(210,29,'2011-02-16 14:43:41','2011-02-16 20:43:41','La Maison Carrée (the square house) is a Roman temple built in Nîmes, France in 19 B.C.E. The Roman shrine was built by Marcus Agrippa during the reign of Caesar Augustus. Agrippa who was the “right hand man” and son-in-law to Augustus and the patron of the Pantheon in Rome (Hayes, 1). La Maison Carrée was built in hopes to impress the citizens of Nîmes, keeping with the Roman style architecture to honor the new emperor Augustus. The temple was built in dedication to Augustus’s two adopted sons to promote the new imperial control. The building has a bronze inscription that reads “To Gaus Caesar, son of Augutus, consul: to Lucius Caesar, son of Augustus, Consul designate; to the princes of youth” (Hayes, 1). The temple stands on a 12 ft high podium like a Greek shrine with a stairway that leads up to a colonnaded portico (porch) and then to a single entrance. The Corinthian Order, or the laws of symmetry and proportions, is used in the portico and ornate columns that cover the exterior walls. The building door leads to a large, single room which houses a collection of Roman sculptures (once filled with sculptures of Augustus, his family and the Gods) and other classical fragments (Britannica, 1). The building  is 82 ft long by 40 ft wide. La Maison Carrée served as a spiritual center for the Romans and is an example of classical refinement (Fiero, 6.13). The temple is one of the best preserved  in the world. “It Is one of the most beautiful monuments built in Gaul by the Romans” (Norton, 913). Since it was built the temple has been a town hall, stable, apartment, church, and today serves as a museum.\r\n\r\n<!--more-->\r\n\r\nAfter the assassination of Julius Caesar and the struggle for  power between Marc Anthony and Octavian (later known as Augustus) ensued, the power fell into the hands of Octavian. The senate renamed Octavian, Augustus (“the Revered one”) and he held joint power with the senate, but had the power to veto (Fiero, 6.3).  Augustus’s rein began an era of stability and peace, a time called the “Pax Romana”, during this time literature and art flourished. Augustus was a large supporter of the arts, and commissioned many  projects involving art, literature and architecture. Augustus stated that when he came to power he would make a city of brick into a city of marble (Fiero, B1.12). The Maison Carrée was one of the projects commissioned by Augustus. The shrine was dedicate to his sons, and was used as a symbol of his new power and the new era of peace he brought with him.\r\n\r\nLa Maison Carrée is typical for its time, because it was built in a classical Roman/Greek style encompassing the rules of the Corinthian Order. Other architecture built under the reign of Augustus were similar in design. La Maison Carrée  was inspired by the Temple of Apollo Epicurius in Bassae Arcadia and the Temple of Mars Ultor in Rome, all of which were built according to the Corinthian Order. The Corinthian order was a “set of structural and decorative parts that stand in fixed relation to each other” (Fiero, 5.18). During this time period, the design of a building depended on the function of the building. The Maison Carrée differed from buildings like the Parthenon in Rome, because of its ornate details, where the ladder is built according to the Doric order whose design is “simple and severe” (Fiero, 5.20). Even though the Parthenon differs in its architectural detail, both it and the Maison Carrée hold similarities as to why they were built.  The Maison Carrée was built to honor the Gods and the new emperor Augustus. Most architecture around 19 B.C.E. was built for the same reasons, for example: the Pantheon was built to honor the “7 Planetary dieties” (Fiero B1.155) and the Parthenon was built to honor Athena. The Maison Carrée shares similarities with the Pantheon, built in the early second century B.C.E., because it was also built according to the Corinthian Order, covered with marble and bronze (La Maison Carrée is made of limestone, but appears to be marble), and has a large portico at the entrance. After the Roman rise to power, many buildings displayed the beauty and symmetry of Roman architecture, but only a few of them still stand today.\r\n\r\nLa Maison Carrée is unusual for its time, because it is a Roman temple in the middle of France. The Roman’s brought over a new style of architecture along with their power of the Nîmes area, and it seemed to stand out against the other buildings. Although Nîmes was a provincial city, it was a priority to build a temple there just as nice as any in Rome. Augustus wanted the temple built by the best architect available (Hanser, 147). The style of the building is specifically Roman and the fineness of the construction shows the architect was familiar with the architectual style fashionable in the capital of Rome. The scrolls on the molding of the building are almost identical to the Altar of Peace in Rome which was also dedicated to Augustus. The Romans combined the style of the Etruscans (Italian society that ruled Rome for about a century) using the rectangular form on a podium with columns, a portico and stairs. The architecture also has Greek details; Corinthian order and the organization of the columns, moldings and proportion of the building. Although the Maison Carrée resembles a Greek temple, its architecture is not exactly the same. Most Greek temples have freestanding columns all around the building, making the front and back identical. However, the Maison Carrée has a distinct front and back, and a set of stairs only to the front entrance, where usual Greek temples have stairs all around the building. Romans admired the architecture of Greeks and portrayed it in temples like The Maison Carrée, but were more concerned with ornate details and magnificent architecture to portray Roman power. \"There was nothing provincial about The Maison Carrée when it was built\" (Hanser 146). Even though The Maison Carrée waws a peculiar architectural style in France, In Rome this style was very popular.\r\n\r\nThe temple was built to impress the citizens of Nîmes, but at the same time it was used to enforce the rules of the new regime in power. It was used to show public authority, and became the economic heart of Nîmes. The temple is completely  in- tact and is so well preserved, which proves that it was somewhat well received. It still stands tall today, looking almost brand new. Citizens of France still cherish it today. Augustus was a hard, but fair leader. He wanted little to do with personal luxuries, and simply built these monuments, like The Maison Carrée to show his power, but they were not built for him specifically. The new regime that built The Maison Carrée was not a fearsome one, Augustus brought with him a period of peace and organization. The Roman Empire held values of easy communication and trade that flourished (Britannica, 1).  Augustus was a cultured man, he had every right to lead, and he lead well. Taking over Nîmes was not easy, and the citizens understood this, therefore the architecture he set up was untouched. The architecture was accepted and was frequently used by the citizens of France. Many people were not allowed in the temple, due to the belief in Rome that only priests and their people were allowed inside the Cella (the home of God). Many ceremonies and sacrifices were held outside the temple in front of the stairs of the. The temple survived the fall of the Western Roman Empire, after many others were burned down or destroyed, and has been used by many architects as a model of Roman techniques (Hanser, 147-148).\r\n\r\nToday, The  Maison Carrée is frequently visited and is used as a museum and tourist attraction in France.  It now lies next to a modern art museum, and library, The Carre D’Art. The government of France took a long time in picking an architect to build the new museum, because of the difficult task of finding a design worthy of standing next to The Maison Carrée. In 1984, twelve architects went to France to consider the architecture and history of the site, and design a building that would not compete with the original beauty of The Maison Carrée. The government had a budget of 24 million pounds to revamp the square that The Maison Carrée, lies in. The British architect Norman Foster recently renovated the square to a modern cultural district. They  updated the area, while still respecting the background and history of the architecture already there. (Hanser, 149). The French contracts and building regulations made it difficult, but today the square is finished and remains a hot-spot for tourists and residents of Nîmes. There are many hotels around the area of the temple, such as the Jardin Secrets or the Hotel Majestic for tourists to stay close to the square of La Maison Carrée Since the temple is the best preserved of its kind, it will forever be a main attraction in Nîmes, to visit it almost takes a person back in time. In its day, the Maison Carrée was built to display the power of a new regime, but today it is a symbol of the colorful history of France. To revel in the buildings beauty, and imagine the hard work and immense effort it took to build the massive structure.\r\n\r\nLa Maison Carrée represents the beautiful history of France, the structure represents the classical beauty of Roman architecture, and the fact that it is so well preserved is astounding. Although it has been reconstructed a few times, its original beauty shines. It is obvious it is important to the French government, and the people that live in Nîmes today. The square has been renovated and now holds a modern art museum and library and makes the area even more inviting to visit. I like the fact that the square makes modern style work with the old, classical architecture of The Maison Carrée. When looking at a picture of the temple, it seems as if it were picked up in Rome and placed in the middle of the square it sits in. It seems a little out of place beside the buildings around it, which makes it unique. The architecture is simple, but stunning. I love the columns and the way they wrap all the way around the building. I think it is rather interesting how many different identities the building has had. It started out as a temple or church, then a town hall, stable, etc and is now a museum. I would love to visit and see with my own eyes the beauty and integrity of the building. It would be amazing to walk up the steep set of stairs and think of how many came before me. When I visit France someday soon, I will for definitely make a stop at La Maison Carrée and give praise to those that designed and built the beautiful temple.\r\n\r\nThomas Jefferson first saw The Maison Carrée during his long stay as ambassador to France and instantly fell in love. He stated that it was \"the most perfect and precious remains of antiquity\" (Whiffen 1996, 103, Hanser 148). After returning to the states he was approached by his directors about an idea for a design for the new state capitol, shortly after he contacted the French architect C.L. Clérisseau. Jefferson asked Clérisseau to send him measured drawings of The Maison Carrée so he could use it as a model for the Virginia capitol. Final drawings of the design were sent to Richmond in 1786. Jefferson decided to change the Corinthian Order (characterized by the detailed acanthus leaves) of the original temple to the more simple Ionic order, because he did not feel there were many craftsman in the United States trained well enough to translate the ornate details. Construction of the Virginia capitol was completed in 1788. Like The Maison Carrée, there are pilasters (flat strips, like half columns) around the exterior of the building and a large porch encompassed by columns on the front of the structure.\r\n\r\nBoth of the buildings were built in appreciation for someone in charge. Although Augustus was an emperor, he was much a like a president. The capitol in America is built for a ruler (the president) in honor of his power. The Maison Carrée was used more for a secular device, but like the capitol was visited by many important people. The capitol, can be visited by tourists and people not in power, but is used more by the people in power. The Maison Carrée is the center of the square it resides in, there are many buildings around it, but it is the main attraction. The Virginia capitol building modeled after the temple is also the main building in its area. The capitol houses many statues inside of George Washington and other presidents born in Virginia, like The Maison Carrée, who houses statues of Augustus, his family, the Gods, and other important figures. Both of these pieces of architecture represent an appreciation for other cultures. Thomas Jefferson went to France and awed at The Maison Carrée and its classical beauty and decided to model his capitol in America after it (there is even a statue inside of the French- volunteer who fought for The United States during the American Revolution (Viriginia, 1)). He embraced the French and was interested in their vast culture. Augustus borrowed the architectural ideas for The Maison Carrée from the Romans, the Greeks and the Etruscans. Each of these buildings are an example of the collaboration of culture, art and architecture. Unlike The Maison Carrée, the Virigina capitol has always been used as the capitol. The buildings have been restored, changed and added on to, but has never changed its identity. The Maison Carrée however has has many different identities: a church, a private house, stable, town hall and museum. Both buildings, although similar in design are very different (one was built by Americas, attempting to copy the Roman design, the other built by the originals- the Romans) The Maison Carrée has a much longer history than the Virginia capitol, but both are very meaningful to the citizens who live around them and display a history to the county they were built in.\r\n\r\nFor future generations, it is important to understand the significance of La Maison Carrée. It is not only a beautiful piece of architecture, it is a representation of the struggle for power during its time. It represents the hard work men put into building the structure. It is historical evidence of the Roman Empire, and represents the power Augustus had during his reign in France and other European regions. Due to the fact that is the best preserved temple from its time period, future generations can visit it and view the original beauty and artistic intelligence it took to build it. It is important for future generations to realize the building was made by real men with their bare hands. Blood, sweat and tears went into building The Maison Carrée, unlike many buildings today. Architecture today lacks structural beauty, and many people do not think of proportions and symmetry the way these men used to. The Maison Carrée is a prime example of the Corinthian Order, and would be important for anyone to visit in order to understand the rules of the order. The Maison Carrée is not just a beautiful building, it is a representation of the people that lived in Nîmes, worked there and ruled there. It is an example of the Roman reign and the colorful history of France.\r\n\r\nWorks Cited\r\n\r\nChavalas, Mark W. \"Agrippa Marcus Vispanius.\"  The Ancient World. Vol 2. Print\r\n\r\nFiero, Gloria K. The Humanistic Tradition: McGraw-Hill, 2011. Print.\r\n\r\nHanser, David A. \"Reference Guide to National Architecture: Architecture of France.\" Greenwood Press,\r\n\r\n2006. Print\r\n\r\nHayes, Holly. \"Maison Carrée,  Nîmes.\" Sacred Destinations. 2005-2011.\r\n\r\n&lt;http://www.sacred-destinations.com/france/nimes-maison-carree&gt;  Web. 12 Feb 2011.\r\n\r\nNorton, Peter B. \"The Maison Carrée.\" Britannica Encylopedia. Vol 7.1995. Print.\r\n\r\nVirginia Capitol Foundation. \"About the Capitol.\" Commonwealth of Virginia, 2006-2010.\r\n\r\nWeb. &lt; http://www.virginiacapitol.gov/&gt; 13 Feb 2011.','La Maison Carrée','','inherit','open','open','','199-revision-3','','','2011-02-16 14:43:41','2011-02-16 20:43:41','',199,'http://jeanatacc.com/2011/?p=210',0,'revision','',0),(213,25,'2011-02-16 15:46:58','2011-02-16 21:46:58','North of Salisbury, England, a prehistoric monument lies within the Salisbury Plain (STONEHENGE New World). The monument consists of a group of stones that have long beheld mysteries and theories as to how they got there. The mystery of the stones is known as Stonehenge.\n\n<!--more-->\n\nFrom the wear and weathering of the stones at Stonehenge, researchers have gathered information to date the stone arrangement. The markings on the stones match the tools used in the time period from C. 3000-1000 B.C. In other words, the late stone and the early bronze ages (STONEHENGE New World). Though scientist and researchers have approximated a time period of creation, who exactly built Stonehenge remains unknown.\n\nWhoever the creators were, built Stonehenge in several phases. As a whole, Stonehenge was constructed, “Over a period of 2000 years...” (Robinson and Evans-Freke). The first phase consisted of, “Two raised circles of earth about 300 ft from each other with a series of 56 holes (now known as the Aubrey holes) arranged inside the circle” (Stonehenge Wonders). Around a hundred years later, the four rows of stones (as seen in the picture below) were situated in a circular formation. These sets of stones include Blue stones and Sarsen stones (STONEHENGE New World).\n\n(INSERT PICTURE)\n\nThe stones could have only been found miles and miles away from where they stand today. The Blue stones were likely to have been transported over 250 miles from the Prescelly Mountains in Wales (Stonehenge Wonders). The Sarsen stones came from 24 miles away in the Marlborough Downs in southern England (Stonehenge Wonders).  The largest of the Sarsen stones at Stonehenge weigh up to 45 tons (\"Discovering the Secrets\"). Due to the size of the stones and the distance that the stones were moved, people over centuries have theorized ridiculous ideas of how Stonehenge came to be.  Some theories say giants from Africa brought the stones over to England and others have said the gods placed the stones there. Archeologists like Andrew Young have put the outrageous theories to rest. Though his test has not yet been proven, it is highly likely that the Neolithic people transported the stones using a rolling method (\"Discovering the Secrets\"). Stone balls with diameters only a few millimeters apart were excavated and given correlation to Stonehenge. Young felt that all the balls had to have been used together as a way to roll the stones from place to place (\"Discovering the Secrets\").\n\nWhat we know about the Neolithic people of the Stone Age is that they were very skilled in carving stone and wood (Robinson and Evans-Freke). Though not much of the Neolithic culture survived, people have their stone structures left to remember them. Neolithic stone circles like Stonehenge have been, “Found all over the British Isles. Nearly a thousand stone circles still stand today” (Robinson and Evans-Freke).  As time passed, archaeologists found that most of the stones mark graves (       ).  The stones that mark the graves were formed as, “Megalith, upright slabs roofed by a capstone…” (     ). The megaliths were considered stone tombs for the ones who had passed.\n\nDue to further excavation, the world now knows that Stonehenge was once a burial site, but that is not how Stonehenge was always perceived.  Before the cremations were found in and around Stonehenge, scientist figured that Stonehenge, “Served as a celestial calendar predicting the movements of the sun and moon, clocking the seasonable cycle, and thus providing information that would have been essential to an agricultural society” (       ).  Stonehenge does align with the winter and summer solstice but more for religious purposes than agricultural use (Robinson and Evan-Freke).  Stonehenge is not the only structure with astronomical alignment.  All over the world, ancient people have incorporated them into their works (Robinson and Evan-Freke).  Recumbent stone circles found in Scotland also have an astronomical alliance.  The Recumbent stone circles had a, “Primary association with the observation of the extreme setting points on the lunar cycle” (Whitaker). What makes Stonehenge unusual from the other stone circles though is the cremated bodies buried at the site. Most of the remains found belonged to older males. If men were only to be buried at Stonehenge, “They must have been selected” (Robinson and Evans-Freke).  The male cremations gave way to a deeper discovery of Stonehenge and its surroundings.\n\nArcheologist Mike Parker Pearson took advantage of Stonehenge’s new discovery. He had a fascination with the people of Madagascar’s association of timber wood linked with, “The living… and stone with the dead…” (Snodgrass). After he studied the people of Madagascar’s rituals of life and death, he brought his finding over to England. In England he begin to work with others in hope of finding a link between wood and stone at Stonehenge the way they were linked in Madagascar (Robinson and Evans-Freke).  About 1,000 meters away from Stonehenge lays a prehistoric layout of a village located at Durrington Walls that was recently founded by Pearson and other archeologist (\"Stonehenge\'s Twin\"). The house remains of the village believe to have been dated back to the same time as Stonehenge appears to be built (\"Stonehenge\'s Twin\").  The houses were, “Excavated nearby a timber henge of enormous postholes” (Key). Pearson and his crew suggested that Stonehenge and Durrington Walls, “Were built as a single complex of complementary stone and wood circles” (Key). Excavations of large mounds of pig bones at Durrington Walls also indicated, “Feasting around the time of the winter solstice” (Snodgrass). Pearson believed that, “Celebrations were held at both circles related to the rising and setting of the sun and the cycles of life between summer and winter” (Snodgrass). Pearson concluded from the connection that life was celebrated at Durrington Walls and death was celebrated at Stonehenge during the time of the Neolithic culture.\n\nEvery year thousands of people visit Stonehenge for scientific and recreational purposes. It is a well-known monument all through England and around the world. Stonehenge was at the top of my list of choices for the first time capsule topic and I am more than grateful that I was able to do research on it. I knew there was a great circle of stones in England called Stonehenge through stories and pictures but until now, I never knew why it is perceived to be a mystery or a historical structure. What I find meaningful behind Stonehenge is the lengths that the Neolithic people took to honor their dead. The stones, which were placed at Stonehenge, came from miles and miles away and align perfectly to the winter and summer solstices. A great amount of determination and dedication had to be in place in order to do so. It also fascinates me on how far scientist and technology have gone to solve the mystery of Stonehenge. Without people like Pearson or Young, the world may never have gained as much information as we know now about the stones today. Stonehenge beholds a mysterious beauty that is waiting to be solved. It is up to further generations to solve the wonders of Stonehenge yet still preserve the burials of our ancestors.','Stonehenge','','inherit','open','open','','162-revision-6','','','2011-02-16 15:46:58','2011-02-16 21:46:58','',162,'http://jeanatacc.com/2011/?p=213',0,'revision','',0),(214,25,'2011-02-16 15:51:46','2011-02-16 21:51:46','North of Salisbury, England, a prehistoric monument lies within the Salisbury Plain (STONEHENGE New World). The monument consists of a group of stones that have long beheld mysteries and theories as to how they got there. The mystery of the stones is known as Stonehenge.\n\n<!--more-->\n\nFrom the wear and weathering of the stones at Stonehenge, researchers have gathered information to date the stone arrangement. The markings on the stones match the tools used in the time period from C. 3000-1000 B.C. In other words, the late stone and the early bronze ages (STONEHENGE New World). Though scientist and researchers have approximated a time period of creation, who exactly built Stonehenge remains unknown.\n\nWhoever the creators were, built Stonehenge in several phases. As a whole, Stonehenge was constructed, “Over a period of 2000 years...” (Robinson and Evans-Freke). The first phase consisted of, “Two raised circles of earth about 300 ft from each other with a series of 56 holes (now known as the Aubrey holes) arranged inside the circle” (Stonehenge Wonders). Around a hundred years later, the four rows of stones (as seen in the picture below) were situated in a circular formation. These sets of stones include Blue stones and Sarsen stones (STONEHENGE New World).\n\n(INSERT PICTURE)\n\nThe stones could have only been found miles and miles away from where they stand today. The Blue stones were likely to have been transported over 250 miles from the Prescelly Mountains in Wales (Stonehenge Wonders). The Sarsen stones came from 24 miles away in the Marlborough Downs in southern England (Stonehenge Wonders).  The largest of the Sarsen stones at Stonehenge weigh up to 45 tons (\"Discovering the Secrets\"). Due to the size of the stones and the distance that the stones were moved, people over centuries have theorized ridiculous ideas of how Stonehenge came to be.  Some theories say giants from Africa brought the stones over to England and others have said the gods placed the stones there. Archeologists like Andrew Young have put the outrageous theories to rest. Though his test has not yet been proven, it is highly likely that the Neolithic people transported the stones using a rolling method (\"Discovering the Secrets\"). Stone balls with diameters only a few millimeters apart were excavated and given correlation to Stonehenge. Young felt that all the balls had to have been used together as a way to roll the stones from place to place (\"Discovering the Secrets\").\n\nWhat we know about the Neolithic people of the Stone Age is that they were very skilled in carving stone and wood (Robinson and Evans-Freke). Though not much of the Neolithic culture survived, people have their stone structures left to remember them. Neolithic stone circles like Stonehenge have been, “Found all over the British Isles. Nearly a thousand stone circles still stand today” (Robinson and Evans-Freke).  As time passed, archaeologists found that most of the stones mark graves (Pearson and Goerke-Shrode).  The stones that mark the graves were formed as, “Megalith, upright slabs roofed by a capstone…” ( Pearson and Goerke-Shrode). The megaliths were considered stone tombs for the ones who had passed.\n\nDue to further excavation, the world now knows that Stonehenge was once a burial site, but that is not how Stonehenge was always perceived.  Before the cremations were found in and around Stonehenge, scientist figured that Stonehenge, “Served as a celestial calendar predicting the movements of the sun and moon, clocking the seasonable cycle, and thus providing information that would have been essential to an agricultural society” (Pearson and Goerke-Shrode).  Stonehenge does align with the winter and summer solstice but more for religious purposes than agricultural use (Robinson and Evan-Freke).  Stonehenge is not the only structure with astronomical alignment.  All over the world, ancient people have incorporated them into their works (Robinson and Evan-Freke).  Recumbent stone circles found in Scotland also have an astronomical alliance.  The Recumbent stone circles had a, “Primary association with the observation of the extreme setting points on the lunar cycle” (Whitaker). What makes Stonehenge unusual from the other stone circles though is the cremated bodies buried at the site. Most of the remains found belonged to older males. If men were only to be buried at Stonehenge, “They must have been selected” (Robinson and Evans-Freke).  The male cremations gave way to a deeper discovery of Stonehenge and its surroundings.\n\nArcheologist Mike Parker Pearson took advantage of Stonehenge’s new discovery. He had a fascination with the people of Madagascar’s association of timber wood linked with, “The living… and stone with the dead…” (Snodgrass). After he studied the people of Madagascar’s rituals of life and death, he brought his finding over to England. In England he begin to work with others in hope of finding a link between wood and stone at Stonehenge the way they were linked in Madagascar (Robinson and Evans-Freke).  About 1,000 meters away from Stonehenge lays a prehistoric layout of a village located at Durrington Walls that was recently founded by Pearson and other archeologist (\"Stonehenge\'s Twin\"). The house remains of the village believe to have been dated back to the same time as Stonehenge appears to be built (\"Stonehenge\'s Twin\").  The houses were, “Excavated nearby a timber henge of enormous postholes” (Key). Pearson and his crew suggested that Stonehenge and Durrington Walls, “Were built as a single complex of complementary stone and wood circles” (Key). Excavations of large mounds of pig bones at Durrington Walls also indicated, “Feasting around the time of the winter solstice” (Snodgrass). Pearson believed that, “Celebrations were held at both circles related to the rising and setting of the sun and the cycles of life between summer and winter” (Snodgrass). Pearson concluded from the connection that life was celebrated at Durrington Walls and death was celebrated at Stonehenge during the time of the Neolithic culture.\n\nEvery year thousands of people visit Stonehenge for scientific and recreational purposes. It is a well-known monument all through England and around the world. Stonehenge was at the top of my list of choices for the first time capsule topic and I am more than grateful that I was able to do research on it. I knew there was a great circle of stones in England called Stonehenge through stories and pictures but until now, I never knew why it is perceived to be a mystery or a historical structure. What I find meaningful behind Stonehenge is the lengths that the Neolithic people took to honor their dead. The stones, which were placed at Stonehenge, came from miles and miles away and align perfectly to the winter and summer solstices. A great amount of determination and dedication had to be in place in order to do so. It also fascinates me on how far scientist and technology have gone to solve the mystery of Stonehenge. Without people like Pearson or Young, the world may never have gained as much information as we know now about the stones today. Stonehenge beholds a mysterious beauty that is waiting to be solved. It is up to further generations to solve the wonders of Stonehenge yet still preserve the burials of our ancestors.','Stonehenge','','inherit','open','open','','162-revision-7','','','2011-02-16 15:51:46','2011-02-16 21:51:46','',162,'http://jeanatacc.com/2011/?p=214',0,'revision','',0),(215,25,'2011-02-16 15:52:54','2011-02-16 21:52:54','North of Salisbury, England, a prehistoric monument lies within the Salisbury Plain (STONEHENGE New World). The monument consists of a group of stones that have long beheld mysteries and theories as to how they got there. The mystery of the stones is known as Stonehenge.\n\n<!--more-->\n\nFrom the wear and weathering of the stones at Stonehenge, researchers have gathered information to date the stone arrangement. The markings on the stones match the tools used in the time period from C. 3000-1000 B.C. In other words, the late stone and the early bronze ages (STONEHENGE New World). Though scientist and researchers have approximated a time period of creation, who exactly built Stonehenge remains unknown.\n\nWhoever the creators were, built Stonehenge in several phases. As a whole, Stonehenge was constructed, “Over a period of 2000 years...” (Robinson and Evans-Freke). The first phase consisted of, “Two raised circles of earth about 300 ft from each other with a series of 56 holes (now known as the Aubrey holes) arranged inside the circle” (Stonehenge Wonders). Around a hundred years later, the four rows of stones (as seen in the picture below) were situated in a circular formation. These sets of stones include Blue stones and Sarsen stones (STONEHENGE New World).\n\n(INSERT PICTURE)\n\nThe stones could have only been found miles and miles away from where they stand today. The Blue stones were likely to have been transported over 250 miles from the Prescelly Mountains in Wales (Stonehenge Wonders). The Sarsen stones came from 24 miles away in the Marlborough Downs in southern England (Stonehenge Wonders).  The largest of the Sarsen stones at Stonehenge weigh up to 45 tons (\"Discovering the Secrets\"). Due to the size of the stones and the distance that the stones were moved, people over centuries have theorized ridiculous ideas of how Stonehenge came to be.  Some theories say giants from Africa brought the stones over to England and others have said the gods placed the stones there. Archeologists like Andrew Young have put the outrageous theories to rest. Though his test has not yet been proven, it is highly likely that the Neolithic people transported the stones using a rolling method (\"Discovering the Secrets\"). Stone balls with diameters only a few millimeters apart were excavated and given correlation to Stonehenge. Young felt that all the balls had to have been used together as a way to roll the stones from place to place (\"Discovering the Secrets\").\n\nWhat we know about the Neolithic people of the Stone Age is that they were very skilled in carving stone and wood (Robinson and Evans-Freke). Though not much of the Neolithic culture survived, people have their stone structures left to remember them. Neolithic stone circles like Stonehenge have been, “Found all over the British Isles. Nearly a thousand stone circles still stand today” (Robinson and Evans-Freke).  As time passed, archaeologists found that most of the stones mark graves (Pearson and Goerke-Shrode).  The stones that mark the graves were formed as, “Megalith, upright slabs roofed by a capstone…” ( Pearson and Goerke-Shrode). The megaliths were considered stone tombs for the ones who had passed.\n\nDue to further excavation, the world now knows that Stonehenge was once a burial site, but that is not how Stonehenge was always perceived.  Before the cremations were found in and around Stonehenge, scientist figured that Stonehenge, “Served as a celestial calendar predicting the movements of the sun and moon, clocking the seasonable cycle, and thus providing information that would have been essential to an agricultural society” (Pearson and Goerke-Shrode).  Stonehenge does align with the winter and summer solstice but more for religious purposes than agricultural use (Robinson and Evan-Freke).  Stonehenge is not the only structure with astronomical alignment.  All over the world, ancient people have incorporated them into their works (Robinson and Evan-Freke).  Recumbent stone circles found in Scotland also have an astronomical alliance.  The Recumbent stone circles had a, “Primary association with the observation of the extreme setting points on the lunar cycle” (Whitaker). What makes Stonehenge unusual from the other stone circles though is the cremated bodies buried at the site. Most of the remains found belonged to older males. If men were only to be buried at Stonehenge, “They must have been selected” (Robinson and Evans-Freke).  The male cremations gave way to a deeper discovery of Stonehenge and its surroundings.\n\nArcheologist Mike Parker Pearson took advantage of Stonehenge’s new discovery. He had a fascination with the people of Madagascar’s association of timber wood linked with, “The living… and stone with the dead…” (Snodgrass). After he studied the people of Madagascar’s rituals of life and death, he brought his finding over to England. In England he begin to work with others in hope of finding a link between wood and stone at Stonehenge the way they were linked in Madagascar (Robinson and Evans-Freke).  About 1,000 meters away from Stonehenge lays a prehistoric layout of a village located at Durrington Walls that was recently founded by Pearson and other archeologist (\"Stonehenge\'s Twin\"). The house remains of the village believe to have been dated back to the same time as Stonehenge appears to be built (\"Stonehenge\'s Twin\").  The houses were, “Excavated nearby a timber henge of enormous postholes” (Key). Pearson and his crew suggested that Stonehenge and Durrington Walls, “Were built as a single complex of complementary stone and wood circles” (Key). Excavations of large mounds of pig bones at Durrington Walls also indicated, “Feasting around the time of the winter solstice” (Snodgrass). Pearson believed that, “Celebrations were held at both circles related to the rising and setting of the sun and the cycles of life between summer and winter” (Snodgrass). Pearson concluded from the connection that life was celebrated at Durrington Walls and death was celebrated at Stonehenge during the time of the Neolithic culture.\n\nEvery year thousands of people visit Stonehenge for scientific and recreational purposes. It is a well-known monument all through England and around the world. Stonehenge was at the top of my list of choices for the first time capsule topic and I am more than grateful that I was able to do research on it. I knew there was a great circle of stones in England called Stonehenge through stories and pictures but until now, I never knew why it is perceived to be a mystery or a historical structure. What I find meaningful behind Stonehenge is the lengths that the Neolithic people took to honor their dead. The stones, which were placed at Stonehenge, came from miles and miles away and align perfectly to the winter and summer solstices. A great amount of determination and dedication had to be in place in order to do so. It also fascinates me on how far scientist and technology have gone to solve the mystery of Stonehenge. Without people like Pearson or Young, the world may never have gained as much information as we know now about the stones today. Stonehenge beholds a mysterious beauty that is waiting to be solved. It is up to further generations to solve the wonders of Stonehenge yet still preserve the burials of our ancestors.','Discovering Stonehenge','','inherit','open','open','','162-revision-8','','','2011-02-16 15:52:54','2011-02-16 21:52:54','',162,'http://jeanatacc.com/2011/?p=215',0,'revision','',0),(216,25,'2011-02-16 15:56:12','2011-02-16 21:56:12','North of Salisbury, England, a prehistoric monument lies within the Salisbury Plain (STONEHENGE New World). The monument consists of a group of stones that have long beheld mysteries and theories as to how they got there. The mystery of the stones is known as Stonehenge.