108 Sentences With "sibyls" | Random Sentence Generator

Sybill Trelawney and Her Great-Great Grandmother, Cassandra Named for the Greek sibyls (or prophetesses), Trelawney has a reputation for being a fraud, despite uttering a number of small, accurate prophecies in addition to the two she made while entranced.

Sibyls are both feared and revered; they possess the ability to answer any question by going into a trance state. Sibyls believe that they receive visions from the Lady, a sea goddess. Sparks is not chosen to become a sibyl. Angry at Moon for joining the sibyls without him and curious about his offworld heritage, he travels to Carbuncle, Tiamat's capital.

Other early sources similarly name one of the Sibyls as Sabba (see Sibyl in Jewish Encyclopedia).

Moon is taken to the capital planet, Kharemough, and discovers that the Winters' prejudice against sibyls is a political tool used by the Hegemony to preserve its control of technology on Tiamat. Sibyls are highly respected throughout the other planets of the Hegemony; only on Tiamat, due to a careful reinforcement of superstitions during the reign of Winter, are they considered dangerous and mentally unstable. The sibyls are actually part of a data network devised by the Old Empire as a way to rebuild society more quickly after the Empire's fall. Sibyls have the ability to communicate with a vast electronic databank, which explains their ability to answer seemingly unknowable questions.

At the altar by the lower south side of the church are bas-reliefs representing the 12 Sibyls.

The art historian and Whig politician Horace Walpole wrote that he saw "a hundred mouldy portraits among apostles sibyls and kings of England".

Amongst these works were her monumental depictions of sibyls. The sibyls were seen as women of intense and considerable mental power, which shared a close proximity to the divine. Ford requested that these paintings be displayed 'where they could speak'. They now look over the university's ceremonial events and degree ceremonies as they hang above the platform in the Great Hall.

He frescoed sibyls for the Novara Cathedral. He also painted for a chapel in the Basilica of San Magno, Legnano. Other paintings are in Saronno.

Sibyls receiving angelic instruction by Raphael, 1514 Raphael began to fresco the Sibyls receiving angelic instruction (1514) above the arch of the Chigi Chapel, commissioned by Agostino Chigi, the papal banker.Unfinished by Raphael at his death (1520), the frescoes were completed based on his drawings by Sebastiano del Piombo. Raphael's assistant Timoteo Viti painted the four Prophets. The Deposition over the altar is by Cosimo Fancelli.

They are a miscellaneous collection of Jewish and Christian portents of future disasters, that may illustrate the confusions about sibyls that were accumulating among Christians of Late Antiquity.Terry, 1899.

From then on, the mosaic floor scheme began to make serious progress. Between 1481 and 1483 the ten panels of the Sibyls were worked out. A few are ascribed to eminent artists, such as Matteo di Giovanni (The Samian Sibyl), Neroccio di Bartolomeo de' Landi (Hellespontine Sibyl) and Benvenuto di Giovanni (Albunenan Sibyl). The Cumaean, Delphic, Persian and Phrygian Sibyls are from the hand of the obscure German artist Vito di Marco.

In 2014 Giordano Berti created the project "Rinascimento - Italian Style Art" devoted to the reprinting of old Tarot, Sibyls and Playing cards that stand out for their beauty and rarity.

Celsus called Christians Σιβυλλισται (sibyl-mongers or believers in sibyls) because of prophecies preached among them, especially those in the book of Revelation. The preservation of the entire collection is due to Christian writers.

One of his largest projects involved a tableau of fifteen sibyls and prophets who foretold the coming of Christ. They were originally displayed in Münster Cathedral. Six have survived. Five are in museums in Münster.

6) a 4th-century work quoting from a lost work of Varro, (1st century BCE). The word Sibyl comes (via Latin) from the ancient Greek word sibylla, meaning prophetess. There were several Sibyls in the ancient world, all of whom were re-employed in Christian mythology, to prefigure Christian eschatology: Such were the lines, based on Tuba mirum and composed by Aria Montano for the portrait of the "Phrygian Sibyl" (1575), one of the suite of ten copperplate engravings of the Sibyls by the Antwerp artist Philip Galle (1537-1612).

Other important works by Coriolano include The Fall of Giants (1638), a four sheet work that is 32 inches by 23 inches, The Four Sibyls, Peace and Abundance (1642), Jupiter Hurling Bolts at the Giants (1647) and The Seven Ages.

The 15th century frescoes in the chapel are attributed to Francesco da Tolentino; the depict the Evangelists and Sibyls, a Madonna and Child with Saints Catervus and Sebastian, an Adoration of the Magi, and a Crucifixion.Comune of Tolentino, entry on San Catervo.

The ceiling at the Chapel's four corners forms a doubled spandrel painted with salvific scenes from the Old Testament: The Brazen Serpent, The Crucifixion of Haman, Judith and Holofernes, and David and Goliath. Each of the Chapel's window arches cuts into the curved vault, creating above each a triangular area of vaulting. The arch of each window is separated from the next by these triangular spandrels, in each of which are enthroned Prophets alternating with the Sibyls. These figures, seven Old Testament prophets and five of the Graeco-Roman sibyls, were notable in Christian tradition for their prophesies of the Messiah or the Nativity of Jesus.

The main subjects of the first volume derive from the Old Testament and its four chapters are: #How God created man. #The prophets and their metaphors concerning the coming of the Messiah. #The lives of the prophets and their prophecies. #The lives of the ten sibyls.

However, in the American edition of Half-Blood Prince, it is re-spelled as "Sybill", matching the UK edition.Her namesakes, the prophetesses of mythological Greece, were named the "Sibyls" ('Σίβυλλα) Professor Trelawney is portrayed by Emma Thompson in the Prisoner of Azkaban, Order of the Phoenix, and Deathly Hallows Part 2.

Sarolta A. Takacs Vestal virgins, sibyls and matronae: women in Roman religion 2008, University of Texas Press, p. 53 f., citing Horace Carmina III 28. This character of the festival as well as the fact that Neptune was offered the sacrifice of a bull would point to an agricultural fertility context.

Among the many chapels, the Chapel of the Cross certainly stands out. It contains frescoes, recently restored, by Amico Aspertini (1508-1509). The blue vault shows us God surrounded by angels, prophets and sibyls. Above the altar is an anonymous 17th-century painting representing Volto Santo, St. Augustine and St. Ubaldo.

On the upper right is the inscription PERSICA SIBYLLA IA, which suggests it may have been one of a series of portraits depicting sibyls, an identity which contrasts with Isabella's. The inscription and brown faux wood background are later additions."Portrait of Isabella of Portugal". The J. Paul Getty Museum.

