Viewing Justin Sterling's exhibition Broken Windows, at the Olympia Project, brings all these thoughts to mind and makes me wonder why windows — given their semantic and allegoric richness — don't appear more often in the art I see.
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Filippo Balbi (1806 - 27 September 1890) was an Italian painter, active in an archaic style depicting allegoric and religious scenes.
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The portal being the representative main entrance to the Disconto Bank at the Langenstrasse consists of three sections. It is framed by columns bearing allegoric sculptures.
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Teixeira Lopes dealt mostly with allegoric, historical and religious themes, using clay, marble and bronze as materials. His vast work dots public spaces, palaces and churches in Portugal.
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The white and red roses in the crown which the angels release on the Virgin's head are also allegoric: they recall both her virginal purity and the future martyrdom of Christ.
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Rituals in Freemasonry refer to King Solomon and the building of his Temple. Masonic buildings, where lodges and their members meet, are sometimes called "temples"; an allegoric reference to King Solomon's Temple.
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Yevgeny Vuchetich Yevgeny Viktorovich Vuchetich (–12 April 1974) (; , Evhen Viktorovich Vuchetich) was a prominent Soviet sculptor and artist. He is known for his heroic monuments, often of allegoric style, including The Motherland Calls, the largest sculpture in the world at the time.
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Garrincha is the hero football player, with Pele lead the victory World Football Cup in 1958 (Sweden) and 1962 (Chile). Macunaíma is a tale written by Mario de Andrade, published in 1928. Is an allegoric fable, tells the birth of Brazilian's national ethos.
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Franz Kafka: Die Verwandlung. Diesterweg, 1993. . Vladimir Nabokov rejected such interpretations, noting that they do not live up to Kafka's art. He instead chose an interpretation guided by the artistic detail but categorically excluded any and all attempts at deciphering a symbolic or allegoric level of meaning.
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German film historian Florian Evers devotes a whole chapter of his book on National Socialism in modern pop culture to the character of Karl Ruprecht Kroenen. He points out the allegoric puzzle segments of Shoah-iconography behind the design of Kroenen, calling him an incarnation of the Holocaust.
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With more probability we can attribute to John the "Dialogus de vitia SS. Fratrum Minorum", partly edited by L. Lemmens, O.F.M. (Rome, 1902). The "Chronicle of the XXIV Generals"Anal. Franc., III, 283. ascribes to John the allegoric treatise on poverty: "Sacrum Commercium B. Francisci cum Domina Paupertate" (ed.
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The Vice can be an allegoric representation of one of the Seven Vices or a more general portrayal of evil as the tempter of man. Vice often takes the audience into complicity by revealing its evil plans, often through soliloquies or monologues. Its enacting is frequently comic or absurd.
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It was founded in the 10th century. The façade was restored in 1659 by the patrician Gaspare Moro. It is decorated by allegoric statues, including a bust of Moro, all work by Clemente Molli. On the right is a 13th-century bas-relief depicting the Madonna with Child.
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Philarmonicss lyrics are simple, mysterious and allegoric. Philippe Cornet says, "The texts in question sound like metaphors of love, death, impetuosities of nature or sudden rustles of the city." Philharmonics contains three titles that are purely instrumental: "Falling, Catching", "Louretta" and "Wallflower". "Just So" was used in a Deutsche Telekom commercial in Germany.
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Victoria and Albert museum, entry for bozzetto. The model has some elements whose style is archaic, while other elements are prescient of Baroque styles. For example, the benedicent Christ in the Mandorla is a typically medieval trope. The triangular arrangement of the three theologic virtues, is locked to an allegoric Renaissance vocabulary.
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His esteem for Maimonides knew no bounds: he placed him next to the Prophets, and he exhibited little patience with Maimonides' critics and detractors. He accordingly interprets the Bible and the Haggadah in a truly Maimonistic spirit, rationalizing the miracles and investing every possible passage in the ancient literature with philosophic and allegoric significance. As an allegorist who could read into the ancient documents the particular philosophical idiosyncrasies of his day, Anatoli deserves a place beside other allegoric and philosophical commentators, from Philo down; indeed, he may be regarded as a pioneer in the application of the Maimonistic manner to purposes of popular instruction. This work he began while still in his native land, on occasions of private and public festivities, such as weddings and other assemblies.
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Behind them, on a stage, there are allegoric figures in two groups, representing the Good Government. The two groups are connected by the procession of the councilors. The upper band indicates the heavenly sphere with the floating bodiless ghosts of the virtues. Wisdom sits above the head of the personification of the Commune of Siena.
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On the evening of the first Friday of March the prettiest women elected as Reinas (queens) from each department parade in allegoric chariots through the streets of Mendoza dressed in decorative outfits designed to celebrate the winemaking tradition and the character of their Departments. This event has been known to attract over 200,000 spectators.
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Allegoric depiction of Pepin Pepin died during a campaign, in 768 at the age of 54. He was interred in the Basilica of Saint Denis in modern-day Metropolitan Paris. His wife Bertrada was also interred there in 783. Charlemagne rebuilt the Basilica in honor of his parents and placed markers at the entrance.
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Guida di Brescia rapporto alle arti ed ai monumenti antichi e moderni, by Federico Odorici (1853), page 112-113. The fountain has four allegoric statues, with the lower register representing either the two rivers in Brescia, the Mella and the Garza, or the two lakes in the province, Garda and Iseo.Turismo Brescia, entry on tower.
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Khrua In Khong had many disciples but only one of them was recorded - Phra Khru Kasin Sangwon. He was the abbot of Wat Thong Nopphakhun, who painted murals in Wat Thong Nopphakhun. His murals were allegoric paintings, same as the Dharma Paintings of Khrua In Khong, but the figures were Thai style instead of western.
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The painting was made for Count Antonio Brancaleoni of Piobbico. Engravings of the painting appeared by 1577. The Holy Family, consisting of Joseph, Mary, a young John the Baptist, and an infant Jesus at Mary's breast, are portrayed in a domestic moment. John appears to be teasing the cat with a captured goldfinch, an allegoric symbol of Christ's Passion.
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Macmillan, 1995. pg 241. Due to perceived similarities between the Great Spirit and the Christian concept of God, colonial European missionaries frequently used such existing beliefs as a means of introducing indigenous Americans to Christianity and encouraging conversion.References: Schoolcraft, Henry R. The Myth of Hiawatha and other oral Legends, Mythologic and Allegoric of the North American Indians.
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Carlo Dolci, Madonna in Glory, c. 1670, oil on canvas, Stanford Museum, California A circle of stars often represents unity, solidarity and harmony in flags, seals and signs, and is also seen in iconographic motifs related to the Woman of the Apocalypse as well as in Baroque allegoric art that sometimes depicts the Crown of Immortality.
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The facade was part of a project to enlarge the buildings of the university. On the facade are sculptural groups of allegoric representations of the subjects taught in the building. The central area has four gigantic columns, and at the top a comb. On the balustrade are represented the Spanish kings that contributed to the improvement of the university.
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Verses 1.3.3–11 of Katha Upanishad deal with the allegoric expression of an individual as a chariot. The body is equated to a chariot where the horses are the senses, the reins are the mind, and the charioteer is the intellect. The master of the chariot is the Self, on forgetting which the charioteer intellect becomes absorbed in the field of action.
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Hence they are also known as figural or sculptural clocks (rather than architectural). An 1822 clock depicting the nereid Galatea, Catherine Palace. The respective allegoric composition in relief of the frieze, represents the "Triumph of Galatea", based on the homonymous fresco by Rafael Sanzio. Likewise, another of the sculptor's source of inspiration for the composition of a certain design were both classical sculptures and celebrated paintings.