\n\n<!--more-->\n\nFrom the wear and weathering of the stones at Stonehenge, researchers have gathered information to date the stone arrangement. The markings on the stones match the tools used in the time period from C. 3000-1000 B.C. In other words, the late stone and the early bronze ages (STONEHENGE New World). Though scientist and researchers have approximated a time period of creation, who exactly built Stonehenge remains unknown.\n\nWhoever the creators were, built Stonehenge in several phases. As a whole, Stonehenge was constructed, “Over a period of 2000 years...” (Robinson and Evans-Freke). The first phase consisted of, “Two raised circles of earth about 300 ft from each other with a series of 56 holes (now known as the Aubrey holes) arranged inside the circle” (Stonehenge Wonders). Around a hundred years later, the four rows of stones (as seen in the picture below) were situated in a circular formation. These sets of stones include Blue stones and Sarsen stones (STONEHENGE New World).\n\n(INSERT PICTURE)\n\nThe stones could have only been found miles and miles away from where they stand today. The Blue stones were likely to have been transported over 250 miles from the Prescelly Mountains in Wales (Stonehenge Wonders). The Sarsen stones came from 24 miles away in the Marlborough Downs in southern England (Stonehenge Wonders).  The largest of the Sarsen stones at Stonehenge weigh up to 45 tons (\"Discovering the Secrets\"). Due to the size of the stones and the distance that the stones were moved, people over centuries have theorized ridiculous ideas of how Stonehenge came to be.  Some theories say giants from Africa brought the stones over to England and others have said the gods placed the stones there. Archeologists like Andrew Young have put the outrageous theories to rest. Though his test has not yet been proven, it is highly likely that the Neolithic people transported the stones using a rolling method (\"Discovering the Secrets\"). Stone balls with diameters only a few millimeters apart were excavated and given correlation to Stonehenge. Young felt that all the balls had to have been used together as a way to roll the stones from place to place (\"Discovering the Secrets\").\n\nWhat we know about the Neolithic people of the Stone Age is that they were very skilled in carving stone and wood (Robinson and Evans-Freke). Though not much of the Neolithic culture survived, people have their stone structures left to remember them. Neolithic stone circles like Stonehenge have been, “Found all over the British Isles. Nearly a thousand stone circles still stand today” (Robinson and Evans-Freke).  As time passed, archaeologists found that most of the stones mark graves (Pearson and Goerke-Shrode).  The stones that mark the graves were formed as, “Megalith, upright slabs roofed by a capstone…” ( Pearson and Goerke-Shrode). The megaliths were considered stone tombs for the ones who had passed.\n\nDue to further excavation, the world now knows that Stonehenge was once a burial site, but that is not how Stonehenge was always perceived.  Before the cremations were found in and around Stonehenge, scientist figured that Stonehenge, “Served as a celestial calendar predicting the movements of the sun and moon, clocking the seasonable cycle, and thus providing information that would have been essential to an agricultural society” (Pearson and Goerke-Shrode).  Stonehenge does align with the winter and summer solstice but more for religious purposes than agricultural use (Robinson and Evan-Freke).  Stonehenge is not the only structure with astronomical alignment.  All over the world, ancient people have incorporated them into their works (Robinson and Evan-Freke).  Recumbent stone circles found in Scotland also have an astronomical alliance.  The Recumbent stone circles had a, “Primary association with the observation of the extreme setting points on the lunar cycle” (Whitaker). What makes Stonehenge unusual from the other stone circles though is the cremated bodies buried at the site. Most of the remains found belonged to older males. If men were only to be buried at Stonehenge, “They must have been selected” (Robinson and Evans-Freke).  The male cremations gave way to a deeper discovery of Stonehenge and its surroundings.\n\nArcheologist Mike Parker Pearson took advantage of Stonehenge’s new discovery. He had a fascination with the people of Madagascar’s association of timber wood linked with, “The living… and stone with the dead…” (Snodgrass). After he studied the people of Madagascar’s rituals of life and death, he brought his finding over to England. In England he begin to work with others in hope of finding a link between wood and stone at Stonehenge the way they were linked in Madagascar (Robinson and Evans-Freke).  About 1,000 meters away from Stonehenge lays a prehistoric layout of a village located at Durrington Walls that was recently founded by Pearson and other archeologist (\"Stonehenge\'s Twin\"). The house remains of the village believe to have been dated back to the same time as Stonehenge appears to be built (\"Stonehenge\'s Twin\").  The houses were, “Excavated nearby a timber henge of enormous postholes” (Key). Pearson and his crew suggested that Stonehenge and Durrington Walls, “Were built as a single complex of complementary stone and wood circles” (Key). Excavations of large mounds of pig bones at Durrington Walls also indicated, “Feasting around the time of the winter solstice” (Snodgrass). Pearson believed that, “Celebrations were held at both circles related to the rising and setting of the sun and the cycles of life between summer and winter” (Snodgrass). Pearson concluded from the connection that life was celebrated at Durrington Walls and death was celebrated at Stonehenge during the time of the Neolithic culture.\n\nEvery year thousands of people visit Stonehenge for scientific and recreational purposes. It is a well-known monument all through England and around the world. Stonehenge was at the top of my list of choices for the first time capsule topic and I am more than grateful that I was able to do research on it. I knew there was a great circle of stones in England called Stonehenge through stories and pictures but until now, I never knew why it is perceived to be a mystery or a historical structure. What I find meaningful behind Stonehenge is the lengths that the Neolithic people took to honor their dead. The stones, which were placed at Stonehenge, came from miles and miles away and align perfectly to the winter and summer solstices. A great amount of determination and dedication had to be in place in order to do so. It also fascinates me on how far scientist and technology have gone to solve the mystery of Stonehenge. Without people like Pearson or Young, the world may never have gained as much information as we know now about the stones today. Stonehenge beholds a mysterious beauty that is waiting to be solved. It is up to further generations to solve the wonders of Stonehenge yet still preserve the burials of our ancestors.\n\n<!--more-->\n<p style=\"text-align: center\"><strong>Works Cited</strong></p>','Discovering Stonehenge','','inherit','open','open','','162-revision-9','','','2011-02-16 15:56:12','2011-02-16 21:56:12','',162,'http://jeanatacc.com/2011/?p=216',0,'revision','',0),(217,29,'2011-02-16 16:00:42','2011-02-16 22:00:42','La Maison Carrée (the square house) is a Roman temple built in Nîmes, France in 19 B.C.E. The Roman shrine was built by Marcus Agrippa during the reign of Caesar Augustus. Agrippa who was the “right hand man” and son-in-law to Augustus and the patron of the Pantheon in Rome (Hayes, 1). La Maison Carrée was built in hopes to impress the citizens of Nîmes, keeping with the Roman style architecture to honor the new emperor Augustus. The temple was built in dedication to Augustus’s two adopted sons to promote the new imperial control. The building has a bronze inscription that reads “To Gaus Caesar, son of Augutus, consul: to Lucius Caesar, son of Augustus, Consul designate; to the princes of youth” (Hayes, 1). The temple stands on a 12 ft high podium like a Greek shrine with a stairway that leads up to a colonnaded portico (porch) and then to a single entrance. The Corinthian Order, or the laws of symmetry and proportions, is used in the portico and ornate columns that cover the exterior walls. The building door leads to a large, single room which houses a collection of Roman sculptures (once filled with sculptures of Augustus, his family and the Gods) and other classical fragments (Britannica, 1). The building  is 82 ft long by 40 ft wide. La Maison Carrée served as a spiritual center for the Romans and is an example of classical refinement (Fiero, 6.13). The temple is one of the best preserved  in the world. “It Is one of the most beautiful monuments built in Gaul by the Romans” (Norton, 913). Since it was built the temple has been a town hall, stable, apartment, church, and today serves as a museum.\n\n<!--more-->\n\nAfter the assassination of Julius Caesar and the struggle for  power between Marc Anthony and Octavian (later known as Augustus) ensued, the power fell into the hands of Octavian. The senate renamed Octavian, Augustus (“the Revered one”) and he held joint power with the senate, but had the power to veto (Fiero, 6.3).  Augustus’s rein began an era of stability and peace, a time called the “Pax Romana”, during this time literature and art flourished. Augustus was a large supporter of the arts, and commissioned many  projects involving art, literature and architecture. Augustus stated that when he came to power he would make a city of brick into a city of marble (Fiero, B1.12). The Maison Carrée was one of the projects commissioned by Augustus. The shrine was dedicate to his sons, and was used as a symbol of his new power and the new era of peace he brought with him.\n\nLa Maison Carrée is typical for its time, because it was built in a classical Roman/Greek style encompassing the rules of the Corinthian Order. Other architecture built under the reign of Augustus were similar in design. La Maison Carrée  was inspired by the Temple of Apollo Epicurius in Bassae Arcadia and the Temple of Mars Ultor in Rome, all of which were built according to the Corinthian Order. The Corinthian order was a “set of structural and decorative parts that stand in fixed relation to each other” (Fiero, 5.18). During this time period, the design of a building depended on the function of the building. The Maison Carrée differed from buildings like the Parthenon in Rome, because of its ornate details, where the ladder is built according to the Doric order whose design is “simple and severe” (Fiero, 5.20). Even though the Parthenon differs in its architectural detail, both it and the Maison Carrée hold similarities as to why they were built.  The Maison Carrée was built to honor the Gods and the new emperor Augustus. Most architecture around 19 B.C.E. was built for the same reasons, for example: the Pantheon was built to honor the “7 Planetary dieties” (Fiero B1.155) and the Parthenon was built to honor Athena. The Maison Carrée shares similarities with the Pantheon, built in the early second century B.C.E., because it was also built according to the Corinthian Order, covered with marble and bronze (La Maison Carrée is made of limestone, but appears to be marble), and has a large portico at the entrance. After the Roman rise to power, many buildings displayed the beauty and symmetry of Roman architecture, but only a few of them still stand today.\n\nLa Maison Carrée is unusual for its time, because it is a Roman temple in the middle of France. The Roman’s brought over a new style of architecture along with their power of the Nîmes area, and it seemed to stand out against the other buildings. Although Nîmes was a provincial city, it was a priority to build a temple there just as nice as any in Rome. Augustus wanted the temple built by the best architect available (Hanser, 147). The style of the building is specifically Roman and the fineness of the construction shows the architect was familiar with the architectual style fashionable in the capital of Rome. The scrolls on the molding of the building are almost identical to the Altar of Peace in Rome which was also dedicated to Augustus. The Romans combined the style of the Etruscans (Italian society that ruled Rome for about a century) using the rectangular form on a podium with columns, a portico and stairs. The architecture also has Greek details; Corinthian order and the organization of the columns, moldings and proportion of the building. Although the Maison Carrée resembles a Greek temple, its architecture is not exactly the same. Most Greek temples have freestanding columns all around the building, making the front and back identical. However, the Maison Carrée has a distinct front and back, and a set of stairs only to the front entrance, where usual Greek temples have stairs all around the building. Romans admired the architecture of Greeks and portrayed it in temples like The Maison Carrée, but were more concerned with ornate details and magnificent architecture to portray Roman power. \"There was nothing provincial about The Maison Carrée when it was built\" (Hanser 146). Even though The Maison Carrée waws a peculiar architectural style in France, In Rome this style was very popular.\n\nThe temple was built to impress the citizens of Nîmes, but at the same time it was used to enforce the rules of the new regime in power. It was used to show public authority, and became the economic heart of Nîmes. The temple is completely  in- tact and is so well preserved, which proves that it was somewhat well received. It still stands tall today, looking almost brand new. Citizens of France still cherish it today. Augustus was a hard, but fair leader. He wanted little to do with personal luxuries, and simply built these monuments, like The Maison Carrée to show his power, but they were not built for him specifically. The new regime that built The Maison Carrée was not a fearsome one, Augustus brought with him a period of peace and organization. The Roman Empire held values of easy communication and trade that flourished (Britannica, 1).  Augustus was a cultured man, he had every right to lead, and he lead well. Taking over Nîmes was not easy, and the citizens understood this, therefore the architecture he set up was untouched. The architecture was accepted and was frequently used by the citizens of France. Many people were not allowed in the temple, due to the belief in Rome that only priests and their people were allowed inside the Cella (the home of God). Many ceremonies and sacrifices were held outside the temple in front of the stairs of the. The temple survived the fall of the Western Roman Empire, after many others were burned down or destroyed, and has been used by many architects as a model of Roman techniques (Hanser, 147-148).\n\nToday, The  Maison Carrée is frequently visited and is used as a museum and tourist attraction in France.  It now lies next to a modern art museum, and library, The Carre D’Art. The government of France took a long time in picking an architect to build the new museum, because of the difficult task of finding a design worthy of standing next to The Maison Carrée. In 1984, twelve architects went to France to consider the architecture and history of the site, and design a building that would not compete with the original beauty of The Maison Carrée. The government had a budget of 24 million pounds to revamp the square that The Maison Carrée, lies in. The British architect Norman Foster recently renovated the square to a modern cultural district. They  updated the area, while still respecting the background and history of the architecture already there. (Hanser, 149). The French contracts and building regulations made it difficult, but today the square is finished and remains a hot-spot for tourists and residents of Nîmes. There are many hotels around the area of the temple, such as the Jardin Secrets or the Hotel Majestic for tourists to stay close to the square of La Maison Carrée Since the temple is the best preserved of its kind, it will forever be a main attraction in Nîmes, to visit it almost takes a person back in time. In its day, the Maison Carrée was built to display the power of a new regime, but today it is a symbol of the colorful history of France. To revel in the buildings beauty, and imagine the hard work and immense effort it took to build the massive structure.\n\nLa Maison Carrée represents the beautiful history of France, the structure represents the classical beauty of Roman architecture, and the fact that it is so well preserved is astounding. Although it has been reconstructed a few times, its original beauty shines. It is obvious it is important to the French government, and the people that live in Nîmes today. The square has been renovated and now holds a modern art museum and library and makes the area even more inviting to visit. I like the fact that the square makes modern style work with the old, classical architecture of The Maison Carrée. When looking at a picture of the temple, it seems as if it were picked up in Rome and placed in the middle of the square it sits in. It seems a little out of place beside the buildings around it, which makes it unique. The architecture is simple, but stunning. I love the columns and the way they wrap all the way around the building. I think it is rather interesting how many different identities the building has had. It started out as a temple or church, then a town hall, stable, etc and is now a museum. I would love to visit and see with my own eyes the beauty and integrity of the building. It would be amazing to walk up the steep set of stairs and think of how many came before me. When I visit France someday soon, I will for definitely make a stop at La Maison Carrée and give praise to those that designed and built the beautiful temple.\n\nThomas Jefferson first saw The Maison Carrée during his long stay as ambassador to France and instantly fell in love. He stated that it was \"the most perfect and precious remains of antiquity\" (Whiffen 1996, 103, Hanser 148). After returning to the states he was approached by his directors about an idea for a design for the new state capitol, shortly after he contacted the French architect C.L. Clérisseau. Jefferson asked Clérisseau to send him measured drawings of The Maison Carrée so he could use it as a model for the Virginia capitol. Final drawings of the design were sent to Richmond in 1786. Jefferson decided to change the Corinthian Order (characterized by the detailed acanthus leaves) of the original temple to the more simple Ionic order, because he did not feel there were many craftsman in the United States trained well enough to translate the ornate details. Construction of the Virginia capitol was completed in 1788. Like The Maison Carrée, there are pilasters (flat strips, like half columns) around the exterior of the building and a large porch encompassed by columns on the front of the structure.\n\nBoth of the buildings were built in appreciation for someone in charge. Although Augustus was an emperor, he was much a like a president. The capitol in America is built for a ruler (the president) in honor of his power. The Maison Carrée was used more for a secular device, but like the capitol was visited by many important people. The capitol, can be visited by tourists and people not in power, but is used more by the people in power. The Maison Carrée is the center of the square it resides in, there are many buildings around it, but it is the main attraction. The Virginia capitol building modeled after the temple is also the main building in its area. The capitol houses many statues inside of George Washington and other presidents born in Virginia, like The Maison Carrée, who houses statues of Augustus, his family, the Gods, and other important figures. Both of these pieces of architecture represent an appreciation for other cultures. Thomas Jefferson went to France and awed at The Maison Carrée and its classical beauty and decided to model his capitol in America after it (there is even a statue inside of the French- volunteer who fought for The United States during the American Revolution (Viriginia, 1)). He embraced the French and was interested in their vast culture. Augustus borrowed the architectural ideas for The Maison Carrée from the Romans, the Greeks and the Etruscans. Each of these buildings are an example of the collaboration of culture, art and architecture. Unlike The Maison Carrée, the Virigina capitol has always been used as the capitol. The buildings have been restored, changed and added on to, but has never changed its identity. The Maison Carrée however has has many different identities: a church, a private house, stable, town hall and museum. Both buildings, although similar in design are very different (one was built by Americas, attempting to copy the Roman design, the other built by the originals- the Romans) The Maison Carrée has a much longer history than the Virginia capitol, but both are very meaningful to the citizens who live around them and display a history to the county they were built in.\n\nFor future generations, it is important to understand the significance of La Maison Carrée. It is not only a beautiful piece of architecture, it is a representation of the struggle for power during its time. It represents the hard work men put into building the structure. It is historical evidence of the Roman Empire, and represents the power Augustus had during his reign in France and other European regions. Due to the fact that is the best preserved temple from its time period, future generations can visit it and view the original beauty and artistic intelligence it took to build it. It is important for future generations to realize the building was made by real men with their bare hands. Blood, sweat and tears went into building The Maison Carrée, unlike many buildings today. Architecture today lacks structural beauty, and many people do not think of proportions and symmetry the way these men used to. The Maison Carrée is a prime example of the Corinthian Order, and would be important for anyone to visit in order to understand the rules of the order. The Maison Carrée is not just a beautiful building, it is a representation of the people that lived in Nîmes, worked there and ruled there. It is an example of the Roman reign and the colorful history of France.\n\nWorks Cited\n\nChavalas, Mark W. \"Agrippa Marcus Vispanius.\"  The Ancient World. Vol 2. Print\n\nFiero, Gloria K. The Humanistic Tradition: McGraw-Hill, 2011. Print.\n\nHanser, David A. \"Reference Guide to National Architecture: Architecture of France.\" Greenwood Press,\n\n2006. Print\n\nHayes, Holly. \"Maison Carrée,  Nîmes.\" Sacred Destinations. 2005-2011.\n\n&lt;http://www.sacred-destinations.com/france/nimes-maison-carree&gt;  Web. 12 Feb 2011.\n\nNorton, Peter B. \"The Maison Carrée.\" Britannica Encylopedia. Vol 7.1995. Print.\n\nVirginia Capitol Foundation. \"About the Capitol.\" Commonwealth of Virginia, 2006-2010.\n\nWeb. &lt; http://www.virginiacapitol.gov/&gt; 13 Feb 2011.','La Maison Carrée','','inherit','open','open','','199-revision-4','','','2011-02-16 16:00:42','2011-02-16 22:00:42','',199,'http://jeanatacc.com/2011/?p=217',0,'revision','',0),(218,29,'2011-02-16 16:05:09','2011-02-16 22:05:09','La Maison Carrée (the square house) is a Roman temple built in Nîmes, France in 19 B.C.E. The Roman shrine was built by Marcus Agrippa during the reign of Caesar Augustus. Agrippa who was the “right hand man” and son-in-law to Augustus and the patron of the Pantheon in Rome (Hayes, 1). La Maison Carrée was built in hopes to impress the citizens of Nîmes, keeping with the Roman style architecture to honor the new emperor Augustus. The temple was built in dedication to Augustus’s two adopted sons to promote the new imperial control. The building has a bronze inscription that reads “To Gaus Caesar, son of Augutus, consul: to Lucius Caesar, son of Augustus, Consul designate; to the princes of youth” (Hayes, 1). The temple stands on a 12 ft high podium like a Greek shrine with a stairway that leads up to a colonnaded portico (porch) and then to a single entrance. The Corinthian Order, or the laws of symmetry and proportions, is used in the portico and ornate columns that cover the exterior walls. The building door leads to a large, single room which houses a collection of Roman sculptures (once filled with sculptures of Augustus, his family and the Gods) and other classical fragments (Britannica, 1). The building  is 82 ft long by 40 ft wide. La Maison Carrée served as a spiritual center for the Romans and is an example of classical refinement (Fiero, 6.13). The temple is one of the best preserved  in the world. “It Is one of the most beautiful monuments built in Gaul by the Romans” (Norton, 913). Since it was built the temple has been a town hall, stable, apartment, church, and today serves as a museum.\r\n\r\n<!--more-->\r\n\r\n&lt;img src=http://www.phonebookoftheworld.com/france/city/3city-of-nimes.asp&gt;\r\n\r\nAfter the assassination of Julius Caesar and the struggle for  power between Marc Anthony and Octavian (later known as Augustus) ensued, the power fell into the hands of Octavian. The senate renamed Octavian, Augustus (“the Revered one”) and he held joint power with the senate, but had the power to veto (Fiero, 6.3).  Augustus’s rein began an era of stability and peace, a time called the “Pax Romana”, during this time literature and art flourished. Augustus was a large supporter of the arts, and commissioned many  projects involving art, literature and architecture. Augustus stated that when he came to power he would make a city of brick into a city of marble (Fiero, B1.12). The Maison Carrée was one of the projects commissioned by Augustus. The shrine was dedicate to his sons, and was used as a symbol of his new power and the new era of peace he brought with him.\r\n\r\nLa Maison Carrée is typical for its time, because it was built in a classical Roman/Greek style encompassing the rules of the Corinthian Order. Other architecture built under the reign of Augustus were similar in design. La Maison Carrée  was inspired by the Temple of Apollo Epicurius in Bassae Arcadia and the Temple of Mars Ultor in Rome, all of which were built according to the Corinthian Order. The Corinthian order was a “set of structural and decorative parts that stand in fixed relation to each other” (Fiero, 5.18). During this time period, the design of a building depended on the function of the building. The Maison Carrée differed from buildings like the Parthenon in Rome, because of its ornate details, where the ladder is built according to the Doric order whose design is “simple and severe” (Fiero, 5.20). Even though the Parthenon differs in its architectural detail, both it and the Maison Carrée hold similarities as to why they were built.  The Maison Carrée was built to honor the Gods and the new emperor Augustus. Most architecture around 19 B.C.E. was built for the same reasons, for example: the Pantheon was built to honor the “7 Planetary dieties” (Fiero B1.155) and the Parthenon was built to honor Athena. The Maison Carrée shares similarities with the Pantheon, built in the early second century B.C.E., because it was also built according to the Corinthian Order, covered with marble and bronze (La Maison Carrée is made of limestone, but appears to be marble), and has a large portico at the entrance. After the Roman rise to power, many buildings displayed the beauty and symmetry of Roman architecture, but only a few of them still stand today.\r\n\r\nLa Maison Carrée is unusual for its time, because it is a Roman temple in the middle of France. The Roman’s brought over a new style of architecture along with their power of the Nîmes area, and it seemed to stand out against the other buildings. Although Nîmes was a provincial city, it was a priority to build a temple there just as nice as any in Rome. Augustus wanted the temple built by the best architect available (Hanser, 147). The style of the building is specifically Roman and the fineness of the construction shows the architect was familiar with the architectual style fashionable in the capital of Rome. The scrolls on the molding of the building are almost identical to the Altar of Peace in Rome which was also dedicated to Augustus. The Romans combined the style of the Etruscans (Italian society that ruled Rome for about a century) using the rectangular form on a podium with columns, a portico and stairs. The architecture also has Greek details; Corinthian order and the organization of the columns, moldings and proportion of the building. Although the Maison Carrée resembles a Greek temple, its architecture is not exactly the same. Most Greek temples have freestanding columns all around the building, making the front and back identical. However, the Maison Carrée has a distinct front and back, and a set of stairs only to the front entrance, where usual Greek temples have stairs all around the building. Romans admired the architecture of Greeks and portrayed it in temples like The Maison Carrée, but were more concerned with ornate details and magnificent architecture to portray Roman power. \"There was nothing provincial about The Maison Carrée when it was built\" (Hanser 146). Even though The Maison Carrée waws a peculiar architectural style in France, In Rome this style was very popular.\r\n\r\nThe temple was built to impress the citizens of Nîmes, but at the same time it was used to enforce the rules of the new regime in power. It was used to show public authority, and became the economic heart of Nîmes. The temple is completely  in- tact and is so well preserved, which proves that it was somewhat well received. It still stands tall today, looking almost brand new. Citizens of France still cherish it today. Augustus was a hard, but fair leader. He wanted little to do with personal luxuries, and simply built these monuments, like The Maison Carrée to show his power, but they were not built for him specifically. The new regime that built The Maison Carrée was not a fearsome one, Augustus brought with him a period of peace and organization. The Roman Empire held values of easy communication and trade that flourished (Britannica, 1).  Augustus was a cultured man, he had every right to lead, and he lead well. Taking over Nîmes was not easy, and the citizens understood this, therefore the architecture he set up was untouched. The architecture was accepted and was frequently used by the citizens of France. Many people were not allowed in the temple, due to the belief in Rome that only priests and their people were allowed inside the Cella (the home of God). Many ceremonies and sacrifices were held outside the temple in front of the stairs of the. The temple survived the fall of the Western Roman Empire, after many others were burned down or destroyed, and has been used by many architects as a model of Roman techniques (Hanser, 147-148).\r\n\r\nToday, The  Maison Carrée is frequently visited and is used as a museum and tourist attraction in France.  It now lies next to a modern art museum, and library, The Carre D’Art. The government of France took a long time in picking an architect to build the new museum, because of the difficult task of finding a design worthy of standing next to The Maison Carrée. In 1984, twelve architects went to France to consider the architecture and history of the site, and design a building that would not compete with the original beauty of The Maison Carrée. The government had a budget of 24 million pounds to revamp the square that The Maison Carrée, lies in. The British architect Norman Foster recently renovated the square to a modern cultural district. They  updated the area, while still respecting the background and history of the architecture already there. (Hanser, 149). The French contracts and building regulations made it difficult, but today the square is finished and remains a hot-spot for tourists and residents of Nîmes. There are many hotels around the area of the temple, such as the Jardin Secrets or the Hotel Majestic for tourists to stay close to the square of La Maison Carrée Since the temple is the best preserved of its kind, it will forever be a main attraction in Nîmes, to visit it almost takes a person back in time. In its day, the Maison Carrée was built to display the power of a new regime, but today it is a symbol of the colorful history of France. To revel in the buildings beauty, and imagine the hard work and immense effort it took to build the massive structure.\r\n\r\nLa Maison Carrée represents the beautiful history of France, the structure represents the classical beauty of Roman architecture, and the fact that it is so well preserved is astounding. Although it has been reconstructed a few times, its original beauty shines. It is obvious it is important to the French government, and the people that live in Nîmes today. The square has been renovated and now holds a modern art museum and library and makes the area even more inviting to visit. I like the fact that the square makes modern style work with the old, classical architecture of The Maison Carrée. When looking at a picture of the temple, it seems as if it were picked up in Rome and placed in the middle of the square it sits in. It seems a little out of place beside the buildings around it, which makes it unique. The architecture is simple, but stunning. I love the columns and the way they wrap all the way around the building. I think it is rather interesting how many different identities the building has had. It started out as a temple or church, then a town hall, stable, etc and is now a museum. I would love to visit and see with my own eyes the beauty and integrity of the building. It would be amazing to walk up the steep set of stairs and think of how many came before me. When I visit France someday soon, I will for definitely make a stop at La Maison Carrée and give praise to those that designed and built the beautiful temple.\r\n\r\nThomas Jefferson first saw The Maison Carrée during his long stay as ambassador to France and instantly fell in love. He stated that it was \"the most perfect and precious remains of antiquity\" (Whiffen 1996, 103, Hanser 148). After returning to the states he was approached by his directors about an idea for a design for the new state capitol, shortly after he contacted the French architect C.L. Clérisseau. Jefferson asked Clérisseau to send him measured drawings of The Maison Carrée so he could use it as a model for the Virginia capitol. Final drawings of the design were sent to Richmond in 1786. Jefferson decided to change the Corinthian Order (characterized by the detailed acanthus leaves) of the original temple to the more simple Ionic order, because he did not feel there were many craftsman in the United States trained well enough to translate the ornate details. Construction of the Virginia capitol was completed in 1788. Like The Maison Carrée, there are pilasters (flat strips, like half columns) around the exterior of the building and a large porch encompassed by columns on the front of the structure.\r\n\r\nBoth of the buildings were built in appreciation for someone in charge. Although Augustus was an emperor, he was much a like a president. The capitol in America is built for a ruler (the president) in honor of his power. The Maison Carrée was used more for a secular device, but like the capitol was visited by many important people. The capitol, can be visited by tourists and people not in power, but is used more by the people in power. The Maison Carrée is the center of the square it resides in, there are many buildings around it, but it is the main attraction. The Virginia capitol building modeled after the temple is also the main building in its area. The capitol houses many statues inside of George Washington and other presidents born in Virginia, like The Maison Carrée, who houses statues of Augustus, his family, the Gods, and other important figures. Both of these pieces of architecture represent an appreciation for other cultures. Thomas Jefferson went to France and awed at The Maison Carrée and its classical beauty and decided to model his capitol in America after it (there is even a statue inside of the French- volunteer who fought for The United States during the American Revolution (Viriginia, 1)). He embraced the French and was interested in their vast culture. Augustus borrowed the architectural ideas for The Maison Carrée from the Romans, the Greeks and the Etruscans. Each of these buildings are an example of the collaboration of culture, art and architecture. Unlike The Maison Carrée, the Virigina capitol has always been used as the capitol. The buildings have been restored, changed and added on to, but has never changed its identity. The Maison Carrée however has has many different identities: a church, a private house, stable, town hall and museum. Both buildings, although similar in design are very different (one was built by Americas, attempting to copy the Roman design, the other built by the originals- the Romans) The Maison Carrée has a much longer history than the Virginia capitol, but both are very meaningful to the citizens who live around them and display a history to the county they were built in.