They represent the sibyls, scenes from the Old Testament, allegories and virtues. Most are still in their original state. The earliest scenes were made by a graffito technique: drilling tiny holes and scratching lines in the marble and filling these with bitumen or mineral pitch. In a later stage black, white, green, red, and blue marble intarsia were used.

In the late 1890s, the company hired art nouveau artist Alphonse Mucha, as well as many other artists, to design advertising posters for the brand. JOB Posters - Sept Deniers Mucha drew a sinuous long-haired goddess holding a rolled cigarette. The image was inspired by Michelangelo's Sibyls from the Sistine Chapel.Renate Ulmer, Alfons Mucha, Taschen: 2002, pp.

They include depictions of the Evangelists, Prophets and Sibyls, the Four Articles of the Creed, and the Assumption. The frescoes were substantially repainted at the end of the 19th century. Vecchietta also painted two scenes on the wall of the apse: Flagellation and Road to Calvary. At the Palazzo Saracini, he created a sculpture of St. Martin.

Other oracles of Apollo were located at Didyma and Mallus on the coast of Anatolia, at Corinth and Bassae in the Peloponnese, and at the islands of Delos and Aegina in the Aegean Sea. The Sibylline Oracles are a collection of oracular utterances written in Greek hexameters ascribed to the Sibyls, prophetesses who uttered divine revelations in frenzied states.

Luciano Berti (1973) also sees a Durerian influence in the saint's expression and the sibyls and prophets from Michelangelo's Sistine Chapel ceiling in the gesture - Pontormo may have seen the latter on a trip to Rome around 1515 and his admiration for North European prints is also noted Elisabetta Marchetti Letta, Pontormo, Rosso Fiorentino, Scala, Firenze 1994. .

Julian consulted the books regarding his campaign against Persia, but departed before he received the unfavorable response of the college; Julian was killed and the Temple of Apollo Palatinus burned.Ammianus Marcellinus, Res gestae 23.1.7, as cited by Rike, Apex Omnium, p. 122, note 57; Sarolta A. Takács, Vestal Virgins, Sibyls, and Matrons: Women in Roman Religion (University of Texas Press, 2008), p. 68.

Maytera Mint is one of the sibyls of the Sun Street manteion. Initially rather shy, her concern starts the relationship between Patera Silk and the sneak-thief Auk. She is eventually inhabited by a piece of the deity Kypris, goddess of love. Kypris does not completely possess Maytera Mint, and the incomplete personality transfer gives Maytera Mint a newfound assertiveness.

In 1866 appeared "Dion and the Sibyls, a romance of the First Century". The year following, at Mechanics' Hall, Hamilton, he gave a course of lectures on "Government, its Source, its Form, and its Means", declining subsequently to lecture in the United States on account of his official position. He attended the opening of the First Vatican Council at Rome in 1869.

Lady Hamilton was similarly the model for Vigée Le Brun's Sibyl (1792), which was inspired by the painted sibyls of Domenichino. The painting represents the Cumaean Sibyl, as indicated by the Greek inscription on the figure's scroll, which is taken from Virgil's fourth Eclogue. The Sibyl was Vigée Le Brun's favorite painting. It is mentioned in her memoir more than any other work.

The first formulations of the doctrine of inerrancy had not been established according to the authority of a council, creed, or church, until the post-Reformation period.Hendel, Ronald. "The Dream of a Perfect Text: Textual Criticism and Biblical Inerrancy in Early Modern Europe," in e.d. Collins, J.J., Sibyls, Scriptures, and Scrolls: John Collins at Seventy, Brill, 2017, 517-541, esp. 524-531.

The word Sibyl comes (via Latin) from the ancient Greek word sibylla, meaning prophetess. There were many sibyls in the ancient world (e.g. Samian, Cumaean), but the Cimmerian Sibyl was venerated by the pre-Hellenic native populations. The Cimmerian Sibyl may have been a doublet for the Cumaean since the designation Cimmerian refers to priestesses who lived underground near Lake Avernus.

The word Sibyl comes (via Latin) from the ancient Greek word sibylla, meaning prophetess. There were many Sibyls in the ancient world but she is the one who prophesied the Birth of Jesus in the stable. The Samian Sibyl, by name Phemonoe, or Phyto of whom Eratosthenes wrote. The Suidas lexicon refers that the Erythraean Sibyl was also called Samian.

Cesare Torelli Romano was an Italian painter. He was born in Rome, and a pupil of Giovanni de' Vecchi. He flourished in the pontificate of Paul V, and was employed both as a painter and a mosaicist in the library of the Vatican, and in the Scala Santa at San Giovanni in Laterano. He painted two Sibyls in the church of the Madonna dell'Orto in Venice.

He is immediately caught up by Arienrhod and eventually becomes the "Starbuck", the Snow Queen's consort and commander of the mer hunts. Moon receives a message, apparently from Sparks, urging her to come to Carbuncle, though sibyls may not legally enter the city. On her way, she becomes entangled with smugglers and is taken offworld. This is normally a one way trip for a Tiamatan citizen.

This autobiography recounts Berbiguier's lifelong struggle with farfadets, "imps" or "goblins". He relates that these imps harassed him persistently ever since his unfortunate encounter with two "sibyls", or fortune tellers, whom he consulted in an idle moment in his youth. For this sin, he was delivered into the hands of impish tormentors. The imps continued to follow Berbiguier through several lengthy stays in Avignon and Paris.

There are two distinct traditions concerning the Sibyl of Marpessos. The first originates with the Peripatetic philosopher Heraclides Ponticus (ca. 390 - ca. 310 BCE) and is preserved in a series of sources from Late Antiquity and the early and middle Byzantine periods which list the ten Sibyls as set out by the Roman grammarian Varro.Lactantius, Divinae Institutiones 1.6.8, scholion ad Plato, Phaedrus 244b, Photios, Epistulae et Amphilochia 150, Suda s.v.

The east wall at the back shows one frame with scenes from the life of Mary Magdalene and another with scenes from the life of Catherine of Alexandria. Above them both is a continuation of the frieze of prophets and Sibyls, with this section including Habbakuk, the Tiburtine Sibyl, Zephaniah, the Phrygian Sibyl, Daniel, the Persian Sibyl and Moses, each with a still-legible cartouche of their name.

