73 Sentences With "shepherdesses" | Random Sentence Generator

In "Osiris," shepherds and shepherdesses (notice a theme) await the birth of the god Osiris.

The irony that she and her ladies-in-waiting were cosplaying as milkmaids and shepherdesses when outside the palace walls people were starving was not lost on the revolutionaries.

Pastoral is also, as Hadley reminds us, the pre-eminent form of erotic encounters, in which the great god Pan swoops down on nymphs, and generations of shepherds and shepherdesses tryst in tumbledown cottages.

The artists of the Salon de la Rose+Croix painted lovesick Orpheuses, busty femmes fatales and virginal shepherdesses, all in the service of the salon's dubious mystic founder, Joséphin Péladan, an author with a taste for high drama and white robes.

Around the time Cézanne and van Gogh were down in Provence analyzing apples and mountains, the artists of the Salon de la Rose+Croix painted lovesick Orpheuses, busty femmes fatales and virginal shepherdesses, all in the service of the salon's dubious mystic founder, Joséphin Péladan, an author with a taste for high drama and white robes.

She herself held a banquet in a meadow at the château's dairy, where her courtiers dressed as shepherds and shepherdesses.

But he is then deceived by another group of demons disguised as shepherds and shepherdesses, who disarm him and lead him into the fortress.

Cupid addresses assorted shepherds and shepherdesses, accusing them of infidelity, and invites them to enjoy true pastoral pleasures. This short scena is preceded by a French overture.

Michel Angelo Immenraet painted allegorical, history, religious and genre scenes as well as portraits. Aside from the painting cycle in the Unionskirche, Idstein not many of his works are known. The earliest known work by him is the Double portrait of Odila en Phillipine van Wassenaer as Shepherdesses of 1661 ('Hofje van Nieuwkoop', The Hague). The portrait depicts the two young governesses of het 'Hofje van Nieuwkoop' as shepherdesses in an Arcadian landscape.

A delightful valley Ariodante and Ginevra enjoy the beauties of nature and each other's company (Duet: Se rinasce nel mio cor). They are joined by shepherds and shepherdesses (Duet with chorus:Si godete al vostro amor) who dance to entertain them (Ballet).

In 1872 at the Milan Exposition, he displayed, a number of half-figure portraits. At the 1883 Rome Exposition, he displayed Two Shepherdesses, an Idyll.Dizionario degli Artisti Italiani Viventi: pittori, scultori, e Architetti, by Angelo de Gubernatis. Tipe dei Successori Le Monnier, 1889, page 418.

Shepherdesses tending their flock Jan Baptist Wolfaerts was a specialist landscape painter who is known for his Italianate landscapes with figures. His early works included italianate townscapes. His principal subject was pastoral landscapes with shepherds and their herds. Such landscapes would on occasion include depictions of Italianate buildings.

190, Routledge & Kegan Paul, Lond, Henly and Boston (1988). Marian did not immediately gain the unquestioned role; in Robin Hood's Birth, Breeding, Valor, and Marriage, his sweetheart is "Clorinda the Queen of the Shepherdesses".Holt, p. 165 Clorinda survives in some later stories as an alias of Marian.

They were both said to be very talented amateur actors. Marie Antoinette played milkmaids, shepherdesses, and country ladies, whereas Charles played lovers, valets, and farmers. A famous story concerning the two involves the construction of the Château de Bagatelle. In 1775, Charles purchased a small hunting lodge in the Bois de Boulogne.

Lissius and Simeana join Musella, but Simeana quickly leaves, suddenly angry. Simeana begins to distrust Lissius' vows of love, saying that he made the same vows to Climeana. Musella convinces Simeana to trust Lissius, and they make up. More shepherds and shepherdesses enter, and they decide to play a game of riddles.

Several of the shepherds and shepherdesses witness Forester being rejected by Silvesta, who explains to him her vow of chastity to Diana. Arcas enters and asks the other characters to draw fortunes that he brought. Philisses leaves and is followed by Lissius. When Lissius catches up to him, Philisses reveals his fear that Musella's love lies with Lissius.

Giuseppe Laguidara (16971742) was an Italian sculptor of the Baroque period, active in his native Naples. He became a pupil of Lorenzo Vaccaro. He is described as sculpting figures of shepherds and shepherdesses for church nativity scenes (presepi). He was called to restore statues for the Neapolitan King, but due to an "exotic nature" he lost this employment.