\r\n\r\nFor future generations, it is important to understand the significance of La Maison Carrée. It is not only a beautiful piece of architecture, it is a representation of the struggle for power during its time. It represents the hard work men put into building the structure. It is historical evidence of the Roman Empire, and represents the power Augustus had during his reign in France and other European regions. Due to the fact that is the best preserved temple from its time period, future generations can visit it and view the original beauty and artistic intelligence it took to build it. It is important for future generations to realize the building was made by real men with their bare hands. Blood, sweat and tears went into building The Maison Carrée, unlike many buildings today. Architecture today lacks structural beauty, and many people do not think of proportions and symmetry the way these men used to. The Maison Carrée is a prime example of the Corinthian Order, and would be important for anyone to visit in order to understand the rules of the order. The Maison Carrée is not just a beautiful building, it is a representation of the people that lived in Nîmes, worked there and ruled there. It is an example of the Roman reign and the colorful history of France.\r\n\r\nWorks Cited\r\n\r\nChavalas, Mark W. \"Agrippa Marcus Vispanius.\"  The Ancient World. Vol 2. Print\r\n\r\nFiero, Gloria K. The Humanistic Tradition: McGraw-Hill, 2011. Print.\r\n\r\nHanser, David A. \"Reference Guide to National Architecture: Architecture of France.\" Greenwood Press,\r\n\r\n2006. Print\r\n\r\nHayes, Holly. \"Maison Carrée,  Nîmes.\" Sacred Destinations. 2005-2011.\r\n\r\n&lt;http://www.sacred-destinations.com/france/nimes-maison-carree&gt;  Web. 12 Feb 2011.\r\n\r\nNorton, Peter B. \"The Maison Carrée.\" Britannica Encylopedia. Vol 7.1995. Print.\r\n\r\nVirginia Capitol Foundation. \"About the Capitol.\" Commonwealth of Virginia, 2006-2010.\r\n\r\nWeb. &lt; http://www.virginiacapitol.gov/&gt; 13 Feb 2011.','La Maison Carrée','','inherit','open','open','','199-revision-5','','','2011-02-16 16:05:09','2011-02-16 22:05:09','',199,'http://jeanatacc.com/2011/?p=218',0,'revision','',0),(219,25,'2011-02-16 16:05:49','2011-02-16 22:05:49','North of Salisbury, England, a prehistoric monument lies within the Salisbury Plain (STONEHENGE New World). The monument consists of a group of stones that have long beheld mysteries and theories as to how they got there. The mystery of the stones is known as Stonehenge.\n\n<!--more-->\n\nFrom the wear and weathering of the stones at Stonehenge, researchers have gathered information to date the stone arrangement. The markings on the stones match the tools used in the time period from C. 3000-1000 B.C. In other words, the late stone and the early bronze ages (STONEHENGE New World). Though scientist and researchers have approximated a time period of creation, who exactly built Stonehenge remains unknown.\n\nWhoever the creators were, built Stonehenge in several phases. As a whole, Stonehenge was constructed, “Over a period of 2000 years...” (Robinson and Evans-Freke). The first phase consisted of, “Two raised circles of earth about 300 ft from each other with a series of 56 holes (now known as the Aubrey holes) arranged inside the circle” (Stonehenge Wonders). Around a hundred years later, the four rows of stones (as seen in the picture below) were situated in a circular formation. These sets of stones include Blue stones and Sarsen stones (STONEHENGE New World).\n\n(INSERT PICTURE)\n\nThe stones could have only been found miles and miles away from where they stand today. The Blue stones were likely to have been transported over 250 miles from the Prescelly Mountains in Wales (Stonehenge Wonders). The Sarsen stones came from 24 miles away in the Marlborough Downs in southern England (Stonehenge Wonders).  The largest of the Sarsen stones at Stonehenge weigh up to 45 tons (\"Discovering the Secrets\"). Due to the size of the stones and the distance that the stones were moved, people over centuries have theorized ridiculous ideas of how Stonehenge came to be.  Some theories say giants from Africa brought the stones over to England and others have said the gods placed the stones there. Archeologists like Andrew Young have put the outrageous theories to rest. Though his test has not yet been proven, it is highly likely that the Neolithic people transported the stones using a rolling method (\"Discovering the Secrets\"). Stone balls with diameters only a few millimeters apart were excavated and given correlation to Stonehenge. Young felt that all the balls had to have been used together as a way to roll the stones from place to place (\"Discovering the Secrets\").\n\nWhat we know about the Neolithic people of the Stone Age is that they were very skilled in carving stone and wood (Robinson and Evans-Freke). Though not much of the Neolithic culture survived, people have their stone structures left to remember them. Neolithic stone circles like Stonehenge have been, “Found all over the British Isles. Nearly a thousand stone circles still stand today” (Robinson and Evans-Freke).  As time passed, archaeologists found that most of the stones mark graves (Pearson and Goerke-Shrode).  The stones that mark the graves were formed as, “Megalith, upright slabs roofed by a capstone…” ( Pearson and Goerke-Shrode). The megaliths were considered stone tombs for the ones who had passed.\n\nDue to further excavation, the world now knows that Stonehenge was once a burial site, but that is not how Stonehenge was always perceived.  Before the cremations were found in and around Stonehenge, scientist figured that Stonehenge, “Served as a celestial calendar predicting the movements of the sun and moon, clocking the seasonable cycle, and thus providing information that would have been essential to an agricultural society” (Pearson and Goerke-Shrode).  Stonehenge does align with the winter and summer solstice but more for religious purposes than agricultural use (Robinson and Evan-Freke).  Stonehenge is not the only structure with astronomical alignment.  All over the world, ancient people have incorporated them into their works (Robinson and Evan-Freke).  Recumbent stone circles found in Scotland also have an astronomical alliance.  The Recumbent stone circles had a, “Primary association with the observation of the extreme setting points on the lunar cycle” (Whitaker). What makes Stonehenge unusual from the other stone circles though is the cremated bodies buried at the site. Most of the remains found belonged to older males. If men were only to be buried at Stonehenge, “They must have been selected” (Robinson and Evans-Freke).  The male cremations gave way to a deeper discovery of Stonehenge and its surroundings.\n\nArcheologist Mike Parker Pearson took advantage of Stonehenge’s new discovery. He had a fascination with the people of Madagascar’s association of timber wood linked with, “The living… and stone with the dead…” (Snodgrass). After he studied the people of Madagascar’s rituals of life and death, he brought his finding over to England. In England he begin to work with others in hope of finding a link between wood and stone at Stonehenge the way they were linked in Madagascar (Robinson and Evans-Freke).  About 1,000 meters away from Stonehenge lays a prehistoric layout of a village located at Durrington Walls that was recently founded by Pearson and other archeologist (\"Stonehenge\'s Twin\"). The house remains of the village believe to have been dated back to the same time as Stonehenge appears to be built (\"Stonehenge\'s Twin\").  The houses were, “Excavated nearby a timber henge of enormous postholes” (Key). Pearson and his crew suggested that Stonehenge and Durrington Walls, “Were built as a single complex of complementary stone and wood circles” (Key). Excavations of large mounds of pig bones at Durrington Walls also indicated, “Feasting around the time of the winter solstice” (Snodgrass). Pearson believed that, “Celebrations were held at both circles related to the rising and setting of the sun and the cycles of life between summer and winter” (Snodgrass). Pearson concluded from the connection that life was celebrated at Durrington Walls and death was celebrated at Stonehenge during the time of the Neolithic culture.\n\nEvery year thousands of people visit Stonehenge for scientific and recreational purposes. It is a well-known monument all through England and around the world. Stonehenge was at the top of my list of choices for the first time capsule topic and I am more than grateful that I was able to do research on it. I knew there was a great circle of stones in England called Stonehenge through stories and pictures but until now, I never knew why it is perceived to be a mystery or a historical structure. What I find meaningful behind Stonehenge is the lengths that the Neolithic people took to honor their dead. The stones, which were placed at Stonehenge, came from miles and miles away and align perfectly to the winter and summer solstices. A great amount of determination and dedication had to be in place in order to do so. It also fascinates me on how far scientist and technology have gone to solve the mystery of Stonehenge. Without people like Pearson or Young, the world may never have gained as much information as we know now about the stones today. Stonehenge beholds a mysterious beauty that is waiting to be solved. It is up to further generations to solve the wonders of Stonehenge yet still preserve the burials of our ancestors.\n\n<!--more-->\n<p style=\"text-align: center\"><strong>Works Cited</strong></p>\n<p style=\"text-align: left\">Key, David. \"HOUSES OF THE HOLY\". <em>Discover </em>28.2 (2007): 10-11. <em>Academic Search Complete</em>, EBSCO. Web. 15 Feb. 2011.</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Pearson, Mike Parker, and Sabine Goerke-Shrode, 5 2009, \'Stonehenge Takes Shape\', <em>dig</em>, 11,8, p.8, MasterFILE Premier,                            EBSCO<em>host</em>, viewed 31 January 2011.</p>','Discovering Stonehenge','','inherit','open','open','','162-revision-10','','','2011-02-16 16:05:49','2011-02-16 22:05:49','',162,'http://jeanatacc.com/2011/?p=219',0,'revision','',0),(220,29,'2011-02-16 16:05:13','2011-02-16 22:05:13','La Maison Carrée (the square house) is a Roman temple built in Nîmes, France in 19 B.C.E. The Roman shrine was built by Marcus Agrippa during the reign of Caesar Augustus. Agrippa who was the “right hand man” and son-in-law to Augustus and the patron of the Pantheon in Rome (Hayes, 1). La Maison Carrée was built in hopes to impress the citizens of Nîmes, keeping with the Roman style architecture to honor the new emperor Augustus. The temple was built in dedication to Augustus’s two adopted sons to promote the new imperial control. The building has a bronze inscription that reads “To Gaus Caesar, son of Augutus, consul: to Lucius Caesar, son of Augustus, Consul designate; to the princes of youth” (Hayes, 1). The temple stands on a 12 ft high podium like a Greek shrine with a stairway that leads up to a colonnaded portico (porch) and then to a single entrance. The Corinthian Order, or the laws of symmetry and proportions, is used in the portico and ornate columns that cover the exterior walls. The building door leads to a large, single room which houses a collection of Roman sculptures (once filled with sculptures of Augustus, his family and the Gods) and other classical fragments (Britannica, 1). The building  is 82 ft long by 40 ft wide. La Maison Carrée served as a spiritual center for the Romans and is an example of classical refinement (Fiero, 6.13). The temple is one of the best preserved  in the world. “It Is one of the most beautiful monuments built in Gaul by the Romans” (Norton, 913). Since it was built the temple has been a town hall, stable, apartment, church, and today serves as a museum.\r\n\r\n<!--more-->\r\n\r\n&lt;img src=http://www.phonebookoftheworld.com/france/city/3city-of-nimes.asp&gt;\r\n\r\nAfter the assassination of Julius Caesar and the struggle for  power between Marc Anthony and Octavian (later known as Augustus) ensued, the power fell into the hands of Octavian. The senate renamed Octavian, Augustus (“the Revered one”) and he held joint power with the senate, but had the power to veto (Fiero, 6.3).  Augustus’s rein began an era of stability and peace, a time called the “Pax Romana”, during this time literature and art flourished. Augustus was a large supporter of the arts, and commissioned many  projects involving art, literature and architecture. Augustus stated that when he came to power he would make a city of brick into a city of marble (Fiero, B1.12). The Maison Carrée was one of the projects commissioned by Augustus. The shrine was dedicate to his sons, and was used as a symbol of his new power and the new era of peace he brought with him.\r\n\r\nLa Maison Carrée is typical for its time, because it was built in a classical Roman/Greek style encompassing the rules of the Corinthian Order. Other architecture built under the reign of Augustus were similar in design. La Maison Carrée  was inspired by the Temple of Apollo Epicurius in Bassae Arcadia and the Temple of Mars Ultor in Rome, all of which were built according to the Corinthian Order. The Corinthian order was a “set of structural and decorative parts that stand in fixed relation to each other” (Fiero, 5.18). During this time period, the design of a building depended on the function of the building. The Maison Carrée differed from buildings like the Parthenon in Rome, because of its ornate details, where the ladder is built according to the Doric order whose design is “simple and severe” (Fiero, 5.20). Even though the Parthenon differs in its architectural detail, both it and the Maison Carrée hold similarities as to why they were built.  The Maison Carrée was built to honor the Gods and the new emperor Augustus. Most architecture around 19 B.C.E. was built for the same reasons, for example: the Pantheon was built to honor the “7 Planetary dieties” (Fiero B1.155) and the Parthenon was built to honor Athena. The Maison Carrée shares similarities with the Pantheon, built in the early second century B.C.E., because it was also built according to the Corinthian Order, covered with marble and bronze (La Maison Carrée is made of limestone, but appears to be marble), and has a large portico at the entrance. After the Roman rise to power, many buildings displayed the beauty and symmetry of Roman architecture, but only a few of them still stand today.\r\n\r\nLa Maison Carrée is unusual for its time, because it is a Roman temple in the middle of France. The Roman’s brought over a new style of architecture along with their power of the Nîmes area, and it seemed to stand out against the other buildings. Although Nîmes was a provincial city, it was a priority to build a temple there just as nice as any in Rome. Augustus wanted the temple built by the best architect available (Hanser, 147). The style of the building is specifically Roman and the fineness of the construction shows the architect was familiar with the architectual style fashionable in the capital of Rome. The scrolls on the molding of the building are almost identical to the Altar of Peace in Rome which was also dedicated to Augustus. The Romans combined the style of the Etruscans (Italian society that ruled Rome for about a century) using the rectangular form on a podium with columns, a portico and stairs. The architecture also has Greek details; Corinthian order and the organization of the columns, moldings and proportion of the building. Although the Maison Carrée resembles a Greek temple, its architecture is not exactly the same. Most Greek temples have freestanding columns all around the building, making the front and back identical. However, the Maison Carrée has a distinct front and back, and a set of stairs only to the front entrance, where usual Greek temples have stairs all around the building. Romans admired the architecture of Greeks and portrayed it in temples like The Maison Carrée, but were more concerned with ornate details and magnificent architecture to portray Roman power. \"There was nothing provincial about The Maison Carrée when it was built\" (Hanser 146). Even though The Maison Carrée waws a peculiar architectural style in France, In Rome this style was very popular.\r\n\r\nThe temple was built to impress the citizens of Nîmes, but at the same time it was used to enforce the rules of the new regime in power. It was used to show public authority, and became the economic heart of Nîmes. The temple is completely  in- tact and is so well preserved, which proves that it was somewhat well received. It still stands tall today, looking almost brand new. Citizens of France still cherish it today. Augustus was a hard, but fair leader. He wanted little to do with personal luxuries, and simply built these monuments, like The Maison Carrée to show his power, but they were not built for him specifically. The new regime that built The Maison Carrée was not a fearsome one, Augustus brought with him a period of peace and organization. The Roman Empire held values of easy communication and trade that flourished (Britannica, 1).  Augustus was a cultured man, he had every right to lead, and he lead well. Taking over Nîmes was not easy, and the citizens understood this, therefore the architecture he set up was untouched. The architecture was accepted and was frequently used by the citizens of France. Many people were not allowed in the temple, due to the belief in Rome that only priests and their people were allowed inside the Cella (the home of God). Many ceremonies and sacrifices were held outside the temple in front of the stairs of the. The temple survived the fall of the Western Roman Empire, after many others were burned down or destroyed, and has been used by many architects as a model of Roman techniques (Hanser, 147-148).\r\n\r\nToday, The  Maison Carrée is frequently visited and is used as a museum and tourist attraction in France.  It now lies next to a modern art museum, and library, The Carre D’Art. The government of France took a long time in picking an architect to build the new museum, because of the difficult task of finding a design worthy of standing next to The Maison Carrée. In 1984, twelve architects went to France to consider the architecture and history of the site, and design a building that would not compete with the original beauty of The Maison Carrée. The government had a budget of 24 million pounds to revamp the square that The Maison Carrée, lies in. The British architect Norman Foster recently renovated the square to a modern cultural district. They  updated the area, while still respecting the background and history of the architecture already there. (Hanser, 149). The French contracts and building regulations made it difficult, but today the square is finished and remains a hot-spot for tourists and residents of Nîmes. There are many hotels around the area of the temple, such as the Jardin Secrets or the Hotel Majestic for tourists to stay close to the square of La Maison Carrée Since the temple is the best preserved of its kind, it will forever be a main attraction in Nîmes, to visit it almost takes a person back in time. In its day, the Maison Carrée was built to display the power of a new regime, but today it is a symbol of the colorful history of France. To revel in the buildings beauty, and imagine the hard work and immense effort it took to build the massive structure.\r\n\r\nLa Maison Carrée represents the beautiful history of France, the structure represents the classical beauty of Roman architecture, and the fact that it is so well preserved is astounding. Although it has been reconstructed a few times, its original beauty shines. It is obvious it is important to the French government, and the people that live in Nîmes today. The square has been renovated and now holds a modern art museum and library and makes the area even more inviting to visit. I like the fact that the square makes modern style work with the old, classical architecture of The Maison Carrée. When looking at a picture of the temple, it seems as if it were picked up in Rome and placed in the middle of the square it sits in. It seems a little out of place beside the buildings around it, which makes it unique. The architecture is simple, but stunning. I love the columns and the way they wrap all the way around the building. I think it is rather interesting how many different identities the building has had. It started out as a temple or church, then a town hall, stable, etc and is now a museum. I would love to visit and see with my own eyes the beauty and integrity of the building. It would be amazing to walk up the steep set of stairs and think of how many came before me. When I visit France someday soon, I will for definitely make a stop at La Maison Carrée and give praise to those that designed and built the beautiful temple.\r\n\r\nThomas Jefferson first saw The Maison Carrée during his long stay as ambassador to France and instantly fell in love. He stated that it was \"the most perfect and precious remains of antiquity\" (Whiffen 1996, 103, Hanser 148). After returning to the states he was approached by his directors about an idea for a design for the new state capitol, shortly after he contacted the French architect C.L. Clérisseau. Jefferson asked Clérisseau to send him measured drawings of The Maison Carrée so he could use it as a model for the Virginia capitol. Final drawings of the design were sent to Richmond in 1786. Jefferson decided to change the Corinthian Order (characterized by the detailed acanthus leaves) of the original temple to the more simple Ionic order, because he did not feel there were many craftsman in the United States trained well enough to translate the ornate details. Construction of the Virginia capitol was completed in 1788. Like The Maison Carrée, there are pilasters (flat strips, like half columns) around the exterior of the building and a large porch encompassed by columns on the front of the structure.\r\n\r\nBoth of the buildings were built in appreciation for someone in charge. Although Augustus was an emperor, he was much a like a president. The capitol in America is built for a ruler (the president) in honor of his power. The Maison Carrée was used more for a secular device, but like the capitol was visited by many important people. The capitol, can be visited by tourists and people not in power, but is used more by the people in power. The Maison Carrée is the center of the square it resides in, there are many buildings around it, but it is the main attraction. The Virginia capitol building modeled after the temple is also the main building in its area. The capitol houses many statues inside of George Washington and other presidents born in Virginia, like The Maison Carrée, who houses statues of Augustus, his family, the Gods, and other important figures. Both of these pieces of architecture represent an appreciation for other cultures. Thomas Jefferson went to France and awed at The Maison Carrée and its classical beauty and decided to model his capitol in America after it (there is even a statue inside of the French- volunteer who fought for The United States during the American Revolution (Viriginia, 1)). He embraced the French and was interested in their vast culture. Augustus borrowed the architectural ideas for The Maison Carrée from the Romans, the Greeks and the Etruscans. Each of these buildings are an example of the collaboration of culture, art and architecture. Unlike The Maison Carrée, the Virigina capitol has always been used as the capitol. The buildings have been restored, changed and added on to, but has never changed its identity. The Maison Carrée however has has many different identities: a church, a private house, stable, town hall and museum. Both buildings, although similar in design are very different (one was built by Americas, attempting to copy the Roman design, the other built by the originals- the Romans) The Maison Carrée has a much longer history than the Virginia capitol, but both are very meaningful to the citizens who live around them and display a history to the county they were built in.\r\n\r\nFor future generations, it is important to understand the significance of La Maison Carrée. It is not only a beautiful piece of architecture, it is a representation of the struggle for power during its time. It represents the hard work men put into building the structure. It is historical evidence of the Roman Empire, and represents the power Augustus had during his reign in France and other European regions. Due to the fact that is the best preserved temple from its time period, future generations can visit it and view the original beauty and artistic intelligence it took to build it. It is important for future generations to realize the building was made by real men with their bare hands. Blood, sweat and tears went into building The Maison Carrée, unlike many buildings today. Architecture today lacks structural beauty, and many people do not think of proportions and symmetry the way these men used to. The Maison Carrée is a prime example of the Corinthian Order, and would be important for anyone to visit in order to understand the rules of the order. The Maison Carrée is not just a beautiful building, it is a representation of the people that lived in Nîmes, worked there and ruled there. It is an example of the Roman reign and the colorful history of France.\r\n\r\nWorks Cited\r\n\r\nChavalas, Mark W. \"Agrippa Marcus Vispanius.\"  The Ancient World. Vol 2. Print\r\n\r\nFiero, Gloria K. The Humanistic Tradition: McGraw-Hill, 2011. Print.\r\n\r\nHanser, David A. \"Reference Guide to National Architecture: Architecture of France.\" Greenwood Press,\r\n\r\n2006. Print\r\n\r\nHayes, Holly. \"Maison Carrée,  Nîmes.\" Sacred Destinations. 2005-2011.\r\n\r\n&lt;http://www.sacred-destinations.com/france/nimes-maison-carree&gt;  Web. 12 Feb 2011.\r\n\r\nNorton, Peter B. \"The Maison Carrée.\" Britannica Encylopedia. Vol 7.1995. Print.\r\n\r\nVirginia Capitol Foundation. \"About the Capitol.\" Commonwealth of Virginia, 2006-2010.\r\n\r\nWeb. &lt; http://www.virginiacapitol.gov/&gt; 13 Feb 2011.','La Maison Carrée','','inherit','open','open','','199-revision-6','','','2011-02-16 16:05:13','2011-02-16 22:05:13','',199,'http://jeanatacc.com/2011/?p=220',0,'revision','',0),(221,29,'2011-02-16 16:11:45','2011-02-16 22:11:45','La Maison Carrée (the square house) is a Roman temple built in Nîmes, France in 19 B.C.E. The Roman shrine was built by Marcus Agrippa during the reign of Caesar Augustus. Agrippa who was the “right hand man” and son-in-law to Augustus and the patron of the Pantheon in Rome (Hayes, 1). La Maison Carrée was built in hopes to impress the citizens of Nîmes, keeping with the Roman style architecture to honor the new emperor Augustus. The temple was built in dedication to Augustus’s two adopted sons to promote the new imperial control. The building has a bronze inscription that reads “To Gaus Caesar, son of Augutus, consul: to Lucius Caesar, son of Augustus, Consul designate; to the princes of youth” (Hayes, 1). The temple stands on a 12 ft high podium like a Greek shrine with a stairway that leads up to a colonnaded portico (porch) and then to a single entrance. The Corinthian Order, or the laws of symmetry and proportions, is used in the portico and ornate columns that cover the exterior walls. The building door leads to a large, single room which houses a collection of Roman sculptures (once filled with sculptures of Augustus, his family and the Gods) and other classical fragments (Britannica, 1). The building  is 82 ft long by 40 ft wide. La Maison Carrée served as a spiritual center for the Romans and is an example of classical refinement (Fiero, 6.13). The temple is one of the best preserved  in the world. “It Is one of the most beautiful monuments built in Gaul by the Romans” (Norton, 913). Since it was built the temple has been a town hall, stable, apartment, church, and today serves as a museum.\r\n\r\n<!--more-->\r\n\r\n[caption id=\"\" align=\"alignnone\" width=\"392\" caption=\"La Maison Carrée\"]<a href=\"http://www.geraldbrimacombe.com/France/France%20-%20Nimes%20-%20Maison%20Carree.jpg\"><img src=\"http://www.geraldbrimacombe.com/France/France%20-%20Nimes%20-%20Maison%20Carree.jpg\" alt=\"\" width=\"392\" height=\"576\" /></a>[/caption]\r\n\r\nhttp://www.geraldbrimacombe.com/France/France%20-%20Nimes%20-%20Maison%20Carree.jpg\r\n\r\nAfter the assassination of Julius Caesar and the struggle for  power between Marc Anthony and Octavian (later known as Augustus) ensued, the power fell into the hands of Octavian. The senate renamed Octavian, Augustus (“the Revered one”) and he held joint power with the senate, but had the power to veto (Fiero, 6.3).  Augustus’s rein began an era of stability and peace, a time called the “Pax Romana”, during this time literature and art flourished. Augustus was a large supporter of the arts, and commissioned many  projects involving art, literature and architecture. Augustus stated that when he came to power he would make a city of brick into a city of marble (Fiero, B1.12). The Maison Carrée was one of the projects commissioned by Augustus. The shrine was dedicate to his sons, and was used as a symbol of his new power and the new era of peace he brought with him.\r\n\r\nLa Maison Carrée is typical for its time, because it was built in a classical Roman/Greek style encompassing the rules of the Corinthian Order. Other architecture built under the reign of Augustus were similar in design. La Maison Carrée  was inspired by the Temple of Apollo Epicurius in Bassae Arcadia and the Temple of Mars Ultor in Rome, all of which were built according to the Corinthian Order. The Corinthian order was a “set of structural and decorative parts that stand in fixed relation to each other” (Fiero, 5.18). During this time period, the design of a building depended on the function of the building. The Maison Carrée differed from buildings like the Parthenon in Rome, because of its ornate details, where the ladder is built according to the Doric order whose design is “simple and severe” (Fiero, 5.20). Even though the Parthenon differs in its architectural detail, both it and the Maison Carrée hold similarities as to why they were built.  The Maison Carrée was built to honor the Gods and the new emperor Augustus. Most architecture around 19 B.C.E. was built for the same reasons, for example: the Pantheon was built to honor the “7 Planetary dieties” (Fiero B1.155) and the Parthenon was built to honor Athena. The Maison Carrée shares similarities with the Pantheon, built in the early second century B.C.E., because it was also built according to the Corinthian Order, covered with marble and bronze (La Maison Carrée is made of limestone, but appears to be marble), and has a large portico at the entrance. After the Roman rise to power, many buildings displayed the beauty and symmetry of Roman architecture, but only a few of them still stand today.\r\n\r\nLa Maison Carrée is unusual for its time, because it is a Roman temple in the middle of France. The Roman’s brought over a new style of architecture along with their power of the Nîmes area, and it seemed to stand out against the other buildings. Although Nîmes was a provincial city, it was a priority to build a temple there just as nice as any in Rome. Augustus wanted the temple built by the best architect available (Hanser, 147). The style of the building is specifically Roman and the fineness of the construction shows the architect was familiar with the architectual style fashionable in the capital of Rome. The scrolls on the molding of the building are almost identical to the Altar of Peace in Rome which was also dedicated to Augustus. The Romans combined the style of the Etruscans (Italian society that ruled Rome for about a century) using the rectangular form on a podium with columns, a portico and stairs. The architecture also has Greek details; Corinthian order and the organization of the columns, moldings and proportion of the building. Although the Maison Carrée resembles a Greek temple, its architecture is not exactly the same. Most Greek temples have freestanding columns all around the building, making the front and back identical. However, the Maison Carrée has a distinct front and back, and a set of stairs only to the front entrance, where usual Greek temples have stairs all around the building. Romans admired the architecture of Greeks and portrayed it in temples like The Maison Carrée, but were more concerned with ornate details and magnificent architecture to portray Roman power. \"There was nothing provincial about The Maison Carrée when it was built\" (Hanser 146). Even though The Maison Carrée waws a peculiar architectural style in France, In Rome this style was very popular.\r\n\r\nThe temple was built to impress the citizens of Nîmes, but at the same time it was used to enforce the rules of the new regime in power. It was used to show public authority, and became the economic heart of Nîmes. The temple is completely  in- tact and is so well preserved, which proves that it was somewhat well received. It still stands tall today, looking almost brand new. Citizens of France still cherish it today. Augustus was a hard, but fair leader. He wanted little to do with personal luxuries, and simply built these monuments, like The Maison Carrée to show his power, but they were not built for him specifically. The new regime that built The Maison Carrée was not a fearsome one, Augustus brought with him a period of peace and organization. The Roman Empire held values of easy communication and trade that flourished (Britannica, 1).  Augustus was a cultured man, he had every right to lead, and he lead well. Taking over Nîmes was not easy, and the citizens understood this, therefore the architecture he set up was untouched. The architecture was accepted and was frequently used by the citizens of France. Many people were not allowed in the temple, due to the belief in Rome that only priests and their people were allowed inside the Cella (the home of God). Many ceremonies and sacrifices were held outside the temple in front of the stairs of the. The temple survived the fall of the Western Roman Empire, after many others were burned down or destroyed, and has been used by many architects as a model of Roman techniques (Hanser, 147-148).\r\n\r\nToday, The  Maison Carrée is frequently visited and is used as a museum and tourist attraction in France.  It now lies next to a modern art museum, and library, The Carre D’Art. The government of France took a long time in picking an architect to build the new museum, because of the difficult task of finding a design worthy of standing next to The Maison Carrée. In 1984, twelve architects went to France to consider the architecture and history of the site, and design a building that would not compete with the original beauty of The Maison Carrée. The government had a budget of 24 million pounds to revamp the square that The Maison Carrée, lies in. The British architect Norman Foster recently renovated the square to a modern cultural district. They  updated the area, while still respecting the background and history of the architecture already there. (Hanser, 149). The French contracts and building regulations made it difficult, but today the square is finished and remains a hot-spot for tourists and residents of Nîmes. There are many hotels around the area of the temple, such as the Jardin Secrets or the Hotel Majestic for tourists to stay close to the square of La Maison Carrée Since the temple is the best preserved of its kind, it will forever be a main attraction in Nîmes, to visit it almost takes a person back in time. In its day, the Maison Carrée was built to display the power of a new regime, but today it is a symbol of the colorful history of France. To revel in the buildings beauty, and imagine the hard work and immense effort it took to build the massive structure.\r\n\r\nLa Maison Carrée represents the beautiful history of France, the structure represents the classical beauty of Roman architecture, and the fact that it is so well preserved is astounding. Although it has been reconstructed a few times, its original beauty shines. It is obvious it is important to the French government, and the people that live in Nîmes today. The square has been renovated and now holds a modern art museum and library and makes the area even more inviting to visit. I like the fact that the square makes modern style work with the old, classical architecture of The Maison Carrée. When looking at a picture of the temple, it seems as if it were picked up in Rome and placed in the middle of the square it sits in. It seems a little out of place beside the buildings around it, which makes it unique. The architecture is simple, but stunning. I love the columns and the way they wrap all the way around the building. I think it is rather interesting how many different identities the building has had. It started out as a temple or church, then a town hall, stable, etc and is now a museum. I would love to visit and see with my own eyes the beauty and integrity of the building. It would be amazing to walk up the steep set of stairs and think of how many came before me. When I visit France someday soon, I will for definitely make a stop at La Maison Carrée and give praise to those that designed and built the beautiful temple.\r\n\r\nThomas Jefferson first saw The Maison Carrée during his long stay as ambassador to France and instantly fell in love. He stated that it was \"the most perfect and precious remains of antiquity\" (Whiffen 1996, 103, Hanser 148). After returning to the states he was approached by his directors about an idea for a design for the new state capitol, shortly after he contacted the French architect C.L. Clérisseau. Jefferson asked Clérisseau to send him measured drawings of The Maison Carrée so he could use it as a model for the Virginia capitol. Final drawings of the design were sent to Richmond in 1786. Jefferson decided to change the Corinthian Order (characterized by the detailed acanthus leaves) of the original temple to the more simple Ionic order, because he did not feel there were many craftsman in the United States trained well enough to translate the ornate details. Construction of the Virginia capitol was completed in 1788. Like The Maison Carrée, there are pilasters (flat strips, like half columns) around the exterior of the building and a large porch encompassed by columns on the front of the structure.