O'Malley, p.100 The other motif is the scallop shell, one of the symbols of the Madonna, to whose Assumption the chapel was dedicated in 1483.Partridge 1996, p. 9 The crown of the wall then rises above the spandrels, to a strongly projecting painted cornice that runs right around the ceiling, separating the pictorial areas of the biblical scenes from the figures of prophets, sibyls, and ancestors, who literally and figuratively support the narratives.

16 Lactantius quoted the Sibyls extensively (although the Sibylline Oracles are now considered to be pseudepigrapha). Book VII of The Divine Institutes indicates a familiarity with Jewish, Christian, Egyptian and Iranian apocalyptic material.McGinn, Bernard. Visions of the End, Columbia University Press, 1998 None of the fathers thus far had been more verbose on the subject of the millennial kingdom than Lactantius or more particular in describing the times and events preceding and following.

Boetticher suggests the date to be around 1550-52, during Lassus' time in Naples, while Alfred Einstein prefers a date between 1555 and 1560, by which time Lassus could have seen depictions of the sibyls in places like the Sistine Chapel in Rome, and in the Borgia Apartments of the Vatican.Bergquist, Peter, (Author). "The Poems of Orlando Di Lasso's Prophetiae Sibyllarum and Their Sources." Journal of the American Musicological Society 32.3 (1979): 516-38.

A possible link between epilepsy and greatness has fascinated biographers and physicians for centuries. In his Treatise on Epilepsy, the French 17th century physician Jean Taxil refers to Aristotle's "famous epileptics". This list includes Heracles, Ajax, Bellerophon, Socrates, Plato, Empedocles, Maracus of Syracuse, and the Sibyls. However, historian of medicine Owsei Temkin argues that Aristotle had in fact made a list of melancholics and had only associated Heracles with the "Sacred Disease".

In front of that, he built a wonderful loggia of red marble. In front of the room, he built the Chapel of Sibyls, whose walls were decorated with paintings of the sybils. On the walls of the knights' room, not only the likeness of all the kings could be found, but also the Scythian ancestors. He also had a double garden constructed, which was decorated with columns and a corridor above them.

Heritier, 460. Her reading was not entirely highbrow, however. A superstitious woman, she believed implicitly in astrology and soothsaying, and her reading matter included The Book of Sibyls and the almanacs of Nostradamus.Knecht, 221, 244–45 Catherine patronised poets such as Pierre de Ronsard, Rémy Belleau, Jean-Antoine de Baïf, and Jean Dorat, who wrote verses, scripts, and associated literature for her court festivals, and for public events such as royal entries and royal weddings.

The central portal, called the "Saints Portal", has five medallions with reliefs, depicting four saints and, in the middle, the Virgin with Child. Between the portal's frame and the entablature are two angels carrying torches, resembling the decoration of the Roman triumphal arches. Between the portals, inside square frames, are busts of the Four Evangelists and of the Kings Solomon and David. The entablature frieze has 17 figures, including biblical characters and the Sibyls.

He sent Lucius Licinius Lucullus to raise a fleet from the remaining Roman allies in the eastern Mediterranean to deal with the Pontic navy. The first attack on the city was entirely repulsed, so Sulla decided to build huge earthworks. Wood was also needed, so he cut down everything, including the sacred groves of Greece, up to 100 miles from Athens main town. When more money was needed he “borrowed” from temples and Sibyls alike.

21; Ovid, Fasti 6.311; Turcan, The Gods of Ancient Rome, p. 74; Onians, The Origins of European Thought, pp. 227, 471; Sarolta A. Takács, Vestal Virgins, Sibyls, and Matrons: Women in Roman Religion (University of Texas Press, 2008), p. 49; Robin Lorsch Wildfang, Rome's Vestal Virgins: A Study of Rome's Vestal Priestesses in the Late Republic and Early Empire (Routledge, 2006), pp. 28–29; R. Ellis, "On Propertius," Journal of Philology 9 (1880), p. 236.

Sulla needed wood, so he cut down everything, including the sacred groves of Greece, up to 100 miles from Athens. When more money was needed he took from temples and Sibyls alike. The currency minted from this treasure was to remain in circulation for centuries and was prized for its quality. Despite the complete encirclement of Athens and its port, and several attempts by Archelaus to raise the siege, a stalemate seemed to have developed.

The Persian Sibyl has had at least three names: Sambethe, Helrea and Sabbe. Sambethe was said to be of the family of Noah. A painting of Sibilla Persica by Guercino hangs in the Capitoline Museum in Rome. Pausanias, pausing at Delphi to enumerate four sibyls, mentions a "Hebrew sibyl": > there grew up among the Hebrews above Palestine, a woman who gave oracles > named Sabbe, whose father was Berosus and her mother Erymanthe.

The Chiostro del Bramante (Cloisters of Bramante) is an Italian Renaissance building in Rome, commissioned by Cardinal Oliviero Carafa in around 1500, and designed by the architect Donato Bramante. Today the building serves as a space for exhibitions, meetings and concerts. A cafe and bookshop are housed within the building. A fresco painting by Raphael, The Sibyls in the next-door church of Santa Maria della Pace, is visible from the first floor.

Scholars also cite an entertainment seen by King James at Oxford in the summer of 1605 which featured three "sibyls" like the Weird Sisters. Kermode surmises that Shakespeare could have heard about this and alluded to it. One suggested allusion supporting a date in late 1606 is the first witch's tale of her encounter with a sailor's wife: "'Aroint thee, witch!' the rump- fed ronyon cries. / Her husband's to Aleppo gone, master o' the Tiger" (1.3.6–7).

Maytera Marble is a chemical citizen of Viron, or a "chem." This means that she is a robot who possesses a self-aware, sentient mind. Maytera Marble was initially designed to be a maid, but as her life progressed she found a more religious calling and became one of the Sibyls at Patera Silk's Sun Street Manteion. Being over three hundred years old, certain body parts of hers have been replaced and others have worn away.

The baroque frescoed ceiling by Legnanino depicts Heaven, prophets, sibyls and biblical episodes and dates to 1694-1695. The organ on the wall opposite the altar dates back to the eighteenth century. In the sacristy there are the altarpiece Adoration of the Magi (circa 1620) by Guglielmo Caccia (called Moncalvo), and a Piccolo Trono (1792) by Michele Brassiè, together with a Natale Favriano wardrobe from 1712. The sacristy also houses precious Antependi and the archive of the Congregation.

It took Ghiberti 21 years to complete these doors. These gilded bronze doors consist of twenty- eight panels, with twenty panels depicting the life of Christ from the New Testament. The eight lower panels show the four evangelists and the Church Fathers Saint Ambrose, Saint Jerome, Saint Gregory and Saint Augustine. The panels are surrounded by a framework of foliage in the door case and gilded busts of prophets and sibyls at the intersections of the panels.