Following a pastoral interlude, shepherds and shepherdesses enter and dance with Tiresias. Her lover appears, and they dance a climactic pas de deux. Then there is a bacchanale celebrating their happiness, at the end of which two snakes enters, engaged as before. Tiresias strikes the male snake with her staff, and is restored to his original self.

Still accompanied by Jacomo the valet, Don John and his friends also escape and kidnap some shepherdesses after battling with the shepherds. On their way, they find the statue of the Commander murdered by Don John who forces his valet to invite it to dine. The statue accepts, attends the dinner as a ghost and returns the invitation to the foursome.

The queen hears a song being sung beautifully, and seeks out its source. It turns out to be one of the shepherdesses (that they were warned about) who seeks to befriend Princess Hebe. Her name is Rozella. Hebe invites her new friend to the grove, against her mother's wishes as they had been asked never to bring anyone into Sybella's forest.

182-184 He learned from his master to adequately imitate the palette of Murillo. Father Isidoro de Sevilla, a capuchin missionary, commissioned from him a Virgin in shepherd dress. This painting brought him fame and many similar requests. He so frequently painted the Virgin Mary as a shepherdess that he was called the “painter of shepherdesses ('el pintor de las pastoras').

Gavaudan composed two pastorelas customarily dated to around 1200: Desamparatz, ses companho and L'autre dia, per un mati. They are one of the earliest and best examples of a subgenre of pastorela that, picking up on the themes of the earliest pastorelas, in which quaint shepherdesses were easily seduced by noble men, and those of Marcabru and his school, wherein the witty shepherdesses rebuff the oafish knights, intermingled the two earlier themes into one, in which the shepherdess and the knight fall in love. In Gavaudan, the knight and the shepherdess turn to each other in retreat from the dreariness of their normal lives and their love is true, but not courtly love. Gavaudan perceived himself as an innovator, as his poem Ieu no sui pars als autres trobadors ("I am not like other troubadours") indicates.

The setting is 1588. Britannia, in an attitude of dejection, is alone on stage, dreading the approaching military might of Spain. Various friendly beings, including the "Genius of England", Peace, Liberty, Neptune, and various shepherds and shepherdesses, attempt to invigorate her; eventually her morale improves sufficiently that the group can defend their nation from the approaching Spanish Armada. A war march precedes the climactic battle at sea.

Alexander Barclay, writing in c. 1500, refers to "some merry fytte of Maid Marian or else of Robin Hood". Marian remained associated with May Day celebrations even after the association of Robin Hood with May Day had again faded. The early Robin Hood is also given a "shepherdess" love interest, in Robin Hood's Birth, Breeding, Valor, and Marriage (Child Ballad 149), his sweetheart is "Clorinda the Queen of the Shepherdesses".

The rest of the shepherds and shepherdesses arrive at the temple. They grieve for Philisses and Musella. Musella's mother reveals that Arcas told her Musella wantonly sought Philisses' love, which is what coerced her into forcing Musella into marrying Rustic. Later, Silvesta is about to be burned at the stake for the deaths of Philisses and Musella when Forester enters and offers to take her place, which Silvesta accepts.

According to Islamic tradition, after Musa arrived in Midian, he witnessed two female shepherds driving back their flocks from a well. Musa approached them and inquired about their work as shepherds and their retreat from the well. Upon hearing their answers and the old age of their father, Musa watered their flocks for them. The two shepherdesses returned to their home and informed their father of the incident.

Scene: a wood with views of the countryside; a hamlet in the distance The shepherd Lisis laments his unrequited love for Délie. Délie offers him only friendship, saying love is merely a fleeting passion. Lisis arouses her jealousy by pretending he has fallen for another shepherdess, Alcyone. Lisis arranges a festival in honour of Alcyone in which the shepherds and shepherdesses play the roles of the gods of the countryside.

ACT 1 Scene 1 - A forest glade. In the background is the cave of Pythia of Sardis The kings and people of Lydia come to this spot to question the oracle as to the future. At the rise of the curtain, peasants, shepherds and shepherdesses come to rest on the grass after their toil. Among them is a shepherd called Gyges, who plays on his pipe and induces the company to dance.