\r\n\r\nBoth of the buildings were built in appreciation for someone in charge. Although Augustus was an emperor, he was much a like a president. The capitol in America is built for a ruler (the president) in honor of his power. The Maison Carrée was used more for a secular device, but like the capitol was visited by many important people. The capitol, can be visited by tourists and people not in power, but is used more by the people in power. The Maison Carrée is the center of the square it resides in, there are many buildings around it, but it is the main attraction. The Virginia capitol building modeled after the temple is also the main building in its area. The capitol houses many statues inside of George Washington and other presidents born in Virginia, like The Maison Carrée, who houses statues of Augustus, his family, the Gods, and other important figures. Both of these pieces of architecture represent an appreciation for other cultures. Thomas Jefferson went to France and awed at The Maison Carrée and its classical beauty and decided to model his capitol in America after it (there is even a statue inside of the French- volunteer who fought for The United States during the American Revolution (Viriginia, 1)). He embraced the French and was interested in their vast culture. Augustus borrowed the architectural ideas for The Maison Carrée from the Romans, the Greeks and the Etruscans. Each of these buildings are an example of the collaboration of culture, art and architecture. Unlike The Maison Carrée, the Virigina capitol has always been used as the capitol. The buildings have been restored, changed and added on to, but has never changed its identity. The Maison Carrée however has has many different identities: a church, a private house, stable, town hall and museum. Both buildings, although similar in design are very different (one was built by Americas, attempting to copy the Roman design, the other built by the originals- the Romans) The Maison Carrée has a much longer history than the Virginia capitol, but both are very meaningful to the citizens who live around them and display a history to the county they were built in.\r\n\r\nFor future generations, it is important to understand the significance of La Maison Carrée. It is not only a beautiful piece of architecture, it is a representation of the struggle for power during its time. It represents the hard work men put into building the structure. It is historical evidence of the Roman Empire, and represents the power Augustus had during his reign in France and other European regions. Due to the fact that is the best preserved temple from its time period, future generations can visit it and view the original beauty and artistic intelligence it took to build it. It is important for future generations to realize the building was made by real men with their bare hands. Blood, sweat and tears went into building The Maison Carrée, unlike many buildings today. Architecture today lacks structural beauty, and many people do not think of proportions and symmetry the way these men used to. The Maison Carrée is a prime example of the Corinthian Order, and would be important for anyone to visit in order to understand the rules of the order. The Maison Carrée is not just a beautiful building, it is a representation of the people that lived in Nîmes, worked there and ruled there. It is an example of the Roman reign and the colorful history of France.\r\n\r\nWorks Cited\r\n\r\nChavalas, Mark W. \"Agrippa Marcus Vispanius.\"  The Ancient World. Vol 2. Print\r\n\r\nFiero, Gloria K. The Humanistic Tradition: McGraw-Hill, 2011. Print.\r\n\r\nHanser, David A. \"Reference Guide to National Architecture: Architecture of France.\" Greenwood Press,\r\n\r\n2006. Print\r\n\r\nHayes, Holly. \"Maison Carrée,  Nîmes.\" Sacred Destinations. 2005-2011.\r\n\r\n&lt;http://www.sacred-destinations.com/france/nimes-maison-carree&gt;  Web. 12 Feb 2011.\r\n\r\nNorton, Peter B. \"The Maison Carrée.\" Britannica Encylopedia. Vol 7.1995. Print.\r\n\r\nVirginia Capitol Foundation. \"About the Capitol.\" Commonwealth of Virginia, 2006-2010.\r\n\r\nWeb. &lt; http://www.virginiacapitol.gov/&gt; 13 Feb 2011.','La Maison Carrée','','inherit','open','open','','199-revision-7','','','2011-02-16 16:11:45','2011-02-16 22:11:45','',199,'http://jeanatacc.com/2011/?p=221',0,'revision','',0),(222,29,'2011-02-16 16:11:49','2011-02-16 22:11:49','La Maison Carrée (the square house) is a Roman temple built in Nîmes, France in 19 B.C.E. The Roman shrine was built by Marcus Agrippa during the reign of Caesar Augustus. Agrippa who was the “right hand man” and son-in-law to Augustus and the patron of the Pantheon in Rome (Hayes, 1). La Maison Carrée was built in hopes to impress the citizens of Nîmes, keeping with the Roman style architecture to honor the new emperor Augustus. The temple was built in dedication to Augustus’s two adopted sons to promote the new imperial control. The building has a bronze inscription that reads “To Gaus Caesar, son of Augutus, consul: to Lucius Caesar, son of Augustus, Consul designate; to the princes of youth” (Hayes, 1). The temple stands on a 12 ft high podium like a Greek shrine with a stairway that leads up to a colonnaded portico (porch) and then to a single entrance. The Corinthian Order, or the laws of symmetry and proportions, is used in the portico and ornate columns that cover the exterior walls. The building door leads to a large, single room which houses a collection of Roman sculptures (once filled with sculptures of Augustus, his family and the Gods) and other classical fragments (Britannica, 1). The building  is 82 ft long by 40 ft wide. La Maison Carrée served as a spiritual center for the Romans and is an example of classical refinement (Fiero, 6.13). The temple is one of the best preserved  in the world. “It Is one of the most beautiful monuments built in Gaul by the Romans” (Norton, 913). Since it was built the temple has been a town hall, stable, apartment, church, and today serves as a museum.\r\n\r\n<!--more-->\r\n\r\n[caption id=\"\" align=\"alignnone\" width=\"392\" caption=\"La Maison Carrée\"]<a href=\"http://www.geraldbrimacombe.com/France/France%20-%20Nimes%20-%20Maison%20Carree.jpg\"><img src=\"http://www.geraldbrimacombe.com/France/France%20-%20Nimes%20-%20Maison%20Carree.jpg\" alt=\"\" width=\"392\" height=\"576\" /></a>[/caption]\r\n\r\nhttp://www.geraldbrimacombe.com/France/France%20-%20Nimes%20-%20Maison%20Carree.jpg\r\n\r\nAfter the assassination of Julius Caesar and the struggle for  power between Marc Anthony and Octavian (later known as Augustus) ensued, the power fell into the hands of Octavian. The senate renamed Octavian, Augustus (“the Revered one”) and he held joint power with the senate, but had the power to veto (Fiero, 6.3).  Augustus’s rein began an era of stability and peace, a time called the “Pax Romana”, during this time literature and art flourished. Augustus was a large supporter of the arts, and commissioned many  projects involving art, literature and architecture. Augustus stated that when he came to power he would make a city of brick into a city of marble (Fiero, B1.12). The Maison Carrée was one of the projects commissioned by Augustus. The shrine was dedicate to his sons, and was used as a symbol of his new power and the new era of peace he brought with him.\r\n\r\nLa Maison Carrée is typical for its time, because it was built in a classical Roman/Greek style encompassing the rules of the Corinthian Order. Other architecture built under the reign of Augustus were similar in design. La Maison Carrée  was inspired by the Temple of Apollo Epicurius in Bassae Arcadia and the Temple of Mars Ultor in Rome, all of which were built according to the Corinthian Order. The Corinthian order was a “set of structural and decorative parts that stand in fixed relation to each other” (Fiero, 5.18). During this time period, the design of a building depended on the function of the building. The Maison Carrée differed from buildings like the Parthenon in Rome, because of its ornate details, where the ladder is built according to the Doric order whose design is “simple and severe” (Fiero, 5.20). Even though the Parthenon differs in its architectural detail, both it and the Maison Carrée hold similarities as to why they were built.  The Maison Carrée was built to honor the Gods and the new emperor Augustus. Most architecture around 19 B.C.E. was built for the same reasons, for example: the Pantheon was built to honor the “7 Planetary dieties” (Fiero B1.155) and the Parthenon was built to honor Athena. The Maison Carrée shares similarities with the Pantheon, built in the early second century B.C.E., because it was also built according to the Corinthian Order, covered with marble and bronze (La Maison Carrée is made of limestone, but appears to be marble), and has a large portico at the entrance. After the Roman rise to power, many buildings displayed the beauty and symmetry of Roman architecture, but only a few of them still stand today.\r\n\r\nLa Maison Carrée is unusual for its time, because it is a Roman temple in the middle of France. The Roman’s brought over a new style of architecture along with their power of the Nîmes area, and it seemed to stand out against the other buildings. Although Nîmes was a provincial city, it was a priority to build a temple there just as nice as any in Rome. Augustus wanted the temple built by the best architect available (Hanser, 147). The style of the building is specifically Roman and the fineness of the construction shows the architect was familiar with the architectual style fashionable in the capital of Rome. The scrolls on the molding of the building are almost identical to the Altar of Peace in Rome which was also dedicated to Augustus. The Romans combined the style of the Etruscans (Italian society that ruled Rome for about a century) using the rectangular form on a podium with columns, a portico and stairs. The architecture also has Greek details; Corinthian order and the organization of the columns, moldings and proportion of the building. Although the Maison Carrée resembles a Greek temple, its architecture is not exactly the same. Most Greek temples have freestanding columns all around the building, making the front and back identical. However, the Maison Carrée has a distinct front and back, and a set of stairs only to the front entrance, where usual Greek temples have stairs all around the building. Romans admired the architecture of Greeks and portrayed it in temples like The Maison Carrée, but were more concerned with ornate details and magnificent architecture to portray Roman power. \"There was nothing provincial about The Maison Carrée when it was built\" (Hanser 146). Even though The Maison Carrée waws a peculiar architectural style in France, In Rome this style was very popular.\r\n\r\nThe temple was built to impress the citizens of Nîmes, but at the same time it was used to enforce the rules of the new regime in power. It was used to show public authority, and became the economic heart of Nîmes. The temple is completely  in- tact and is so well preserved, which proves that it was somewhat well received. It still stands tall today, looking almost brand new. Citizens of France still cherish it today. Augustus was a hard, but fair leader. He wanted little to do with personal luxuries, and simply built these monuments, like The Maison Carrée to show his power, but they were not built for him specifically. The new regime that built The Maison Carrée was not a fearsome one, Augustus brought with him a period of peace and organization. The Roman Empire held values of easy communication and trade that flourished (Britannica, 1).  Augustus was a cultured man, he had every right to lead, and he lead well. Taking over Nîmes was not easy, and the citizens understood this, therefore the architecture he set up was untouched. The architecture was accepted and was frequently used by the citizens of France. Many people were not allowed in the temple, due to the belief in Rome that only priests and their people were allowed inside the Cella (the home of God). Many ceremonies and sacrifices were held outside the temple in front of the stairs of the. The temple survived the fall of the Western Roman Empire, after many others were burned down or destroyed, and has been used by many architects as a model of Roman techniques (Hanser, 147-148).\r\n\r\nToday, The  Maison Carrée is frequently visited and is used as a museum and tourist attraction in France.  It now lies next to a modern art museum, and library, The Carre D’Art. The government of France took a long time in picking an architect to build the new museum, because of the difficult task of finding a design worthy of standing next to The Maison Carrée. In 1984, twelve architects went to France to consider the architecture and history of the site, and design a building that would not compete with the original beauty of The Maison Carrée. The government had a budget of 24 million pounds to revamp the square that The Maison Carrée, lies in. The British architect Norman Foster recently renovated the square to a modern cultural district. They  updated the area, while still respecting the background and history of the architecture already there. (Hanser, 149). The French contracts and building regulations made it difficult, but today the square is finished and remains a hot-spot for tourists and residents of Nîmes. There are many hotels around the area of the temple, such as the Jardin Secrets or the Hotel Majestic for tourists to stay close to the square of La Maison Carrée Since the temple is the best preserved of its kind, it will forever be a main attraction in Nîmes, to visit it almost takes a person back in time. In its day, the Maison Carrée was built to display the power of a new regime, but today it is a symbol of the colorful history of France. To revel in the buildings beauty, and imagine the hard work and immense effort it took to build the massive structure.\r\n\r\nLa Maison Carrée represents the beautiful history of France, the structure represents the classical beauty of Roman architecture, and the fact that it is so well preserved is astounding. Although it has been reconstructed a few times, its original beauty shines. It is obvious it is important to the French government, and the people that live in Nîmes today. The square has been renovated and now holds a modern art museum and library and makes the area even more inviting to visit. I like the fact that the square makes modern style work with the old, classical architecture of The Maison Carrée. When looking at a picture of the temple, it seems as if it were picked up in Rome and placed in the middle of the square it sits in. It seems a little out of place beside the buildings around it, which makes it unique. The architecture is simple, but stunning. I love the columns and the way they wrap all the way around the building. I think it is rather interesting how many different identities the building has had. It started out as a temple or church, then a town hall, stable, etc and is now a museum. I would love to visit and see with my own eyes the beauty and integrity of the building. It would be amazing to walk up the steep set of stairs and think of how many came before me. When I visit France someday soon, I will for definitely make a stop at La Maison Carrée and give praise to those that designed and built the beautiful temple.\r\n\r\nThomas Jefferson first saw The Maison Carrée during his long stay as ambassador to France and instantly fell in love. He stated that it was \"the most perfect and precious remains of antiquity\" (Whiffen 1996, 103, Hanser 148). After returning to the states he was approached by his directors about an idea for a design for the new state capitol, shortly after he contacted the French architect C.L. Clérisseau. Jefferson asked Clérisseau to send him measured drawings of The Maison Carrée so he could use it as a model for the Virginia capitol. Final drawings of the design were sent to Richmond in 1786. Jefferson decided to change the Corinthian Order (characterized by the detailed acanthus leaves) of the original temple to the more simple Ionic order, because he did not feel there were many craftsman in the United States trained well enough to translate the ornate details. Construction of the Virginia capitol was completed in 1788. Like The Maison Carrée, there are pilasters (flat strips, like half columns) around the exterior of the building and a large porch encompassed by columns on the front of the structure.\r\n\r\nBoth of the buildings were built in appreciation for someone in charge. Although Augustus was an emperor, he was much a like a president. The capitol in America is built for a ruler (the president) in honor of his power. The Maison Carrée was used more for a secular device, but like the capitol was visited by many important people. The capitol, can be visited by tourists and people not in power, but is used more by the people in power. The Maison Carrée is the center of the square it resides in, there are many buildings around it, but it is the main attraction. The Virginia capitol building modeled after the temple is also the main building in its area. The capitol houses many statues inside of George Washington and other presidents born in Virginia, like The Maison Carrée, who houses statues of Augustus, his family, the Gods, and other important figures. Both of these pieces of architecture represent an appreciation for other cultures. Thomas Jefferson went to France and awed at The Maison Carrée and its classical beauty and decided to model his capitol in America after it (there is even a statue inside of the French- volunteer who fought for The United States during the American Revolution (Viriginia, 1)). He embraced the French and was interested in their vast culture. Augustus borrowed the architectural ideas for The Maison Carrée from the Romans, the Greeks and the Etruscans. Each of these buildings are an example of the collaboration of culture, art and architecture. Unlike The Maison Carrée, the Virigina capitol has always been used as the capitol. The buildings have been restored, changed and added on to, but has never changed its identity. The Maison Carrée however has has many different identities: a church, a private house, stable, town hall and museum. Both buildings, although similar in design are very different (one was built by Americas, attempting to copy the Roman design, the other built by the originals- the Romans) The Maison Carrée has a much longer history than the Virginia capitol, but both are very meaningful to the citizens who live around them and display a history to the county they were built in.\r\n\r\nFor future generations, it is important to understand the significance of La Maison Carrée. It is not only a beautiful piece of architecture, it is a representation of the struggle for power during its time. It represents the hard work men put into building the structure. It is historical evidence of the Roman Empire, and represents the power Augustus had during his reign in France and other European regions. Due to the fact that is the best preserved temple from its time period, future generations can visit it and view the original beauty and artistic intelligence it took to build it. It is important for future generations to realize the building was made by real men with their bare hands. Blood, sweat and tears went into building The Maison Carrée, unlike many buildings today. Architecture today lacks structural beauty, and many people do not think of proportions and symmetry the way these men used to. The Maison Carrée is a prime example of the Corinthian Order, and would be important for anyone to visit in order to understand the rules of the order. The Maison Carrée is not just a beautiful building, it is a representation of the people that lived in Nîmes, worked there and ruled there. It is an example of the Roman reign and the colorful history of France.\r\n\r\nWorks Cited\r\n\r\nChavalas, Mark W. \"Agrippa Marcus Vispanius.\"  The Ancient World. Vol 2. Print\r\n\r\nFiero, Gloria K. The Humanistic Tradition: McGraw-Hill, 2011. Print.\r\n\r\nHanser, David A. \"Reference Guide to National Architecture: Architecture of France.\" Greenwood Press,\r\n\r\n2006. Print\r\n\r\nHayes, Holly. \"Maison Carrée,  Nîmes.\" Sacred Destinations. 2005-2011.\r\n\r\n&lt;http://www.sacred-destinations.com/france/nimes-maison-carree&gt;  Web. 12 Feb 2011.\r\n\r\nNorton, Peter B. \"The Maison Carrée.\" Britannica Encylopedia. Vol 7.1995. Print.\r\n\r\nVirginia Capitol Foundation. \"About the Capitol.\" Commonwealth of Virginia, 2006-2010.\r\n\r\nWeb. &lt; http://www.virginiacapitol.gov/&gt; 13 Feb 2011.','La Maison Carrée','','inherit','open','open','','199-revision-8','','','2011-02-16 16:11:49','2011-02-16 22:11:49','',199,'http://jeanatacc.com/2011/?p=222',0,'revision','',0),(223,25,'2011-02-16 16:19:58','2011-02-16 22:19:58','North of Salisbury, England, a prehistoric monument lies within the Salisbury Plain (STONEHENGE New World). The monument consists of a group of stones that have long beheld mysteries and theories as to how they got there. The mystery of the stones is known as Stonehenge.\n\n<!--more-->\n\nFrom the wear and weathering of the stones at Stonehenge, researchers have gathered information to date the stone arrangement. The markings on the stones match the tools used in the time period from C. 3000-1000 B.C. In other words, the late stone and the early bronze ages (STONEHENGE New World). Though scientist and researchers have approximated a time period of creation, who exactly built Stonehenge remains unknown.\n\nWhoever the creators were, built Stonehenge in several phases. As a whole, Stonehenge was constructed, “Over a period of 2000 years...” (Robinson and Evans-Freke). The first phase consisted of, “Two raised circles of earth about 300 ft from each other with a series of 56 holes (now known as the Aubrey holes) arranged inside the circle” (Stonehenge Wonders). Around a hundred years later, the four rows of stones (as seen in the picture below) were situated in a circular formation. These sets of stones include Blue stones and Sarsen stones (STONEHENGE New World).\n\n(INSERT PICTURE)\n\nThe stones could have only been found miles and miles away from where they stand today. The Blue stones were likely to have been transported over 250 miles from the Prescelly Mountains in Wales (Stonehenge Wonders). The Sarsen stones came from 24 miles away in the Marlborough Downs in southern England (Stonehenge Wonders).  The largest of the Sarsen stones at Stonehenge weigh up to 45 tons (\"Discovering the Secrets\"). Due to the size of the stones and the distance that the stones were moved, people over centuries have theorized ridiculous ideas of how Stonehenge came to be.  Some theories say giants from Africa brought the stones over to England and others have said the gods placed the stones there. Archeologists like Andrew Young have put the outrageous theories to rest. Though his test has not yet been proven, it is highly likely that the Neolithic people transported the stones using a rolling method (\"Discovering the Secrets\"). Stone balls with diameters only a few millimeters apart were excavated and given correlation to Stonehenge. Young felt that all the balls had to have been used together as a way to roll the stones from place to place (\"Discovering the Secrets\").\n\nWhat we know about the Neolithic people of the Stone Age is that they were very skilled in carving stone and wood (Robinson and Evans-Freke). Though not much of the Neolithic culture survived, people have their stone structures left to remember them. Neolithic stone circles like Stonehenge have been, “Found all over the British Isles. Nearly a thousand stone circles still stand today” (Robinson and Evans-Freke).  As time passed, archaeologists found that most of the stones mark graves (Pearson and Goerke-Shrode).  The stones that mark the graves were formed as, “Megalith, upright slabs roofed by a capstone…” ( Pearson and Goerke-Shrode). The megaliths were considered stone tombs for the ones who had passed.\n\nDue to further excavation, the world now knows that Stonehenge was once a burial site, but that is not how Stonehenge was always perceived.  Before the cremations were found in and around Stonehenge, scientist figured that Stonehenge, “Served as a celestial calendar predicting the movements of the sun and moon, clocking the seasonable cycle, and thus providing information that would have been essential to an agricultural society” (Pearson and Goerke-Shrode).  Stonehenge does align with the winter and summer solstice but more for religious purposes than agricultural use (Robinson and Evan-Freke).  Stonehenge is not the only structure with astronomical alignment.  All over the world, ancient people have incorporated them into their works (Robinson and Evan-Freke).  Recumbent stone circles found in Scotland also have an astronomical alliance.  The Recumbent stone circles had a, “Primary association with the observation of the extreme setting points on the lunar cycle” (Whitaker). What makes Stonehenge unusual from the other stone circles though is the cremated bodies buried at the site. Most of the remains found belonged to older males. If men were only to be buried at Stonehenge, “They must have been selected” (Robinson and Evans-Freke).  The male cremations gave way to a deeper discovery of Stonehenge and its surroundings.\n\nArcheologist Mike Parker Pearson took advantage of Stonehenge’s new discovery. He had a fascination with the people of Madagascar’s association of timber wood linked with, “The living… and stone with the dead…” (Snodgrass). After he studied the people of Madagascar’s rituals of life and death, he brought his finding over to England. In England he begin to work with others in hope of finding a link between wood and stone at Stonehenge the way they were linked in Madagascar (Robinson and Evans-Freke).  About 1,000 meters away from Stonehenge lays a prehistoric layout of a village located at Durrington Walls that was recently founded by Pearson and other archeologist (\"Stonehenge\'s Twin\"). The house remains of the village believe to have been dated back to the same time as Stonehenge appears to be built (\"Stonehenge\'s Twin\").  The houses were, “Excavated nearby a timber henge of enormous postholes” (Key). Pearson and his crew suggested that Stonehenge and Durrington Walls, “Were built as a single complex of complementary stone and wood circles” (Key). Excavations of large mounds of pig bones at Durrington Walls also indicated, “Feasting around the time of the winter solstice” (Snodgrass). Pearson believed that, “Celebrations were held at both circles related to the rising and setting of the sun and the cycles of life between summer and winter” (Snodgrass). Pearson concluded from the connection that life was celebrated at Durrington Walls and death was celebrated at Stonehenge during the time of the Neolithic culture.\n\nEvery year thousands of people visit Stonehenge for scientific and recreational purposes. It is a well-known monument all through England and around the world. Stonehenge was at the top of my list of choices for the first time capsule topic and I am more than grateful that I was able to do research on it. I knew there was a great circle of stones in England called Stonehenge through stories and pictures but until now, I never knew why it is perceived to be a mystery or a historical structure. What I find meaningful behind Stonehenge is the lengths that the Neolithic people took to honor their dead. The stones, which were placed at Stonehenge, came from miles and miles away and align perfectly to the winter and summer solstices. A great amount of determination and dedication had to be in place in order to do so. It also fascinates me on how far scientist and technology have gone to solve the mystery of Stonehenge. Without people like Pearson or Young, the world may never have gained as much information as we know now about the stones today. Stonehenge beholds a mysterious beauty that is waiting to be solved. It is up to further generations to solve the wonders of Stonehenge yet still preserve the burials of our ancestors.\n\n<!--more-->\n<p style=\"text-align: center\"><strong>Works Cited</strong></p>\n<p style=\"text-align: left\">Key, David. \"HOUSES OF THE HOLY\". <em>Discover </em>28.2 (2007): 10-11. <em>Academic Search Complete</em>, EBSCO. Web. 15 Feb. 2011.</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Pearson, Mike Parker, and Sabine Goerke-Shrode, 5 2009, \'Stonehenge Takes Shape\', <em>dig</em>, 11,8, p.8, MasterFILE Premier,                            EBSCO<em>host</em>, viewed 31 January 2011.</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Robinson, Alice and Evans-Freke, Anna \"Secrets of Stonehenge\". NOVA pbs.org. Web. 10 Feb  2011.</p>\n<p style=\"text-align: left\">&lt;http://www.pbs.org/wgbh/nova/ancient/secrets-stonehenge.html&gt;</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Snodgrass, Elizabeth. \"New Theory About Stonehenge.\" Editorial. <em>National Geographic</em> 20 May 2008: 3 pars. Web. 10 Feb 2011</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">\"STONEHENGE.\" (n.d.) <em>Funk &amp; Wagnalls New World Encyclopedia</em>. EBSCO. Web. 31 Jan. 2011</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">\"Stonehenge.\" <em>Wonders of the World</em>. 11. Toucan Valley Publications, Inc., 1999. <em>MasterFILE Premier.</em> EBSCO. Web. 30 Jan.                          2011</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">\"Stonehenge\'s Twin Could Have Been the Dining Area.\" <em>Times</em> [London, England] 23 July 2010: 10. <em>Info Trac Newspaper. </em>Web. 7 Feb. 2011.</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">University of Exeter. \"Discovering the Secrets of Stonehenge.\" Science Daily. 30 November 2010. Web. 10 Feb 2011</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Whitaker, Alex. \"Recumbent Stone Circles (RSC\'s).\" <em>Ancient-wisdom: Online Guide to Prehistory</em>.n.d. Web. 15 Feb. 2011</p>','Discovering Stonehenge','','inherit','open','open','','162-revision-11','','','2011-02-16 16:19:58','2011-02-16 22:19:58','',162,'http://jeanatacc.com/2011/?p=223',0,'revision','',0),(224,25,'2011-02-16 16:20:01','2011-02-16 22:20:01','North of Salisbury, England, a prehistoric monument lies within the Salisbury Plain (STONEHENGE New World). The monument consists of a group of stones that have long beheld mysteries and theories as to how they got there. The mystery of the stones is known as Stonehenge.\r\n\r\n<!--more-->\r\n\r\nFrom the wear and weathering of the stones at Stonehenge, researchers have gathered information to date the stone arrangement. The markings on the stones match the tools used in the time period from C. 3000-1000 B.C. In other words, the late stone and the early bronze ages (STONEHENGE New World). Though scientist and researchers have approximated a time period of creation, who exactly built Stonehenge remains unknown.\r\n\r\nWhoever the creators were, built Stonehenge in several phases. As a whole, Stonehenge was constructed, “Over a period of 2000 years...” (Robinson and Evans-Freke). The first phase consisted of, “Two raised circles of earth about 300 ft from each other with a series of 56 holes (now known as the Aubrey holes) arranged inside the circle” (Stonehenge Wonders). Around a hundred years later, the four rows of stones (as seen in the picture below) were situated in a circular formation. These sets of stones include Blue stones and Sarsen stones (STONEHENGE New World).\r\n\r\n(INSERT PICTURE)\r\n\r\nThe stones could have only been found miles and miles away from where they stand today. The Blue stones were likely to have been transported over 250 miles from the Prescelly Mountains in Wales (Stonehenge Wonders). The Sarsen stones came from 24 miles away in the Marlborough Downs in southern England (Stonehenge Wonders).  The largest of the Sarsen stones at Stonehenge weigh up to 45 tons (\"Discovering the Secrets\"). Due to the size of the stones and the distance that the stones were moved, people over centuries have theorized ridiculous ideas of how Stonehenge came to be.  Some theories say giants from Africa brought the stones over to England and others have said the gods placed the stones there. Archeologists like Andrew Young have put the outrageous theories to rest. Though his test has not yet been proven, it is highly likely that the Neolithic people transported the stones using a rolling method (\"Discovering the Secrets\"). Stone balls with diameters only a few millimeters apart were excavated and given correlation to Stonehenge. Young felt that all the balls had to have been used together as a way to roll the stones from place to place (\"Discovering the Secrets\").\r\n\r\nWhat we know about the Neolithic people of the Stone Age is that they were very skilled in carving stone and wood (Robinson and Evans-Freke). Though not much of the Neolithic culture survived, people have their stone structures left to remember them. Neolithic stone circles like Stonehenge have been, “Found all over the British Isles. Nearly a thousand stone circles still stand today” (Robinson and Evans-Freke).  As time passed, archaeologists found that most of the stones mark graves (Pearson and Goerke-Shrode).  The stones that mark the graves were formed as, “Megalith, upright slabs roofed by a capstone…” ( Pearson and Goerke-Shrode). The megaliths were considered stone tombs for the ones who had passed.\r\n\r\nDue to further excavation, the world now knows that Stonehenge was once a burial site, but that is not how Stonehenge was always perceived.  Before the cremations were found in and around Stonehenge, scientist figured that Stonehenge, “Served as a celestial calendar predicting the movements of the sun and moon, clocking the seasonable cycle, and thus providing information that would have been essential to an agricultural society” (Pearson and Goerke-Shrode).  Stonehenge does align with the winter and summer solstice but more for religious purposes than agricultural use (Robinson and Evan-Freke).  Stonehenge is not the only structure with astronomical alignment.  All over the world, ancient people have incorporated them into their works (Robinson and Evan-Freke).  Recumbent stone circles found in Scotland also have an astronomical alliance.  The Recumbent stone circles had a, “Primary association with the observation of the extreme setting points on the lunar cycle” (Whitaker). What makes Stonehenge unusual from the other stone circles though is the cremated bodies buried at the site. Most of the remains found belonged to older males. If men were only to be buried at Stonehenge, “They must have been selected” (Robinson and Evans-Freke).  The male cremations gave way to a deeper discovery of Stonehenge and its surroundings.\r\n\r\nArcheologist Mike Parker Pearson took advantage of Stonehenge’s new discovery. He had a fascination with the people of Madagascar’s association of timber wood linked with, “The living… and stone with the dead…” (Snodgrass). After he studied the people of Madagascar’s rituals of life and death, he brought his finding over to England. In England he begin to work with others in hope of finding a link between wood and stone at Stonehenge the way they were linked in Madagascar (Robinson and Evans-Freke).  About 1,000 meters away from Stonehenge lays a prehistoric layout of a village located at Durrington Walls that was recently founded by Pearson and other archeologist (\"Stonehenge\'s Twin\"). The house remains of the village believe to have been dated back to the same time as Stonehenge appears to be built (\"Stonehenge\'s Twin\").  The houses were, “Excavated nearby a timber henge of enormous postholes” (Key). Pearson and his crew suggested that Stonehenge and Durrington Walls, “Were built as a single complex of complementary stone and wood circles” (Key). Excavations of large mounds of pig bones at Durrington Walls also indicated, “Feasting around the time of the winter solstice” (Snodgrass). Pearson believed that, “Celebrations were held at both circles related to the rising and setting of the sun and the cycles of life between summer and winter” (Snodgrass). Pearson concluded from the connection that life was celebrated at Durrington Walls and death was celebrated at Stonehenge during the time of the Neolithic culture.\r\n\r\nEvery year thousands of people visit Stonehenge for scientific and recreational purposes. It is a well-known monument all through England and around the world. Stonehenge was at the top of my list of choices for the first time capsule topic and I am more than grateful that I was able to do research on it. I knew there was a great circle of stones in England called Stonehenge through stories and pictures but until now, I never knew why it is perceived to be a mystery or a historical structure. What I find meaningful behind Stonehenge is the lengths that the Neolithic people took to honor their dead. The stones, which were placed at Stonehenge, came from miles and miles away and align perfectly to the winter and summer solstices. A great amount of determination and dedication had to be in place in order to do so. It also fascinates me on how far scientist and technology have gone to solve the mystery of Stonehenge. Without people like Pearson or Young, the world may never have gained as much information as we know now about the stones today. Stonehenge beholds a mysterious beauty that is waiting to be solved. It is up to further generations to solve the wonders of Stonehenge yet still preserve the burials of our ancestors.\r\n\r\n<!