The All-Pervading is an allegorical painting produced between 1887 and 1890 by the English artist George Frederic Watts. Influenced by the Sibyls of the Sistine Chapel ceiling, it symbolises the spirit Watts saw as governing "the immeasurable expanse". He presented it to the Tate Gallery in 1899 and it is now on loan from Tate Britain to the Watts Gallery in Compton, Guildford. He also produced a variant on it as the altarpiece for the Watts Mortuary Chapel.

Micah in the right lunette The altarpiece measures 375 × 260 cm when the shutters are closed. The upper panels contain lunettes showing prophets and Sibyls looking down on the annunciation; the lower tier shows the donors on the far left and right panels flanked by saints.Pächt (1999), 212 The exterior panels are executed with relative sparseness in comparison to the often fantastical colour and abundance of the interior scenes. Their settings are earthly, pared down and relatively simple.

The marble cladding contained 14 percent of salts, and was on the point of bursting, when restorers began the desalination and cleaning process. All marble cladding was removed, and cleaned in stainless steel tanks, in a solution of distilled water. Additionally, the campaign worked in the coffered ceiling, which was made up of fifty-two wooden panels depicting saints and prophets. The cleaning led to the rediscovery of frescoes of sibyls on the spandrels of the ceiling.

Michelangelo's rendering of the Persian Sibyl By Giuseppe Torretto Santa Maria degli Scalzi The Persian Sibyl - also known as the Babylonian, Hebrew or Egyptian Sibyl - was the prophetic priestess presiding over the Apollonian oracle. The word "Sibyl" comes (via Latin) from the ancient Greek word sibulla, meaning "prophetess". There were many Sibyls in the ancient world, but the Persian Sibyl allegedly foretold the exploits of Alexander of Macedon. Nicanor, who wrote a life of Alexander, mentions her.

Together they form an complex iconographic programme on redemption and faith as incarnated in the lives of saints Barbara (north side), Brigid (south side), Mary Magdalene and Catherine of Alexandria (back wall), along with Christ's victory over evil as predicted by the prophets and sibyls and guaranteed and confirmed in the lives of the saints.Zuffi, cit., pag. 13. Several figures show peasants and other working class figures, often studied from life and previously unrepresented in Italian painting.

The close of Lippi's life was spent at Spoleto, where he had been commissioned to paint scenes from the life of the Virgin for the apse of the cathedral. In the semidome of the apse is the Christ Crowning the Madonna, with angels, sibyls, and prophets. This series, which is not wholly equal to the one at Prato, was completed by one of his assistants, his fellow Carmelite, Fra Diamante, after Lippi's death. Lippi died in Spoleto, on or about 8 October 1469.

Erythrae was the birthplace of two prophetesses (sibyls) --one of whom, Sibylla, is mentioned by Strabo as living in the early period of the city; the other, Athenais, lived in the time of Alexander the Great. The Erythraean Sibyl presided over the Apollonian oracle. About 453 BC Erythrae, refusing to pay tribute, seceded from the Delian League. A garrison and a new government restored the union, but late in the Peloponnesian War (412 BC) it revolted again with Chios and Clazomenae.

Burk, 11-18 Philibert's tomb consists of two levels and two effigies, one above the other. The upper part, in expensive imported white Carrara marble, represents the Duke in ceremonial costume, surrounded by Italian-style angels (putti). Below this, ten little female figures, the sibyls point towards the effigy. To the north, the tomb of Margaret of Bourbon consists of a single effigy placed within an enfeu and lying upon a piece of black marble, with pleurants beneath, a traditional Burgundian feature.

The coming of the Saviour was prophesied by Prophets of Israel and Sibyls of the Classical world. The various components of the ceiling are linked to this Christian doctrine. Traditionally, the Old Testament was perceived as a prefiguring of the New Testament. Many incidents and characters of the Old Testament were commonly understood as having a direct symbolic link to some particular aspect of the life of Jesus or to an important element of Christian doctrine or to a sacrament such as Baptism or the Eucharist.

Fragment of the Sibyllenbuch The Sibyllenbuch fragment is a partial book leaf which may be the earliest surviving remnant of any European book that was printed using movable type. The Sibyllenbuch, or Book of the Sibyls, was a medieval poem which held prophecies concerning the fate of the Holy Roman Empire. The British Library’s on-line Incunabula Short Title Catalogue dates the Sibyllenbuch fragment to "about 1452–53", making it older than any other example of European movable-type printing, including the c. 1454 Gutenberg Bible.

Michelangelo's rendering of the Erythraean Sibyl The Erythraean Sibyl was the prophetess of classical antiquity presiding over the Apollonian oracle at Erythrae, a town in Ionia opposite Chios, which was built by Neleus, the son of Codrus. Cathedral of Siena, Italy The word Sibyl comes (via Latin) from the ancient Greek word sibylla, meaning prophetess. Sibyls would give answers whose value depended upon good questions — unlike prophets, who typically answered with responses indirectly related to questions asked. Presumably there was more than one sibyl at Erythrae.

The Turris Mamilia ("Mamilian Tower") was a landmark in ancient Rome. It was located in the Subura,Sarolta A. Takács, Vestal Virgins, Sibyls, and Matrons: Women in Roman Religion (University of Texas Press, 2008), p. 58. a densely populated, notoriously lively quarter of the city. The existence of the tower is attested by an inscription, and it is mentioned by Festus.CIL 6.338377 (ILS 7242) and Festus 116, 117 L, as cited by C. Bennett Pascal, "October Horse," Harvard Studies in Classical Philology 85 (1981), p.

Most of these frescoes are considerably injured by moisture and have suffered little from restoration. The last paintings completed by Pinturicchio in this church are found on the vault behind the choir, where he painted decorative frescoes, with main lines arranged to suit their surroundings in a skilful way. In the centre is an octagonal panel of the Coronation of the Virgin, and surrounding it, are medallions of the Four Evangelists. The spaces between them are filled by reclining figures of the Four Sibyls.

"The Mirror of the Gods, How Renaissance Artists Rediscovered the Pagan Gods". Oxford UP, 2005. p. 169. In northern Europe it was seen as acceptable to portray artfully draped nudes. Examples include Rubens's Minerva Victrix, of 1622–25, which shows Marie de' Medici with an uncovered breast, and Anthony van Dyck's 1620 painting, The Duke and Duchess of Buckingham as Venus and Adonis. In 17th-century Spanish art, even in the depiction of sibyls, nymphs, and goddesses, the female form was always chastely covered.