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A later interpretation brought to bear upon the Parasurama legend is that it is an allegoric representation of the advent of the Aryans into Kerala. The temple was constructed by the King Pasum Pon Pandyan who is the son of Boothapandiyan. The Suampu lingam lord of sanctuary's other name is Salian Kanda Thirumani. In the 17th century Saliar caste peoples lived in the town.
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A house on the site was once linked to Albertino Mussato, an orator and notary of the late 13th to 14th century. The present structure was rebuilt in the 18th century by the architect Girolamo Frigimelica. The rooms contain ceilings frescoed with mythologic and allegoric frescoes painted by Francesco Zugno and Fabio Canal.Comune di Padova – Assessorato alla Cultura Settore Cultura, Turismo, Musei e Biblioteche, entry on palace.
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Crown of Immortality held by the Allegoric figure Eterna on the ceiling of the Swedish House of Knights Ceiling of Ehrenstrahlsalonge at Drottningholm Palace. The highlighted portion became the motif for the 1000th postage stamp designed by Czesław Słania Charles XI of Sweden ’s family with relatives from the duchy Holstein-Gottorp, 1691 David Klöcker Ehrenstråhl (23 September 1628 - 23 October 1698) was a Swedish nobleman and portrait painter.
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Allegoric Riding Portrait painted in 1831 or 1837 is on display at the Hungarian National Gallery Tivadar Cohn Hermann Alconiere (, 1797-1865) was a 19th-century Austro-Hungarian painter. Cohn Hermann was his original family name. He was born in Mattersburg and began studying art in Vienna in 1812. Born to Jewish parents, he converted to Catholicism in order to pursue a career in art, and adopted the surname Alconiere.
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Also, when the gang inspects Gen. Mapache's new automobile, they perceive it marks the end of horse travel, a symbol also in Peckinpah's Ride the High Country (1962) and The Ballad of Cable Hogue (1970). The violence that was much criticized in 1969 remains controversial. Peckinpah noted it was allegoric of the American war in Vietnam, the violence of which was nightly televised to American homes at supper time.
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As they had in Mexico City, the couple would wander the streets, but now began documenting their walks in photographs. Álvarez produced her first photographs in Oaxaca, which mirrored the allegoric style preferred by her husband. When she became pregnant, the couple decided to move back to Mexico City in 1927 to be near medical facilities and family. It was there their only child, Manuel Álvarez Bravo Martínez was born.
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His paintings are typically allegoric and often depict small figures or structures set against moody and evocative natural landscapes. They are usually escapist, framing the New World as a natural eden contrasting with the smog-filled cityscapes of Industrial Revolution-era Britain, in which he grew up. His works, often seen as conservative, criticize the contemporary trends of industrialism, urbanism, and westward expansion. Self-taught, Cole began painting portraits in 1822.
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In his best known book, published in 1999, Avelar suggests that writing about the experience of a dictatorship is hindered by a form of recollection that is characteristic of the market, where the old is always entirely replaced with the new, leaving no traces of the connection between these two instances . Avelar compares this type of memory with the allegoric approach, which preserves the outcomes of the past in the present, even when they are negative – such as that which the past had to forget so it could come into being: in the case of dictatorships, torture, disappearances, and violence used to contain social upheaval during this time. Allegoric writing introduces the horror of the dictatorship into the present, challenging the appeasing narrative of the transition to democracy. Avelar uses the figure of mourning to address discourses on the dictatorships that brought down the left-wing Latin American governments during the 60's and 70's.
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Between 1608 and 1609 the façade was decorated with allegoric frescoes by Giovanni Stefano Marucelli. After the suppression of the Knights, the college was closed in 1925, but it opened again in 1930 when the Scuola Normale Superiore di Pisa used the building as Home of the Student of the University. In 1969, the palace underwent a major restoration, and currently belongs to Scuola Normale and hosts the research center of mathematics and the guesthouse.
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Marulić & Marcovich (2006), p. 199. In this section, Marulić defends his work as orthodox and non- heretical. Unfortunately, as Miroslav Marcovich argues, "it is not difficult to discover that Marulić's allegoric Tropology does indeed aberrare a relgionis nostrae fide [stray from the faith of our religion]"; for instance, how could the author contend that David is the "prefiguration of Christ", Marcovich asks, when David committed such sins as adultery and murder?Marcovich (1973), p. 373.
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In ancient Greek religion, places were under the care of female divinities, parallel to guardian angels. The poets detailed their doings and generations in allegoric language salted with entertaining stories, which subsequently playwrights transformed into classical Greek drama and became "Greek mythology". For example, Hesiod mentions the daughters of Tethys and Ocean, among whom are a "holy company", "who with the Lord Apollo and the Rivers have youths in their keeping".Theogony, Line 345 ff.
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Maimonides argued that if science proved a point, then the finding should be accepted and scripture should be interpreted accordingly.The Guide for the Perplexed 2:25 Before him Saadia Gaon set rules in the same spirit when allegoric approach can be used, for example, if the plain sense contradicts logic.Emunoth ve-Deoth, chapter 7 Solomon ibn Gabirol extensively used allegory in his book "Fountain of Life", cited by Abraham ibn Ezra."Alternative commentary" to Gen.
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Basilica of Scherpenheuvel In 1607, Cobergher was ordered to redo a bastion of the Catholic Counter Reformation: the whole city of Scherpenheuvel, in Brabant, was to be redesigned as an allegoric homage to the Mother of God, with a layout based on a 7-pointed star. His first designs for the basilica date from 1606. This pilgrimage church would become his masterpiece. The construction began in 1609 and lasted until about 1624, with the belfry remaining unfinished.
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A sign explaining the tangata whenua history of The Bricks, Christchurch Three interpretations of rangatira consider it as a compound of the Māori words "ranga" and "tira". In the first case, "ranga" is devised as a sandbar and the "tira" a shark fin. The allegoric sandbar helps reduce erosion of the dune (or people). The fin reflects both the appearance of the sandbar, and, more importantly, "its physical and intentional dominance as guardian"(Gray-Sharp, 2011, p. 195).
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The French Revolution encouraged the artists to celebrate the new order. Augustine Dupré derived the inspiration of his allegoric compositions from the symbolism of antiquity (tables of law, genius of freedom, Hercules, Phrygian cap, fasces of lictors, scales, etc.). It was the triumph of neoclassical style. His first contribution was the Louis of gold, 24 livres, portraying Au génie, the obverse still carrying the portrait of Louis XVI, the motto Roi des Français (King of the French), and the date 1792.
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He made portraits of, among others, King Charles XI of Sweden, Erik Dahlbergh, Georg Stiernhielm and Agneta Horn. Among his pupils can be found Mikael Dahl and David von Krafft as well as his daughter Anna Maria Ehrenstrahl . Ehrenstrahl also painted several ceilings and large wall pieces with allegoric motifs. The great hall ceiling fresco, named The Great Deeds of The Swedish Kings, in the Swedish House of Knights (Riddarhuspalatset) made between 1670 and 1675, is considered to be his greatest work.
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Afterward he delivered Sabbath-afternoon sermons, in which he advocated the allegoric and philosophic method of Scriptural exegesis. This evoked the opposition of the anti- Maimonists, whose number was large in southern France; and probably Anatoli's departure for Sicily was hastened by the antagonism he encountered. But even at Naples Anatoli's views aroused the opposition of his Orthodox coreligionists. This treatment, together with several other unpleasant experiences at the royal court, seems to have caused him to entertain thoughts of suicide.
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In the 1980s he spent time in France, Spain, Italy and Holland. During a residency at the Karolyi Foundation, in Vence in southern France, he met Hungarian sculptor Judith Englert, and spent a year in Budapest with her before returning to Australia. In 1987 they eventually settled in the seaside suburb of Bundeena, south of Sydney. During the late 1980s his style (figurative, allegoric, lyric, moody) crystallized with the Bundeena paintings, the Queen series and the D. H. Lawrence series.