It is set on the Greek isle of Lesbos, where scholars assume the author to have lived. Its style is rhetorical and pastoral; its shepherds and shepherdesses are wholly conventional, but the author imparts human interest to this idealized world. Daphnis and Chloe resembles a modern novel more than does its chief rival among Greek erotic romances, the Aethiopica of Heliodorus, which is remarkable more for its plot than for its characterization.

The master of ceremonies announces a tableau of shepherdesses. Liza slips Herman the key to her grandmother's room, saying the old woman will not be there the next day, but Herman insists on coming that very night. Thinking fate is handing him the Countess's secret, he leaves. The guests' attention turns to the imminent arrival of Catherine the Great, for which a polonaise by Osip Kozlovsky is played and sung in greeting.

Mercury pledges his constancy and together they sing of renewed vows. Jupiter's approach reminds Mercury that he has been sent to the grotto to prepare a pastoral setting for Jupiter and Semele to enjoy. Shepherds and shepherdesses sing and dance for the couple. Jupiter tries to persuade Semele to forget his grandeur and dream of his tenderness, but she cannot quiet her doubts and demands that he appear in his full splendor.

Jean Siberechts at the Biographie Nationale de Belgique, Volume 22, pp. 372–375 He developed a personal style of painting landscapes, which impressed George Villiers, 2nd Duke of Buckingham when he visited Antwerp in 1670. The Duke invited the artist to England. Pasture with sleeping shepherdesses Siberechts arrived in England around 1672 and spent the first three years in England painting decorations in the Duke’s newly built Cliveden House at Taplow, Buckinghamshire, England.

Economic change in industrial France after 1850 dramatically increased emigration to attractive areas or major cities and the northern areas, causing an exodus compounded by the population decline of the world wars. Caussade, did not avoid the demographic decline . The Straw Hat industry was born from a cottage industry, using "pailloles" braided by shepherdesses of sheep as straw hats. Gathered at Caussade and Septfonds the pailloles are sewn and are used to make hats.

Francisco Rodrigues Lobo (1580 – 4 November 1622), sometimes called the Portuguese Theocritus, was a Portuguese poet and bucolic writer. He was born of rich and noble New Christian parents in Leiria, reading philosophy, poetry and writing of shepherds and shepherdesses by the rivers Liz and Lena. He studied at the University of Coimbra and took the degree of licentiate about 1600. He worked for the Duke of Vila Real, probably being his sons' teacher.

Marin le Roy, sieur du Parc et de Gomberville (1600 – 14 June 1674) was a French poet and novelist. He was born at Paris, and at fourteen he produced a volume of poetry. At twenty he wrote a Discours sur l'histoire and at twenty- two a pastoral, La Charité, which is really a novel. The characters, though disguised as shepherds and shepherdesses, represent real people for whose identification the author himself provides a key.

Venus is upset because of the shepherds' and shepherdesses' apparent recent lack of attention towards her, and orders her son Cupid to make them victims to his will. In doing so, she hopes to regain their reverence. Philisses is soon affected by Cupid's arrows, and forlornly swoons for Musella, whom he loves, but who he believes loves Lissius. Lissius recognises Philisses's anguish as heartache, and vows never to fall victim to it.

Scene I. The daughters of Mne Seraphim are all shepherdesses in the Vales of Har, apart from the youngest, Thel. She spends her time wandering on her own, trying to find the answer to the question that torments her: why does the springtime of life inevitably fade so that all things must end? She meets the Lily of the Valley who tries to comfort her. When Thel remains uncomforted, the Lily sends her on to ask the Cloud.

Michel Ocelot's television series Bergères et dragons (Shepherdesses and Dragons), which, as of March 2008, is still in development, uses a mixture of 2D and 3D computer animation to simulate the look of his earlier, analogue silhouette animation. However, traditional, cutout silhouette animation is still practised to this day by such people as Edward S. de Leon and Reza Ben Gajra, where it is often combined with other forms of stop motion animation such as Lumage.

Charmes de la vie champêtre by François Boucher. The musette, a drone reed instrument, gave its name to the popular eighteenth century pastoral dance evoking shepherds and shepherdesses. 600px The elegiac musette in E major is the crowning glory of the concerto, praised by the contemporary commentator Charles Burney, who described how Handel would often perform it as a separate piece during oratorios. In this highly original larghetto, Handel conjures up a long dreamy pastoral of some 163 bars.