Relief of Joseph and Potiphar's wife, in the Museum of San Petronio in Bologna As she approached her thirties, de' Rossi began working in large scale. Her marble portrait busts from this period brought her to prominence. She won a competition to create sculpture for the west facade of San Petronio in Bologna. Records show that she was paid to create three sibyls, two angels, and a pair of bas-relief panels, including a panel depicting Joseph and Potiphar's Wife now in the Museum of San Petronio in Bologna.

Cumaean Sibyl by Andrea del Castagno The Cumaean Sibyl was the priestess presiding over the Apollonian oracle at Cumae, a Greek colony located near Naples, Italy. The word sibyl comes (via Latin) from the ancient Greek word sibylla, meaning prophetess. There were many sibyls in different locations throughout the ancient world. Because of the importance of the Cumaean Sibyl in the legends of early Rome as codified in Virgil's Aeneid VI, and because of her proximity to Rome, the Cumaean Sibyl became the most famous among the Romans.

17–18 However, the Greek tradition is referring to the existence of vapours and chewing of laurel- leaves, which seem to be confirmed by recent studies. Plato describes the priestesses of Delphi and Dodona as frenzied women, obsessed by "mania" (, "frenzy"), a Greek word he connected with mantis (, "prophet").. Frenzied women like Sibyls from whose lips the god speaks are recorded in the Near East as Mari in the second millennium BC.Walter Burkert (1985).The Greek religion. p. 116 Although Crete had contacts with Mari from 2000 BC,F.

Born in Perast, on the Bay of Kotor in present-day Montenegro, Kokolja is believed to have studied art in Venice. His most important work was a commission from the Archbishop of Bar, Andrija Zmajević, done at the end of the 17th century. This was a cycle of canvases for the church of Our Lady of the Rocks, opposite Perast, based on instructions of Andrija Zmajević. The lower series of paintings depicts prophets and sibyls; above these are the Presentation of the Virgin, the Death of the Virgin, and the Descent of the Holy Ghost.

The Opiconsivia (or Opeconsiva or Opalia) was an ancient Roman religious festival held August 25 in honor of Ops ("Plenty"),Sarolta A. Takács, Vestal Virgins, Sibyls, and Matrons: Women in Roman Religion (University of Texas Press, 2008), p. 56. also known as Opis, a goddess of agricultural resources and wealth. The festival marked the end of harvest, with a mirror festival on December 19 concerned with the storage of the grain.J. Rufus Fears, "The Cult of Virtues and Roman Imperial Ideology," Aufstieg und Niedergang der römischen Welt II.17.2 (1981), p. 838.

41–42 Van den Hoecke painted a series of Sibyls which have been attributed to his earlier period from 1630 to 1637.Jan van den Hoecke, Sibylla Cimmeria, 1630 at 1stdibs Flower garland surrounding a portrait of Archduke Leopold Wilhelm The influence of Reni’s idealized figure types as well as of Domenichino and Poussin (see the Virtue Overcoming Avarice of 1637) are visible in the allegorical paintings he produced in Vienna. An example is the Virtue Overcoming Avarice in the Kunsthistorisches Museum. His familiarity with the work of Andrea Sacchi is reflected in his portraits of Emperor Ferdinand III and Archduke Leopold William.

As such, Conver's deck became the model for most subsequent esoteric decks, starting with the deck designed by Etteilla forward. Cartomancy with the Tarot was definitely being practised throughout France by the end of the 18th century; Alexis-Vincent-Charles Berbiguier reported an encounter with two "sibyls" who divined with Tarot cards in the last decade of the century at Avignon. From the mid-18th to early 19th centuries, Marseilles and Besançon tarots were replaced by the French-suited animal tarots throughout most of Europe. These were then superseded by genre art tarots like the Industrie und Glück.

Robert's estate was inherited by his nephew Jean Stewart and an inventory was made of Robert's goods in the Châteaux of Aubigny, La Verrerie and du Crotet in 1544, including Robert's tapestries, books, silver and weapons. Robert had two silk and leather purses made in the Scottish fashion, a Spanish guitar, and Turkish carpets. The inventory also includes a scarlet and a shot satin farthingale. Tapestry subjects at Aubigny included seven "park" and seven hunting scenes, the Nine Worthies, Nebuchadnezzar in nine scenes, seven Sibyls, single pieces of verdure and Hercules, and a set of seven new tapestries of birds and wild beasts.

On the walls are canvases (1648) depicting the Miracle of Agramante Milani by Giulio Cesare Mattei (Son of Matteo) and the Miracle of Nicolo Lagoner by Francesco Burani. In the second chapel on left are altarpieces depicting San Filippo Benizzi (1673) by Orazio Talami and San Giorgio lead to Martyrdom with St Catherine by Ludovico Carracci. In the cupola are frescoed (1622) the Doctors of the Church and with Beatitudes and Spiritual Power by Carlo Bononi. In the first chapel on the left are depicted (1619) the Four Sibyls, Four Virtues, and Angels carrying the Symbols of the Passion, by Tiarini.

Sibyls were often, as here, portrayed with tablets (or with open books), although they were usually depicted in late Renaissance and Baroque art in sumptuous robes and head-dress. In contrast, this woman has disheveled hair, with loose strands spilling on her neck and exposed upper back, and is dressed in relatively plain clothing. Against this, it has been argued that she is portrayed in an unusually spontaneous manner for the time, captured as if in the fleeting moment in which she gives her prophecy. Her skin is rendered in pearly white tones,Mayer, August L. "An Unpublished Velazquez".

The interior of the chapel has a remarkable chancel separated from the rest of the church by an oak rood screen ("poutre de gloire") in the Renaissance style and on the top of this screen is a depiction of the crucifixion. The chancel also holds a frieze of panels separated by caryatids representing the twelve Sibyls and the twelve apostles. On either side of the chancel entrance which leads on to the choir are two granite tables on which worshippers could deposit their offerings to Saint Herbot (often tuffs of hair from their cattle). The choir itself has fifteen stalls dating from 1550 to 1570 each with misericords.

Apennine Sibyl by Adolfo de Carolis. The local medieval tradition was that the Apennine Sibyl, a mysterious prophetess not counted among the Sibyls of Classical Antiquity, was condemned by God to dwell in a mountain cavern and await Judgement Day, having rebelled at the news that she had not been chosen Mother of God, but that some humble Judaean virgin had been favored. The peak of Monte Vettore, surrounded by reddish cliffs was recognized as the crown of Regina Sibilla. Monte Vettore summit view with Maile Less stringently Christian legend set her in an underworld paradise entered through a grotto in the mountains of Norcia.