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Inside the Louvre his architect Louis Le Vau and his decorator Charles Le Brun created the Gallery of Apollo, the ceiling of which featured an allegoric figure of the young king steering the chariot of the Sun across the sky. He enlarged the Tuileries Palace with a new north pavilion, built a magnificent new theater, the Théâtre des Tuileries, attached to the palace, and had André Le Nôtre, the royal gardener, remodel the gardens of the Tuileries into a French formal garden.
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SimeonI had nothing to respond. However, historian Mark Whittow notes that those accounts were nothing but official Byzantine wishful thinking, composed after the event. The only hint of what really happened was an allegoric story that at the moment the meeting concluded, two eagles were seen flying high in the sky, then they engaged and immediately separated, one headed northwards to Thrace, the other flying to Constantinople. This was seen as a bad omen representing the fates of the two rulers.
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The faces of Djedefre and Khaefra are both similar to that of the Sphinx, but they do not match perfectly. Another riddle is the original cultic and symbolic function of the Sphinx. Much later it was called Heru-im-Akhet (Hârmachís; "Horus at the horizon") by the Egyptians and Abu el-Hὀl ("father of terror") by the Arabians. It might be that the Sphinx, as an allegoric and mystified representation of the king, simply guarded the sacred cemetery of Giza.
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Dante's masterpiece is the Divine Comedy, which mainly deals with the poet himself taking an allegoric and moral tour of Hell, Purgatory and finally Heaven, during which he meets numerous mythological or real characters of his age or before. He is first guided by the Roman poet Virgil, whose non-Christian beliefs damned him to Hell. Later on he is joined by Beatrice, who guides him through Heaven. In the 14th century, Petrarch and Giovanni Boccaccio led the literary scene in Florence after Dante's death in 1321.
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Ten of these are comprised in the work "'Asarah Ma'amarot"; five of them, under the title "Amarot Ṭehorot," were printed together with "Ḳol Yehudah," a philosophical commentary by Judah ben Simon (Frankfort-on-the-Main, 1698; Mohilev, 1810). These treatises originated partly in addresses delivered by the author on feast-days, especially on Rosh Hashanah. In spite of Fano's decided tendency toward scholastic and allegoric interpretation, his works are not devoid of original remarks. For example, in connection with the cabalistic interpretation of Num. xxxiii.
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In 1795, with French help, the last Stadholder William V was forced to flee and the Batavian Republic (1795–1806) was proclaimed. At first this had no influence on the use of the arms of the former Republic. However, the following year the lion, that had served for approximately 280 years, was replaced by an allegoric image of a “Dutch maiden of Freedom”. The replacement of the Batavian Republic with the Kingdom of Holland (1806–1810) saw the first return of the lion of the States General.
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This became evident with their names being inscribed on the bases of the statues. An example would be the statue of Phrasikleia unearthed from the Meogeia plain in Attica. The statue marked the grave of a young unwed girl according to the inscription found on the base. Whether korai were given as votive offerings or grave markers, according to historian Robin Osborne, they were allegoric symbols as “tokens of exchange.” Unlike the nude and distant kouroi, korai are completely clothed and engage with their viewer.
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An AliDabashi, Theology of Discontent, p.463 representation with the qualification of Ismah in Bektashiyyah sufi order. Sufism stressed esoteric, allegoric and multiple interpretations of scripture combined to intuitive faith and a search for ecstatic experiences, and was spread by wandering dervishes believed to possess "bereket" (baraqat – spiritual power) and "keramet" (qaramat – miraculous powers) due to their special nearness to God. Dervish founders of "tariqat" (Sufi orders) were revered as Saints (Wali) and called dede, baba, pir, or shaykh, and their tombs were serving as pilgrimage centres.
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Slovenc is interested in life as a form of theater; particularly in ways domestic spaces have been acted in and acted upon. He is intrigued by the "scenes" people construct in their homes, as well as the roles people play in their daily lives, with all the semiotic and allegoric referents. In the series Partners in Crime, Slovenc creates wedding portraits of long term same sex couples. Inspired by late nineteenth-century cabinet cards, Slovenc photographs these couples to appear both physically and emotionally disconnected.
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In 1936, the fountain was built in front of the pavilion. Named the "Awakening" and sculptured by Dragomir Arambašić, it is in the form of the naked female figure, standing on the pedestal between the pigeons, with water streams pouring from their beaks. Until the big reconstruction of the Pavilion in 1930s, above the main door there was the allegoric representation of the art, done in the stained glass technique, the work of the painter Vasa Pomorišac.The Artistic Pavilion is opening today, Politika, 23 December 1925.
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The palace is surrounded by formal gardens that are subdivided into five sections that are decorated with allegoric sculptures of the continents, the seasons and the elements: Music Pavilion The northern part is characterized by a cascade of thirty marble steps. The bottom end of the cascade is formed by the Neptune fountain and at the top there is a Music Pavilion. The centre of the western parterre is formed by basin with the gilt figure of "Fama". In the west there is a pavilion with the bust of Louis XIV.
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The architect, Mihály Pollack (1773–1855), with the elevation of the Museum The building where the Hungarian National Museum is currently located was built from 1837–1847. The style of the main building was laid out in a neo-classical style and was added onto by other artists in the form of statues, paintings and other architecture. The statues of the Portico were done by Raffael Monti of Milan. One of these is a famous statue of the allegoric figure of Hungary, holding a shield with the Hungarian coat of arms on it.
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In the Sala dei Cento Giorni, Vasari and his assistants work in an elaborate and fanciful manner. The narrative unfolds within an unusual illusionist space flooded with allegoric ornamentation and further by numerous figures in painted architecture surrounded by simulated sculpture. The gestures and expressions of the figures are extravagant and exaggerated in a courtly manner, according to the Maniera style of the mid-Cinquecento. The decoration in this room exemplifies the third type of wall decoration: it is stylistically related to the Chamber of Fortune in the Casa Vasari.
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The years leading to World War II were difficult for Moravia as an author; the Fascist regime prohibited reviews of Le ambizioni sbagliate (1935), seized his novel La mascherata (Masquerade, 1941) and banned Agostino (Two Adolescents, 1941). In 1935 he traveled to the United States to give a lecture series on Italian literature. L'imbroglio (The Cheat) was published by Bompiani in 1937. To avoid Fascist censorship, Moravia wrote mainly in the surrealist and allegoric styles; among the works is Il sogno del pigro (The Dream of the Lazy).
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The novel is usually interpreted by critics as either a criticism of fascist Italy, disguised by the use of allegoric figures and by the adoption of a non-realistic style, or as the chronicle of a dream-like voyage. Themes revolving around social injustice, which will be central in Vittorini's future work, are already present. The protagonist and author share many of the same experiences - growing up in a railway family, travelling widely by rail around Sicily and Italy, working in northern Italy as a typesetter, and illness.
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Muhammad Ahmad Khalafallah (, 1916-1991) was an Egyptian Islamic modernist thinker and writer.Khalafallah, Muhammad Ahmad, Oxford Islamic Studies On- line, cinting The Oxford Dictionary of Islam (page visited on 30 January 2015). In 1947, Cairo University refused his doctoral dissertation presented to the Department of Arabic entitled The Narrative Art in the Holy Qur'an, as he suggested that holy texts are allegoric and that they should not be seen as something fixed, but as a moral direction. He was fired from his teaching position and transferred to the Ministry of Culture.