A Woman with a Rose by Winslow Homer She was the owner of the watercolor on paper A Woman with a Rose by Winslow Homer, ca. 1879, donated in 1938 to the San Diego Museum of Art. She also owned the watercolor Shepherdesses Resting (1879) and the drawing The Shepherdess (1878). In December 1879 at an auction held by William A. Butters and Company, she bought Man with Plow Horse, currently on loan to the Chicago Art Institute.

Love's Victory begins with the goddess Venus commanding her son Cupid to cause a group of shepherds and shepherdesses in Cyprus heartache and suffering for not showing her enough reverence. The action then shifts to how Cupid has affected the various characters. After a series of misunderstandings and deceptions among the characters, Venus and Cupid show themselves and reveal their work in achieving, in the end, "Love's Victory." Venus's priests act as a chorus throughout the play.

On the first day of Lathmar Holi, gops (shepherds) from Nandgaon come to Barsana to play Holi with the gopis (shepherdesses) of Barsana. The festival begins with a ceremony at the Radha Rani temple. After this ceremony gops then march out of the temple on the Rang Rangeeli Gali where they stop to play holi with the gopis, who stand in groups along the street. The second day gops from Barsana go to Nandgaon to play holi with gopis at Nandgaon.

An Architectural Fantasy at the National Gallery of Art The inclusion of these discordant elements undermining the country idyll set van der Heyden apart from his contemporary Gerrit Berckheyde. Various of his compositions include out-of-place statuary, stray farm animals or even urban shepherdesses, which add a feeling of anomaly and contradiction. These elements contribute to the feeling of modernity typical for his works. Only one painting known as the Triumph of Mordecai (Staatliches Museum Schwerin), depicts a history scene.

It is one of many paintings by Bouguereau depicting shepherdesses, including one of the same name created in 1881. The subject is a model employed by Bouguereau for this and other paintings, including The Bohemian. The Shepherdess is currently in the permanent collection at the Philbrook Museum of Art in Tulsa, where it has become an emblematic image for the museum. It was the central image of a travelling exhibition about Bouguereau and his students that Philbrook created in 2006.

Shepherds and shepherdesses have been frequently immortalized in art and sculpture. Among the best known is the neoclassical Danish sculptor Bertel Thorvaldsen's Shepherd Boy with Dog. In the poem "The passionate shepherd to his love", by Christopher Marlowe, a shepherd is depicted as a partaker of rural paradise, and capable of giving things worth more than that a town resident could give. In the Latin American literary classic Empire of Dreams (Yale, 1994) by Giannina Braschi, shepherds invade the city of New York in a pastoral revolution.

They decide that what they need is pipes so that when they meet the other shepherds and shepherdesses they can join in the dances; Pan throws a flute in the lap of Daphnis, but it won't play for him. Pan mocks the innocent lovers. When Chloé rushes off to her flock Pan pursues her while Daphnis tries to dream of her. The bacchantes return and prevent Daphnis from leaving; they convince him that the way to cure his lovesickness is to take a mistress.

38-42 and Gabrielle-Suzanne Barbot de Villeneuve, the author of Beauty and the Beast.Terri Windling, Beauty and the Beast The stories tended to vary from the folk tradition, for example the characters were made to be of genteel origin.Paul Delarue, The Borzoi Book of French Folk-Tales, p xi, Alfred A. Knopf, Inc., New York 1956 Whilst the heroes and heroines of fairy tales written by the précieuses often appeared as shepherds and shepherdesses, in pastoral settings, these figures were often secretly royal or noble.

Women also help with dystocias and the manual removal of ectoparasites. Another study is that of the Tzotzil Maya shepherdesses who developed their own breed of sheep and have their own husbandry and healthcare system based on their traditions (Perezgrovas, 1996). In research conducted in Trinidad it was noted that male farmers were using the reproductive knowledge of their female relatives to assist in the health care of their ruminants. Female farmers were using the same plants for their animals that they used for themselves (Lans, 2004).

The Diana begins with a summary of previous events, telling us that the shepherd Sireno is in love with the shepherdess Diana. She once returned his love, but when Sireno was called away from their village, she was married to another shepherd named Delio. The story begins with Sireno's return after a year's absence, having already learned of Diana's marriage. Over the course of the first three books, Sireno encounters other shepherds and shepherdesses who sing songs and tell stories of their own experiences with frustrated love.