At its centre are nine episodes from the Book of Genesis, divided into three groups: God's Creation of the Earth; God's Creation of Humankind and their fall from God's grace; and lastly, the state of Humanity as represented by Noah and his family. On the pendentives supporting the ceiling are painted twelve men and women who prophesied the coming of Jesus; seven prophets of Israel and five Sibyls, prophetic women of the Classical world. Among the most famous paintings on the ceiling are The Creation of Adam, Adam and Eve in the Garden of Eden, the Deluge, the Prophet Jeremiah and the Cumaean Sibyl.

The Erythraean Sibyl from modern-day Turkey was famed among Greeks, as was the oldest Hellenic oracle, the Sibyl of Dodona, possibly dating to the second millennium BC according to Herodotus, favored in the east. The Cumaean Sibyl is one of the four sibyls painted by Raphael at Santa Maria della Pace (see gallery below). She was also painted by Andrea del Castagno (Uffizi Gallery, illustration right), and in the Sistine Ceiling of Michelangelo her powerful presence overshadows every other sibyl, even her younger and more beautiful sisters, such as the Delphic Sibyl. There are various names for the Cumaean Sibyl besides the "Herophile" of Pausanias and LactantiusPausanias, 10.12.

In the west part of the ceiling (to the left), Our Lord unites Adam and Eve and to the right is the Fall of man. In the bottom-most corner, as in the other arch, are found half-lengths of prophets coming out of a large bell shaped in flowers. In the upper part of the ceiling (to the left), is the depiction of the Expulsion from the Garden of Eden, and below the painting "When Adam dalf (dug) and Eve span (spun)". To the right of this is St. Hieronymus and Luke the Evangelist and below the Emperor Augustus kneeling before the Sibyls, heralding the birth of Christ.

At its centre are nine episodes from the Book of Genesis, divided into three groups: God's creation of the earth; God's creation of humankind and their fall from God's grace; and lastly, the state of humanity as represented by Noah and his family. On the pendentives supporting the ceiling are painted twelve men and women who prophesied the coming of Jesus, seven prophets of Israel, and five Sibyls, prophetic women of the Classical world. Among the most famous paintings on the ceiling are The Creation of Adam, Adam and Eve in the Garden of Eden, the Deluge, the Prophet Jeremiah, and the Cumaean Sibyl.

Ten broad painted cross-ribs of travertine cross the ceiling and divide it into alternately wide and narrow pictorial spaces, a grid that gives all the figures their defined place.O'Malley, p.95 A great number of small figures are integrated with the painted architecture, their purpose apparently purely decorative. These include pilasters with capitals supported by pairs of infant telamones, rams' skulls are placed at the apex of each spandrel like bucrania; bronze nude figures in varying poses, hiding in the shadows, propped between the spandrels and the ribs like animated bookends; and more putti, both clothed and unclothed, strike a variety of poses as they support the nameplates of the Prophets and Sibyls.

The walls and vaults of this apse have been restored starting in 1999, and are one of the few surviving fresco cycles of the early Venetian Renaissance. The cycle depicts eight Sibyls, Greek and Roman female seers who were believed to have predicted events in the life of Christ such as the Annunciation, the Crucifixion and the Resurrection. The ceiling's quadripartite vault features Saints Jerome, Augustine, Ambrose and Gregory, the four fathers of the Western church, set in roundels and surrounded by inscriptions, decorative foliage, and putti bearing the instruments of the Passion. Above the high altar, the frescoes occupying the spaces between the ribs of the cupola feature Christ and the four Evangelists Matthew, Mark, Luke and John.

Then comes the Chapel of Liberal Arts, with di Duccio's portrayal of Philosophy, Rhetoric and Grammar. The subsequent Chapel of the Childhood Games houses the tombs of Sigismondo Pandolfo's first wives, Ginevra d'Este and Polissena Sforza, encircled by 61 figures of young angels playing and dancing, again by Agostino di Duccio. The bodies of some of Malatesta's ancestors are housed in the Cappella della Pietà, with two statues of prophets and ten of sibyls. The chapel, like numerous other places in the church, is characterized by the presence of the SI monogram (from the initial of Sigismondo and Isotta's names, or, according to others, the first two letters of the former) sporting a rose, an elephant and three heads.

The house features fresco cycles in the "Sala delle Sibille" ("room of sibyls"), an original terracotta fireplace bearing the coat of arms of Giovanni Romei in the adjoining Saletta dei Profeti ("room of the prophets"), depicting allegories from the Bible, and in other rooms, some of which were commissioned by cardinal Ippolito d'Este, paintings by the school of Camillo and Cesare Filippi (16th century). Palazzo dei Diamanti, seat of the National Gallery Palazzo Schifanoia ("sans souci") was built in 1385 for Alberto V d'Este. The palazzo includes frescoes depicting the life of Borso d'Este, the signs of the zodiac and allegorical representations of the months. The vestibule was decorated with stucco mouldings by .

Richard J. King, Desiring Rome: Male Subjectivity and Reading Ovid's Fast (The Ohio State University Press, 2006), p. 30. The fountain of the Camenae was a source of water for the Vestals.Sarolta A. Takács, Vestal Virgins, Sibyls, and Matrons: Women in Roman Religion (University of Texas Press, 2008), p. 30. The 5th-century scholar Martianus Capella placed the Dii Novensiles within his Etruscan-influenced celestial schema in his work On the Marriage of Mercury and Philology,For a diagram combining the heavenly sphere of Martianus Capella and that of the Piacenza liver, see Nancy Thomson De Grummond, Etruscan Myth, Sacred History, and Legend (University of Pennsylvania Museum of Archaeology and Anthropology, 2006), p.

The University of Wisconsin's Messenger magazine described Baskin's book-making creative process, prior to the traveling exhibition Poets at Gehenna: 1959-1995 that was scheduled to visit the UW-Madison libraries in January 1997: > Traditionally, artists provide images for existing poems. For the Gehenna > Press, poets work from Baskin's original prints or drawings. The monumental > Capriccio with poems by Ted Hughes, Sibyls by Ruth Fainlight, and the most > recent book of the press, Presumptions of Death by Anthony Hecht, have all > come from this atypical approach. Other featured books and broadsides > include: Hugh MacDiarmid's Eemis Stane, Anthony Hecht's The Seven Deadly > Sins, Ted Hughes's A Primer of Birds and Moko Maki, and James Baldwin's > Gypsy.