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Goltzius's drawing of his right hand, collection Teylers Museum Haarlem Lot and his daughters (1616) in the collection of the Rijksmuseum Print reflecting an allegoric representation of wealth and industry. Goltzius was born near Venlo in Bracht or Millebrecht, a village then in the Duchy of Julich, now in the municipality Brüggen in North Rhine-Westphalia. His family moved to Duisburg when he was 3 years old. After studying painting on glass for some years under his father, he learned engraving from the Dutch polymath Dirck Volckertszoon Coornhert, who then lived in Cleves.
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In 1883 Spitteler married Marie op der Hoff, previously his pupil in Neuveville. In 1881 Spitteler published the allegoric prose poem Prometheus and Epimetheus, published under the pseudonym Carl Felix Tandem, and showing contrasts between ideals and dogmas through the two mythological figures of the titles. This 1881 edition was given an extended psychological exegesis by Carl Gustav Jung in his book Psychological Types (published in 1921). Late in life, Spitteler reworked Prometheus and Epimetheus and published it under his true name, with the new title Prometheus der Dulder (Prometheus the Sufferer, 1924).
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For this reason, some scholars are convinced, that the papyrus reveals king Pepi's homosexual interests and his same-sex relationship to his general officer. But other scholars are instead convinced, that the passage is merely an allegoric pun to religious texts, in which the sun god Râ visits the underworld god Osiris during the middle four hours of the night. Thus, king Pepi II would be taking the role of Râ and Sasenet would take the role of Osiris. The phrase "doing what one desires" would therefore be overrated and misinterpreted.
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Merkur 1985:7Kleivan & Sonne 1985: 14 Also the Ungazighmiit (belonging to Siberian Yupiks) had a special allegoric usage of some expressions.Rubcova 1954: 128 The local cultures showed great diversity. The myths concerning the role of shaman had several variants, and also the name of their protagonists varied from culture to culture. For example, a mythological figure, usually referred to in the literature by the collective term Sea Woman, has factually many local names: Nerrivik "meat dish" among Polar Inuit, Nuliayuk "lubricous" among Netsilingmiut, Sedna "the nether one" among Baffin Land Inuit.
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Several rooms of the Palace - Tribunal Room, Assembly Room, Golden Room - display furniture by José Marques da Silva, allegoric paintings by José Maria Veloso Salgado and João Marques de Oliveira, sculptures by Teixeira Lopes and many other works of art. The highlight of the Palace is, however, the Arab Room, built between 1862 and 1880 by Gonçalves e Sousa. The room is decorated in the exotic Moorish Revival style, fashionable in the 19th century, and is used as reception hall for personalities and heads of state visiting Porto.
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The huge church has a giant dome, and is located in a hill in what was at the time the western part of Lisbon and can be viewed from far away. The style is similar to the Mafra National Palace, in late baroque and neoclassical. The front has twin bell towers and includes statues of saints and some allegoric figures. A large quantity of grey, pink and yellow marble was used in the floor and walls, in intricate geometric patterns, one of the most beautiful in European churches.
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It was revamped in the 1830s and 1840s by architect Malaquias Ferreira Leal, who introduced a new arrangement of the flora as well as fountains, a waterfall and statues. The allegoric statues representing the Tagus and Douro rivers still existing in the boulevard of the Avenue date from this time. After much discussion and polemics, the Avenue was built between 1879 and 1886, modelled after the boulevards of Paris. Its creation was a landmark in the Northwards expansion of the city, and it quickly became a preferred address for the upper class.
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Prior flag of Staten Island, replaced in 2016The 1971 flag was criticized by Borough President James Oddo, who told the Staten Island Advance that the current flag "looks like the Fresh Kills Landfill. The bird looks like a seagull, the mountain looks like a garbage pile." In March 2016, Oddo created a new flag and new seal for the borough. Set in earth tones, each features an allegoric female figure representing the city standing on the island's shore and looking out onto the Narrows, where Henry Hudson's ship The Half Moon is at anchor.
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Among the built structures, one can notice stone arches, pergolas, and a small courtyard showing on its centre a sundial, with four stone sculptures ( tall) standing in corners, portraying the seasons. This allegoric ensemble, called The four parts of the year, was in the initial 1930's botanic garden lay out, offered by Polish sculptor Bronisław Kłobucki (1896-1939). They have been lost, together with the sundial, when the new botanic garden at Myślęcinek opened in 1979. Thanks to sponsoring efforts (Ewa Taterczynska Foundation and Bydgoszcz Pomeranian Gas Company), the decorative courtyard has been restored to its original shape and location.
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Seven of the unaddressed stage work manuscripts, composed of a prologue and one act in verses, have been classed as comedies (they were printed for the first time in an issue of Stari pisci hrvatski). The first four comedies enter into the scope of the "pastoral" genre. Komedija prva (the first comedy) dramatises typically pastoral themes, with some magical elements, reminiscent of Tasso's Aminta but also of Džore Držić's eclogue Radmio and Ljubimir, and the prophetic Tirena by Marin Držić. The allegoric, celebratory setting was dynamised by the alternation of realism and fantasy, lasciviousness and sentimentality, naturalism and humour.
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Among the occurrences characterizing the socio-cultural life of this small city is well worth mentioning the Carnival of Muggia. The Carnival absorbs much of the population of Muggia engaging them in the construction of allegoric carts articulated and moving in order to better mock the chosen victim and in the realization of gorgeous costumes. During those seven days the city becomes a true open-air theatre offering a continuous entertainment that previsibly climaxes in the great parade on the last Sunday. The town also has a museum of modern art named after sculptor Ugo Carà.
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Literarische Gleichnisse appeared in 1892, and Balladen in 1896. In 1900–1905 Spitteler wrote the powerful allegoric-epic poem, in iambic hexameters, Olympischer Frühling (Olympic Spring). This work, mixing fantastic, naturalistic, religions and mythological themes, deals with human concern towards the universe. His prose works include Die Mädchenfeinde (Two Little Misogynists, 1907), about his autobiographical childhood experiences, the dramatic Conrad der Leutnant (1898), in which he show influence from the previously opposed Naturalism, and the autobiographical novella Imago (1906), examining the role of the unconscious in the conflict between a creative mind and the middle- class restrictions with internal monologue.
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Ueda purposely left the ending vague, not stating whether Yorda was alive, whether she would travel with Ico, or if it was simply the protagonist's dream. The cover used for releases in Japan and PAL regions was drawn by Ueda himself, and was inspired by the Italian artist Giorgio de Chirico and his work The Nostalgia of the Infinite. Ueda believed that "the surrealistic world of de Chirico matched the allegoric world of Ico". The North American version lacks this cover as well as additional features that become available after the player completes the game once.
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B. He differentiated in the following way: in a simple allegory, an invisible action is (simply) signified or represented by a visible action; Anagoge is that "reasoning upwards" (sursum ductio), when, from the visible, the invisible action is disclosed or revealed."... est simplex allegoria, cum per visibile factum aliud invisibile factum significatur. Anagoge, id est sursum ductio, cum per visibile invisibile factum declaratur." The four methods of interpretation point in four different directions: The literal/historical backwards to the past, the allegoric forwards to the future, the tropological downwards to the moral/human, and the anagogic upwards to the spiritual/heavenly.
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Rossi was called to Vienna, to paint a Hall for the Marquis of Refrano, a counselor for the Holy Roman Emperor Charles VI. He depicted Heroic virtue crowned by Glory, Fame, and other Virtues. In Vienna, he also painted portraits of the chancellor, the Count of Zinzendorff, and others in the court. Her returned to Naples, where he worked for the Viceroy Aloys Thomas Raimund Graf Harrach. He painted allegoric and mythologic panels, as well as large canvases depicting the viceroys functions in various public ceremonies, to be sent to his palace (Palais Harrach) in Vienna.
