Apotheosis Of Antoninus Pius And Faustina Essay

This particular statuette represents the Virgin Mary and her child (Barbier). It is sculpted with gilded silver and has basse-taille reliefs on the pedestal, embellished with various stones and pearls. The statuette is approximately 2 feet tall and the Virgin is standing on a rectangular pedestal that rests on four small lions (Kleiner). The

The ominous figure in the centre of the foreground - Jesus Christ hanging lifeless on the cross, in Luca di Tommè’s ‘The Crucifixion’, primarily catches the eye. The symmetrical arrangement of lamenting figures around the cross, as well as the gilded background, highlight him as the focal point of this artwork.

1) Juanita fits the definition of children “at risk” because she was not brought up in a good family home. Her mother held her back from school and never motivated her. She never sent her to pre-school and Juanita did not attend kindergarten until she was 6 years and 9 months old. I do not think that Juanita was born or had a disability. However, I do think that she is very unmotivated and will continue to be this way until she gets the help that she needs, and maybe special programs at school is not enough support.

These eagles symbolise the great might of Zeus and the favor of the gods Telemachus had gained. Shortly afterwards, the eagle makes its appearance once more in book three around line 420 when “the bright-eyed goddess (Athena) winged away in an eagle’s form and flight.” Once again, someone who is held in high regard, Athena, is shown to turn into an eagle, indicating how important she is to the

Faustina II was an acknowledged empress and was given various titles and honors, such as Augusta and Mater Castrorum. Despite all these honors Faustina II had been recorded as a woman of shameful lust, desire and murder. She was also accused of starting a revolution between Marcus Aurelius and Avidius Cassius because of power. Faustina II, or more commonly Faustina the Younger was the wife of Marcus Aurelius. She was the daughter of emperor Antoninus Pius and Faustina the Elder.

Script: This sculpture made with marble by Timotheos. A distinguish pose of Leda’s lifting left hand making the art piece different from the other. The cause of her pose is to protect the swan from eagle, a transformation of Aphrodite. The scene depicted is unfound in the mythology based on Edith

In Christopher Marlowe’s play, Doctor Faustus, the idea of repentance is a reoccurring theme with the title character. Faustus is often urged by others to repent his decision to sell his soul to the devil, but in the end he suffers eternal damnation. Faustus was resigned to this fate because he lacked the belief in his soul of God. He was once a moral and devout man, but greed led him to sin.

In this paper, it will discuss the theme of Faust and Duc de Nemours: sagas of disillusionment and thwarted ambitions in both novels Faust, Part 1 and The Princesse de Cleves. At first glance one must be able to understand what disillusionment and thwarted ambition is. When one talks about disillusionment, it is referred to as a feeling of disappointment resulting from the discovery that something is not good as one believed it to be. Thwarted ambition refers to the opposition or prevention from something we desire or want to achieve. The stories of Faust and Nemours play a significant role in coming to terms with this theme because of their many attempts at happiness and irrational actions. Faust is disillusioned and demoralized

young man can look forward to a time when he ultimately can spend raising his family. It was not

Taking up the entire right side of the composition a third character ascends a staircase and rests one hand on a disjointed platform. This figure wears an elaborate headdress, fabric sash and holds a large knife tucked at it’s side. The figure’s long toes curl around the top stair where it stands surveying the other two figures. This figure also has a tail, and the same mirroring happens between the extending hairs of the headdress and the hairs of its tail as with the candle light and tail of the first figure. The decorations and prominence of this figure give it an air of spiritual significance, the word priest seems apt. Behind this figure is the forth and final figure of the composition. This figure stands lower on the staircase behind the figure with the knife. This figure has a head shaped like a goblet filled with toothpicks. We only see the head and shoulders of this figure,

Giovanni di Paolo’s The Annunciation and Expulsion from Paradise is currently in the National Gallery of Art in Washington DC, was finished in 1435 CE, and is made of tempera on panel. This Sienese panel from the start of the Italian Renaissance is believed to be one of five from the lower part of the altarpiece. Giovanni di Paolo uses golden texture to display divinity, line to illustrate architectural perspective, and a strategic use of scale throughout the composition in order to portray the importance of the religious context. His personal artistic stylization, the experimentation of the Italian Renaissance but still firmly painting with Medieval Pictorial Tradition, and the use of symbolism can also demonstrate the religious meaning of the piece. Furthermore, in the context of Giovanni di Paolo’s The Annunciation and Expulsion from Paradise, the conversation between monetary and cultural value and the controversy of art being exhibited in its country of origin will be discussed.

The angel itself is rather detailed. You are able to see the wrinkles in the angel’s dress, each individual wavy hair upon it’s head, each individual feather making up it’s wings, and even it’s fingernails. I found this statue/site rather interesting because although the statute stands for such a negative factor of life, the statue looks so innocent and beautiful,

First, we visit St. Peter’s Basilica and Adjoining Piazza in Rome. The beautiful structure still used today, initially was brought to fruition by Donato Bramante as a temple shaped like a Greek cross. Quickly Pope Paul V rejected the design, deeming the Greek cross to be pagan-like. He commissioned Carlo Maderno to make some changes to the floor plan, adjusting the look into a Latin cross. The florid baroque styles are seen entering the Apse and Alter, which “symbolized the power and richness of the church” (392). The sculptures throughout, specifically in the Apse, are dramatic and real, shunning classical styles.

Francis of Assisi was a poor man who astounded and inspired the Church by taking the gospel literally—not in a narrow fundamentalist sense, but by actually following all that Jesus said and did, joyfully, without limit and without a mite of self-importance. Francis was famous for his love of all creation. He called for simplicity of life, poverty, and humility before God. He worked to care for the poor. Thousands were drawn to his sincerity, piety, and joy. In all his actions, Francis sought to follow fully and literally the way of life demonstrated by Christ in the Gospels. My report is going to discuss the life and contributions of St. Francis of Assisi.

The book of Romans is considered, by many in Christianity, to be the greatest book comprised in the Holy Bible. This is a very strong view to hold, considering the great details of Jesus and His ministry that are given in the book of Luke, the direct, to the point style of truth written by James, and the great lessons of faith in Hebrews. The other books in the New Testament are all great within themselves also but, Romans is very distinctive in itself. Written by the Apostle Paul, Romans can be viewed as the Christian Life handbook or the Christianity 101 manual. When we read Romans, we can see that Paul took every thought and possible counter thought by any