The panels are surrounded by a framework of foliage in the door case and gilded busts of prophets and sibyls at the intersections of the panels. Originally installed on the east side in place of Pisano's doors, they were later moved to the north side. They are described by the art historian Antonio Paolucci as "the most important event in the history of Florentine art in the first quarter of the 15th century".Antonio Paolucci (1996), "The Origins of Renaissance Art: The Baptistery Doors, Florence" 176 pages; Publisher: George Braziller; The bronze statues over the northern gate depict John the Baptist preaching to a Pharisee and Sadducee and were sculpted by Francesco Rustici.

In 1890, the fraternity was dissolved and its property confiscated by the state. The building on Via del Gonfalone 32a (near corner of Via Giulia and Vicolo della Scimmia) has a modest façade (designed by Domenico Castelli) resembling a simple church. Inside, a team of prominent Mannerist painters were recruited between 1569–1576 to complete elaborate wall fresco decoration of scenes of the passion. Artists included Giacomo Zanguidi (il Bertoia) (Entry of Christ to Jerusalem); Livio Agresti (Last Supper); Marco Pino (Crown of Thorns), Marcantonio dal Forno; Federico Zuccari (Flagellation of Christ); Raffaellino Motta da Reggio (Christ before Pontius Pilate and Prophet and Sibyls); and Cesare Nebbia (Crown of Thorns and Ecce Homo).

The term chromatic began to approach its modern usage in the 16th century. For instance Orlando Lasso's Prophetiae Sibyllarum opens with a prologue proclaiming, "these chromatic songs,Rendered by many as Carmina chromatico, though this is incorrect Latin; the title is given as Carmina chromatica (which is plural of Latin carmen chromaticum) in New Grove Online. The entire passage is relevant to present points in this article: heard in modulation, are those in which the mysteries of the Sibyls are sung, intrepidly," which here takes its modern meaning referring to the frequent change of key and use of chromatic intervals in the work. (The Prophetiae belonged to an experimental musical movement of the time, called musica reservata).

He is attributed with a set of 24 Prophets and 12 Sibyls, all shown seated at full-length, with verses underneath, copied by Francesco Rosselli and others, and a series of The Planets.Levinson, 16, 18, 22-38 Engravings by Baldini were published in 1477 illustrating Monte Santo di Dio, a religious work by Antonio Bettini, printed by Nicolaus Laurentii.Levinson, 15 Baldini did the first of a series on the Triumphs of Petrarch; the rest are by the Master of the Vienna Passion.Levinson, xvii, 15 Other large individual prints are a Conversion of Saint Paul, in a unique impression in Hamburg,Levinson, 16 and a Judgement hall of Pontius Pilate, "known only in a very late reworked state and therefore difficult to judge".

That use of the Sibylline Oracles was not always exclusive to Christians is shown by an extract from Book III concerning the Tower of Babel as quoted by the Jewish historian Flavius Josephus, in the late 1st century AD. The Christian apologist Athenagoras of Athens, writing A Plea for the Christians to Marcus Aurelius in ca. AD 176, quoted the same section of the extant Oracles verbatim, in the midst of a lengthy series of classical and pagan references including Homer and Hesiod, and stated several times that all these works should already be familiar to the Roman Emperor. The sibyls themselves, and the so-called Sibylline oracles, were often referred to by other early Church fathers; Theophilus, Bishop of Antioch (ca. 180), Clement of Alexandria (ca.

At this time, Erythrae was renowned for its wine, goats, timber, and millstones, as well as its prophetic sibyls, Herophile and Athenais. In the Roman period the city was plundered and its importance faded after the earthquakes of that region in the 1st century AD. The city experienced a revival of some sorts under the later Roman Empire and into the Byzantine period. Bishops are attested from 431 to 1292, and an archon, a minor governor, was based in the city in the 9th and 10th centuries. Pausanias, at the Description of Greece writes that in the city there was a temple of Athena Polias and a huge wooden image of her sitting on a throne, she holds a distaff in either hand and wears a firmament on her head.

In the lower registers of the walls, on the left the fresco is almost illegible, on the right is a figure of a blessing bishop, probably of San Dionigi; there, at the top, a curious little black image of a devil. The intrados of the apse arch houses, within shielded frames, a series of portraits, only partially visible, but very expressive, in fifteenth-century dresses, probably prophets and sibyls; the basin shows pictorial fragments that can be interpreted as the symbols of the four Evangelists (Tetramorfo), in a rough rocky landscape, and in the center a lacunose Maiestas Domini. On the left a kneeling female figure, probably still a Virgin, and on the right a fragment of a figure. In the lower part, in the center, the wood of the cross with the canonical inscription, which could be the background of a Pietà.

It also figures in Robert Graves' I, Claudius (1934), which was given new life when it was adapted for television as I, Claudius in 1976. In this Antonia sends the letter of accusation to Tiberius via Claudius, after discovering her daughter is plotting with Sejanus. And since Pontius Pilate was a nominee of Sejanus and implicated in his anti-Jewish policies, it encouraged the inclusion of Sejanus in novels dealing with the circumstances of Jesus Christ's crucifixion.Gary DeLashmutt, "Sejanus and the Chronology of Christ's death", Xenos Christian Fellowship The first of these was Miles Gerald Keon's Dion and the Sibyls: A Classic Christian Novel (London, 1866);Later published by the Catholic Publication Society in New York in 1872: later examples include Paul L. Maier's Pontius Pilate (Grand Rapids MI 1968) and Chris Seepe's The Conspiracy to Assassinate Jesus Christ (Toronto 2012).

Michelangelo's rendering of the Libyan Sibyl on the Sistine Chapel ceiling The Libyan Sibyl, named Phemonoe, was the prophetic priestess presiding over the Oracle of Zeus-Ammon (Zeus represented with the Horns of Ammon) at Siwa Oasis in the Libyan Desert. The word Sibyl comes (via Latin) from the ancient Greek word sibylla, meaning prophetess. There were many Sibyls in the ancient world, but the Libyan Sibyl, in Classical mythology, foretold the "coming of the day when that which is hidden shall be revealed." In Pausanias Description of Greece, the sibyl names her parents in her oracles: :I am by birth half mortal, half divine; :An immortal nymph was my mother, my father an eater of grain; :On my mother's side of Idaean birth, but my fatherland was red :Marpessus, sacred to the Mother, and the river Aidoneus.