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Construction for the "villa di delizia" (or villa of delights) was begun in 1703 and concluded in 1719, commissioned by Giacinto Alari (1668-1753) from the architect Giovanni Ruggeri. The piano nobile was decorated with stucco and frescoes in 1720-1725. The design of the interior decoration is also assigned to Ruggeri, but the mythologic and allegoric frescoes were completed with the help of Giovanni Angelo Borroni, Francesco Fabbrica, Pietro Maggi, Salvatore Bianchi, Giovanni Antonio Cucchi, and Francesco Bianchi. At one time the private rooms had genre and pastoral paintings respectively by the painters Enrico Albricci and Francesco Londonio.
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The house with a studio, where Đorđe Jovanović, a sculptor, used to live and work was built in 1926, after the design by the architect Dragutin Šiđanski and the engineer Stojan Veljković. The simple but dynamic facades are complemented with the allegoric figures of painting and sculpture, placed in semi-circular niches Placed at the prominent part of the facade. These figures symbolize the artist's house. In the house he used to live in there was also his studio, 6m x 6m, with one glass wall which enabled the light penetration necessary for his creative work.
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The strike was done by Lavater's friend Friedrich Heinrich Jacobi who published an episode between himself and Lessing, in which Lessing confessed to be a "Spinozist", while reading Goethe's Sturm und Drang poem Prometheus.Über die Lehre des Spinoza () was a reply to Mendelssohn's Morgenstunden (). In an earlier publication Jacobi opposed to Mendelssohn's opinion about Spinoza. On the frontispice of his publication we see an allegoric representation of "the good thing" with a banner like a scythe over a human skeleton (the skull with a butterfly was already an attribute dedicated to Mendelssohn since his prized essay Phädon), referring to a quotation of Immanuel Kant on page 119 (, Google Books).
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Fuller wrote her first novel - ISAK \- in 2005 while studying for the Bar Exam in Germany. The novel, which is set in the future, is an allegoric reflection of the issue of international terrorism, in particular questioning what precisely constitutes terrorism and which actions by governments or individuals can be subsumed under the term. In 2007, parts of the novel were adapted as a stage play performed at the Irish Writers' Centre. In 2008, Fuller co-founded the Irish Writers' Exchange, an organisation of both Irish authors and writers from around the world who have chosen to make Ireland their home away from home.
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The restauration of the Ancien Régime after the end of the Napoleonic era proved to be only temporary, until Switzerland became a federal state in 1848 when its first democratic constitution was passed. During the restoration, democratic publishers instrumented and interpreted the history of the peasant war as an allegory on the then current struggle for democracy, seeing the peasant war of 1653 as an early precursor of their own efforts to overcome the authoritarian regime. Well-known examples are the illustrations by Martin Disteli from 1839/40, who used scenes from the peasant war in such allegoric ways.Suter 1997, pp. 55f.JHolenstein 2004, p. 53.
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Soderman's essay uses the game to argue that the focus on meaning inferred from game mechanics has caused "new hermeneutical methods" of interpretation to supersede "visual and narrative representations" in terms of importance and consideration. A mechanics-exclusive interpretation of the game ignores key allegoric elements, such as the gradual failure of the company with each act of refusal of labour as presented on the graph at the office, or the simulation of purgatory in the final state devoid of the other characters encountered during previous days. An approach that fails to analyze "the object from every possible angle" will inevitably miss the most "meaningful facets" of the work.
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The work was consequently described by August Šenoa as a "newspaper in verse", in which it depicts the Ottomans in ironic and satirical fashion. This was followed by a biblical-allegoric epyllion titled Nebeski pastir pogubljenu ovcu išče (1795), in which Malevac covered the Parable of the Lost Sheep, drawing from earlier sources. Another work depicting the birth of Christ, Horvacka od Kristuševoga narođenja vitija (1800, Zagreb), is difficult to categorize, but is described by some critics as Malevac's aesthetically best work, on grounds that it is written in a particularly humorous and original way.: Pater Gregur kapucin (Juraj Malevac), kajkavski književnik XVIII. vijeka.
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The Burbant tower The procession of Giants - Goliath and his wife The bell tower of St. Julien's church Ath (; , , ) is a Belgian municipality located in the Walloon province of Hainaut. The Ath municipality includes the old communes of Lanquesaint, Irchonwelz, Ormeignies, Bouvignies, Ostiches, Rebaix, Maffle, Arbre, Houtaing, Ligne, Mainvault, Moulbaix, Villers-Notre-Dame, Villers-Saint-Amand, Ghislenghien (), Isières, Meslin-l'Evêque, and Gibecq. Ath is known as the "City of Giants" after the Ducasse d'Ath festivities which take place every year on the fourth weekend in August. Huge figures representing Goliath, Samson, and other allegoric figures are paraded through the streets, and Goliath's wedding and his famous fight with David are re- enacted.
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The chapel vault was frescoed by the Greek painter Belisario Corenzio and on the right is a painting by Ippolito Borghese, on the left a painting begun by Girolamo Imparato and completed by Fabrizio Santafede, and in the center, behind the high altar, the Deposition by Santafede. The tomb of Cardinal Acquaviva (1617) by Cosimo Fanzago is in the antisacristy. The sacristy was decorated in the first half of the 18th century with gilt-frame allegoric frescoes by Giuseppe Bonito on the ceiling. On the right a door leads to the Hall of Cantoniere, another example of 17th-century art, with tiled floor and frescoes; are noteworthy portraits of Charles III of Bourbon and his wife Maria Amalia.
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That the water is not merely the purifying water of baptism is shown by the innumerable wafers that float upon its surface: the two sacraments are represented as one. Allegoric representation of Sacramental union, the Lutheran doctrine of Real presence of Christ in the Eucharist, after a woodcut by Lucas Cranach the Elder (ca. 1550). In the front Communion under both kinds is pictured with (on the left) Martin Luther giving the chalice to John, Elector of Saxony and on the right Jan Hus giving the eucharistic bread to Frederick III, Elector of Saxony (Frederick the Wise). In the back a Fountain of Living Water: The blood of Christ's Five Holy Wounds spills in a fountain on the altar.
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The pigs Snowball, Napoleon, and Squealer adapt Old Major's ideas into "a complete system of thought", which they formally name Animalism, an allegoric reference to Communism, not to be confused with the philosophy Animalism. Soon after, Napoleon and Squealer partake in activities associated with the humans (drinking alcohol, sleeping in beds, trading), which were explicitly prohibited by the Seven Commandments. Squealer is employed to alter the Seven Commandments to account for this humanisation, an allusion to the Soviet government's revising of history in order to exercise control of the people's beliefs about themselves and their society. Squealer sprawls at the foot of the end wall of the big barn where the Seven Commandments were written (ch.
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The model for "Jesus Christus, unser Heiland, der von uns den Gotteszorn wandt" is a late 14th-century hymn relating to the Eucharist by Jan of Jenštejn, archbishop of Prague. The 14th-century hymn, in content comparable to the 13th century Lauda Sion Salvatorem,Lucke 1923, p. 144 exists in two versions with ten stanzas: the first eight verses of the Latin version ("Jesus Christus, nostra salus", Jesus Christ, our salvation) form an acrostic on JOHANNES, while another version, in Czech, was also spread by the Hussite Unity of the Brethren. Allegoric representation of Sacramental union, the Lutheran doctrine of Real presence of Christ in the Eucharist, after a woodcut by Lucas Cranach the Elder (ca. 1550).
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This 1890 allegoric drawing depicts the friendship between the Argentine Republic and the newly formed Brazilian Republic. Despite this inheritance of unresolved territorial disputes and numerous periods of muted hostility, the Argentine–Brazilian relationship was not defined by open hostility for most of the nineteenth and twentieth centuries. There was competition on many levels, and their respective defense policies reflected mutual suspicion, but their bilateral relationship was not adversarial. After the mid-1850s, neither country resorted to coercion or the use of force to resolve territorial disputes, and during the only general war that took place in the Plata region– the Paraguayan War (1864–1870)– Argentina and Brazil were allied against Paraguay.