--more-->\r\n<p style=\"text-align: center\"><strong>Works Cited</strong></p>\r\n<p style=\"text-align: left\">Key, David. \"HOUSES OF THE HOLY\". <em>Discover </em>28.2 (2007): 10-11. <em>Academic Search Complete</em>, EBSCO. Web. 15 Feb. 2011.</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">Pearson, Mike Parker, and Sabine Goerke-Shrode, 5 2009, \'Stonehenge Takes Shape\', <em>dig</em>, 11,8, p.8, MasterFILE Premier,                            EBSCO<em>host</em>, viewed 31 January 2011.</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">Robinson, Alice and Evans-Freke, Anna \"Secrets of Stonehenge\". NOVA pbs.org. Web. 10 Feb  2011.</p>\r\n<p style=\"text-align: left\">&lt;http://www.pbs.org/wgbh/nova/ancient/secrets-stonehenge.html&gt;</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">Snodgrass, Elizabeth. \"New Theory About Stonehenge.\" Editorial. <em>National Geographic</em> 20 May 2008: 3 pars. Web. 10 Feb 2011</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">\"STONEHENGE.\" (n.d.) <em>Funk &amp; Wagnalls New World Encyclopedia</em>. EBSCO. Web. 31 Jan. 2011</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">\"Stonehenge.\" <em>Wonders of the World</em>. 11. Toucan Valley Publications, Inc., 1999. <em>MasterFILE Premier.</em> EBSCO. Web. 30 Jan.                          2011</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">\"Stonehenge\'s Twin Could Have Been the Dining Area.\" <em>Times</em> [London, England] 23 July 2010: 10. <em>Info Trac Newspaper. </em>Web. 7 Feb. 2011.</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">University of Exeter. \"Discovering the Secrets of Stonehenge.\" Science Daily. 30 November 2010. Web. 10 Feb 2011</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">Whitaker, Alex. \"Recumbent Stone Circles (RSC\'s).\" <em>Ancient-wisdom: Online Guide to Prehistory</em>.n.d. Web. 15 Feb. 2011</p>','Discovering Stonehenge','','inherit','open','open','','162-revision-12','','','2011-02-16 16:20:01','2011-02-16 22:20:01','',162,'http://jeanatacc.com/2011/?p=224',0,'revision','',0),(227,1,'2011-02-16 14:36:18','2011-02-16 20:36:18','<!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt;-->\r\n/* Style Definitions */\r\ntable.MsoNormalTable\r\n{mso-style-name:\"Table Normal\";\r\nmso-tstyle-rowband-size:0;\r\nmso-tstyle-colband-size:0;\r\nmso-style-noshow:yes;\r\nmso-style-priority:99;\r\nmso-style-qformat:yes;\r\nmso-style-parent:\"\";\r\nmso-padding-alt:0in 5.4pt 0in 5.4pt;\r\nmso-para-margin-top:0in;\r\nmso-para-margin-right:0in;\r\nmso-para-margin-bottom:10.0pt;\r\nmso-para-margin-left:0in;\r\nline-height:115%;\r\nmso-pagination:widow-orphan;\r\nfont-size:11.0pt;\r\nfont-family:\"Calibri\",\"sans-serif\";\r\nmso-ascii-font-family:Calibri;\r\nmso-ascii-theme-font:minor-latin;\r\nmso-fareast-font-family:\"Times New Roman\";\r\nmso-fareast-theme-font:minor-fareast;\r\nmso-hansi-font-family:Calibri;\r\nmso-hansi-theme-font:minor-latin;\r\nmso-bidi-font-family:\"Times New Roman\";\r\nmso-bidi-theme-font:minor-bidi;}\r\n<p class=\"MsoNormal\" style=\"text-align: center;line-height: normal\"><span>Meditations</span></p>\r\n<p class=\"MsoNormal\" style=\"text-align: center;line-height: normal\"><span>Marcus Aurelius – Ca A.D. 170</span><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"text-align: justify;text-indent: 0.5in;line-height: 200%\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>“Rejoice and set up your rest in one thing: to pass from act to act of fellowship, keeping God in remembrance” (Aurelius 35).</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>So run the thoughts of Marcus Aurelius, author of a unique work that the world has come to know as <em>Meditations</em>. Aurelius composed this work over a period of years when he was Emperor of the Roman Empire, with a commonly accepted date of authorship of circa A.D. 170. Originally untitled, the text consists of a collection of personal reflections made by the emperor that document his pursuit of virtue through the Stoic Philosophy. In fact, <em>Meditations</em> is one of the only sources of information on Stoic ethics that has survived in its entirety, allowing people of subsequent eras to learn of the graceful simplicity inherent in Stoic beliefs. Deeply personal and striving for eloquence, <em>Meditations</em> gives a unique glimpse of a man who was ruler of the largest empire the world had ever known and was still dedicated to living an ethical life. These are the reasons that Aurelius’ work has survived for so long, and also why <em>Meditations</em> should be preserved for future generations.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><em><span>Meditations </span></em><span>was born of a Roman Society that had enjoyed a long period of relative peace and security. Aurelius inherited an empire that had benefited greatly from his predecessors, the first four of the “Five Good Emperors”. Taxes had been lowered, housing and education had been provided for the poor, and persecution of Christians had been halted. Rome was teeming with public works projects, bringing new temples, aqueducts, baths, and theaters. Promotion of the arts had been made a priority and the borders of the empire had been secured (Morey). Roman citizens of this era enjoyed a more egalitarian environment where the focus had shifted from military campaigns to cultural refinement. Rather than starting from scratch, the Romans based their cultural pursuits on the foundation that had already been laid by the Greeks (Morey).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin: 10pt 0in 0.0001pt;text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>A Greek creation that did particularly well with the Romans was the Stoic Philosophy. From its inception in 300 B.C. through 180 A.D. it was the most influential school of thought in the empire (Rees viii). Seneca and Cicero were among the many notable Romans of this period who wrote works that showed a distinct Stoic influence. Founded by Zeno of Citius, Stoicism grew out of two key beliefs of the Cynics; that people possessed an inner governing agent of morality, and that humanity should flee an overly materialistic society to return to a natural state. Stoicism took each of these a step further. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin: 10pt 0in 0.0001pt;text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>The Stoics believed that this inner morality was held in common by all of humanity, that it was both rational and social, and that it surrounds us and determines our paths (Rees vii). Thus, we should live in fellowship as we are all spiritually connected, and anything that befalls us must be for the greater good because all things are guided by Nature. Secondly, the Stoics believed that any strong feelings, whether of attachment to material possessions or displays of raw emotion, were the result of inaccurate perceptions. A reasoned appraisal was to be the measure of all things (Baltzly). Stoics were also called to live a life free of any unnecessary obligations or activities that went against their natural inclinations. This was meant to leave them free to live in harmony with the guiding spirit of nature (Baltzly).</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><em><span>Meditations</span></em><span> is an auto-documentary of Marcus’s efforts to reason out these beliefs and apply them to his own life. A singular work of its time, it is the living expression of the moralistic strivings of a Roman Emperor, the only emperor to leave this type of record and have it published so widely. Ironically, most scholars agree that it was never intended for publication. Written with little thought to form or continuity, the text consists of a series of short, reflective prose statements with no clear organizing principle. Full of repetition, <em>Meditations</em> returns to each of Stoicisms varied precepts time and again, as the emperor searches for the best metaphor, the best parallel, and the best words. We are thankful that he did; <em>Meditations</em> is one of only three surviving examples of a complete work on the topic of Stoic Ethics.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Though published wide, it was also published late. The first known reference to Marcus’s work was by a philosopher named Themistius in the 4<sup>th</sup> century, almost 200 years after it was written (Hadot 21). It is most likely that at the time <em>Meditations</em> was written Aurelius himself was the only audience. Recording his thoughts in this way must have been a means of self reflection for Marcus. The first chapter pays tribute to the influential figures in his upbringing, describing the virtues they imparted to him. Here we see some of the influences that may have led the Emperor to the Stoic way of life. His grandfather is thanked for “the lessons of noble character and even temper.” His father is thanked for his modesty, and his mother for teaching “…piety…simplicity too in diet and to be far removed from the ways of the rich”. Diognetus, his painting tutor, is thanked for teaching Marcus, “…to aspire to the camp-bed and skin coverlet and the other things which are part of the Greek training.” <span> </span>Appolonius, orator and Stoic philosopher, taught Marcus “…to look to nothing else, even for a little while, except to reason” (Aurelius 1). It seems clear that the young emperor had been raised in preparation for the reserved, minimalistic life of the Stoic. </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>The remainder of the text is dedicated to the emperor’s efforts to expound upon the Stoic path to enlightenment. Staying connected to his beliefs in this way was undoubtedly therapeutic to Aurelius as he navigated one of the most unique periods in Roman history. Hadrian, a previous emperor, had stipulated that Aurelius’s adopted brother Lucius Verus would ascend to rule alongside him as co-emperor. T</span><span>he more common reaction would have been to bristle at the idea of sharing his power. On the contrary, it seems that the Stoic belief in controlling the passions helped him accept this reality and work within it for the greater good. The two emperors ruled side by side with no sign of rancor whatsoever (Knox). Sadly, </span><span>Marcus’s reign was also the end of the era of peace for the Romans; he was entrenched in war almost from the day of his ascension (Hadot 2). Book Two, titled <em>Written Among the Qadi on the River Gran,</em> was actually written in the field during a military campaign (Aurelius 104). The words of this chapter are somber, and the emperor seems to be contemplating his own imminent mortality. Still, Aurelius’s firm dedication to his philosophy is undeniable. I believe that recording these thoughts helped to strengthen the emperor as faced the greatest challenges of his life.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Though Marcus did not live to see his work reach a refined state, <em>Meditations</em> in its present form has endured for centuries. Scholars seem to agree that its survival is due to the unique place it holds in the scholarly canon of philosophy. Pierre Hadot is the author of <em>The Inner Citadel, </em>a detailed analysis of <em>Meditations</em>. In Hadot\'s words: </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 1in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>In world literature one finds a lot of preachers, lesson-givers, and censors, who moralize to others with complacency, irony, cynicism, or bitterness; but it is extremely rare to find a person training himself to live and to think like a human being (Hadot 312-313). </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Elsewhere, Hadot compares <em>Meditations</em> to: </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 1in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>…[an] ever-new spring[s], to which humanity comes to drink. If we can transcend [its] perishable aspects, we can sense in [it] an imperishable spirit which calls us to a choice of life, to the transformation of ourselves, and to a complete revision of our attitude with regard to human beings and the world (Hadot 39). </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This heavy praise seems to confirm <em>Meditations</em> as a singular work of lasting value.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>D.A. Rees of Jesus College, Oxford, has also written on the lasting impact of Aurelius’s struggle toward enlightenment.<span> </span>“…the <em>Meditations</em> remain, unendingly moving and inspiring, the communing with itself of a thoughtful and devout soul upon the greatest of human issues” (Rees xi). Again, this uncommon record of an emperors moral strivings are seen as inspirational, much as they certainly were to the author himself.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Earlier in his journey toward enlightenment the emperor drew inspiration from the teachings of a Stoic named Epictetus. One of Epictetus’s more accessible works was a compendium of Stoic sayings selected from his larger works. Titled simply <em>The Handbook</em>, this work was assembled in A.D. 135 and like <em>Meditations</em> also consists of short, philosophical reflections with Stoic ethics at its core. Though they shared a philosophy, Marcus and Epictetus were separated by a huge gulf of life experience. Far from an emperor, Epictetus came to Rome as a slave and at one point was even banished from the Italian peninsula (Graver). </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This difference in status is ironic. Epictetus seems fully willing to speak on his own authority while Marcus, the emperor, relies sometimes on name dropping. Further, while <em>Meditations</em> is clearly the work of a novice striving for advancement, <em>The Handbook</em> is a masterful collection of polished metaphors designed to be easily accessible to beginners. At only 52 “verses”, <em>The Handbook</em> accomplishes a thorough going through while <em>Meditations</em> wanders to 12 Chapters. Still, <em>Meditations</em> conveys a more personal tone. Marcus’s philosophy is obviously linked to the events of his day to day life, which sometimes creep into the text. By contrast, Epictetus draws broad parallels for his audience to latch on to. And though he never comes near the line of offensiveness he can sometimes come across as a bit of a smart aleck.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This irreverence was probably a calculated element of Epictetus’s style. It helps to convey a lively tone, perhaps to hold the interest of weary students growing tired of their studies. He writes as an extrovert, bursting with energy, fully versed in his philosophy. The emperor comes across as a much more solemn figure, gazing inward to seek out some impurity and exorcise it. Even when he says “you” he seems to be addressing himself, morosely, instead of some prospective audience. While Epictetus skips along, Marcus steadfastly holds the course that will lead him to his personal truths.<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>To t</span><span>hose familiar with <em>Meditations</em>, the quote that begins this essay may give a hint about the work’s enduring appeal. But what is a true act of fellowship? What does God ask of us? These were the questions being asked and answered by a ruler who could have pursued a reign of tyranny and repression. I found this to be inspiring and more than a little amazing. I was also pleased to learn more about a philosophy that held many beliefs in common with my own faith, Christianity. It was entertaining to see a radically different context applied to familiar beliefs such as living a non-materialistic lifestyle connected with an all encompassing spiritual force. Despite this, my research has revealed the unfortunate fact that the persecution of Christians was resumed during Aurelius’s reign (Morey). In light of the words he recorded, I found this to be shocking and inexplicable.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>Looking beyond this, I also have mixed feelings about invading another person’s journal, thoughts they may not have intended to share. But this may not have been the case at all. We could be looking at a rough draft that the emperor simply did not live to complete. Still, I have my reservations. If I had known the nature of this work ahead of time my respect for the privacy of others probably would have kept me from reading it. But then I would have missed out on quotes like the one below, words that speak so well of Marcus’s contribution: </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 1in;text-align: justify;line-height: 200%\"><span>Whosoever does injustice commits sin; for Universal Nature having made reasonable creatures for the sake of one another, to benefit each other according to desert but in no wise to do injury, manifestly he who transgresses her will sins against the most venerable of the gods, because Universal Nature is a nature of what is, and what is is related to all that exists. [sic]</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span><span> </span>So for any that take the opportunity to reflect alongside the emperor, the value of <em>Meditations</em> speaks for itself. Never before had an emperor left such a singular gift of philosophical teaching. If not for his efforts, we would be without a significant portion of what we know of a philosophy that permeated the Roman world. We would also miss a chance to reflect that even the best among us can take a false step, as the contradiction of Aurelius’s persecutions has shown. Preserving his <em>Meditations</em>, we preserve a snapshot of the human spirit, searching for truth.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: normal;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: normal;background: none repeat scroll 0% 0% white\"></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: normal;background: none repeat scroll 0% 0% white\"><span>Aurelius, Marcus. <em>Meditations</em>. Trans. A.S.L. Farquharson. New York: Knopf, 1992. Print.</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: normal;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span>Baltzly, Dirk. \"Stoicism.\" <em>Stanford Encyclopedia of Philosophy</em>. Stanford University, 15 Apr. 1996. Web.<span> </span>10 Feb. 2011. <a href=\"http://plato.stanford.edu/entries/stoicism/\">http://plato.stanford.edu/entries/stoicism/</a></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span>Graver, Margaret R. “Epictetus.” <em>Stanford Encyclopedia of Philosophy</em>. Ed. Edward N. Zalta Stanford University, Spring 2009 Edition. Web. 13 Feb. 2011 &lt;</span><a href=\"http://plato.stanford.edu/entries/epictetus/\"><span>http://plato.stanford.edu/entries/epictetus/</span></a><span>&gt;</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal;background: none repeat scroll 0% 0% white\"></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal;background: none repeat scroll 0% 0% white\"><span>Hadot, Pierre. <em>The <span>Inner Citadel: the Meditations of Marcus Aurelius</span></em>. Trans. Michael Chase. Cambridge, MA: <span> </span>Harvard UP, 1998. Print.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span>Knox, E.L. Skip. \"The ‘Five Good Emperors’ - Marcus Aurelius (161-180).\" <em>History of Western Civilization</em>. Boise State University. Web. 13 Feb. 2011. &lt;</span><a href=\"http://www.boisestate.edu/courses/westciv/empire/09.shtml\"><span>http://www.boisestate.edu/courses/westciv/empire/09.shtml</span></a>&gt;</p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"><span>Morey, William C. “The Five Good Emperors,-Nerva to Marcus Aurelius” <em>Outlines Roman History. </em>By Morey. New York, Cincinnati, Chicago: American Book Company, 1901. N. pag. <em>Forum Romanum.</em> Web. 10 Feb. 2011 &lt;</span><a href=\"http://www.forumromanum.org/history/morey26.html\"><span>http://www.forumromanum.org/history/morey26.html</span></a><span>&gt;</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: normal\"></p>\r\n<p class=\"MsoNormal\"></p>\r\n<p class=\"MsoNormal\"><span>Rees, D.A. “Introduction.” <em>Meditations</em>. By Marcus Aurelius. Trans. A.S.L. Farquharson. New York: Knopf, 1992. i-xi. Print.\r\n</span></p>\r\n\r\n<div style=\"width: 1px;height: 1px;overflow: hidden\"><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin-top:0in; 	mso-para-margin-right:0in; 	mso-para-margin-bottom:10.0pt; 	mso-para-margin-left:0in; 	line-height:115%; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]-->\r\n<p class=\"MsoNormal\" style=\"text-align: center;line-height: normal\"><span>Meditations</span></p>\r\n<p class=\"MsoNormal\" style=\"text-align: center;line-height: normal\"><span>Marcus Aurelius – Ca A.D. 170</span></p>\r\n<p class=\"MsoNormal\" style=\"text-align: justify;text-indent: 0.5in;line-height: 200%\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>“Rejoice and set up your rest in one thing: to pass from act to act of fellowship, keeping God in remembrance” (Aurelius 35).</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>So run the thoughts of Marcus Aurelius, author of a unique work that the world has come to know as “Meditations”. Aurelius composed this work over a period of years when he was Emperor of the Roman Empire, with a commonly accepted date of authorship of circa A.D. 170. Originally untitled, the text consists of a collection of personal reflections made by the emperor that document his pursuit of virtue through the Stoic Philosophy. In fact, “Meditations” is one of the only sources of information on Stoic ethics that has survived in its entirety, allowing people of subsequent eras to learn of the graceful simplicity inherent in Stoic beliefs. Deeply personal and striving for eloquence, “Meditations” gives a unique glimpse of a man who was ruler of the largest empire the world had ever known and was still dedicated to living an ethical life. These are the reasons that Aurelius’ work has survived for so long, and also why “Meditations” should be preserved for future generations.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>“Meditations” was born of a Roman Society that had enjoyed a long period of relative peace and security. Aurelius inherited an empire that had benefited greatly from his predecessors, the first four of the “Five Good Emperors”. Taxes had been lowered, housing and education had been provided for the poor, and persecution of Christians had been halted. Rome was teeming with public works projects, bringing new temples, aqueducts, baths, and theatres. Promotion of the arts had been made a priority and the borders of the empire had been secured (Morey). Roman citizens of this era enjoyed a more egalitarian environment where the focus had shifted from military campaigns to cultural refinement. Rather than starting from scratch, the Romans based their cultural pursuits on the foundation that had already been laid by the Greeks (Morey).</span></p>\r\n<p class=\"MsoNormal\" style=\"margin: 10pt 0in 0.0001pt;text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>A Greek creation that did particularly well with the Romans was the Stoic Philosophy. From its inception in 300 B.C. through 180 A.D. it was the most influential school of thought in the empire (Rees viii). Seneca and Cicero were among the many notable Romans of this period who wrote works that showed a distinct Stoic influence. Founded by Zeno of Citius, Stoicism grew out of two key beliefs of the Cynics; that people possessed an inner governing agent of morality, and that humanity should flee an overly materialistic society to return to a natural state. Stoicism took each of these a step further. </span></p>\r\n<p class=\"MsoNormal\" style=\"margin: 10pt 0in 0.0001pt;text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>The Stoics believed that this inner morality was held in common by all of humanity, that it was both rational and social, and that it surrounds us and determines our paths (Rees vii). Thus, we should live in fellowship as we are all spiritually connected, and anything that befalls us must be for the greater good because all things are guided by Nature. Secondly, the Stoics believed that any strong feelings, whether of attachment to material possessions or displays of raw emotion, were the result of inaccurate perceptions. A reasoned appraisal was to be the measure of all things (Baltzly). Stoics were also called to live a life free of any unnecessary obligations or activities that went against their natural inclinations. This was meant to leave them free to live in harmony with the guiding spirit of nature (Baltzly).</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>“Meditations” is an auto-documentary of Marcus’s efforts to reason out these beliefs and apply them to his own life. A singular work of its time, it is the living expression of the moralistic strivings of a Roman Emperor, the only emperor to leave this type of record and have it published so widely. Ironically, most scholars agree that it was never intended for publication. Written with little thought to form or continuity, the text consists of a series of short, reflective prose statements with no clear organizing principle. Full of repetition, “Meditations” returns to each of Stoicisms varied precepts time and again, as the emperor searches for the best metaphor, the best parallel, and the best words. We are thankful that he did; “Meditations” is one of only three surviving examples of a complete work on the topic of Stoic Ethics.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Though published wide, it was also published late. The first known reference to Marcus’s work was by a philosopher named Themistius in the 4<sup>th</sup> century, almost 200 years after it was written (Hadot 21). It is most likely that at the time “Meditations” was written Aurelius himself was the only audience. Recording his thoughts in this way must have been a means of self reflection for Marcus. The first chapter pays tribute to the influential figures in his upbringing, describing the virtues they imparted to him. Here we see some of the influences that may have led the Emperor to the Stoic way of life. His grandfather is thanked for “the lessons of noble character and even temper.” His father is thanked for his modesty, and his mother for teaching “…piety…simplicity too in diet and to be far removed from the ways of the rich”. Diognetus, his painting tutor, is thanked for teaching Marcus, “…to aspire to the camp-bed and skin coverlet and the other things which are part of the Greek training.” <span> </span>Appolonius, orator and Stoic philosopher, taught Marcus “…to look to nothing else, even for a little while, except to reason”(Aurelius 1). It seems clear that the young emperor had been raised in preparation for the reserved, minimalistic life of the Stoic. </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>The remainder of the text is dedicated to the emperor’s efforts to expound upon the Stoic path to enlightenment. Staying connected to his beliefs in this way was undoubtedly therapeutic to Aurelius as he navigated one of the most unique periods in Roman history. Hadrian, a previous emperor, had stipulated that Aurelius’s adopted brother Lucius Verus would ascend to rule alongside him as co-emperor. T</span><span>he more common reaction would have been to bristle at the idea of sharing his power. On the contrary, it seems that the Stoic belief in controlling the passions helped him accept this reality and work within it for the greater good. The two emperors ruled side by side with no sign of rancor whatsoever (Knox). Sadly, </span><span>Marcus’s reign was also the end of the era of peace for the Romans; he was entrenched in war almost from the day of his ascension (Hadot 2). Book Two, titled <em>Written Among the Qadi on the River Gran,</em> was actually written in the field during a military campaign (Aurelius 104). The words of this chapter are somber, and the emperor seems to be contemplating his own imminent mortality. Still, Aurelius’s firm dedication to his philosophy is undeniable. I believe that recording these thoughts helped to strengthen the emperor as faced the greatest challenges of his life.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Though Marcus did not live to see his work reach a refined state, “Meditations” in its present form has endured for centuries. Scholars seem to agree that its survival is due to the unique place it holds in the scholarly canon of philosophy. Pierre Hadot is the author of <em>The Inner Citadel, </em>a detailed analysis of “Meditations”. In Hadot\'s words: </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 1in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>In world literature one finds a lot of preachers, lesson-givers, and censors, who moralize to others with complacency, irony, cynicism, or bitterness; but it is extremely rare to find a person training himself to live and to think like a human being (Hadot 312-313). </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Elsewhere, Hadot compares “Meditations” to: </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 1in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>…[an] ever-new spring[s], to which humanity comes to drink. If we can transcend [its] perishable aspects, we can sense in [it] an imperishable spirit which calls us to a choice of life, to the transformation of ourselves, and to a complete revision of our attitude with regard to human beings and the world (Hadot 39). </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This heavy praise seems to confirm “Meditations” as a singular work of lasting value.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>D.A. Rees of Jesus College, Oxford, has also written on the lasting impact of Aurelius’s struggle toward enlightenment.<span> </span>“…the Meditations remain, unendingly moving and inspiring, the communing with itself of a thoughtful and devout soul upon the greatest of human issues.” (7) xi Again, this uncommon record of an emperors moral strivings are seen as inspirational, much as they certainly were to the author himself.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>Earlier in his journey toward enlightenment the emperor drew inspiration from the teachings of a Stoic named Epictetus. One of Epictetus’s more accessible works was a compendium of Stoic sayings selected from his larger works.” Titled “Enchiridion”, or more simply “The Handbook”, this work was assembled in A.D. 135 and like “Meditations” also consists of short, philosophical reflections with Stoic ethics at its core. Though they shared a philosophy, Marcus and Epictetus were separated by a huge gulf of life experience. Far from an emperor, Epictetus came to Rome as a slave and at one point was even banished from the Italian peninsula (Graver). </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This difference in status is ironic. Epictetus seems fully willing to speak on his own authority while Marcus, the emperor, relies sometimes on name dropping. Further, while “Meditations” is clearly the work of a novice striving for advancement, “Enchiridion” is a masterful collection of polished metaphors designed to be easily accessible to beginners. At only 52 “verses”, “Enchiridion” accomplishes a thorough going through while “Meditations” wanders to 12 Chapters. Still, “Meditations” conveys a more personal tone. Marcus’s philosophy is obviously linked to the events of his day to day life, which sometimes creep into the text. By contrast, Epictetus draws broad parallels for his audience to latch on to. And though he never comes near the line of offensiveness he can sometimes come across as a bit of a smart aleck.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>This irreverence was probably a calculated element of Epictetus’s style. It helps to convey a lively tone, perhaps to hold the interest of weary students growing tired of their studies. He writes as an extrovert, bursting with energy, fully versed in his philosophy. The emperor comes across as a much more solemn figure, gazing inward to seek out some impurity and exorcise it. Even when he says “you” he seems to be addressing himself, morosely, instead of some prospective audience. While Epictetus skips along, Marcus steadfastly holds the course that will lead him to his personal truths.<span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>To t</span><span>hose familiar with “Meditations”, the quote that begins this essay may give a hint about the work’s enduring appeal. But what is a true act of fellowship? What does God ask of us? These were the questions being asked and answered by a ruler who could have pursued a reign of tyranny and repression. I found this to be inspiring and more than a little amazing. I was also pleased to learn more about a philosophy that held many beliefs in common with my own faith, Christianity. It was entertaining to see a radically different context applied to familiar beliefs such as living a non-materialistic lifestyle connected with an all encompassing spiritual force. Despite this, my research has revealed the unfortunate fact that the persecution of Christians was resumed during Aurelius’s reign. (Morey) In light of the words he recorded, I found this to be shocking and inexplicable.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%\"><span>Looking beyond this, I also have mixed feelings about invading another person’s journal, thoughts they may not have intended to share. But this may not have been the case at all. We could be looking at a rough draft that the emperor simply did not live to complete. Still, I have my reservations. If I had known the nature of this work ahead of time my respect for the privacy of others probably would have kept me from reading it. But then I would have missed out on quotes like the one below, words that speak so well of Marcus’s contribution: </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 1in;text-align: justify;line-height: 200%\"><span>Whosoever does injustice commits sin; for Universal Nature having made reasonable creatures for the sake of one another, to benefit each other according to desert but in no wise to do injury, manifestly he who transgresses her will sins against the most venerable of the gods, because Universal Nature is a nature of what is, and what is is related to all that exists. [sic]</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span><span> </span>So for any that take the opportunity to reflect alongside the emperor, the value of “Meditations” speaks for itself. Never before had an emperor left such a singular gift of philosophical teaching. If not for his efforts, we would be without a significant portion of what we know of a philosophy that permeated the Roman world. We would also miss a chance to reflect that even the best among us can take a false step, as the contradiction of Aurelius’s persecutions has shown. Preserving his “Meditations”, we preserve a snapshot of the human spirit, searching for truth.</span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"text-indent: 0.5in;line-height: 200%;background: none repeat scroll 0% 0% white\"><span>(10) Hadot, Pierre. <em>The <span>Inner Citadel: the Meditations of Marcus Aurelius</span></em>. Trans. Michael Chase. Cambridge, MA: <span> </span>Harvard UP, 1998. Print.</span></p>\r\n<p class=\"MsoNormal\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span><span> </span>(8) Morey, William C. “The Five Good Emperors,-Nerva to Marcus Aurelius” <em>Outlines Roman History. </em>By Morey. New York, Cincinnati, Chicago: American Book Company, 1901. N. pag. <em>Forum Romanum.</em> Web. 10 Feb. 2011 &lt;</span><a href=\"http://www.forumromanum.org/history/morey26.html\"><span>http://www.forumromanum.org/history/morey26.html</span></a><span>&gt;</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 24pt;background: none repeat scroll 0% 0% white\"><span>(7) Aurelius, Marcus. <em>Meditations</em>. Trans. A.S.L. Farquharson. New York: Knopf, 1992. Print.</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 24pt;background: none repeat scroll 0% 0% white\"><span> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt;line-height: 24pt;background: none repeat scroll 0% 0% white\"><span>(7 intro) Rees, D.A. “Introduction.” <em>Meditations</em>. By Marcus Aurelius. Trans. A.S.L. Farquharson. New York: Knopf, 1992. i-xi. Print.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span> </span></p>\r\n<p class=\"MsoNormal\"><span>(1) Kamtekar, Rachana. \"Marcus Aurelius .\" <em>Stanford Encyclopedia of Philosophy</em>. Ed. Edward N. Zalta Stanford University, Winter 2010 Edition. Web.<span> </span>10 Feb. 2011. &lt;http://plato.stanford.edu/entries/marcus-aurelius/&gt;</span></p>\r\n<p class=\"MsoNormal\"><span> </span></p>\r\n<p class=\"MsoNormal\"><span>(5) Baltzly, Dirk. \"Stoicism.\" <em>Stanford Encyclopedia of Philosophy</em>. Stanford University, 15 Apr. 1996. Web.<span> </span>10 Feb. 2011. &lt;http://plato.stanford.edu/entries/stoicism/&gt;</span></p>\r\n<p class=\"MsoNormal\"><span> </span></p>\r\n<p class=\"MsoNormal\"><span>(12) Epictetus. <em>The Enchiridion.</em> Trans. Elizabeth Carter. <em>The Internet Classics Archive: 441 Searchable Works of Classical Literature</em>. MIT. Web. 10 Feb. 2011. </span><a href=\"http://classics.mit.edu/Epictetus/epicench.html\"><span>http://classics.mit.edu/Epictetus/epicench.html</span></a></p>\r\n<p class=\"MsoNormal\"><span> </span></p>\r\n<p class=\"MsoNormal\"><span>(2) Knox, E.L. Skip. \"The ‘Five Good Emperors’ - Marcus Aurelius (161-180).\" <em>History of Western Civilization</em>. Boise State University. Web. 13 Feb. 2011. &lt;</span><a href=\"http://www.boisestate.edu/courses/westciv/empire/09.shtml\"><span>http://www.boisestate.edu/courses/westciv/empire/09.shtml</span></a>&gt;</p>\r\n<p class=\"MsoNormal\"></p>\r\n<p class=\"MsoNormal\"><span>(13) Graver, Margaret R. “Epictetus.” <em>Stanford Encyclopedia of Philosophy</em>. Ed. Edward N. Zalta Stanford University, Spring 2009 Edition. Web. 13 Feb. 2011 &lt;</span><a href=\"http://plato.stanford.edu/entries/epictetus/\"><span>http://plato.stanford.edu/entries/epictetus/</span></a><span>&gt;</span></p>\r\n<p class=\"MsoNormal\"><span> </span></p>\r\n<p class=\"MsoNormal\"><span> </span></p>\r\n\r\n</div>','JustTim-TCP1','','inherit','open','open','','186-revision-3','','','2011-02-16 14:36:18','2011-02-16 20:36:18','',186,'http://jeanatacc.com/2011/?p=227',0,'revision','',0),(230,23,'2011-02-16 11:36:15','2011-02-16 17:36:15','OK , i\'m at the RGC learning lab. I\'m trying to download my picture.