The rich children go to the ball dressed as shepherdesses and chimney sweeps and goose girls while the poor children dress as princesses and fairies. After the extravagant party, the happy children head home but as their parents try to remove their costumes they find that the clothing keeps fixing itself and will not come off. The next morning, after letting the children sleep in their costumes, the parents still can’t remove the clothing. Even worse, the children truly believe that they are the character they’re dressed as.

Among these, the song of Caliope, in the last book of the Galatea, stands out. In the same manner as Gil Polo in his Diana, he makes the river Turia pronounce the praises of the celebrated Valencians. The poetic fancy of Cervantes summons the muse Calliope before the shepherds and shepherdesses, to render solemn homage to those contemporaries whom he esteems worthy of distinction as poets. The most beautiful poems in the Galatea are a few in the cancion style, some of which are iambics, and some in trochaic or Old Spanish verse.

The shepherds and shepherdesses become the beggars and whores, the sun overhead is replaced by the clock on the church, the snow-capped mountains become the snowy rooftops. Even the setting of Covent Garden with piles of fruit and vegetables echoes the country scene. In the centre of the picture the icy goddess of the dawn in the form of the prim churchgoer is followed by her shivering red-nosed pageboy, mirroring Hesperus, the dawn bearer. The woman is the only one who seems unaffected by the cold, suggesting it may be her element.

The Seven Books of the Diana (Spanish: Los siete libros de la Diana) is a pastoral romance written in Spanish by the Portuguese author Jorge de Montemayor. The romance was first published in 1559, though later editions expanded upon the original text. A sixteenth-century bestseller, the Diana helped launch a vogue for stories about shepherds, shepherdesses, and their experiences in love. One of its most famous readers was William Shakespeare, who seems to have borrowed the Proteus-Julia-Sylvia plot of The Two Gentlemen of Verona from Felismena's tale in the Diana.

Ocelot had many more ideas for stories in this format, but the series was not as successful as he had expected and no further episodes than the initial eight were commissioned. A few years later, three of these stories were made into the TV special Tales of the Night (Les Contes de la nuit in French); in 2008 he returned to direct another ten of them as another television series, Bergères et dragons (Shepherdesses and Dragons), this time using computer animation to imitate the silhouette animation of Ciné si and Les Contes de la nuit.

It had prepared for the dauphiness the splendours it had displayed 25 years before for the journey of Louis the Well-beloved. (...) Three companies of young children from twelve to fifteen years of age, habited as Cent-Suisses, formed the line along the passage of the princess. Twenty-four young girls of the most distinguished families of Strasbourg, dressed in the national costume, strewed flowers before her; and eighteen shepherds and shepherdesses presented her with baskets of flowers. (...) :On the following day (May 8, 1770) Marie Antoinette visited the cathedral.

More significantly, there is a sense of unease hanging over the whole collection.Morris "Generation" Traditional values – myths, religion, convention – are found wanting, but more modern values such as speed, freedom and iconoclasm are also found to be hollow. The nymphs, shepherdesses and mythological figures of renaissance and Baroque poetry are brought into contact with department stores and other aspects of modern life only to appear banal. There is a sense in this collection that Alberti is writing in this collection as himself, not as the sailor, the troubadour or the tourist of his earlier books.

It is also increasingly argued that the term "motet" could in fact include certain brief single-voice songs. The texts of upper voices include subjects as diverse as courtly love odes, pastoral encounters with shepherdesses, political attacks, and many Christian devotion, especially to the Virgin Mary. The vast majority of medieval motets are anonymous compositions, and there is significant re-use of music and text. They are transmitted in a number of contexts, but were most popular in northern France and Paris; the largest surviving collection is in the Montpellier Codex.

In 2014, the Italian Gardens received four new statues which were purchased by the council to replace the shepherd and shepherdesses. The second hand granite statues were bought from a reclamation yard and they represent the four seasons. Initial designs, for the art deco cafe, outlined a four-storey social centre which was designed to look like a country mansion. Due to financial strains this was re-designed, as it now stands, as a cafe in an art deco style which was designed to appear larger than it was.