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His first book of poetry Tėvynės ašaros (Tears of the Motherland) came out in 1914 in Chicago. It was followed by Erškėčių taku (On the Path of Thorns, 1916), Sielos akordai (Chords of the Soul, 1917), and Varpeliai (Little Bells, 1925). He also wrote cantata Broliai (Brothers; music by Česlovas Sasnauskas), oratorio Aureolė (Aureola; combines patriotic feelings with religious mysticism), poem Meilė (Love; an allegoric tale of self-sacrifice), and four-part musical drama Gaustas ir Zapsė (unpublished). A comprehensive collection of his works was prepared in 1940, but it was not published due to World War II. Literary critics often found his poetry to be heavy, cold, lacking emotions, and struggling with metre.
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The 18th century was a period of regeneration and reconstruction in Sweden as the country had been devastated and weakened by the huge costs of King Charles XII's wars. Gustav III's role now was to consolidate the country. In another painting by Roslin he is depicted as an allegoric interpretation of his role as Sweden's "Hercules who will crush the Hydra of anarchy and discord." Therefore, Gustav III was painted dressed in armour, the crown and wearing the grand star of the Order of the Seraphim, a Swedish royal order initiated by King Frederick I in 1748, only awarded to members of the royal family and foreign heads of state as well.
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The Lamentation over the Dead Christ, is a painting of the common subject of the Lamentation of Christ by the Italian Renaissance master Sandro Botticelli, finished around 1490–1492. It is now in the Alte Pinakothek, in Munich. The portrait shows the inert body of Christ surrounded by the Virgin, St. Peter, and Mary Magdalene, St. John the Evangelist, St. Jerome and St. Paul. The pathetic expressions of the characters were a novelty in Botticelli's art: under the spiritual influence of Savonarola's preachings in Florence, which began around the time the work was executed, he started in fact to abandon the allegoric inspiration that had made him a favourite of the Medici court in favour of more intimate and painstaking religious reflection.
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Like many other major works, the cycle was entirely lost in the disastrous fire of 1577. The Flight into Egypt (1500) Dating from 1504–1508 is the cycle of Life of the Virgin for Scuola degli Albanesi, largely executed by assistants, and now divided between the Accademia Carrara of Bergamo, the Pinacoteca di Brera in Milan, and the Ca' d'Oro of Venice. In later years Carpaccio appears to have been influenced by Cima da Conegliano, as evidenced in the Death of the Virgin from 1508, at Ferrara. In 1510 Carpaccio executed the panels of Lamentation on the Dead Christ and The Meditation on the Passion, where the sense of bitter sorrow found in such works by Mantegna is backed by extensive use of allegoric symbolism.
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The brickwork, consisting of two-tone bricks, is decorated with terracotta ornaments and wrought iron clasps, the segmentation of the façade is set off in natural stone, and the median risalit is rich with decorative elements such as the three round windows in front of the side wings. The richly adorned attic section is borne by a magnificent lombard band reminiscent of Florentine palazzi. The dovetail crenellation is interrupted by turrets at the axes of the side wings and at the corners of the central part of the building, with terracotta trophy sculptures positioned inside their alcoves. Allegoric representations of military virtues made of sandstone are featured on and in front of the facade, created by Hans Gasser, one of the most influential sculptors of his time.
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The surviving works were: Judas Mercator Pessimus (CPM 195), the Matins for the Resurrection (CPM 200), – and the sequentia Lauda Sion (CPM 165), for the feast of Corpus Christi. In this same year he composed the music for two allegoric stage plays, written by Gastão Fausto da Câmara Coutinho: Ulissea, Drama Eroico (CPM 229) and O Triunfo da América (CPM 228) – The Triumph of America. In February 1809, the prince regent, impressed by the improvisations played by Nunes Garcia at the pianoforte in his palace, retrieved a medal from the coat of the baron of Vila Nova and attached it to his garments, making him a knight of the Order of Christ. Still in this year, he was named archivist of the royal music files, just brought from the Queluz Palace in Lisbon to Rio.
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The pedestal front was normally decorated with either garlands, acanthus tendrils, acroterions, laurel wreaths, scrolls, flowers and other classical decorative motifs, or depicting finely chased mythological and allegoric scenes in relief as a frieze of a Greek-Roman temple. On top of the base (in the center or to one side) sat the plinth that accommodated the clock dial, however in other models it was also placed in cart wheels, rocks, shields, globes, tree trunks, etc. These timekeepers were embellished with fine bronze figures of art, sciences, and high ideals allegories, gods, goddesses, muses, cupids, classical literary heroes and other allegorical or mythological compositions. Sometimes historical personages such as Alexander the Great, Julius Caesar, George Washington, Napoleon Bonaparte, philosophers and classical authors, were the main theme as well.
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The double symbolism used in its name is considered allegoric to the dual nature of the deity, where being a Rainbow represents its divine nature or the ability for water to reach the skies and being a Serpent represents its human nature or ability to creep on the ground among other animals of the Earth. The Rainbow also shows the ability to split light into different colors. Although the Rainbow Serpent of the Bundjalung people may differ slightly from other Aboriginal representations of the myth, it does retain many of the similar features, stories and characteristics common in other areas. For instance: its gender is not agreed upon and it is linked to rainbows, water, rain, waterholes, rivers, seas, islands, life, social relationships, shape shifting, spirits, goannas, birds, snakes & fertility.
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The landscape is divided into four main horizontal panels, the foreground occupied by the muses and interspersed with flowers and greenery, the middle ground in which a river flows and the background made up of pale coloured mountains that surround the rest of the scene. The painting peopled with the muses dispersed in groups around the landscape, help to frame the composition through their body positions: reclining figures who "parallel the bank" and the seated muse on the left who echoes the tree's shape. The Bunkamura Museum claimed that The Sacred Grove gives the viewer an image of a "Utopia" and depicts "a profound allegoric world...known as a pioneering body of Symbolist works." The Allegorical mode, based on knowledge and reason, is employed in the painting through the use of tributes to ancient Greek mythology: scriptures for law, the harp for music.
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Over the decades, Giordano Berti, as director of the Istituto Graf or author of editorial projects, has collaborated with famous philosophers, art historians and artists, such as Michael Dummett, Umberto Eco, Tiziano Sclavi, Angelo Stano, Robert M. Place, Rachel Pollack.GEDDA, Alberto, "Giordano Berti, a short byography", in Tarot of the New Vision, Lo Scarabeo, Torino 2005, P. 156 As a worldwide renown Tarot historian, Berti was invited, as special guest, at the third World Tarot Congress, in Chicago (May 10 to 14 2001), where he delivered a long conference titled "The Babel of Tarot, or the evolution of the 22 allegoric Triumph cards as a transformation into an esoteric language" . Berti is consultant for two Tarot and Playing Cards great editors: Lo Scarabeo (Turin, Italy) and Dal Negro (Treviso, Italy).KAPLAN, R. Stuart, "Giordano Berti", in The Encyclopedia of Tarot, vol.
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One remarkable example is Abbas Eslami, known with his pen-name Barez, (1932–2011) who described the melancholic demise of his homeland in a book titled mourning Sabalan. Another example is Mohamad Golmohamadi's long poem, titled I am madly in love with Qareh Dagh (قاراداغ اؤلکهسینین گؤر نئجه دیوانهسی ام), is a concise description of the region's cultural landscape. The long lasting suppression finally led to a generation of revolutionary poets, composing verses by allegoric allusion to imposing landscape of Azerbaijan: > Sahand, o mountain of pure snow, Descended from Heaven with Zoroaster Fire > in your heart, snow on your shoulders, with storm of centuries, And white > hair of history on your chest ... Yadollah Maftun Amini (born in 1926)Gholam-Reza Sabri-Tabrizi, Iran: A Child's Story, a Man's Experience, 1989, Mainstream Publishing Company, p. 168 After the Islamic revolution of 1979 the ban on Azeri publications in Iran has eased.
