violence Against Women, 7.10, (2001:1101–1121). 1857 lithograph by Armand Gautier, showing personifications of dementia, megalomania, acute mania, melancholia, idiocy, hallucination, erotomania and paralysis in the gardens of the Hospice de la Salpêtrière Pitié-Salpêtrière Hospital chapel At the very end of the 18th century, the early humanitarian reforms in the treatment of the mentally ill were initiated here by Philippe Pinel (1745–1826), friend of the Encyclopédistes. The iconic image of Pinel as the liberator of the insane was created in 1876 by Tony Robert-Fleury and Pinel's sculptural monument stands before the main entrance in Place Marie-Curie, Boulevard de L'Hôpital.
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The eighth miniature marks the beginning of the penitential Psalms; and the last 6, depicting Moses, Jonah, Hannah, Ezekiel and Hezekiah, introduce and illustrate the Canticles of the Old Testament. The subject of the miniatures is as follows: Moses Parting the Red Sea, fol.419v. 1v: David playing the harp with Melodia (μελωδία) seated beside him; 2v: David kills the lion assisted by Strength (ἰσχύς); 3v: The anointing of David by Samuel, with Lenity (πραότης) observing; 4v: David, accompanied by Power (δύναμις) slays Goliath, as Arrogance (ἀλαζόνεια) flees; 5v: Triumphant Return of David to Jerusalem; 6v: Coronation of David by Saul; 7v: David Stands with a psalter open to Psalm 71, flanked by Wisdom (σοφία) and Prophecy (προφητεία); 136v: Nathan Rebukes David concerning Bathsheba; the Penitence of David with Repentance (μετάνοια); 419v: Moses parting the Red Sea, with personifications of the desert, night, the abyss, and the Red Sea; 422v: Moses Receives the Tablets of the Law; 428v: Hannah thanks God for the birth of Samuel; 431v: Scenes from Jonah; 435v: Isaiah with Night (νύξ) and Dawn (ὄρθρος); 446v: King Hezekiah. Jean Porcher has assigned the full-page illuminations to five artists, or hands, attributing 6 miniatures to the lead artist, Hand A.
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"Proverbs" translates to the Hebrew word mashal, but "mashal" has a wider range of meaning than the short catchy sayings implied by the English word. Thus, while roughly half the book is made up of "sayings" of this type, the other half is made up of longer poetic units of various types. These include "instructions" formulated as advice from a teacher or parent addressed to a student or child, dramatic personifications of both Wisdom and Folly, and the "words of the wise" sayings, longer than the Solomonic "sayings" but shorter and more diverse than the "instructions". The first section (chapters 1–9) consists of an initial invitation to young men to take up the course of wisdom, ten "instructions", and five poems on personified Woman Wisdom. Proverbs 10:1–22:16, with 375 sayings, consists of two parts, the first (10–4) contrasting the wise man and the fool (or the righteous and the wicked), the second (15–22:16) addressing wise and foolish speech. 22:17 opens ‘the words of the wise’, until 24, with short moral discourses on various subjects.. Chapters 25–29, attributed to editorial activity of "the men of Hezekiah," contrasts the just and the wicked and broaches the topic of rich and poor.
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