\r\n\r\nI have it saved as a file.  The download function isn\'t working. What fun !!!','image download from learning lab','','inherit','open','open','','176-revision-v1','','','2011-02-16 11:36:15','2011-02-16 17:36:15','',176,'http://jeanatacc.com/2011/?p=230',0,'revision','',0),(231,1,'2011-02-16 16:33:54','2011-02-16 22:33:54','OK , i\'m at the RGC learning lab. I\'m trying to download my picture.\r\n\r\nI have it saved as a file.  The download function isn\'t working. What fun !!!','image download from learning lab','','inherit','open','open','','176-revision-v1','','','2011-02-16 16:33:54','2011-02-16 22:33:54','',176,'http://jeanatacc.com/2011/?p=231',0,'revision','',0),(232,25,'2011-02-16 16:38:05','2011-02-16 22:38:05','North of Salisbury, England, a prehistoric monument lies within the Salisbury Plain (STONEHENGE New World). The monument consists of a group of stones that have long beheld mysteries and theories as to how they got there. The mystery of the stones is known as Stonehenge.\n\n<!--more-->\n\nFrom the wear and weathering of the stones at Stonehenge, researchers have gathered information to date the stone arrangement. The markings on the stones match the tools used in the time period from C. 3000-1000 B.C. In other words, the late stone and the early bronze ages (STONEHENGE New World). Though scientist and researchers have approximated a time period of creation, who exactly built Stonehenge remains unknown.\n\nWhoever the creators were, built Stonehenge in several phases. As a whole, Stonehenge was constructed, “Over a period of 2000 years...” (Robinson and Evans-Freke). The first phase consisted of, “Two raised circles of earth about 300 ft from each other with a series of 56 holes (now known as the Aubrey holes) arranged inside the circle” (Stonehenge Wonders). Around a hundred years later, the four rows of stones (as seen in the picture below) were situated in a circular formation. These sets of stones include Blue stones and Sarsen stones (STONEHENGE New World).\n\n<img class=\"aligncenter\" src=\"http://news.bbc.co.uk/nol/shared/spl/hi/uk/06/stonehenge/img/stonehenge_416.gif\" alt=\"\" width=\"416\" height=\"300\" />\n\nThe stones could have only been found miles and miles away from where they stand today. The Blue stones were likely to have been transported over 250 miles from the Prescelly Mountains in Wales (Stonehenge Wonders). The Sarsen stones came from 24 miles away in the Marlborough Downs in southern England (Stonehenge Wonders).  The largest of the Sarsen stones at Stonehenge weigh up to 45 tons (\"Discovering the Secrets\"). Due to the size of the stones and the distance that the stones were moved, people over centuries have theorized ridiculous ideas of how Stonehenge came to be.  Some theories say giants from Africa brought the stones over to England and others have said the gods placed the stones there. Archeologists like Andrew Young have put the outrageous theories to rest. Though his test has not yet been proven, it is highly likely that the Neolithic people transported the stones using a rolling method (\"Discovering the Secrets\"). Stone balls with diameters only a few millimeters apart were excavated and given correlation to Stonehenge. Young felt that all the balls had to have been used together as a way to roll the stones from place to place (\"Discovering the Secrets\").\n\nWhat we know about the Neolithic people of the Stone Age is that they were very skilled in carving stone and wood (Robinson and Evans-Freke). Though not much of the Neolithic culture survived, people have their stone structures left to remember them. Neolithic stone circles like Stonehenge have been, “Found all over the British Isles. Nearly a thousand stone circles still stand today” (Robinson and Evans-Freke).  As time passed, archaeologists found that most of the stones mark graves (Pearson and Goerke-Shrode).  The stones that mark the graves were formed as, “Megalith, upright slabs roofed by a capstone…” ( Pearson and Goerke-Shrode). The megaliths were considered stone tombs for the ones who had passed.\n\nDue to further excavation, the world now knows that Stonehenge was once a burial site, but that is not how Stonehenge was always perceived.  Before the cremations were found in and around Stonehenge, scientist figured that Stonehenge, “Served as a celestial calendar predicting the movements of the sun and moon, clocking the seasonable cycle, and thus providing information that would have been essential to an agricultural society” (Pearson and Goerke-Shrode).  Stonehenge does align with the winter and summer solstice but more for religious purposes than agricultural use (Robinson and Evan-Freke).  Stonehenge is not the only structure with astronomical alignment.  All over the world, ancient people have incorporated them into their works (Robinson and Evan-Freke).  Recumbent stone circles found in Scotland also have an astronomical alliance.  The Recumbent stone circles had a, “Primary association with the observation of the extreme setting points on the lunar cycle” (Whitaker). What makes Stonehenge unusual from the other stone circles though is the cremated bodies buried at the site. Most of the remains found belonged to older males. If men were only to be buried at Stonehenge, “They must have been selected” (Robinson and Evans-Freke).  The male cremations gave way to a deeper discovery of Stonehenge and its surroundings.\n\nArcheologist Mike Parker Pearson took advantage of Stonehenge’s new discovery. He had a fascination with the people of Madagascar’s association of timber wood linked with, “The living… and stone with the dead…” (Snodgrass). After he studied the people of Madagascar’s rituals of life and death, he brought his finding over to England. In England he begin to work with others in hope of finding a link between wood and stone at Stonehenge the way they were linked in Madagascar (Robinson and Evans-Freke).  About 1,000 meters away from Stonehenge lays a prehistoric layout of a village located at Durrington Walls that was recently founded by Pearson and other archeologist (\"Stonehenge\'s Twin\"). The house remains of the village believe to have been dated back to the same time as Stonehenge appears to be built (\"Stonehenge\'s Twin\").  The houses were, “Excavated nearby a timber henge of enormous postholes” (Key). Pearson and his crew suggested that Stonehenge and Durrington Walls, “Were built as a single complex of complementary stone and wood circles” (Key). Excavations of large mounds of pig bones at Durrington Walls also indicated, “Feasting around the time of the winter solstice” (Snodgrass). Pearson believed that, “Celebrations were held at both circles related to the rising and setting of the sun and the cycles of life between summer and winter” (Snodgrass). Pearson concluded from the connection that life was celebrated at Durrington Walls and death was celebrated at Stonehenge during the time of the Neolithic culture.\n\nEvery year thousands of people visit Stonehenge for scientific and recreational purposes. It is a well-known monument all through England and around the world. Stonehenge was at the top of my list of choices for the first time capsule topic and I am more than grateful that I was able to do research on it. I knew there was a great circle of stones in England called Stonehenge through stories and pictures but until now, I never knew why it is perceived to be a mystery or a historical structure. What I find meaningful behind Stonehenge is the lengths that the Neolithic people took to honor their dead. The stones, which were placed at Stonehenge, came from miles and miles away and align perfectly to the winter and summer solstices. A great amount of determination and dedication had to be in place in order to do so. It also fascinates me on how far scientist and technology have gone to solve the mystery of Stonehenge. Without people like Pearson or Young, the world may never have gained as much information as we know now about the stones today. Stonehenge beholds a mysterious beauty that is waiting to be solved. It is up to further generations to solve the wonders of Stonehenge yet still preserve the burials of our ancestors.\n\nA very informative and interesting video over Stonehenge, check it out. <a href=\"http://www.pbs.org/wgbh/nova/ancient/secrets-stonehenge.html\">Stonehenge</a>\n\n<!--more-->\n<p style=\"text-align: center\"><strong>Works Cited</strong></p>\n<p style=\"text-align: left\">Key, David. \"HOUSES OF THE HOLY\". <em>Discover </em>28.2 (2007): 10-11. <em>Academic Search Complete</em>, EBSCO. Web. 15 Feb. 2011.</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Pearson, Mike Parker, and Sabine Goerke-Shrode, 5 2009, \'Stonehenge Takes Shape\', <em>dig</em>, 11,8, p.8, MasterFILE Premier,                            EBSCO<em>host</em>, viewed 31 January 2011.</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Robinson, Alice and Evans-Freke, Anna \"Secrets of Stonehenge\". NOVA pbs.org. Web. 10 Feb  2011.                                                                     &lt;http://www.pbs.org/wgbh/nova/ancient/secrets-stonehenge.html&gt;</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Snodgrass, Elizabeth. \"New Theory About Stonehenge.\" Editorial. <em>National Geographic</em> 20 May 2008: 3 pars. Web. 10 Feb 2011</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">\"STONEHENGE.\" (n.d.) <em>Funk &amp; Wagnalls New World Encyclopedia</em>. EBSCO. Web. 31 Jan. 2011</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">\"Stonehenge.\" <em>Wonders of the World</em>. 11. Toucan Valley Publications, Inc., 1999. <em>MasterFILE Premier.</em> EBSCO. Web. 30 Jan.                          2011</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">\"Stonehenge\'s Twin Could Have Been the Dining Area.\" <em>Times</em> [London, England] 23 July 2010: 10. <em>Info Trac Newspaper. </em>Web. 7 Feb. 2011.</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">University of Exeter. \"Discovering the Secrets of Stonehenge.\" Science Daily. 30 November 2010. Web. 10 Feb 2011</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Whitaker, Alex. \"Recumbent Stone Circles (RSC\'s).\" <em>Ancient-wisdom: Online Guide to Prehistory</em>.n.d. Web. 15 Feb. 2011</p>','Discovering Stonehenge','','inherit','open','open','','162-revision-14','','','2011-02-16 16:38:05','2011-02-16 22:38:05','',162,'http://jeanatacc.com/2011/?p=232',0,'revision','',0),(235,33,'2011-02-16 16:43:29','2011-02-16 22:43:29','Oedipus the King (Sophocles) TCP1\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/oedipus.jpg\"><img class=\"alignnone size-medium wp-image-342\" title=\"oedipus\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/oedipus-300x205.jpg\" alt=\"\" width=\"300\" height=\"205\" /></a>\r\n\r\nhttp://rieger.wikispaces.com/file/view/oedipus.jpg/46715957/oedipus.jpg\r\n\r\n<em>“Oedipus the King” </em>was written c. 420 BC by the famous Athenian writer, Sophocles. Sophocles who lived from c. 495 BC-405 BC entertained his audiences with Tragedies. Out of his one hundred twenty plays only seven survived which includes one of his most powerful plays <em>“Oedipus the King”</em> also known as <em>“Oedipus Rex” </em>or <em>“Oedipus Tyrannos”</em>. <em>“Oedipus the King” </em>is a twisted yet engaging, unadulterated Greek tragedy with a remarkable story line. Over the years the play has been translated into different languages and rearranged to suit more modern audiences by scores of writers and scholars.  <!--more-->\r\n\r\nThe theme of the play  is mainly about fate and how men do not control their own fate no matter how much they try. King Laius and Queen Jocasta of Thebes have a baby boy.  King Laius goes to the Oracle at Delphi which  was a place that many Greeks believed was the center of the world and their place of worship. During the 8th c. B.C. Delphi became internationally known for the Oracular powers of Pythia--the priestess who sat on a tripod, inhaled ethylene gasses<strong>, </strong>and muttered incomprehensible words that foretold the future. While at the Oracle of Delphi, Pythia told King Laius that his son would murder him. Afraid, the King ordered a Sheppard to take the baby to be taken into the woods and his to pinned down to the ground so that he cannot crawl away (Sauder)\r\n\r\nThe baby boy is then rescued and taken to the King and Queen of Corinth, who wanted a baby but could not have children. The King and Queen of Corinth name him Oedipus which meant swollen foot because of the pin through his feet. All throughout Oedipus’s childhood the Queen never told him he was adopted. When Oedipus was a young adult a friend made a rude comment about him not being  a Corinthian so Oedipus runs away in shame and goes to ask Apollo the truth. Apollo tells Oedipus that he will kill his father and marry  his mother.  Terrified, he leaves Corinth to escape his fate. As he was going through a crossroad on his horse a chariot came through at the same time and would not let Oedipus through so he got out and killed the other man. The other man was King Laius.\r\n\r\nThen Oedipus went to the town of Thebes and found a great Sphinx there. The Sphinx asked all who wanted to enter a riddle and if you could not answer it the Sphinx would not let you go and would eat you. <strong>The riddle was :</strong>\r\n\r\n<em>What goes on four feet in the morning, two feet at noon, and three feet in the evening? </em>\r\n\r\n<strong>The answer  was: </strong>\r\n\r\n<em>a man. </em>\r\n\r\n<em>A man is a baby in the morning of his life and he crawls on four feet.\r\nHe is an adult in the noon of his life and he walks on two feet.\r\nBut when he is old, in the evening of his life, he walks with a cane, on three feet.</em>\r\n\r\n<em>(This would be true of women, too, but the Greeks told it about men only).</em>\r\n\r\nWhen Oedipus answered the riddle correctly the Sphinx was so mad that she killed herself. When he got to the city the people were upset that someone had killed their King Laius but very excited that Oedipus had solved the riddle that they made him their king. Oedipus also married the Queen, Jocasta. They had four children. One day a plague, horrible disease or serious problem, came to Thebes and Oedipus went to the Oracle to see why the God’s had sent such a terrible thing. The Oracle told him that Thebes had a bad man in it and he had to be found and got rid of so that the plague would stop otherwise it would go on killing people. This is where the real play begins and Oedipus sets out to find the bad man with the blind man Tiresias but concludes that its himself. Realizing that he did not escape his fate even though he tried his hardest to, he pookes his eyes out with a stick. Jocasta finds out the news and hangs herself. Then Oedipus leaves Thebes so that the plague will go away.\r\n\r\nTowards the close of Sophocles\' life, the glory and power of the great Athenian state was beginning to show the first signs of decay. A ten-year war broke out in 431 B.C. between Athens and Sparta. After it ended in a stalemate, it dragged on for 27 years in all, either in open or barely contained hostilities. According to scholars, In 428 B.C., there was a devastating plague that decimated the Athenian population and claimed the life of Pericles. Then in 413 B.C., Athens lost two armies in its disastrous campaigns in Sicily. Nine years later (in 404 B.C.), Athens suffered humiliating defeat by Sparta . Also according to scholars, Sophocles was writing the Oedipus plays at a time when Athens was struggling for its life against disruptive forces inside and outside of the city-state. As a result, he incorporates into his plays both the glorious reign of Theseus, founder and hero of Athens, and the bitter strife ensuing among the nation states of Greece (Sauder).\r\n\r\nIt is typical of its time because there are King and Queens, followers, Greek Gods and Oracles and loyal followers. Also the time period is mythical which stands out because the play is very mythical. Different things that were typical was writing and the use of solemn poetry and philosophic in tone.\r\n\r\nThe work is innovative for its time because it confronts two sides of forces, right and wrong and intended right. The play is also created in a series of dramatic episodes a prequel and a sequel, showing before Oedipus’s birth and after he is dead. The work is received as common, something natural and something enlightened. However it was common for cousins to marry during Greek times to ensure that money and hierarchy stayed within the family.\r\n\r\nToday people think the work is remarkable. It tells the Greek tragedy of a royal family and shows how all parties felt. The way I feel about the work is that it is mythological but entertaining and its a complex piece of work that is underrated and should be given more credit.\r\n\r\nSophocles’ works are in a way ironic like Edgar Allen Poe’s work but very complex and engaging, something like <em>Murder she Wrote</em>. It is different from something like <em>“The Epic of Gilgamesh” </em> because in <em>“Oedipus the King”</em> it includes a chorus that reiterates a lot of the main points in the play and highlights that are being said in the play. It is also different from <em>“Juvenals’s Satires”</em> because this work is lyrical and <em>“Oedipus the King”</em> is not.\r\n\r\nThings for future generations to know about this particular piece of work is that the context of which it was written in is bold because of the language, the imagery that can be depicted from the language and the diction and passionate messages that are conveyed through the diction. It is also important to note that over time the style of writing has changed so you have to be open to understand the play.\r\n\r\nWorks Cited\r\n\r\nKonsola, Dora. \"Delphi.\" <em>Ancient Greece</em>. Web. 16 Feb. 2011. &lt;http://www.ancient-greece.org/history/delphi.html&gt;.\r\n\r\nSauder, Diane. \"PinkMonkey.com MonkeyNotes for Oedipus the King by Sophocles.\" 16 February 2011. Print\r\n\r\nTripp, Edward, and Edward Tripp. <em>The Meridian Handbook of Classical Mythology</em>. New York: Meridian, 2007. Print.\r\n\r\n<em> </em>','Oedipus the King (Sophocles)','','publish','open','open','','oedipus-the-king-sophocles','','','2011-02-17 13:01:13','2011-02-17 19:01:13','',0,'http://jeanatacc.com/2011/?p=235',0,'post','',6),(237,33,'2011-02-16 16:43:08','2011-02-16 22:43:08','Oedipus the King (Sophocles) TCP1\n\n<a href=\"http://rieger.wikispaces.com/file/view/oedipus.jpg/46715957/oedipus.jpg\">http://rieger.wikispaces.com/file/view/oedipus.jpg/46715957/oedipus.jpg</a>\n\n            <em>“Oedipus the King” </em>was written c. 420 BC by the famous Athenian writer, Sophocles. Sophocles who lived from c. 495 BC-405 BC entertained his audiences with Tragedies. Out of his one hundred twenty plays only seven survived which includes one of his most powerful plays <em>“Oedipus the King”</em> also known as <em>“Oedipus Rex” </em>or <em>“Oedipus Tyrannos”</em>. <em>“Oedipus the King” </em>is a twisted yet engaging, unadulterated Greek tragedy with a remarkable story line. Over the years the play has been translated into different languages and rearranged to suit more modern audiences by scores of writers and scholars.  \n\n            The theme of the play  is mainly about fate and how men do not control their own fate no matter how much they try. King Laius and Queen Jocasta of Thebes have a baby boy.  King Laius goes to the Oracle at Delphi which  was a place that many Greeks believed was the center of the world and their place of worship. During the 8th c. B.C. Delphi became internationally known for the Oracular powers of Pythia--the priestess who sat on a tripod, inhaled ethylene gasses<strong>, </strong>and muttered incomprehensible words that foretold the future. While at the Oracle of Delphi, Pythia told King Laius that his son would murder him. Afraid, the King ordered a Sheppard to take the baby to be taken into the woods and his to pinned down to the ground so that he cannot crawl away (Sauder)\n\nThe baby boy is then rescued and taken to the King and Queen of Corinth, who wanted a baby but could not have children. The King and Queen of Corinth name him Oedipus which meant swollen foot because of the pin through his feet. All throughout Oedipus’s childhood the Queen never told him he was adopted. When Oedipus was a young adult a friend made a rude comment about him not being  a Corinthian so Oedipus runs away in shame and goes to ask Apollo the truth. Apollo tells Oedipus that he will kill his father and marry  his mother.  Terrified, he leaves Corinth to escape his fate. As he was going through a crossroad on his horse a chariot came through at the same time and would not let Oedipus through so he got out and killed the other man. The other man was King Laius.\n\nThen Oedipus went to the town of Thebes and found a great Sphinx there. The Sphinx asked all who wanted to enter a riddle and if you could not answer it the Sphinx would not let you go and would eat you. <strong>The riddle was :</strong>\n\n<em>What goes on four feet in the morning, two feet at noon, and three feet in the evening? </em>\n\n<strong>The answer  was: </strong>\n\n  <em>a man. </em>\n\n<em>A man is a baby in the morning of his life and he crawls on four feet.\nHe is an adult in the noon of his life and he walks on two feet.\nBut when he is old, in the evening of his life, he walks with a cane, on three feet.</em>\n\n<em>(This would be true of women, too, but the Greeks told it about men only).</em>\n\n            When Oedipus answered the riddle correctly the Sphinx was so mad that she killed herself. When he got to the city the people were upset that someone had killed their King Laius but very excited that Oedipus had solved the riddle that they made him their king. Oedipus also married the Queen, Jocasta. They had four children. One day a plague, horrible disease or serious problem, came to Thebes and Oedipus went to the Oracle to see why the God’s had sent such a terrible thing. The Oracle told him that Thebes had a bad man in it and he had to be found and got rid of so that the plague would stop otherwise it would go on killing people. This is where the real play begins and Oedipus sets out to find the bad man with the blind man Tiresias but concludes that its himself. Realizing that he did not escape his fate even though he tried his hardest to, he pookes his eyes out with a stick. Jocasta finds out the news and hangs herself. Then Oedipus leaves Thebes so that the plague will go away. \n\nTowards the close of Sophocles\' life, the glory and power of the great Athenian state was beginning to show the first signs of decay. A ten-year war broke out in 431 B.C. between Athens and Sparta. After it ended in a stalemate, it dragged on for 27 years in all, either in open or barely contained hostilities. According to scholars, In 428 B.C., there was a devastating plague that decimated the Athenian population and claimed the life of Pericles. Then in 413 B.C., Athens lost two armies in its disastrous campaigns in Sicily. Nine years later (in 404 B.C.), Athens suffered humiliating defeat by Sparta . Also according to scholars, Sophocles was writing the Oedipus plays at a time when Athens was struggling for its life against disruptive forces inside and outside of the city-state. As a result, he incorporates into his plays both the glorious reign of Theseus, founder and hero of Athens, and the bitter strife ensuing among the nation states of Greece (Sauder).\n\nIt is typical of its time because there are King and Queens, followers, Greek Gods and Oracles and loyal followers. Also the time period is mythical which stands out because the play is very mythical. Different things that were typical was writing and the use of solemn poetry and philosophic in tone.\n\nThe work is innovative for its time because it confronts two sides of forces, right and wrong and intended right. The play is also created in a series of dramatic episodes a prequel and a sequel, showing before Oedipus’s birth and after he is dead. The work is received as common, something natural and something enlightened. However it was common for cousins to marry during Greek times to ensure that money and hierarchy stayed within the family.\n\nToday people think the work is remarkable. It tells the Greek tragedy of a royal family and shows how all parties felt. The way I feel about the work is that it is mythological but entertaining and its a complex piece of work that is underrated and should be given more credit.\n\nSophocles’ works are in a way ironic like Edgar Allen Poe’s work but very complex and engaging, something like <em>Murder she Wrote</em>. It is different from something like <em>“The Epic of Gilgamesh” </em> because in <em>“Oedipus the King”</em> it includes a chorus that reiterates a lot of the main points in the play and highlights that are being said in the play. It is also different from <em>“Juvenals’s Satires”</em>  because this work is lyrical and <em>“Oedipus the King”</em> is not.\n\nThings for future generations to know about this particular piece of work is that the context of which it was written in is bold because of the language, the imagery that can be depicted from the language and the diction and passionate messages that are conveyed through the diction. It is also important to note that over time the style of writing has changed so you have to be open to understand the play.\n\n Works Cited\n\nKonsola, Dora. \"Delphi.\" <em>Ancient Greece</em>. Web. 16 Feb. 2011. &lt;http://www.ancient-greece.org/history/delphi.html&gt;.\n\nSauder, Diane. \"PinkMonkey.com MonkeyNotes for Oedipus the King by Sophocles.\" 16 February 2011. Print\n\nTripp, Edward, and Edward Tripp. <em>The Meridian Handbook of Classical Mythology</em>. New York: Meridian, 2007. Print.\n\n<em> </em>','Oedipus the King (Sophocles)','','inherit','open','open','','235-revision-2','','','2011-02-16 16:43:08','2011-02-16 22:43:08','',235,'http://jeanatacc.com/2011/?p=237',0,'revision','',0),(236,33,'2011-02-16 16:42:07','2011-02-16 22:42:07','Oedipus the King (Sophocles) TCP1\n\n<a href=\"http://rieger.wikispaces.com/file/view/oedipus.jpg/46715957/oedipus.jpg\">http://rieger.wikispaces.com/file/view/oedipus.jpg/46715957/oedipus.jpg</a>\n\n            <em>“Oedipus the King” </em>was written c. 420 BC by the famous Athenian writer, Sophocles. Sophocles who lived from c. 495 BC-405 BC entertained his audiences with Tragedies. Out of his one hundred twenty plays only seven survived which includes one of his most powerful plays <em>“Oedipus the King”</em> also known as <em>“Oedipus Rex” </em>or <em>“Oedipus Tyrannos”</em>. <em>“Oedipus the King” </em>is a twisted yet engaging, unadulterated Greek tragedy with a remarkable story line. Over the years the play has been translated into different languages and rearranged to suit more modern audiences by scores of writers and scholars.  \n\n            The theme of the play  is mainly about fate and how men do not control their own fate no matter how much they try. King Laius and Queen Jocasta of Thebes have a baby boy.  King Laius goes to the Oracle at Delphi which  was a place that many Greeks believed was the center of the world and their place of worship. During the 8th c. B.C. Delphi became internationally known for the Oracular powers of Pythia--the priestess who sat on a tripod, inhaled ethylene gasses<strong>, </strong>and muttered incomprehensible words that foretold the future. While at the Oracle of Delphi, Pythia told King Laius that his son would murder him. Afraid, the King ordered a Sheppard to take the baby to be taken into the woods and his to pinned down to the ground so that he cannot crawl away (Sauder)\n\nThe baby boy is then rescued and taken to the King and Queen of Corinth, who wanted a baby but could not have children. The King and Queen of Corinth name him Oedipus which meant swollen foot because of the pin through his feet. All throughout Oedipus’s childhood the Queen never told him he was adopted. When Oedipus was a young adult a friend made a rude comment about him not being  a Corinthian so Oedipus runs away in shame and goes to ask Apollo the truth. Apollo tells Oedipus that he will kill his father and marry  his mother.  Terrified, he leaves Corinth to escape his fate. As he was going through a crossroad on his horse a chariot came through at the same time and would not let Oedipus through so he got out and killed the other man. The other man was King Laius.\n\nThen Oedipus went to the town of Thebes and found a great Sphinx there. The Sphinx asked all who wanted to enter a riddle and if you could not answer it the Sphinx would not let you go and would eat you. <strong>The riddle was :</strong>\n\n<em>What goes on four feet in the morning, two feet at noon, and three feet in the evening? </em>\n\n<strong>The answer  was: </strong>\n\n  <em>a man. </em>\n\n<em>A man is a baby in the morning of his life and he crawls on four feet.\nHe is an adult in the noon of his life and he walks on two feet.\nBut when he is old, in the evening of his life, he walks with a cane, on three feet.</em>\n\n<em>(This would be true of women, too, but the Greeks told it about men only).</em>\n\n            When Oedipus answered the riddle correctly the Sphinx was so mad that she killed herself. When he got to the city the people were upset that someone had killed their King Laius but very excited that Oedipus had solved the riddle that they made him their king. Oedipus also married the Queen, Jocasta. They had four children. One day a plague, horrible disease or serious problem, came to Thebes and Oedipus went to the Oracle to see why the God’s had sent such a terrible thing. The Oracle told him that Thebes had a bad man in it and he had to be found and got rid of so that the plague would stop otherwise it would go on killing people. This is where the real play begins and Oedipus sets out to find the bad man with the blind man Tiresias but concludes that its himself. Realizing that he did not escape his fate even though he tried his hardest to, he pookes his eyes out with a stick. Jocasta finds out the news and hangs herself. Then Oedipus leaves Thebes so that the plague will go away. \n\nTowards the close of Sophocles\' life, the glory and power of the great Athenian state was beginning to show the first signs of decay. A ten-year war broke out in 431 B.C. between Athens and Sparta. After it ended in a stalemate, it dragged on for 27 years in all, either in open or barely contained hostilities. According to scholars, In 428 B.C., there was a devastating plague that decimated the Athenian population and claimed the life of Pericles. Then in 413 B.C., Athens <a href=\"http://pinkmonkey.com/booknotes/monkeynotes/pmOedipusRex13.asp\">lost</a> two armies in its disastrous campaigns in Sicily. Nine years later (in 404 B.C.), Athens suffered humiliating defeat by Sparta . Also according to scholars, Sophocles was writing the Oedipus plays at a time when Athens was struggling for its life against disruptive forces inside and outside of the city-state. As a result, he incorporates into his plays both the glorious reign of Theseus, founder and hero of Athens, and the bitter strife ensuing among the nation states of Greece (Sauder).\n\nIt is typical of its time because there are King and Queens, followers, Greek Gods and Oracles and loyal followers. Also the time period is mythical which stands out because the play is very mythical. Different things that were typical was writing and the use of solemn poetry and philosophic in tone.\n\nThe work is innovative for its time because it confronts two sides of forces, right and wrong and intended right. The play is also created in a series of dramatic episodes a prequel and a sequel, showing before Oedipus’s birth and after he is dead. The work is received as common, something natural and something enlightened. However it was common for cousins to marry during Greek times to ensure that money and hierarchy stayed within the family.\n\nToday people think the work is remarkable. It tells the Greek tragedy of a royal family and shows how all parties felt. The way I feel about the work is that it is mythological but entertaining and its a complex piece of work that is underrated and should be given more credit. \\\n\nSophocles’ works are in a way ironic like Edgar Allen Poe’s work but very complex and engaging, something like <em>Murder she Wrote</em>. It is different from something like <em>“The Epic of Gilgamesh” </em> because in <em>“Oedipus the King”</em> it includes a chorus that reiterates a lot of the main points in the play and highlights that are being said in the play. It is also different from <em>“Juvenals’s Satires”</em>  because this work is lyrical and <em>“Oedipus the King”</em> is not.\n\nThings for future generations to know about this particular piece of work is that the context of which it was written in is bold because of the language, the imagery that can be depicted from the language and the diction and passionate messages that are conveyed through the diction. It is also important to note that over time the style of writing has changed so you have to be open to understand the play.\n\n Works Cited\n\nKonsola, Dora. \"Delphi.\" <em>Ancient Greece</em>. Web. 16 Feb. 2011. &lt;http://www.ancient-greece.org/history/delphi.html&gt;.\n\nSauder, Diane. \"PinkMonkey.com MonkeyNotes for Oedipus the King by Sophocles.\" 16 February 2011&lt;<a href=\"http://www.pinkmonkey.com/oedipustheking\">http://www.pinkmonkey.com/oedipustheking</a>&gt;.\n\nTripp, Edward, and Edward Tripp. <em>The Meridian Handbook of Classical Mythology</em>. New York: Meridian, 2007. Print.\n\n<em> </em>','','','inherit','open','open','','235-revision','','','2011-02-16 16:42:07','2011-02-16 22:42:07','',235,'http://jeanatacc.com/2011/?p=236',0,'revision','',0),(240,4,'2011-02-16 17:14:07','2011-02-16 23:14:07','<p style=\"text-align: left;\">De rerum natura is a scientific epic poem, divided into six books, written by philosopher and poet Titus Lucertius Carus who lived during 1st century BCE. His poem, On the Nature of Things, is the earliest dactylic hexameter of its kind. It was also one of the first Epicurean pieces to be written in Latin. Through what many consider to be a philosophic masterpiece, he presents us with a strictly physical world and introduces the concept of atomism. He addresses this poem to “Memmius,” and it is said to have been for the purpose of converting him to atomism and relieve his mind of superstition, but for as far as historians know, his attempt proved ineffective. (de Vet.)</p>\r\n<!--more-->Epicurus, one of Greek’s major philosophers, taught during 341 BCE – 270 BCE, that in order to live this peaceful and prosperous life, one must live without fear and pain. The fear he discussed was caused by the powerful figures of Roman deities, who, according to the beliefs of the time, would unmercifully punish the people for an individual’s sins once their soul had left them. (“Lucretius.”)  Although noteworthy, he was not entirely atheist; he did not deny the existence of gods, rather, he claimed that they should have no effect on us physically or emotionally. Epicurus said that death was the end of the body and soul, reassuring them there was nothing to fear. (“Lucretius.”) To reason with his point, he stated everything in the world was caused by atoms moving in an empty, infinite space. He claimed the world had come about simply though natural phenomena.\r\n\r\n1st century Italy had already suffered some extremely devastating times filled with revolts, massacres, civil wars and the assassination of political figures. Having a lifetime filled with such continuous bloodshed and violence, it’s easy to see why Lucretius was so completely attached and dedicated to the Epicurean philosophy based upon a friend-filled, tranquil, self-sufficient life without overindulgence in luxuries and keeping oneself away from a troublesome participation in politics. (Simpson.) Lucretius followed these thoughts and translated them into poetry which would later become De rerum natura.\r\n\r\nStoicism and Epicurean philosophies were both dominant schools of their time. Both Epicurean and Stoics taught the people to be self –sufficient and free from the world’s negativities. Stoics did this by suppressing personal lusts and passions through indifference, ultimately reaching a clear state of self-control. Epicureans did this by completely shutting out the existence of fate entirely.\r\n\r\nEpicureans were not persecuted for expressing these beliefs, but it was seen as highly controversial and they were harshly looked down upon by the schools of its time, such as Stoicism. His work was almost lost into oblivion once there was a greater following towards Christianity (since it denied their faith, reinforced their morality and questioned the existence of a soul surviving after death) In fact, modern philosophers have suspected and found that hostile, Christian authors of the time fabricated stories of Lucretius’ life, saying he was poisoned by a love spell during the writings of On the Nature of Things and was driven to suicide, to discredit his work. (de Vet.) Little evidence remains of Lucretius’ life. However, during the Renaissance, Lucretius’ poem resurfaced and played a large role in the spread of atomism.\r\n\r\nOn the Nature of Things was innovative and unusual in that it presented Epicurean’s teachings in the form of poetry to suit the likings of the Romans (to ultimately persuade) to follow his beliefs and it is the one unified work to present the core teachings and theories of Epicurus. (Dunkle.) He wrote passionately of the philosophy he admired in the form of poetry to more easily display abstract concepts. Lucretius said himself, “a poet is like a doctor who smears honey around the rim of the cup so a child will take his bitter medication.” (de Vet.)