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An allegoric meaning behind the painting is plausible, given the complex Renaissance symbology of fruit. Caravaggio scholar John T. Spike has recently suggested that the boy demonstrates resistance to temptation by ignoring the sweeter fruits (fruits of sin) in favour of the bergamot, but no specific reading is widely accepted. The model is thought to bear a resemblance to the angel in Caravaggio's Ecstasy of Saint Francis and to the boy dressed as Cupid on the far left in his Young Musicians, both about 1595 to 1597. Several other versions of the work are known, all of which may be by Caravaggio; it has been suggested that at the early stage of his career, while he was still in the studio of Cavalier d'Arpino, Caravaggio's paintings were put in the studio's shop window, and if they attracted the attention of passing buyers, Caravaggio would feed the demand with additional versions.
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This chapter as a whole (as many other parts of 1–2 Kings) functions as a ‘parable and allegory’, and in particular includes a ‘proverb’ given by Jehoash king of Israel to Amaziah king of Judah (). Some examples of the parabolic or allegoric style are provided in form of the ‘history repeating itself’. During the time of Rehoboam the son of Solomon, after the division of the kingdom of Israel (), Shisak the king of Egypt plundered the temple in Jerusalem () and this event has a similar pattern in this chapter when Jehoash the king of Israel plundered the temple and broke down a large portion of the walls of the city of Jerusalem (). Another parallel commences at the end of the chapter when another Jeroboam started to reign in Israel and the subsequent chapters reveal a ‘providential chronological and historical symmetry’ with the first Jeroboam.
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With Thoma Ionescu, Rector of the University of Bucharest, campaigning among academics, and with Take Ionescu maintaining contacts with the PNL minister Alexandru Constantinescu-Porcu, the Entente supporters were becoming increasingly influential by 1915. In late 1914, they successfully replaced the leadership of the Cultural League with a panel of Acţiunea Naţională members. British 1916 poster based on a Punch cartoon, welcoming Romania's decision to enter the war (depicting an allegoric debate between German Emperor William II and Romania's Ferdinand I) Eventually, after the Bucharest agreement was sealed, recognizing Romanian demands in front of the Entente, Brătianu approved of entering the conflict and agreed to declare war on the Central powers. On 7 August 1916, the matter was communicated to political leaders in a Crown Council held at Cotroceni Palace in Bucharest; Ionescu, who was visiting Sinaia together with the American military attaché Halsey E. Yates, rushed back to the capital after being invited by Constantinescu-Porcu.
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The statue of Adam Mickiewicz, the greatest Polish Romantic poet of the 19th century, was unveiled on June 16, 1898, on the 100th anniversary of his birth, in the presence of his daughter and son. It was designed by Teodor Rygier, a little- known sculptor at the time, who won the third and final competition for this project by popular demand ahead of over 60 artists in total, the renowned painter Jan Matejko included. Even though the first prize was awarded to famed Cyprian Godebski, professor at the Imperial Academy of Arts in St. Petersburg from Paris, with Rygier at a close second, for the final execution a more popular design by Rygier was accepted with a contract signed in November 1889. At the poet's feet are four allegoric groups symbolising the Motherland (from the face of the monument along Sienna Street), Science (facing north), Courage (facing Sukiennice Hall) and Poetry (facing Church of St. Wojciech, south).
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She played light comedies at The Théâtre des Variétés; the role of her lifetime there was the Venus Anadyomene, posing naked on her shell; at the Théâtre du Châtelet, she also played Offenbach's féeries. In 1874, after becoming a high-class prostitute, she met Thomas W. Evans, an extremely wealthy American dental surgeon who tended to many high-profile people, and even royal families. He made her his mistress and helped her settle down at 52, rue de Rome, where she held her “salon”, hosting all of the Parisian artistic avant-garde. Through this occasion, she became the mistress of Francois Coppée, Stéphane Mallarmé, Antonin Proust, as well as Edouard Manet's mistress and model. When Laurent died, she bequeathed her wealth to Victor Margueritte, her last favorite and “protégé”, with the exception of her allegoric portrait of Autumn (a painting by Manet, begun in 1882), which went to the Museum of Fine Arts of Nancy.
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The Destruction of Jerusalem was a copy of an earlier oil painting, much admired by Friedrich Wilhelm I of Prussia, which was by then already in the collection of Ludwig I of Bavaria. These major tableaux, severally 30 feet long, and each comprising over one hundred figures above life-size, were surrounded by minor compositions making more than twenty in all. The idea was to congregate around the world's historic dramas the prime agents of civilization; thus here were assembled allegoric figures of Architecture and other arts, of Science and other kingdoms of knowledge, together with lawgivers from the time of Moses, not forgetting Frederick the Great. The chosen situation for this imposing didactic and theatric display was the Treppenhaus or grand staircase in the Neues Museum, Berlin; the surface was a granulated, absorbent wall, specially prepared; the technical method was that known as "water-glass," or "liquid flint," the infusion of silica securing permanence.
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Her statements were not conformable to those of her father, Lieutenant-Colonel Étienne- Théodore Pâquet Jr.,Son of Étienne-Théodore Pâquet, a provincial MLA. who on March 3, 1939, wrote in a letter to John Samuel Bourque, Tâché's son-in-law, and Minister of Public Works, that "the one who synthesized in three words the history and traditions of our race deserves to be recognized" as much as Routhier and Lavallée who composed the "O Canada". The origin of the second part is today known to be a second motto, created by the same Eugène-Étienne Taché, many years after the first one, and originally destined to be used on a monument honouring the Canadian nation, but which was never built. The monument was to be a statue of a young and graceful adolescent girl, an allegoric figure of the Canadian nation, bearing the motto: "Née dans les lis, je grandis dans les roses / Born in the lilies, I grow in the roses".
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This contains heraldic charges representing the attributes of the institution, the most common being: cross (representing God and the support to the sick during their life), skull and crossed bones (representing spiritual comfort given in death), the legend "MIZA" (old abbreviation for misericórdia "mercy"), the allegoric figure of the Mercy, the image of Our Lady and images of Saints. The two shields are usually oval and represented in a cartouche, surrounded by a laurel wreath and frequently topped by the Portuguese royal crown (representing the royal tutelage of the misericórdias since their foundation). After the implantation of the republic, some misericórdias opted by less "monarchic" achievement, eliminating the royal crown and instead placing the two shields in courtesy over the armillary sphere of the present Portuguese coat of arms. Besides this, many variations occur, like the representation of the arms of the misericórdia and of Portugal in the same shield parti per pale, or the replacement of the arms of Portugal by those of the local municipality.
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The play presents the hopeless efforts of emperor Constantine XI Palaiologos and his Genoese mercenaries to defend the city against the Ottoman assailants. However, because of the superior forces their enemies and, even more, because of the internal conflicts of the Byzantine commanders and due to a succession of betrayals, the city is finally conquered by the Turks. The author paints a decadent Byzantium, the main characteristic being the loss of moral values, where only the personal interest is taken into account. Though some critics considered that the play presents a symbolic message regarding the conditions which lead to the disappearance of several states in the first half of the 20th century, such an allegoric interpretation is difficult to accept for a work published in 1904, especially as the play does not include any references, phrases or situations which could justify such an interpretation. The play does contain some aphorisms, like the one stating: ”Each nation dies the moment it starts to dig its own grave”.