The couple had no children. Coques worked for Antwerp's wealthy bourgeoisie as well as for aristocratic patrons such as governor Juan Dominico de Zuniga y Fonseca, John of Austria the Younger, Frederick William, Elector of Brandenburg and Frederick Henry, Prince of Orange. Coques enjoyed the patronage of the Dutch court in The Hague possibly because his paintings in the style of van Dyck and featuring scenes with shepherds and shepherdesses appealed to the courtly tastes of the time.Hans Vlieghe, Constantijn Huygens en de Vlaamse schilderkunst van zijn tijd, in: De zeventiende eeuw.

Similarly, the heroes and heroines of fairy tales written by the précieuses often appeared as shepherds and shepherdesses in pastoral settings, but these figures were royal or noble, and their simple setting does not cloud their innate nobility.Lewis Seifert, "The Marvelous in Context: The Place of the Contes de Fées in Late Seventeenth Century France", Jack Zipes, ed., The Great Fairy Tale Tradition: From Straparola and Basile to the Brothers Grimm, pp. 920–1, In Hans Christian Andersen's "The Shepherdess and the Chimney Sweep" (1845), the porcelain shepherdess carries a gilt crook and wears shoes of gilt as well.

The grandeur he bestowed on his sitters evokes the work of the Italian painter Guido Reni and the 17th-century Bolognese school. Huysmans painted many of his female sitters as shepherdesses with clothing embellished with embroidery and jewellery. He also often depicted female sitters as religious or classical figures. Three renderings of ladies in the role of the Roman goddess Diana by his hand are known: the Lady Elizabeth Pope as Diana (Canons Ashby, Northamptonshire), Elizabeth Cornwallis, Mrs Edward Allen, as Diana the Huntress (National Trust, Hatchlands) and Portrait of an unknown lady as Diana (Tate Britain).

The Careless Shepherdess conforms to many of the conventions of the pastoral form as it existed in the years and decades after Sir Philip Sidney's Arcadia. "The play is not lacking in inventiveness, as, for example, the scene in which a threatened duel between two shepherds is frustrated by the threat of the shepherdesses involved to fight the duel themselves; and in that of the carrying off of all the characters by a tribe of satyrs, led by a banished shepherd turned outlaw."Felix Emmanuel Schelling, Elizabethan Drama 1558-1642, Boston, Houghton Mifflin, 1908; Vol. 2, p. 169.

If decorated during the Baroque era, the rooms would be profusely ornamented. Walls were frequently mirrored, the mirrors inset into gilded frames in the walls, often alternating with paintings similarly framed, while moulded nymphs and shepherdesses decorated the spaces between. Ceilings were high and frescoed, and from the ceiling hung huge coloured chandeliers of Murano glass, while further light came from gilded sconces flanking the mirrors adorning the walls. One of the most notable rooms in this style is the Gallery of Mirrors in Palermo's Palazzo Valguarnera-Gangi (Illustration 16), a building described as "Sicily's most famous palazzo".

Bouguereau found and borrowed twelve of his paintings from their owners, including his new work Nymphaeum. Bouguereau was a staunch traditionalist whose genre paintings and mythological themes were modern interpretations of Classical subjects, both pagan and Christian, with a concentration on the naked female form. The idealized world of his paintings brought to life goddesses, nymphs, bathers, shepherdesses, and madonnas in a way that appealed to wealthy art patrons of the era. Bouguereau employed traditional methods of working up a painting, including detailed pencil studies and oil sketches, and his careful method resulted in a pleasing and accurate rendering of the human form.

At which point she hastened to the very woods she now occupied, which magically act as a safe haven repelling all who would do her harm. After finishing her story, Sybella offers to bestow Princess Hebe with any blessing the queen might desire, trusting to the queen's experience to only desire good. The queen asks Sybella to endow Hebe with the wisdom to see the value of the things around her, and to always follow goodness. She blesses Hebe and warns her to not trust any of the shepherdesses around the forest, as they are agents of Brunetta and wish Sybella and her friends no good.

Melissa summons the ghost of Dardano to assist her in her revenge, but the ghost says that the gods are predisposed to protect Amadigi and Oriana, and that their trials are nearly done. Rejected on all levels, by the gods, the underworld spirits and Amadigi, Melissa takes her own life, with one final plea to Amadigi to feel a shade of pity for her. In the manner of a deus ex machina, Orgando, uncle of Oriana and a sorcerer himself, descends from the sky in a chariot and blesses the union of Amadigi and Oriana. A dance of shepherds and shepherdesses concludes the opera.