Ainsworth, 16 She is the only figure from this group shown to look directly at Christ and serves as one of the key painterly devices to direct the viewer's gaze upwards towards the crosses.Labuda, 12 The fourth and fifth mourners have been identified as prophesying sibyls, and stand to the far left and right of the centre group. The sibyl to the left faces the cross with her back to the viewer while the turbaned mourner on the right faces the group and is either the Erythraean or the Cumaean sibyl, both of whom are attributed in Christian tradition with warning the occupying Romans of the cult of redemption that would develop around Christ's death and resurrection. She has an almost indifferent expression that has been interpreted both as satisfaction at seeing her prophesies realised, and as compassionate contemplation of the other women's grief.

Diagram by Edward Schröder showing likely placement of fragment on one half of a full sheet of paper, based on the position of partial watermark The Sibyllenbuch fragment consists of a partial paper leaf printed in German using Gothic letter. It is owned by the Gutenberg Museum in Mainz, Germany.. The fragment was discovered in 1892 in an old bookbinding in Mainz.. The text on the fragment relates to the Last Judgment and therefore sometimes is also called “Das Weltgericht” (German for "Last Judgment"). The text is part of a fourteenth-century poem of 1040 lines known as the "Sibyllenbuch" (Book of the Sibyls.) containing "prophecies concerning the fate of the Holy Roman Empire". The British Library identifies the fragment as coming from a quarto volume, which is a book composed of sheets of paper on which four pages were printed on each side, which were then folded twice to form groups of four leaves or eight pages.

The lower classes, plebeians, women, the young, morally weak and effeminate males ("men most like women") are particularly susceptible: all such persons have leuitas animi (fickle or uneducated minds) but even Rome's elite are not immune. The Bacchanalia's priestesses urge their deluded flock to break all social and sexual boundaries, even to visit ritual murder on those who oppose them or betray their secrets: but a loyal servant reveals all to a shocked senate, whose quick thinking, wise actions and piety save Rome from the divine wrath and disaster it would otherwise have suffered.Sarolta Takacs, Vestal Virgins, Sibyls, and Matrons: Women in Roman Religion, University of Texas Press, 2008, p.95. See also Beard, M., Price, S., North, J., Religions of Rome: Volume 1, a History, illustrated, Cambridge University Press, 1998, pp. 93 - 96, and Walsh, PG, Making a drama out of a Crisis: Livy on the Bacchanalia, Greece & Rome, Vol XLIII, No. 2, October 1996.

Most modern scholarship agrees that Dionysiac or Bacchic mystery cults had been practiced in Roman Italy for several decades before 186, and were considered acceptable by Roman authorities until this abrupt "discovery" and rapid suppression.Livy describes their introduction by a foreign soothsayer, a "Greek of mean condition... a low operator of sacrifices" and their secretive spread, "like a plague", towards Rome via Etruria; see Sarolta Takacs, Vestal Virgins, Sibyls, and Matrons: Women in Roman Religion, University of Texas Press, 2008, p.95. See also Beard, M., Price, S., North, J., Religions of Rome: Volume 1, a History, illustrated, Cambridge University Press, 1998, pp. 93 - 96, and Walsh, PG, Making a drama out of a Crisis: Livy on the Bacchanalia, Greece & Rome, Vol XLIII, No. 2, October 1996. Paculla Annia is unlikely to have introduced all the changes attributed to her by Livy;Erich S. Gruen, Studies in Greek Culture and Roman Policy, University of California Press, 1996, pp 48 - 54.

A Sibyl, by Domenichino (c. 1616-17) The Sibylline Oracles (; sometimes called the pseudo-Sibylline Oracles) are a collection of oracular utterances written in Greek hexameters ascribed to the Sibyls, prophets who uttered divine revelations in a frenzied state. Fourteen books and eight fragments of Sibylline Oracles survive, in an edition of the 6th or 7th century AD. They are not to be confused with the original Sibylline Books of the ancient Etruscans and Romans which were burned by order of Roman general Flavius Stilicho in the 4th century AD. Instead, the text is an "odd pastiche" of Hellenistic and Roman mythology interspersed with Jewish, Gnostic and early Christian legend. The content of the individual books is probably of different age, dated to anywhere between the 1st and 7th centuries AD. The Sibylline Oracles are a valuable source for information about classical mythology and early first millennium Gnostic, Hellenistic Jewish and Christian beliefs.

In 1499 the guild of the cambio (money-changers or bankers) of Perugia asked him to decorate their audience-hall, the Sala delle Udienze del Collegio del Cambio. The humanist Francesco Maturanzio acted as his consultant. This extensive scheme, which may have been finished by 1500, comprised the painting of the vault, showing the seven planets and the signs of the zodiac (Perugino being responsible for the designs and his pupils most probably for the execution), and the representation on the walls of two sacred subjects: the Nativity and Transfiguration; in addition, the Eternal Father, the cardinal virtues of Justice, Prudence, Temperance and Fortitude, Cato as the emblem of wisdom, and numerous life-sized figures of classic worthies, prophets and sibyls figured in the program. On the mid-pilaster of the hall Perugino placed his own portrait in bust-form. It is probable that Raphael, who in boyhood, towards 1496, had been placed by his uncles under the tuition of Perugino, bore a hand in the work of the vaulting. Perugino was made one of the priors of Perugia in 1501.

Steinberg's literary productions are many and varied. The following is a list of his more important works: Russian: "The Organic Life of the Language" (1871), published in the "Viestnik Yevropy"; "Grammar of the Hebrew Language" (Wilna, 1871); "Book of Exercises in the Chaldean Language" (1875); "Complete Russian-Hebrew Dictionary" (1880); "Hebrew and Chaldean Dictionary of the Bible," awarded a prize by the Holy Synod; "The Jewish Question in Russia" (1882); "Complete Russian-Hebrew-German Dictionary" (1888), seventeen editions; "The World and Life," two editions; "Count Muraviev and His Relations to the Jews of the Northwestern Parts of Russia" (1889); "The Five Books of Moses," with commentary. Hebrew: "Human Anatomy, According to the Most Modern Investigations" (1860); "Or la-Yesharim" (Wilna, 1865), an anthology from the ancient and the modern classics, written in the poetic style of the Bible, and annotated with moral reflections and observations; "Massa Ge Ḥizzayon" (1886), metric translations from the Greek Sibyls; "A Hebrew-Russian-German Encyclopedic Dictionary of the Bible" (1896); "Darwin's Theory in Its Relation to the Organic Life of Languages" (1897); "Ma'arke Leshon 'Eber," a Hebrew grammar. German: "Knospen," a translation of Hebrew poems by A. B. Lebensohn; "Gesänge Zions," a translation of Hebrew poems by Michael Lebensohn.