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One of the first major festivals of the year in Madeira, apart from the Dia dos Reis, the Madeira carnival is known as one of the best in Europe. Traditionally, there are two main carnival parades in Madeira, which are very different from each other. The allegoric parade, which takes place always on the Saturday of the Carnival weekend, is the more sophisticated one and needs a great deal of commitment and organisation from all the groups and the people involved. Numerous samba groups with thousands of participants in magnificent and colourful costumes dance to electrifying samba music through the streets of Funchal, spreading an ambiance evoking the Rio Carnival. The second parade, called ‘trapalhão’, is older and used to occur all over the island, now it floods the streets of the city centre with thrilling joy on Terça-feira Gorda, ending the Carnival period. In this parade everybody can take part and the – sometimes quite daring – costumes and depicted caricatures are left to the participants’ own imagination.
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Thus where Toland's term referred to pan- (all) and -theism (god), Higgins refers to Pande- (a root indicating this family of gods) and -ism, a wholly English construction indicating allegiance to an ideology. The term related by Higgins refers to a secret sect of worshipers of these "Pans", which was left in the wake of the collapse of an ancient empire that stretched from Greece (the home of Medea and Perseus) to India (where the Buddhists and the Brahmins coexist). Higgins concludes that his observations: While worthy of note, the above discussion is an example of what Higgins tries to present in his work: that religious scripture is written in a manner to confuse rather than clarify. The exhaustive discussion above comparing "Pandeism" and "Pantheism", while valid, fails to disclose the main emphasis of his effort, which is to show that all religions are the same and from a lost, antediluvian, original source in which all characters are allegoric representations of the zodiac with the primary deity being the sun.
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An example of such intellectual catholicity was set by Anatoli himself; for, in the course of his "Malmad," he not only cites incidentally allegoric suggestions made to him by Frederick II., but several times—Güdemann has counted seventeen—he offers the exegetic remarks of a certain Christian savant of whose association he speaks most reverently, and whom, furthermore, he names as his second master besides Samuel ibn Tibbon. This Christian savant was identified by Senior Sachs as Michael Scot, who, like Anatoli, devoted himself to scientific work at the court of Frederick. Graetz even goes to the length of regarding Anatoli as identical with the Jew Andreas, who, according to Roger Bacon, assisted Michael Scot in his philosophic translations from the Arabic, seeing that Andreas might be a corruption of Anatoli. But Steinschneider will not admit the possibility of this conjecture, while Renan scarcely strengthens it by regarding "Andreas" as a possible northern corruption of "En Duran," which, he says, may have been the Provençal surname of Anatoli, since Anatoli, in reality, was but the name of his great-grandfather.
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His editorial work with elite fashion and beauty companies, utilizing his own proprietary methods in pearly light imaging, resulted in a demand for his specialized services to elevate the beauty of top models such as Anja Rubik, Irina Pantaeva, Olga Pantushenkova, Tanja, Ruta Palionyte, Talytha Pugliesi, Angelica Boss, Zdenka Barkalova, Fatima Siad, Gabriela Gubert, Fatima Siad among others. Thomas was commissioned as sole photographer for the inauguration of the Chanel Group to create the portraits of Chanel Group, the portrait of Mr François Lesage, Isabel Marant, Anne Valérie Hash, Jérôme Dreyfus, Eymeric François and Franck Sorbier. Beyond the setting of advertisings, Thomas also worked on other commercial projects including directing TV advertisings and music videos: "Steps in the Dark", Paul Richard Thomas, Tomoe Films "Awake but half Dead", "Save your Soul", and more. Through his worldwide exhibitions and the multi publications about his work including the photography book (Paul Richard Thomas, Genese), he contributes to inspire the new photography stream, his images bringing a pure, allegoric and graphic concept to the fashion world.
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Following their appearance, Thomas Gray commented in a letter that each poet "is the half of a considerable Man, & one the Counter-part of the other. [Warton] has but little Invention, very poetical choice of Expression, & a very good Ear; [Collins] a fine Fancy, model'd upon the Antique, a bad Ear, a great variety of Words & Images, with no Choice at all. They both deserve to last some years, but will not."Hysham, Julia, "Joseph Warton's Reputation as a Poet", Studies in Romanticism, vol. 1.4, 1962, [www.jstor.org/stable/25599562, cited on p.220] Moreover, their new manner and stylistic excess lent themselves to burlesque parody and one soon followed from a university miscellany in the shape of an "Ode to Horror: In the Allegoric Descriptive, Alliterative, Epithetical, Fantastic, Hyperbolical, and Diabolical Style".The Student. Or, the Oxford and Cambridge Monthly Miscellany 2 (1751) pp.313-15 Rumour had it even then that the culprit was Joseph Warton’s brother Thomas, and his name was coupled with it in later reprintings.
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To make his intention clear, Louis XIV organised a festival in the carrousel of the Tuileries in January 1661, in which he appeared, on horseback, in the costume of a Roman Emperor, followed by the nobility of Paris. Louis XIV completed the Cour carrée of the Louvre and built a majestic row of columns along its east façade (1670). Inside the Louvre, his architect Louis Le Vau and his decorator Charles Le Brun created the Gallery of Apollo, the ceiling of which featured an allegoric figure of the young king steering the chariot of the sun across the sky. He enlarged the Tuileries Palace with a new north pavilion, and had André Le Nôtre, the royal gardener, remodel the gardens of the Tuileries. Across the Seine from the Louvre, Louis XIV built the Collège des Quatre-Nations (College of the Four Nations) (1662–1672), an ensemble of four baroque palaces and a domed church, to house students coming to Paris from four provinces recently attached to France (today it is the Institut de France).
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Pier Augusto Breccia was born in Trento, in North-Eastern Italy, on April 12, 1943. His father's family had originated from a small Umbrian village, Porano, in Central Italy, to where his mother, Elsa Faini from Trento, had moved towards the end of WW II. Pier Augusto's parents were both clinicians: Elsa was a chief operation theatre nurse, and his father Angelo was a surgeon. When Pier Augusto was five, his family moved from Porano to Rome, where Pier Augusto spent most of his life. Breccia attended the senior high school “Liceo Classico Giulio Cesare” in Rome, where he developed his lifelong love of humanities. His learning was precocious at a young age: at fourteen he studied Dante’s Divine Comedy, unaided, whose allegoric representations fascinated the young Pier Augusto for their artistic value. Soon afterwards, he discovered the Classics and translated Sophocles' “Antigone” and “Prometheus Bound” by Aeschylus, from Ancient Greek to Italian in blank hendecasyllabics. Still in his adolescence, he also translated Plato's “Dialogues”, which introduced him to Socrates, one of his great teachers. At the age of eighteen, Breccia graduated from high school with top marks.
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The feasting of the Order occurred weekly and continued throughout the winter until the last of March, only to recommence annually in the Fall. The first toast of the Order made by the Baron de Poutrincourt: Quoting Lescarbot, the French historian François-Edme Rameau de Saint-Père writes: > Poutrincourt returned from his excursion on the 14th November, 1606; > Lescarbot, who was always full of ideas, and who knew, no doubt, the useful > part to be obtained by exterior demonstrations, foresaw to prepare for his > honor a quasi- triumphal return from his voyage; Nature itself has already > furnished the principle [sic] initiative, and advantage of it had been > taken, everywhere were decorations and garlands of natural green; a > magnificent forest hid the rusticity of wooden buildings and huts; even a > theatre was built where allegoric scenes were represented; there was a > feast, a discharge of musketry, and as much noise as could be made by some > fifty men, joined by a few Indians, whose families served as spectators. In 1606, there were less than 70 men at Port-Royal. Lescarbot states that, in total, about 50 Frenchmen, joined by Indians, participated in the welcoming home of Poutrincourt and the first gathering of the Order.
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