\r\n\r\nMost of what we know now of Epicurean philosophies is derived from his followers and commentators; although Epicurus himself had a few remaining pieces of work survived, namely, one of his letters. Epicurus followed Democritus’ work and studies in atomism, which he thought was as an accurate explanation of life on Earth. He claims that at the time of your death, one ceases to exist and the atoms simply disperse. In his, rather short (in comparison to Lucretius’ six-book poem), letter to Menoeceus, he says “Death is nothing to us, for good and evil imply the capacity for sensation, and death is the privation of all sentience; therefore a correct understanding that death is nothing to us makes the mortality of life enjoyable, not by adding to life a limitless time, but by taking away the yearning after immortality. For life has no terrors for him who has thoroughly understood that there are no terrors for him in ceasing to live.”  (O’Keefe.) In De rerum natura, the author writes of the same burdens of belief, in that, you sustain fear throughout your mortal life. Although they write in very different fashions; Epicurus, in his direct letter of thoughts to someone else, and Lucretius in his stylistically beautiful poetry to cure his friend (Memmius) of his terrors of dying.\r\n\r\nDe rerum natura is greatly appreciated nowadays through exclamations of its author describing him as a man “ahead of his time.” In 1884, philosopher, Henri Bergson, throughout his one of his critical essays, said “the poet’s instinctive grasp of the physical operations of nature and comprehensive, truly scientific, world-view exceed anything found in the theories of Democritus and Epicurus.” (Simpson.)\r\n\r\nHis poem, as it did during the Renaissance, will forever influence the evolutionary and cosmological speculations of people, philosophers and scientists. This piece is brilliant, in that, you forget that it was written literally thousands of years ago. It’s also wonderful how, through De rerum natura, the author was able to “speak from his grave” since little is known of his life. It was interesting to read this early scientifically-based poetry and to know he was spreading this kind of pleasant, honest philosophy so early in time, into the hearts of minds of the Roman people during such hard times. Future generations can also gain a clear understanding in Epicurus’ teachings through Lucretius’ poem, On the Nature of things. Most importantly, to live a life with the absence of fear and want, search for knowledge of the physical world and be able to think critically when faced with talk of stars, atoms, space, death, life, gods, superstition, pseudoscience, and so forth. Lucretius, in his great happiness of understanding the “nature of things,” said in his poem, “How sweet to watch, from land, while winds enrage The great sea\'s waves, another man in trouble!—Not taking pleasure in another\'s pain, But seeing what evils you yourself are spared.” (“Lucretius.”) De rerum natura, through its eloquent expression of the realms of science, can help to alleviate the concerns of a “doomsday”; to learn to appreciate Epicurus, like Lucretius so rightfully did, as he would deliver us from the fear that holds us back from fulfilling a joyous life, even within grueling times of political and social chaos as Lucretius once did.\r\n<p style=\"text-align: center;\">Works Cited</p>\r\nde Vet, Thérèse. \"Lucretius (94/95–51/55 BCE).\" Encyclopedia of Anthropology. Ed. H. James Birx. Vol. 4. Thousand Oaks, CA: Sage Reference, 2006. 1499-1500. Gale Virtual Reference Library. Web. 15 Feb. 2011.\r\n\r\nDunkle, Roger. “On the Nature of the Universe.” <em>Classics Department Brooklyn College. </em>1986. Web. 15 Feb. 2011. &lt;<a href=\"http://depthome.brooklyn.cuny.edu/classics\">http://depthome.brooklyn.cuny.edu/classics</a>&gt;\r\n\r\n“Lucretius.” Ancient Greece and Rome: An Encyclopedia for Students. Ed. Carroll Moulton. Vol. 3. New York: Charles Scribner\'s Sons, 1998. 18-19. Gale Virtual Reference Library. Web. 15 Feb. 2011.\r\n\r\nO’Keefe, Tim. “Epicurus and Lucretius on the mortality of the soul and against the fear of death” <em>Georgia State University</em>. n.d. Web. 15 Feb. 2011. &lt;<a href=\"http://www2.gsu.edu/~phltso/deathfrags.html\">http://www2.gsu.edu/~phltso</a>&gt;\r\n\r\nSimpson, David. “Lucretius (c.99—c.55 BCE)” <em>Internet Encyclopedia of Philosophy. </em>29. June.<em> </em>2005. Web. 15. Feb. 2011.','On the nature of things ','','publish','open','open','','on-the-nature-of-things','','','2011-02-26 17:21:28','2011-02-26 23:21:28','',0,'http://jeanatacc.com/2011/?p=240',0,'post','',2),(241,4,'2011-02-16 17:13:12','2011-02-16 23:13:12','<p style=\"text-align: center\">On the Nature of Things – De rerum natura</p>\n\n\nDe rerum natura is a scientific epic poem, divided into six books, written by philosopher and poet Titus Lucertius Carus who lived during 1st century BCE. His poem, On the Nature of Things, is the earliest dactylic hexameter of its kind. It was also one of the first Epicurean pieces to be written in Latin. Through what many consider to be a philosophic masterpiece, he presents us with a strictly physical world and introduces the concept of atomism. He addresses this poem to “Memmius,” and it is said to have been for the purpose of converting him to atomism and relieve his mind of superstition, but for as far as historians know, his attempt proved ineffective. (de Vet.)\n\nEpicurus, one of Greek’s major philosophers, taught during 341 BCE – 270 BCE, that in order to live this peaceful and prosperous life, one must live without fear and pain. The fear he discussed was caused by the powerful figures of Roman deities, who, according to the beliefs of the time, would unmercifully punish the people for an individual’s sins once their soul had left them. (“Lucretius.”)  Although noteworthy, he was not entirely atheist; he did not deny the existence of gods, rather, he claimed that they should have no effect on us physically or emotionally. Epicurus said that death was the end of the body and soul, reassuring them there was nothing to fear. (“Lucretius.”) To reason with his point, he stated everything in the world was caused by atoms moving in an empty, infinite space. He claimed the world had come about simply though natural phenomena.\n\n1st century Italy had already suffered some extremely devastating times filled with revolts, massacres, civil wars and the assassination of political figures. Having a lifetime filled with such continuous bloodshed and violence, it’s easy to see why Lucretius was so completely attached and dedicated to the Epicurean philosophy based upon a friend-filled, tranquil, self-sufficient life without overindulgence in luxuries and keeping oneself away from a troublesome participation in politics. (Simpson.) Lucretius followed these thoughts and translated them into poetry which would later become De rerum natura.\n\nStoicism and Epicurean philosophies were both dominant schools of their time. Both Epicurean and Stoics taught the people to be self –sufficient and free from the world’s negativities. Stoics did this by suppressing personal lusts and passions through indifference, ultimately reaching a clear state of self-control. Epicureans did this by completely shutting out the existence of fate entirely.\n\nEpicureans were not persecuted for expressing these beliefs, but it was seen as highly controversial and they were harshly looked down upon by the schools of its time, such as Stoicism. His work was almost lost into oblivion once there was a greater following towards Christianity (since it denied their faith, reinforced their morality and questioned the existence of a soul surviving after death) In fact, modern philosophers have suspected and found that hostile, Christian authors of the time fabricated stories of Lucretius’ life, saying he was poisoned by a love spell during the writings of On the Nature of Things and was driven to suicide, to discredit his work. (de Vet.) Little evidence remains of Lucretius’ life. However, during the Renaissance, Lucretius’ poem resurfaced and played a large role in the spread of atomism.\n\nOn the Nature of Things was innovative and unusual in that it presented Epicurean’s teachings in the form of poetry to suit the likings of the Romans (to ultimately persuade) to follow his beliefs and it is the one unified work to present the core teachings and theories of Epicurus. (Dunkle.) He wrote passionately of the philosophy he admired in the form of poetry to more easily display abstract concepts. Lucretius said himself, “a poet is like a doctor who smears honey around the rim of the cup so a child will take his bitter medication.” (de Vet.)\n\nMost of what we know now of Epicurean philosophies is derived from his followers and commentators; although Epicurus himself had a few remaining pieces of work survived, namely, one of his letters. Epicurus followed Democritus’ work and studies in atomism, which he thought was as an accurate explanation of life on Earth. He claims that at the time of your death, one ceases to exist and the atoms simply disperse. In his, rather short (in comparison to Lucretius’ six-book poem), letter to Menoeceus, he says “Death is nothing to us, for good and evil imply the capacity for sensation, and death is the privation of all sentience; therefore a correct understanding that death is nothing to us makes the mortality of life enjoyable, not by adding to life a limitless time, but by taking away the yearning after immortality. For life has no terrors for him who has thoroughly understood that there are no terrors for him in ceasing to live.”  (O’Keefe.) In De rerum natura, the author writes of the same burdens of belief, in that, you sustain fear throughout your mortal life. Although they write in very different fashions; Epicurus, in his direct letter of thoughts to someone else, and Lucretius in his stylistically beautiful poetry to cure his friend (Memmius) of his terrors of dying.\n\nDe rerum natura is greatly appreciated nowadays through exclamations of its author describing him as a man “ahead of his time.” In 1884, philosopher, Henri Bergson, throughout his one of his critical essays, said “the poet’s instinctive grasp of the physical operations of nature and comprehensive, truly scientific, world-view exceed anything found in the theories of Democritus and Epicurus.” (Simpson.)\n\nHis poem, as it did during the Renaissance, will forever influence the evolutionary and cosmological speculations of people, philosophers and scientists. This piece is brilliant, in that, you forget that it was written literally thousands of years ago. It’s also wonderful how, through De rerum natura, the author was able to “speak from his grave” since little is known of his life. It was interesting to read this early scientifically-based poetry and to know he was spreading this kind of pleasant, honest philosophy so early in time, into the hearts of minds of the Roman people during such hard times. Future generations can also gain a clear understanding in Epicurus’ teachings through Lucretius’ poem, On the Nature of things. Most importantly, to live a life with the absence of fear and want, search for knowledge of the physical world and be able to think critically when faced with talk of stars, atoms, space, death, life, gods, superstition, pseudoscience, and so forth. Lucretius, in his great happiness of understanding the “nature of things,” said in his poem, “How sweet to watch, from land, while winds enrage The great sea\'s waves, another man in trouble!—Not taking pleasure in another\'s pain, But seeing what evils you yourself are spared.” (“Lucretius.”) De rerum natura, through its eloquent expression of the realms of science, can help to alleviate the concerns of a “doomsday”; to learn to appreciate Epicurus, like Lucretius so rightfully did, as he would deliver us from the fear that holds us back from fulfilling a joyous life, even within grueling times of political and social chaos as Lucretius once did.\n\n<!--more-->\n<p style=\"text-align: center\">Works Cited</p>\n\n\nde Vet, Thérèse. \"Lucretius (94/95–51/55 BCE).\" Encyclopedia of Anthropology. Ed. H. James Birx. Vol. 4. Thousand Oaks, CA: Sage Reference, 2006. 1499-1500. Gale Virtual Reference Library. Web. 15 Feb. 2011.\n\nDunkle, Roger. “On the Nature of the Universe.” <em>Classics Department Brooklyn College. </em>1986. Web. 15 Feb. 2011. &lt;<a href=\"http://depthome.brooklyn.cuny.edu/classics\">http://depthome.brooklyn.cuny.edu/classics</a>&gt;\n\n“Lucretius.” Ancient Greece and Rome: An Encyclopedia for Students. Ed. Carroll Moulton. Vol. 3. New York: Charles Scribner\'s Sons, 1998. 18-19. Gale Virtual Reference Library. Web. 15 Feb. 2011.\n\nO’Keefe, Tim. “Epicurus and Lucretius on the mortality of the soul and against the fear of death” <em>Georgia State University</em>. n.d. Web. 15 Feb. 2011. &lt;<a href=\"http://www2.gsu.edu/~phltso/deathfrags.html\">http://www2.gsu.edu/~phltso</a>&gt;\n\nSimpson, David. “Lucretius (c.99—c.55 BCE)” <em>Internet Encyclopedia of Philosophy. </em>29. June.<em> </em>2005. Web. 15. Feb. 2011.','On the nature of things - Draft','','inherit','open','open','','240-revision','','','2011-02-16 17:13:12','2011-02-16 23:13:12','',240,'http://jeanatacc.com/2011/?p=241',0,'revision','',0),(341,1,'2011-02-16 22:41:25','2011-02-17 04:41:25','<em>The megalographia</em> (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.  To this date, no other collection like it has been discovered.\r\n\r\n<!--more-->The artisan employed by to wealthy merchants and the owners of the Villa, Aulus Vettius Restitutus and Aulus Vettius Coniviva, created this work about 60 B.C.E. sometime after the earthquake of 62 B.C.E. (Janson, H.W.)   A cataclysmic event, the eruption of Mount Visuviu in 79 A.D., threatened to destroy all of the art work in the Pompeii and Herculaneum. Though the Villa was buried in ash, the frescoes survived, preserved under the ash and protected by the walls of the building. In 1909-1910 the owner of the land where the Villa sits partially excavated but the government took over the official excavation in 1929. (Deem, James M.)                                                                                                                                                                                                                          <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/6a0133ee47fab8970b013485341528970c-320wi.gif\"><img class=\"alignnone size-medium wp-image-263\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/6a0133ee47fab8970b013485341528970c-320wi-300x209.gif\" alt=\"\" width=\"300\" height=\"209\" /></a> http://www.flickr.com/photos/30485517@N00/1416691484\r\n\r\nThis frieze represents the “Dionysiac initiation rites and the prenuptial ordeals of a bride, in the so-called triclinium of the Villa of the Mysteries (or Villa Item)” (Villa of the Mysteries) found near the Herculaneum gate of Pompeii. Each component of these frescoes is separated from the next with strips of a black. One might image the old strips of film found in the 20<sup>th</sup> century; each frame separated by a narrow line from the next, yet all images on the film joined in the context of the film.\r\n\r\nThe pageantry of the work in total provides cadence in the characters movements while the artists’ brilliant use of color speaks to the sumptuous atmosphere of the day. Also typical of the day is the artists’ use of mythological themes. Equally important is the quality of this work with its beautiful images that were likely copies of Greek statues or images; a practice common throughout the Roman territories. As summarized in the History of Art, “An artist of exceptional greatness of vision has filled these forms with new life,” further comparing the artist to the famous Greek masters, “whose works are lost to us forever, he (the artist) was their legitimate heir.”( Janson, H.W.)\r\n\r\nThere is very scant research material mentioning critiques of wall paintings in these times and nothing is found that specifically mentions the Villa of Mysteries murals; however, there is one critic of the day offering comments on Roman paintings in general terms. In the rule of Emperor Augustus (27 B.C.E.–14 C.E.), an architectural author, Vitruvius, critiqued some of Roman’s (meaning those of Roman territories) frescoes. Though the Villa of Mysteries frescoes is of the Second Style, the following is offered for an overview of the genre as judged by Vitruvius; the First Style or, as Vitruvius described it, the Masonry Style utilized color mixed with mortar allowing the artist to create a dimensional work like a low relief carving;  the Second Style (as seen in the frescoes at Villa of Mysteries) was described by Vitruvius thusly, “(this art) took some of its inspiration from the scenery in theatrical productions,” however, the Second Style gained his approval for its depiction of mythological themes; the Third Style was not completely to Vitruvius’ liking as evident with his comment, “(this work is) elegant and exquisite, but it was also oppressive,” utilizing mural designs emphasizing the wall and not as in the second style with its mural motif, illustrating landscapes that seem to melt into a distant haze. (Vitruvius) The Fourth Style was described by Vitruvius as utilizing imagery that is not found in nature, not copied from real life and like other frescoes produce in the same time period, the wall art at the Villa of Mysteries are colorful, sumptuous and carried a distinct mythological theme.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Villa.jpg\"><img class=\"alignnone size-full wp-image-272\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Villa.jpg\" alt=\"\" width=\"275\" height=\"183\" /></a>\r\n\r\nhttp://www.corbisimages.com/Enlargement/MI001556.html\r\n\r\nThe masterful work at the Villa of Mysteries (right) is quite different from its counterparts executed by other painters throughout Pompeii and even Rome; though generally speaking, all artistic endeavors of the day reflected the pinnacle of the Roman Empire’s expanse and success. Wall art from most of these artists exhibited less skill than that of the Mystery panels and very little attention to scale from one figure to the next in the same piece.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Hurcules.jpg\"><img class=\"aligncenter size-full wp-image-273\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Hurcules.jpg\" alt=\"\" width=\"136\" height=\"160\" /></a>http://www.google.com/imgres?imgurl=http://wpcontent.answcdn.com/wikipedia/commons/thumb/3/3d/Hercules-and-telephus.jpg/170px-Hercules-and-telephus.jpg&amp;imgrefurl=http://www.answers.com/topic/telephus&amp;usg=__7QUKI0ikIJJ1eKArX4iv6vf_CTA=&amp;h=201&amp;w=170&amp;sz=22&amp;hl=en&amp;start=0&amp;sig2=-gE4Pz0ZmZ8EVI_-spElUQ&amp;zoom=1&amp;tbnid=D7yBdBfpTILUoM:&amp;tbnh=160&amp;tbnw=133&amp;ei=wIpcTdzVF9SdgQeGuInlDQ&amp;prev=/images%3Fq%3DHercules%2Band%2BTelephus%26um%3D1%26hl%3Den%26sa%3DG%26biw%3D1366%26bih%3D517%26tbs%3Disch:1&amp;um=1&amp;itbs=1&amp;iact=rc&amp;dur=942&amp;oei=wIpcTdzVF9SdgQeGuInlDQ&amp;page=1&amp;ndsp=18&amp;ved=1t:429,r:8,s:0&amp;tx=44&amp;ty=89\r\n\r\nThe most disconcerting aspect of many of the frescos of the time was the very execution of the work. For example, the wall painting found in Herculaneum, <em>Hercules and Telphus</em> c 70 AD (above) reveals that “not only the forms, but even the brushwork varies from one figure to the next.”(Janson, H.W.) The wall art panels in the Villa of Mysteries are not only consistent and coherent they are unified in there execution. Shedding more light on the exceptional quality of this work we turn to H. W. Jansen who asserted, “An artist of exceptional greatness of vision has filled these forms with new life.”(Janson, H.W.)\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Apollo1.jpg\"><img class=\"aligncenter size-medium wp-image-281\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Apollo1-300x257.jpg\" alt=\"\" width=\"300\" height=\"257\" /></a>http://www.google.com/imgres?imgurl=http://www.artknowledgenews.com/files2007/Apollo.jpg&amp;imgrefurl=http://www.artknowledgenews.com/Birmingham_Museum_of_Art_Pompeii_Erupts.html&amp;usg=__K4i0HsCQsk9BUybN26XWkQHFrOg=&amp;h=417&amp;w=486&amp;sz=74&amp;hl=en&amp;start=0&amp;sig2=rorf492y6vj1DxOCzYBBIA&amp;zoom=1&amp;tbnid=oNixuuBJ1wAnKM:&amp;tbnh=161&amp;tbnw=182&amp;ei=M45cTdO8AZKFtgemvKyKDA&amp;prev=/images%3Fq%3DApollo%2BHerculaneum%2BFresco%26um%3D1%26hl%3Den%26biw%3D1366%26bih%3D517%26tbs%3Disch:1&amp;um=1&amp;itbs=1&amp;iact=rc&amp;dur=894&amp;oei=qY1cTff7O4HLgQesgpHmDQ&amp;page=1&amp;ndsp=12&amp;ved=1t:429,r:7,s:0&amp;tx=101&amp;ty=45\r\n\r\nSimilar works of the day offer interesting contrasts. Comparing <em>Apollo, also referred to as Nero as Apollo, in the image below to mythical fresco on the right depicting Silen and Satires </em>in the Villa of Mysteries similarities are in evidence and the differences are apparent.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/images.jpg\"><img class=\"aligncenter size-full wp-image-283\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/images.jpg\" alt=\"\" width=\"191\" height=\"263\" /></a>\r\n\r\nhttp://www.fr-novaroma.com/E_cards/\r\n\r\nBoth bodies of work carry themes based upon mythological and both designs have marked similarities: vivid red toned background, a faux marble decorative lower segment, a decorative band above the key images and dividing the images one from the next are columns represented as thin lines.  There are differences in these bodies of work made clear in the figures of each work. The Mysteries panels, according to Jansen, carry a, “dignity of bearing and expression,” and “the wonderful firmness of body and drapery.”(Janson, H.W.) Each panel exhibits life-sized models or portraits of the human form (Dionysus phallus excluded) that are clearly grounded in a realistic setting.\r\n\r\nIn contrast to the Villa panels, the Apollo, frescoes from a building just south of Pompeii, features small figures float or stand on pedestals with voluptuous, colorful fabrics swelling about them. Above these figures are miniature landscapes set in a perspective, imitating a coffered ceiling.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/images1.jpg\"><img class=\"alignright size-medium wp-image-289\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/images1-300x158.jpg\" alt=\"\" width=\"300\" height=\"158\" /></a>\r\n\r\nThematically, each work is divergent. The ritualistic myth of the Dionysus cult is played out in a series of panels of a private home or villa; each depicting a specific scene and an allegory from the times(see image below). The Apollo works (right) are found in the Building of the Triclinia, a structure perhaps used as a public house or a restaurant; some scholars even supposed it may have been the head office of an affluent corporation. The images depicting the individual characters and props are clues to the buildings uses: Apollo, eight of the nine muse’s musical instruments and dimensional\r\n\r\nhttp://www.nytimes.com/2008/10/24/arts/design/24pomp.html\r\n\r\nstructures “jutting” out into the room.  Perhaps the Apollo image is that of Nero and the muses represent his family as Nero was renowned as a devotee of music and poetry. Clearly this work is secular in nature and a model of the Fourth Style.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/fresco-panels.jpg\"><img class=\"alignright size-medium wp-image-310\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/fresco-panels-300x291.jpg\" alt=\"\" width=\"300\" height=\"291\" /></a>\r\n\r\nThe content of the imagery is quite risqué in the Villa of the Mysteries. Brochures offering, “Pompeii’s Frisky Frescoes Revealed, Sexy Wall Art Uncovered at Archaeological Site!” (Blanchard, Paul.) in 2011 seemed to pander to the baser human traits.   However, the theme of the work underscores its importance as an example of the cult-like atmosphere of the day; treating sex as sacrament to the cult god, unique to this time and place of the antiquities. The panels; however, are acclaimed art work and praised by artists, historians, and scholars for their significance in the history of artistic expression.\r\n\r\nhttp://www.lessing-photo.com/dispimg.asp?i=03050342+&amp;cr=42&amp;cl=1\r\n\r\nFrom a personal perspective; these images, at first “blush” were amusing; especially that of <em>Dionysus Weighing His Phallus</em> (not pictured though the image at the beginning of this piece offers a similar excesses) which seemed, at least to me, an extreme exaggeration of locker room aggrandizement.  Upon further study, a realization of the historical significance of these colorful, cryptic, and evocative works represents an immeasurable documentation of some of the religious rites in the 1<sup>st</sup> century A.D. is evident; make use of the artist as the historian.  As an artist, I find the style, use of color, and theme a snap-shot of the times when mortality, morality, and the cycle of life were explained through mythology; a time of proving mans resilience in the face of natural disasters.\r\n\r\nA periodical piece from 2008 described an important exhibition at the National Museum in Washington D.C. described the theme of the exhibition as a “tension between modesty and extravagance.” (Rosenberg, Karen)  The frescoes at the Villa of Mysteries offer a unique opportunity; and opportunity to convey to the future a glimpse into mans’ vulnerability; a fear of mortality and man’s lack of control over the outcome, a thesis poignantly explored by artists throughout human history using the very same tension described in the periodical.\r\n\r\nThe frescoes of the Villa of Mysteries are an important body of work for future generations as a way to scrutinize mans quest for immortality and explaining the unknown while offering an excellent example of the artistic mastery of the Roman Empire during a monumental era in its history.\r\n\r\n<strong>Works Cited</strong>\r\n\r\nDeem, James M. <em>Bodies From the Ash: Life and Death in Ancient Pompeii</em>. Houghton Mifflin, N.Y., N.Y. 2005. Pg 10.\r\n\r\n\"Villa of the Mysteries.\" <em>Encyclopedia Britannica. Encyclopedia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. February 10, 2011.\r\n\r\nJanson, H.W.  History of Art, Prentice-Hall, New Jersey, 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nVitruvius, \"The Decadence of Fresco Painting,\" in <em>the Ten Books of Architecture</em>. Trans. Morris Hicky Morgan (New York: Dover, 1969): 210–211. Text modified by James Allan Evans.\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nBlanchard, Paul. <em>Blue Guide, Southern Italy; From Rome to Calabrie</em>. New York: W.W. Norton &amp; Company Inc. 1982\r\n\r\nRosenberg, Karen. <em>Pompeii Style, B.C.E. (Before Catastrophic Eruption)</em>. October 23, 2008.  The New York Times, Art &amp; Design. Web. 2/16/2011\r\n\r\n<span>found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.<span> </span>To this date, no other collection like it has been discovered</span>','The Frescoes of the Villa of Mysteries','','inherit','open','open','','167-revision-26','','','2011-02-16 22:41:25','2011-02-17 04:41:25','',167,'http://jeanatacc.com/2011/?p=341',0,'revision','',0),(243,25,'2011-02-16 16:40:26','2011-02-16 22:40:26','North of Salisbury, England, a prehistoric monument lies within the Salisbury Plain (STONEHENGE New World). The monument consists of a group of stones that have long beheld mysteries and theories as to how they got there. The mystery of the stones is known as Stonehenge.\n\n<!--more-->\n\nFrom the wear and weathering of the stones at Stonehenge, researchers have gathered information to date the stone arrangement. The markings on the stones match the tools used in the time period from C. 3000-1000 B.C. In other words, the late stone and the early bronze ages (STONEHENGE New World). Though scientist and researchers have approximated a time period of creation, who exactly built Stonehenge remains unknown.\n\nWhoever the creators were, built Stonehenge in several phases. As a whole, Stonehenge was constructed, “Over a period of 2000 years...” (Robinson and Evans-Freke). The first phase consisted of, “Two raised circles of earth about 300 ft from each other with a series of 56 holes (now known as the Aubrey holes) arranged inside the circle” (Stonehenge Wonders). Around a hundred years later, the four rows of stones (as seen in the picture below) were situated in a circular formation. These sets of stones include Blue stones and Sarsen stones (STONEHENGE New World).\n\n<img class=\"aligncenter\" src=\"http://news.bbc.co.uk/nol/shared/spl/hi/uk/06/stonehenge/img/stonehenge_416.gif\" alt=\"\" width=\"416\" height=\"300\" />\n<p style=\"text-align: center\">http://news.bbc.co.uk/nol/shared/spl/hi/uk/06/stonehenge/img/stonehenge_416.gif</p>\nThe stones could have only been found miles and miles away from where they stand today. The Blue stones were likely to have been transported over 250 miles from the Prescelly Mountains in Wales (Stonehenge Wonders). The Sarsen stones came from 24 miles away in the Marlborough Downs in southern England (Stonehenge Wonders).  The largest of the Sarsen stones at Stonehenge weigh up to 45 tons (\"Discovering the Secrets\"). Due to the size of the stones and the distance that the stones were moved, people over centuries have theorized ridiculous ideas of how Stonehenge came to be.  Some theories say giants from Africa brought the stones over to England and others have said the gods placed the stones there. Archeologists like Andrew Young have put the outrageous theories to rest. Though his test has not yet been proven, it is highly likely that the Neolithic people transported the stones using a rolling method (\"Discovering the Secrets\"). Stone balls with diameters only a few millimeters apart were excavated and given correlation to Stonehenge. Young felt that all the balls had to have been used together as a way to roll the stones from place to place (\"Discovering the Secrets\").\n\nWhat we know about the Neolithic people of the Stone Age is that they were very skilled in carving stone and wood (Robinson and Evans-Freke). Though not much of the Neolithic culture survived, people have their stone structures left to remember them. Neolithic stone circles like Stonehenge have been, “Found all over the British Isles. Nearly a thousand stone circles still stand today” (Robinson and Evans-Freke).  As time passed, archaeologists found that most of the stones mark graves (Pearson and Goerke-Shrode).  The stones that mark the graves were formed as, “Megalith, upright slabs roofed by a capstone…” ( Pearson and Goerke-Shrode). The megaliths were considered stone tombs for the ones who had passed.\n\nDue to further excavation, the world now knows that Stonehenge was once a burial site, but that is not how Stonehenge was always perceived.  Before the cremations were found in and around Stonehenge, scientist figured that Stonehenge, “Served as a celestial calendar predicting the movements of the sun and moon, clocking the seasonable cycle, and thus providing information that would have been essential to an agricultural society” (Pearson and Goerke-Shrode).  Stonehenge does align with the winter and summer solstice but more for religious purposes than agricultural use (Robinson and Evan-Freke).  Stonehenge is not the only structure with astronomical alignment.  All over the world, ancient people have incorporated them into their works (Robinson and Evan-Freke).  Recumbent stone circles found in Scotland also have an astronomical alliance.  The Recumbent stone circles had a, “Primary association with the observation of the extreme setting points on the lunar cycle” (Whitaker). What makes Stonehenge unusual from the other stone circles though is the cremated bodies buried at the site. Most of the remains found belonged to older males. If men were only to be buried at Stonehenge, “They must have been selected” (Robinson and Evans-Freke).  The male cremations gave way to a deeper discovery of Stonehenge and its surroundings.\n\nArcheologist Mike Parker Pearson took advantage of Stonehenge’s new discovery. He had a fascination with the people of Madagascar’s association of timber wood linked with, “The living… and stone with the dead…” (Snodgrass). After he studied the people of Madagascar’s rituals of life and death, he brought his finding over to England. In England he begin to work with others in hope of finding a link between wood and stone at Stonehenge the way they were linked in Madagascar (Robinson and Evans-Freke).  About 1,000 meters away from Stonehenge lays a prehistoric layout of a village located at Durrington Walls that was recently founded by Pearson and other archeologist (\"Stonehenge\'s Twin\"). The house remains of the village believe to have been dated back to the same time as Stonehenge appears to be built (\"Stonehenge\'s Twin\").  The houses were, “Excavated nearby a timber henge of enormous postholes” (Key). Pearson and his crew suggested that Stonehenge and Durrington Walls, “Were built as a single complex of complementary stone and wood circles” (Key). Excavations of large mounds of pig bones at Durrington Walls also indicated, “Feasting around the time of the winter solstice” (Snodgrass). Pearson believed that, “Celebrations were held at both circles related to the rising and setting of the sun and the cycles of life between summer and winter” (Snodgrass). Pearson concluded from the connection that life was celebrated at Durrington Walls and death was celebrated at Stonehenge during the time of the Neolithic culture.\n\nEvery year thousands of people visit Stonehenge for scientific and recreational purposes. It is a well-known monument all through England and around the world. Stonehenge was at the top of my list of choices for the first time capsule topic and I am more than grateful that I was able to do research on it. I knew there was a great circle of stones in England called Stonehenge through stories and pictures but until now, I never knew why it is perceived to be a mystery or a historical structure. What I find meaningful behind Stonehenge is the lengths that the Neolithic people took to honor their dead. The stones, which were placed at Stonehenge, came from miles and miles away and align perfectly to the winter and summer solstices. A great amount of determination and dedication had to be in place in order to do so. It also fascinates me on how far scientist and technology have gone to solve the mystery of Stonehenge. Without people like Pearson or Young, the world may never have gained as much information as we know now about the stones today. Stonehenge beholds a mysterious beauty that is waiting to be solved. It is up to further generations to solve the wonders of Stonehenge yet still preserve the burials of our ancestors.\n\nA very informative and interesting video over Stonehenge, check it out. <a href=\"http://www.pbs.org/wgbh/nova/ancient/secrets-stonehenge.html\">Stonehenge</a>\n\n<!--more-->\n<p style=\"text-align: center\"><strong>Works Cited</strong></p>\n<p style=\"text-align: left\">Key, David. \"HOUSES OF THE HOLY\". <em>Discover </em>28.2 (2007): 10-11. <em>Academic Search Complete</em>, EBSCO. Web. 15 Feb. 2011.</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Pearson, Mike Parker, and Sabine Goerke-Shrode, 5 2009, \'Stonehenge Takes Shape\', <em>dig</em>, 11,8, p.8, MasterFILE Premier,                            EBSCO<em>host</em>, viewed 31 January 2011.</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Robinson, Alice and Evans-Freke, Anna \"Secrets of Stonehenge\". NOVA pbs.org. Web. 10 Feb  2011.                                                                     &lt;http://www.pbs.org/wgbh/nova/ancient/secrets-stonehenge.html&gt;</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Snodgrass, Elizabeth. \"New Theory About Stonehenge.\" Editorial. <em>National Geographic</em> 20 May 2008: 3 pars. Web. 10 Feb 2011</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">\"STONEHENGE.\" (n.d.) <em>Funk &amp; Wagnalls New World Encyclopedia</em>. EBSCO. Web. 31 Jan. 2011</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">\"Stonehenge.\" <em>Wonders of the World</em>. 11. Toucan Valley Publications, Inc., 1999. <em>MasterFILE Premier.</em> EBSCO. Web. 30 Jan.                          2011</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">\"Stonehenge\'s Twin Could Have Been the Dining Area.\" <em>Times</em> [London, England] 23 July 2010: 10. <em>Info Trac Newspaper. </em>Web. 7 Feb. 2011.</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">University of Exeter. \"Discovering the Secrets of Stonehenge.\" Science Daily. 30 November 2010. Web. 10 Feb 2011</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Whitaker, Alex. \"Recumbent Stone Circles (RSC\'s).\" <em>Ancient-wisdom: Online Guide to Prehistory</em>.n.d. Web. 15 Feb. 2011</p>','Discovering Stonehenge','','inherit','open','open','','162-revision-15','','','2011-02-16 16:40:26','2011-02-16 22:40:26','',162,'http://jeanatacc.com/2011/?p=243',0,'revision','',0),(242,4,'2011-02-16 17:14:07','2011-02-16 23:14:07','<p style=\"text-align: center\">On the Nature of Things – De rerum natura</p>\r\n\r\n\r\nDe rerum natura is a scientific epic poem, divided into six books, written by philosopher and poet Titus Lucertius Carus who lived during 1st century BCE. His poem, On the Nature of Things, is the earliest dactylic hexameter of its kind. It was also one of the first Epicurean pieces to be written in Latin. Through what many consider to be a philosophic masterpiece, he presents us with a strictly physical world and introduces the concept of atomism. He addresses this poem to “Memmius,” and it is said to have been for the purpose of converting him to atomism and relieve his mind of superstition, but for as far as historians know, his attempt proved ineffective. (de Vet.)