The simplicity and high waistline of the garment would lay the foundations for Regency/Empire fashion in the later decades during and after the Revolution. The Queen would often wear a straw Bergère hat and a fichu alongside a Polonaise gown; the term Polonaise referring to the dress of Polish shepherdesses who would hoist and drape their overskirts in two or three loops in order to keep their dress clean while farming. Marie Antoinette's wardrobe was generally imitative of the peasantry of the period. The place was completely enclosed by fences and walls, and only intimates of the Queen were allowed to access it.

Next morning detainees stood before the Lord Mayor and were committed to workhouse, but before were ordered to walk through the streets on the way in their bizarre look:"Some were completely rigg'd in gowns, petticoats, head cloths, fine lac'd shoes, furbelow scarves, and masks. Some had riding hoods; some were dressed like shepherdesses, others like milkmaids with fine green hats..." etc. Some time later they were released after Hitchen's application to the Lord Mayor having been threatened by one of them for his previous adventures with them. The experience appeared too humiliating for one of them and in few days he died after the release.

Pastoral poems are set in beautiful rural landscapes, the literary term for which is "locus amoenus" (Latin for "beautiful place"), such as Arcadia, a rural region of Greece, mythological home of the god Pan, which was portrayed as a sort of Eden by the poets. The tasks of their employment with sheep and other rustic chores is held in the fantasy to be almost wholly undemanding and is left in the background, leaving the shepherdesses and their swains in a state of almost perfect leisure. This makes them available for embodying perpetual erotic fantasies. The shepherds spend their time chasing pretty girls – or, at least in the Greek and Roman versions, pretty boys as well.

The original lions, and shepherds and shepherdesses (probably from the Grecian valley, after 1749), were donated by John Magee in 1926 after being purchased during the sale of Stowe House in 1921. Three of the Four Shepherd statues in the Italian Gardens were stolen, probably for scrap metal, in 2011 which prompted Blackpool Council to ensure the safety of the lions. There were a number of vandal attacks on the statues and so an agreement was formed for the lease of the Lions to Stowe House. In return for the loan Stanley Park received exact copies (but with steel armature), new plinths and secured free access for Blackpool residents at Stowe House.

Morton is bedecked as Master of Merry Disports, while Scrooby, vested as English priest, wears a chaplet of vine leaves on his head and a garland over one shoulder; he is Abbot of Misrule. Lackland enters behind them; he is May Lord; he wears white, with a rainbow scarf across his breast and a small dress sword at his side. Prence is his comic train-bearer, and he is attended by the Nine Worthies. Every form of traditional English reveller is present, including nymphs, satyrs, dwarfs, fauns, mummers, shepherds and shepherdesses, Morris dancers, sword dancers, green men, wild men, jugglers, tumblers, minstrels, archers, and mountebanks; there are even an ape, a hobby horse and a dancing bear.

In the 1590s, while still in Florence, Cavalieri produced several pastorales (a semi-dramatic predecessor to opera, set in the country, with shepherds and shepherdesses as common characters). In addition to his musical activities, he was employed as a diplomat during this time, assisting in papal politics, including buying the votes of key cardinals for the elections of popes Innocent IX and Clement VIII who were expected to favour the Medici. During the 1590s he made frequent diplomatic trips to Rome, remaining active in the musical life there, and was connected with the Congregation of the Oratory of St Philip Neri. He premiered his famous Rappresentatione di Anima, et di Corpo... in February 1600; this piece is generally held to be the first oratorio.

The painting of the "Visitation" shows Mary arriving with a servant who carries her cases on his head. Saint Elisabeth’s residence with its formal garden in the background resembles the Idstein residential palace of Johann of Nassau-Idstein, the construction of which was commenced in 1646.Graf Johannes von Nassau-Idstein at nassau-info.de The subjects and the use of Baroque optical illusionism in the paintings in the center of the ceiling are intended to make the viewer look up, from altar to the back: The Transfiguration, the Elevation of the Holy Cross, The Resurrection, The Deposition, The Ascension and The Vision of St. John on Patmos. Double portrait of Odila en Philippine van Wassenaer as Shepherdesses A number of Immenraet’s compositions for the Unionskirche were based on well-known works by Rubens.