\r\n\r\nEpicurus, one of Greek’s major philosophers, taught during 341 BCE – 270 BCE, that in order to live this peaceful and prosperous life, one must live without fear and pain. The fear he discussed was caused by the powerful figures of Roman deities, who, according to the beliefs of the time, would unmercifully punish the people for an individual’s sins once their soul had left them. (“Lucretius.”)  Although noteworthy, he was not entirely atheist; he did not deny the existence of gods, rather, he claimed that they should have no effect on us physically or emotionally. Epicurus said that death was the end of the body and soul, reassuring them there was nothing to fear. (“Lucretius.”) To reason with his point, he stated everything in the world was caused by atoms moving in an empty, infinite space. He claimed the world had come about simply though natural phenomena.\r\n\r\n1st century Italy had already suffered some extremely devastating times filled with revolts, massacres, civil wars and the assassination of political figures. Having a lifetime filled with such continuous bloodshed and violence, it’s easy to see why Lucretius was so completely attached and dedicated to the Epicurean philosophy based upon a friend-filled, tranquil, self-sufficient life without overindulgence in luxuries and keeping oneself away from a troublesome participation in politics. (Simpson.) Lucretius followed these thoughts and translated them into poetry which would later become De rerum natura.\r\n\r\nStoicism and Epicurean philosophies were both dominant schools of their time. Both Epicurean and Stoics taught the people to be self –sufficient and free from the world’s negativities. Stoics did this by suppressing personal lusts and passions through indifference, ultimately reaching a clear state of self-control. Epicureans did this by completely shutting out the existence of fate entirely.\r\n\r\nEpicureans were not persecuted for expressing these beliefs, but it was seen as highly controversial and they were harshly looked down upon by the schools of its time, such as Stoicism. His work was almost lost into oblivion once there was a greater following towards Christianity (since it denied their faith, reinforced their morality and questioned the existence of a soul surviving after death) In fact, modern philosophers have suspected and found that hostile, Christian authors of the time fabricated stories of Lucretius’ life, saying he was poisoned by a love spell during the writings of On the Nature of Things and was driven to suicide, to discredit his work. (de Vet.) Little evidence remains of Lucretius’ life. However, during the Renaissance, Lucretius’ poem resurfaced and played a large role in the spread of atomism.\r\n\r\nOn the Nature of Things was innovative and unusual in that it presented Epicurean’s teachings in the form of poetry to suit the likings of the Romans (to ultimately persuade) to follow his beliefs and it is the one unified work to present the core teachings and theories of Epicurus. (Dunkle.) He wrote passionately of the philosophy he admired in the form of poetry to more easily display abstract concepts. Lucretius said himself, “a poet is like a doctor who smears honey around the rim of the cup so a child will take his bitter medication.” (de Vet.)\r\n\r\nMost of what we know now of Epicurean philosophies is derived from his followers and commentators; although Epicurus himself had a few remaining pieces of work survived, namely, one of his letters. Epicurus followed Democritus’ work and studies in atomism, which he thought was as an accurate explanation of life on Earth. He claims that at the time of your death, one ceases to exist and the atoms simply disperse. In his, rather short (in comparison to Lucretius’ six-book poem), letter to Menoeceus, he says “Death is nothing to us, for good and evil imply the capacity for sensation, and death is the privation of all sentience; therefore a correct understanding that death is nothing to us makes the mortality of life enjoyable, not by adding to life a limitless time, but by taking away the yearning after immortality. For life has no terrors for him who has thoroughly understood that there are no terrors for him in ceasing to live.”  (O’Keefe.) In De rerum natura, the author writes of the same burdens of belief, in that, you sustain fear throughout your mortal life. Although they write in very different fashions; Epicurus, in his direct letter of thoughts to someone else, and Lucretius in his stylistically beautiful poetry to cure his friend (Memmius) of his terrors of dying.\r\n\r\nDe rerum natura is greatly appreciated nowadays through exclamations of its author describing him as a man “ahead of his time.” In 1884, philosopher, Henri Bergson, throughout his one of his critical essays, said “the poet’s instinctive grasp of the physical operations of nature and comprehensive, truly scientific, world-view exceed anything found in the theories of Democritus and Epicurus.” (Simpson.)\r\n\r\nHis poem, as it did during the Renaissance, will forever influence the evolutionary and cosmological speculations of people, philosophers and scientists. This piece is brilliant, in that, you forget that it was written literally thousands of years ago. It’s also wonderful how, through De rerum natura, the author was able to “speak from his grave” since little is known of his life. It was interesting to read this early scientifically-based poetry and to know he was spreading this kind of pleasant, honest philosophy so early in time, into the hearts of minds of the Roman people during such hard times. Future generations can also gain a clear understanding in Epicurus’ teachings through Lucretius’ poem, On the Nature of things. Most importantly, to live a life with the absence of fear and want, search for knowledge of the physical world and be able to think critically when faced with talk of stars, atoms, space, death, life, gods, superstition, pseudoscience, and so forth. Lucretius, in his great happiness of understanding the “nature of things,” said in his poem, “How sweet to watch, from land, while winds enrage The great sea\'s waves, another man in trouble!—Not taking pleasure in another\'s pain, But seeing what evils you yourself are spared.” (“Lucretius.”) De rerum natura, through its eloquent expression of the realms of science, can help to alleviate the concerns of a “doomsday”; to learn to appreciate Epicurus, like Lucretius so rightfully did, as he would deliver us from the fear that holds us back from fulfilling a joyous life, even within grueling times of political and social chaos as Lucretius once did.\r\n\r\n<!--more-->\r\n<p style=\"text-align: center\">Works Cited</p>\r\n\r\n\r\nde Vet, Thérèse. \"Lucretius (94/95–51/55 BCE).\" Encyclopedia of Anthropology. Ed. H. James Birx. Vol. 4. Thousand Oaks, CA: Sage Reference, 2006. 1499-1500. Gale Virtual Reference Library. Web. 15 Feb. 2011.\r\n\r\nDunkle, Roger. “On the Nature of the Universe.” <em>Classics Department Brooklyn College. </em>1986. Web. 15 Feb. 2011. &lt;<a href=\"http://depthome.brooklyn.cuny.edu/classics\">http://depthome.brooklyn.cuny.edu/classics</a>&gt;\r\n\r\n“Lucretius.” Ancient Greece and Rome: An Encyclopedia for Students. Ed. Carroll Moulton. Vol. 3. New York: Charles Scribner\'s Sons, 1998. 18-19. Gale Virtual Reference Library. Web. 15 Feb. 2011.\r\n\r\nO’Keefe, Tim. “Epicurus and Lucretius on the mortality of the soul and against the fear of death” <em>Georgia State University</em>. n.d. Web. 15 Feb. 2011. &lt;<a href=\"http://www2.gsu.edu/~phltso/deathfrags.html\">http://www2.gsu.edu/~phltso</a>&gt;\r\n\r\nSimpson, David. “Lucretius (c.99—c.55 BCE)” <em>Internet Encyclopedia of Philosophy. </em>29. June.<em> </em>2005. Web. 15. Feb. 2011.','On the nature of things ','','inherit','open','open','','240-revision-2','','','2011-02-16 17:14:07','2011-02-16 23:14:07','',240,'http://jeanatacc.com/2011/?p=242',0,'revision','',0),(244,25,'2011-02-16 17:32:23','2011-02-16 23:32:23','North of Salisbury, England, a prehistoric monument lies within the Salisbury Plain (STONEHENGE New World). The monument consists of a group of stones that have long beheld mysteries and theories as to how they got there. The mystery of the stones is known as Stonehenge.\n\n<!--more-->\n\nFrom the wear and weathering of the stones at Stonehenge, researchers have gathered information to date the stone arrangement. The markings on the stones match the tools used in the time period from C. 3000-1000 B.C. In other words, the late stone and the early bronze ages (STONEHENGE New World). Though scientist and researchers have approximated a time period of creation, who exactly built Stonehenge remains unknown.\n\nWhoever the creators were, built Stonehenge in several phases. As a whole, Stonehenge was constructed, “Over a period of 2000 years...” (Robinson and Evans-Freke). The first phase consisted of, “Two raised circles of earth about 300 ft from each other with a series of 56 holes (now known as the Aubrey holes) arranged inside of the circles” (Stonehenge Wonders). Around a hundred years later, the four rows of stones (as seen in the picture below) were situated in a circular formation. These sets of stones include Blue stones and Sarsen stones (STONEHENGE New World).\n\n<img class=\"aligncenter\" src=\"http://news.bbc.co.uk/nol/shared/spl/hi/uk/06/stonehenge/img/stonehenge_416.gif\" alt=\"\" width=\"416\" height=\"300\" />\n<p style=\"text-align: center\">http://news.bbc.co.uk/nol/shared/spl/hi/uk/06/stonehenge/img/stonehenge_416.gif</p>\nThe stones could have only been found miles and miles away from where they stand today. The Blue stones were likely to have been transported over 250 miles from the Prescelly Mountains in Wales (Stonehenge Wonders). The Sarsen stones came from 24 miles away in the Marlborough Downs in southern England (Stonehenge Wonders).  The largest of the Sarsen stones at Stonehenge weigh up to 45 tons (\"Discovering the Secrets\"). Due to the size of the stones and the distance that the stones were moved, people over centuries have theorized ridiculous ideas of how Stonehenge came to be.  Some theories say giants from Africa brought the stones over to England and others have said the gods placed the stones there. Archeologists like Andrew Young have put the outrageous theories to rest. Though his test has not yet been proven, Young believes that it was highly likely the Neolithic people transported the stones using a rolling method (\"Discovering the Secrets\"). Stone balls with diameters only a few millimeters apart were excavated and given correlation as to how the stones Stonehenge. Young felt that all the balls had to have been used together as a way to roll the stones from place to place (\"Discovering the Secrets\").\n\nWhat we know about the Neolithic people of the Stone Age is that they were very skilled in carving stone and wood (Robinson and Evans-Freke). Though not much of the Neolithic culture survived, people have their stone structures left to remember them. Neolithic stone circles like Stonehenge have been, “Found all over the British Isles. Nearly a thousand stone circles still stand today” (Robinson and Evans-Freke).  As time passed, archaeologists found that most of the stones mark graves (Pearson and Goerke-Shrode).  The stones that mark the graves were formed as, “Megalith, upright slabs roofed by a capstone…” ( Pearson and Goerke-Shrode). The megaliths were considered stone tombs for the ones who had passed.\n\nDue to further excavation, the world now knows that Stonehenge was once a burial site, but that is not how Stonehenge was always perceived.  Before the cremations were found in and around Stonehenge, scientist figured that Stonehenge, “Served as a celestial calendar predicting the movements of the sun and moon, clocking the seasonable cycle, and thus providing information that would have been essential to an agricultural society” (Pearson and Goerke-Shrode).  Stonehenge does align with the winter and summer solstice but more for religious purposes than agricultural use (Robinson and Evan-Freke).  Stonehenge is not the only structure with astronomical alignment.  All over the world, ancient people have incorporated them into their works (Robinson and Evan-Freke).  Recumbent stone circles found in Scotland also have an astronomical alliance.  The Recumbent stone circles had a, “Primary association with the observation of the extreme setting points on the lunar cycle” (Whitaker). What makes Stonehenge unusual from the other stone circles though is the cremated bodies buried at the site. Most of the remains found belonged to older males. If men were only to be buried at Stonehenge, “They must have been selected” (Robinson and Evans-Freke).  The male cremations gave way to a deeper discovery of Stonehenge and its surroundings.\n\nArcheologist Mike Parker Pearson took advantage of Stonehenge’s new discovery. He had a fascination with the people of Madagascar’s association of timber wood linked with, “The living… and stone with the dead…” (Snodgrass). After he studied the people of Madagascar’s rituals of life and death, he brought his finding over to England. In England he begin to work with others in hope of finding a link between wood and stone at Stonehenge the way they were linked in Madagascar (Robinson and Evans-Freke).  About 1,000 meters away from Stonehenge lays a prehistoric layout of a village located at Durrington Walls that was recently founded by Pearson and other archeologist (\"Stonehenge\'s Twin\"). The house remains of the village believe to have been dated back to the same time as Stonehenge appears to be built (\"Stonehenge\'s Twin\").  The houses were, “Excavated nearby a timber henge of enormous postholes” (Key). Pearson and his crew suggested that Stonehenge and Durrington Walls, “Were built as a single complex of complementary stone and wood circles” (Key). Excavations of large mounds of pig bones at Durrington Walls also indicated, “Feasting around the time of the winter solstice” (Snodgrass). Pearson believed that, “Celebrations were held at both circles related to the rising and setting of the sun and the cycles of life between summer and winter” (Snodgrass). Pearson concluded from the connection that life was celebrated at Durrington Walls and death was celebrated at Stonehenge during the time of the Neolithic culture.\n\nEvery year thousands of people visit Stonehenge for scientific and recreational purposes. It is a well-known monument all through England and around the world. Stonehenge was at the top of my list of choices for the first time capsule topic and I am more than grateful that I was able to do research on it. I knew there was a great circle of stones in England called Stonehenge through stories and pictures but until now, I never knew why it is perceived to be a mystery or a historical structure. What I find meaningful behind Stonehenge is the lengths that the Neolithic people took to honor their dead. The stones, which were placed at Stonehenge, came from miles and miles away and align perfectly to the winter and summer solstices. A great amount of determination and dedication had to be in place in order to do so. It also fascinates me on how far scientist and technology have gone to solve the mystery of Stonehenge. Without people like Pearson or Young, the world may never have gained as much information as we know now about the stones today. Stonehenge beholds a mysterious beauty that is waiting to be solved. It is up to further generations to solve the wonders of Stonehenge yet still preserve the burials of our ancestors.\n\nA very informative and interesting video over Stonehenge, check it out. <a href=\"http://www.pbs.org/wgbh/nova/ancient/secrets-stonehenge.html\">Stonehenge</a>\n\n<!--more-->\n<p style=\"text-align: center\"><strong>Works Cited</strong></p>\n<p style=\"text-align: left\">Key, David. \"HOUSES OF THE HOLY\". <em>Discover </em>28.2 (2007): 10-11. <em>Academic Search Complete</em>, EBSCO. Web. 15 Feb. 2011.</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Pearson, Mike Parker, and Sabine Goerke-Shrode, 5 2009, \'Stonehenge Takes Shape\', <em>dig</em>, 11,8, p.8, MasterFILE Premier,                            EBSCO<em>host</em>, viewed 31 January 2011.</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Robinson, Alice and Evans-Freke, Anna \"Secrets of Stonehenge\". NOVA pbs.org. Web. 10 Feb  2011.                                                                     &lt;http://www.pbs.org/wgbh/nova/ancient/secrets-stonehenge.html&gt;</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Snodgrass, Elizabeth. \"New Theory About Stonehenge.\" Editorial. <em>National Geographic</em> 20 May 2008: 3 pars. Web. 10 Feb 2011</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">\"STONEHENGE.\" (n.d.) <em>Funk &amp; Wagnalls New World Encyclopedia</em>. EBSCO. Web. 31 Jan. 2011</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">\"Stonehenge.\" <em>Wonders of the World</em>. 11. Toucan Valley Publications, Inc., 1999. <em>MasterFILE Premier.</em> EBSCO. Web. 30 Jan.                          2011</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">\"Stonehenge\'s Twin Could Have Been the Dining Area.\" <em>Times</em> [London, England] 23 July 2010: 10. <em>Info Trac Newspaper. </em>Web. 7 Feb. 2011.</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">University of Exeter. \"Discovering the Secrets of Stonehenge.\" Science Daily. 30 November 2010. Web. 10 Feb 2011</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Whitaker, Alex. \"Recumbent Stone Circles (RSC\'s).\" <em>Ancient-wisdom: Online Guide to Prehistory</em>.n.d. Web. 15 Feb. 2011</p>','Discovering Stonehenge','','inherit','open','open','','162-revision-16','','','2011-02-16 17:32:23','2011-02-16 23:32:23','',162,'http://jeanatacc.com/2011/?p=244',0,'revision','',0),(245,25,'2011-02-16 17:33:19','2011-02-16 23:33:19','North of Salisbury, England, a prehistoric monument lies within the Salisbury Plain (STONEHENGE New World). The monument consists of a group of stones that have long beheld mysteries and theories as to how they got there. The mystery of the stones is known as Stonehenge.\r\n\r\n<!--more-->\r\n\r\nFrom the wear and weathering of the stones at Stonehenge, researchers have gathered information to date the stone arrangement. The markings on the stones match the tools used in the time period from C. 3000-1000 B.C. In other words, the late stone and the early bronze ages (STONEHENGE New World). Though scientist and researchers have approximated a time period of creation, who exactly built Stonehenge remains unknown.\r\n\r\nWhoever the creators were, built Stonehenge in several phases. As a whole, Stonehenge was constructed, “Over a period of 2000 years...” (Robinson and Evans-Freke). The first phase consisted of, “Two raised circles of earth about 300 ft from each other with a series of 56 holes (now known as the Aubrey holes) arranged inside of the circles” (Stonehenge Wonders). Around a hundred years later, the four rows of stones (as seen in the picture below) were situated in a circular formation. These sets of stones include Blue stones and Sarsen stones (STONEHENGE New World).\r\n\r\n<img class=\"aligncenter\" src=\"http://news.bbc.co.uk/nol/shared/spl/hi/uk/06/stonehenge/img/stonehenge_416.gif\" alt=\"\" width=\"416\" height=\"300\" />\r\n<p style=\"text-align: center\">http://news.bbc.co.uk/nol/shared/spl/hi/uk/06/stonehenge/img/stonehenge_416.gif</p>\r\nThe stones could have only been found miles and miles away from where they stand today. The Blue stones were likely to have been transported over 250 miles from the Prescelly Mountains in Wales (Stonehenge Wonders). The Sarsen stones came from 24 miles away in the Marlborough Downs in southern England (Stonehenge Wonders).  The largest of the Sarsen stones at Stonehenge weigh up to 45 tons (\"Discovering the Secrets\"). Due to the size of the stones and the distance that the stones were moved, people over centuries have theorized ridiculous ideas of how Stonehenge came to be.  Some theories say giants from Africa brought the stones over to England and others have said the gods placed the stones there. Archeologists like Andrew Young have put the outrageous theories to rest. Though his test has not yet been proven, Young believes that it was highly likely the Neolithic people transported the stones using a rolling method (\"Discovering the Secrets\"). Stone balls with diameters only a few millimeters apart were excavated and given correlation as to how the stones could have been brought to Stonehenge. Young felt that all the balls had been used together as a way to roll the stones from place to place (\"Discovering the Secrets\").\r\n\r\nWhat we know about the Neolithic people of the Stone Age is that they were very skilled in carving stone and wood (Robinson and Evans-Freke). Though not much of the Neolithic culture survived, people have their stone structures left to remember them. Neolithic stone circles like Stonehenge have been, “Found all over the British Isles. Nearly a thousand stone circles still stand today” (Robinson and Evans-Freke).  As time passed, archaeologists found that most of the stones mark graves (Pearson and Goerke-Shrode).  The stones that mark the graves were formed as, “Megalith, upright slabs roofed by a capstone…” ( Pearson and Goerke-Shrode). The megaliths were considered stone tombs for the ones who had passed.\r\n\r\nDue to further excavation, the world now knows that Stonehenge was once a burial site, but that is not how Stonehenge was always perceived.  Before the cremations were found in and around Stonehenge, scientist figured that Stonehenge, “Served as a celestial calendar predicting the movements of the sun and moon, clocking the seasonable cycle, and thus providing information that would have been essential to an agricultural society” (Pearson and Goerke-Shrode).  Stonehenge does align with the winter and summer solstice but more for religious purposes than agricultural use (Robinson and Evan-Freke).  Stonehenge is not the only structure with astronomical alignment.  All over the world, ancient people have incorporated them into their works (Robinson and Evan-Freke).  Recumbent stone circles found in Scotland also have an astronomical alliance.  The Recumbent stone circles had a, “Primary association with the observation of the extreme setting points on the lunar cycle” (Whitaker). What makes Stonehenge unusual from the other stone circles though is the cremated bodies buried at the site. Most of the remains found belonged to older males. If men were only to be buried at Stonehenge, “They must have been selected” (Robinson and Evans-Freke).  The male cremations gave way to a deeper discovery of Stonehenge and its surroundings.\r\n\r\nArcheologist Mike Parker Pearson took advantage of Stonehenge’s new discovery. He had a fascination with the people of Madagascar’s association of timber wood linked with, “The living… and stone with the dead…” (Snodgrass). After he studied the people of Madagascar’s rituals of life and death, he brought his finding over to England. In England he begin to work with others in hope of finding a link between wood and stone at Stonehenge the way they were linked in Madagascar (Robinson and Evans-Freke).  About 1,000 meters away from Stonehenge lays a prehistoric layout of a village located at Durrington Walls that was recently founded by Pearson and other archeologist (\"Stonehenge\'s Twin\"). The house remains of the village believe to have been dated back to the same time as Stonehenge appears to be built (\"Stonehenge\'s Twin\").  The houses were, “Excavated nearby a timber henge of enormous postholes” (Key). Pearson and his crew suggested that Stonehenge and Durrington Walls, “Were built as a single complex of complementary stone and wood circles” (Key). Excavations of large mounds of pig bones at Durrington Walls also indicated, “Feasting around the time of the winter solstice” (Snodgrass). Pearson believed that, “Celebrations were held at both circles related to the rising and setting of the sun and the cycles of life between summer and winter” (Snodgrass). Pearson concluded from the connection that life was celebrated at Durrington Walls and death was celebrated at Stonehenge during the time of the Neolithic culture.\r\n\r\nEvery year thousands of people visit Stonehenge for scientific and recreational purposes. It is a well-known monument all through England and around the world. Stonehenge was at the top of my list of choices for the first time capsule topic and I am more than grateful that I was able to do research on it. I knew there was a great circle of stones in England called Stonehenge through stories and pictures but until now, I never knew why it is perceived to be a mystery or a historical structure. What I find meaningful behind Stonehenge is the lengths that the Neolithic people took to honor their dead. The stones, which were placed at Stonehenge, came from miles and miles away and align perfectly to the winter and summer solstices. A great amount of determination and dedication had to be in place in order to do so. It also fascinates me on how far scientist and technology have gone to solve the mystery of Stonehenge. Without people like Pearson or Young, the world may never have gained as much information as we know now about the stones today. Stonehenge beholds a mysterious beauty that is waiting to be solved. It is up to further generations to solve the wonders of Stonehenge yet still preserve the burials of our ancestors.\r\n\r\nA very informative and interesting video over Stonehenge, check it out. <a href=\"http://www.pbs.org/wgbh/nova/ancient/secrets-stonehenge.html\">Stonehenge</a>\r\n\r\n<!--more-->\r\n<p style=\"text-align: center\"><strong>Works Cited</strong></p>\r\n<p style=\"text-align: left\">Key, David. \"HOUSES OF THE HOLY\". <em>Discover </em>28.2 (2007): 10-11. <em>Academic Search Complete</em>, EBSCO. Web. 15 Feb. 2011.</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">Pearson, Mike Parker, and Sabine Goerke-Shrode, 5 2009, \'Stonehenge Takes Shape\', <em>dig</em>, 11,8, p.8, MasterFILE Premier,                            EBSCO<em>host</em>, viewed 31 January 2011.</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">Robinson, Alice and Evans-Freke, Anna \"Secrets of Stonehenge\". NOVA pbs.org. Web. 10 Feb  2011.                                                                     &lt;http://www.pbs.org/wgbh/nova/ancient/secrets-stonehenge.html&gt;</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">Snodgrass, Elizabeth. \"New Theory About Stonehenge.\" Editorial. <em>National Geographic</em> 20 May 2008: 3 pars. Web. 10 Feb 2011</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">\"STONEHENGE.\" (n.d.) <em>Funk &amp; Wagnalls New World Encyclopedia</em>. EBSCO. Web. 31 Jan. 2011</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">\"Stonehenge.\" <em>Wonders of the World</em>. 11. Toucan Valley Publications, Inc., 1999. <em>MasterFILE Premier.</em> EBSCO. Web. 30 Jan.                          2011</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">\"Stonehenge\'s Twin Could Have Been the Dining Area.\" <em>Times</em> [London, England] 23 July 2010: 10. <em>Info Trac Newspaper. </em>Web. 7 Feb. 2011.</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">University of Exeter. \"Discovering the Secrets of Stonehenge.\" Science Daily. 30 November 2010. Web. 10 Feb 2011</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">Whitaker, Alex. \"Recumbent Stone Circles (RSC\'s).\" <em>Ancient-wisdom: Online Guide to Prehistory</em>.n.d. Web. 15 Feb. 2011</p>','Discovering Stonehenge','','inherit','open','open','','162-revision-17','','','2011-02-16 17:33:19','2011-02-16 23:33:19','',162,'http://jeanatacc.com/2011/?p=245',0,'revision','',0),(246,25,'2011-02-16 17:34:21','2011-02-16 23:34:21','North of Salisbury, England, a prehistoric monument lies within the Salisbury Plain (STONEHENGE New World). The monument consists of a group of stones that have long beheld mysteries and theories as to how they got there. The mystery of the stones is known as Stonehenge.\r\n\r\n<!--more-->\r\n\r\nFrom the wear and weathering of the stones at Stonehenge, researchers have gathered information to date the stone arrangement. The markings on the stones match the tools used in the time period from C. 3000-1000 B.C. In other words, the late stone and the early bronze ages (STONEHENGE New World). Though scientist and researchers have approximated a time period of creation, who exactly built Stonehenge remains unknown.\r\n\r\nWhoever the creators were, built Stonehenge in several phases. As a whole, Stonehenge was constructed, “Over a period of 2000 years...” (Robinson and Evans-Freke). The first phase consisted of, “Two raised circles of earth about 300 ft from each other with a series of 56 holes (now known as the Aubrey holes) arranged inside of the circles” (Stonehenge Wonders). Around a hundred years later, the four rows of stones (as seen in the picture below) were situated in a circular formation. These sets of stones include Blue stones and Sarsen stones (STONEHENGE New World).\r\n\r\n<img class=\"aligncenter\" src=\"http://news.bbc.co.uk/nol/shared/spl/hi/uk/06/stonehenge/img/stonehenge_416.gif\" alt=\"\" width=\"416\" height=\"300\" />\r\n<p style=\"text-align: center\">http://news.bbc.co.uk/nol/shared/spl/hi/uk/06/stonehenge/img/stonehenge_416.gif</p>\r\nThe stones could have only been found miles and miles away from where they stand today. The Blue stones were likely to have been transported over 250 miles from the Prescelly Mountains in Wales (Stonehenge Wonders). The Sarsen stones came from 24 miles away in the Marlborough Downs in southern England (Stonehenge Wonders).  The largest of the Sarsen stones at Stonehenge weigh up to 45 tons (\"Discovering the Secrets\"). Due to the size of the stones and the distance that the stones were moved, people over centuries have theorized ridiculous ideas of how Stonehenge came to be.  Some theories say giants from Africa brought the stones over to England and others have said the gods placed the stones there. Archeologists like Andrew Young have put the outrageous theories to rest. Though his test has not yet been proven, Young believes that it was highly likely the Neolithic people transported the stones using a rolling method (\"Discovering the Secrets\"). Stone balls with diameters only a few millimeters apart were excavated and given correlation as to how the stones could have been brought to Stonehenge. Young felt that all the balls had been used together as a way to roll the stones from place to place (\"Discovering the Secrets\").\r\n\r\nWhat we know about the Neolithic people of the Stone Age is that they were very skilled in carving stone and wood (Robinson and Evans-Freke). Though not much of the Neolithic culture survived, people have their stone structures left to remember them by. Neolithic stone circles like Stonehenge have been, “Found all over the British Isles. Nearly a thousand stone circles still stand today” (Robinson and Evans-Freke).  As time passed, archaeologists found that most of the stones mark graves (Pearson and Goerke-Shrode).  The stones that mark the graves were formed as, “Megalith, upright slabs roofed by a capstone…” ( Pearson and Goerke-Shrode). The megaliths were considered stone tombs for the ones who had passed.\r\n\r\nDue to further excavation, the world now knows that Stonehenge was once a burial site, but that is not how Stonehenge was always perceived.  Before the cremations were found in and around Stonehenge, scientist figured that Stonehenge, “Served as a celestial calendar predicting the movements of the sun and moon, clocking the seasonable cycle, and thus providing information that would have been essential to an agricultural society” (Pearson and Goerke-Shrode).  Stonehenge does align with the winter and summer solstice but more for religious purposes than agricultural use (Robinson and Evan-Freke).  Stonehenge is not the only structure with astronomical alignment.  All over the world, ancient people have incorporated them into their works (Robinson and Evan-Freke).  Recumbent stone circles found in Scotland also have an astronomical alliance.  The Recumbent stone circles had a, “Primary association with the observation of the extreme setting points on the lunar cycle” (Whitaker). What makes Stonehenge unusual from the other stone circles though is the cremated bodies buried at the site. Most of the remains found belonged to older males. If men were only to be buried at Stonehenge, “They must have been selected” (Robinson and Evans-Freke).  The male cremations gave way to a deeper discovery of Stonehenge and its surroundings.\r\n\r\nArcheologist Mike Parker Pearson took advantage of Stonehenge’s new discovery. He had a fascination with the people of Madagascar’s association of timber wood linked with, “The living… and stone with the dead…” (Snodgrass). After he studied the people of Madagascar’s rituals of life and death, he brought his finding over to England. In England he begin to work with others in hope of finding a link between wood and stone at Stonehenge the way they were linked in Madagascar (Robinson and Evans-Freke).  About 1,000 meters away from Stonehenge lays a prehistoric layout of a village located at Durrington Walls that was recently founded by Pearson and other archeologist (\"Stonehenge\'s Twin\"). The house remains of the village believe to have been dated back to the same time as Stonehenge appears to be built (\"Stonehenge\'s Twin\").  The houses were, “Excavated nearby a timber henge of enormous postholes” (Key). Pearson and his crew suggested that Stonehenge and Durrington Walls, “Were built as a single complex of complementary stone and wood circles” (Key). Excavations of large mounds of pig bones at Durrington Walls also indicated, “Feasting around the time of the winter solstice” (Snodgrass). Pearson believed that, “Celebrations were held at both circles related to the rising and setting of the sun and the cycles of life between summer and winter” (Snodgrass). Pearson concluded from the connection that life was celebrated at Durrington Walls and death was celebrated at Stonehenge during the time of the Neolithic culture.\r\n\r\nEvery year thousands of people visit Stonehenge for scientific and recreational purposes. It is a well-known monument all through England and around the world. Stonehenge was at the top of my list of choices for the first time capsule topic and I am more than grateful that I was able to do research on it. I knew there was a great circle of stones in England called Stonehenge through stories and pictures but until now, I never knew why it is perceived to be a mystery or a historical structure. What I find meaningful behind Stonehenge is the lengths that the Neolithic people took to honor their dead. The stones, which were placed at Stonehenge, came from miles and miles away and align perfectly to the winter and summer solstices. A great amount of determination and dedication had to be in place in order to do so. It also fascinates me on how far scientist and technology have gone to solve the mystery of Stonehenge. Without people like Pearson or Young, the world may never have gained as much information as we know now about the stones today. Stonehenge beholds a mysterious beauty that is waiting to be solved. It is up to further generations to solve the wonders of Stonehenge yet still preserve the burials of our ancestors.\r\n\r\nA very informative and interesting video over Stonehenge, check it out. <a href=\"http://www.pbs.org/wgbh/nova/ancient/secrets-stonehenge.html\">Stonehenge</a>\r\n\r\n<!--more-->\r\n<p style=\"text-align: center\"><strong>Works Cited</strong></p>\r\n<p style=\"text-align: left\">Key, David. \"HOUSES OF THE HOLY\". <em>Discover </em>28.2 (2007): 10-11. <em>Academic Search Complete</em>, EBSCO. Web. 15 Feb. 2011.</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">Pearson, Mike Parker, and Sabine Goerke-Shrode, 5 2009, \'Stonehenge Takes Shape\', <em>dig</em>, 11,8, p.8, MasterFILE Premier,                            EBSCO<em>host</em>, viewed 31 January 2011.</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">Robinson, Alice and Evans-Freke, Anna \"Secrets of Stonehenge\". NOVA pbs.org. Web. 10 Feb  2011.                                                                     &lt;http://www.pbs.org/wgbh/nova/ancient/secrets-stonehenge.html&gt;</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">Snodgrass, Elizabeth. \"New Theory About Stonehenge.\" Editorial. <em>National Geographic</em> 20 May 2008: 3 pars. Web. 10 Feb 2011</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">\"STONEHENGE.\" (n.d.) <em>Funk &amp; Wagnalls New World Encyclopedia</em>. EBSCO. Web. 31 Jan. 2011</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">\"Stonehenge.\" <em>Wonders of the World</em>. 11. Toucan Valley Publications, Inc., 1999. <em>MasterFILE Premier.</em> EBSCO. Web. 30 Jan.                          2011</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">\"Stonehenge\'s Twin Could Have Been the Dining Area.\" <em>Times</em> [London, England] 23 July 2010: 10. <em>Info Trac Newspaper. </em>Web. 7 Feb. 2011.</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">University of Exeter. \"Discovering the Secrets of Stonehenge.\" Science Daily. 30 November 2010. Web. 10 Feb 2011</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">Whitaker, Alex. \"Recumbent Stone Circles (RSC\'s).\" <em>Ancient-wisdom: Online Guide to Prehistory</em>.n.d. Web. 15 Feb. 2011</p>','Discovering Stonehenge','','inherit','open','open','','162-revision-18','','','2011-02-16 17:34:21','2011-02-16 23:34:21','',162,'http://jeanatacc.com/2011/?p=246',0,'revision','',0),(248,25,'2011-02-16 17:40:24','2011-02-16 23:40:24','North of Salisbury, England, a prehistoric monument lies within the Salisbury Plain (STONEHENGE New World). The monument consists of a group of stones that have long beheld mysteries and theories as to how they got there. The mystery of the stones is known as Stonehenge.\n\n<!--more-->\n\nFrom the wear and weathering of the stones at Stonehenge, researchers have gathered information to date the stone arrangement. The markings on the stones match the tools used in the time period from C. 3000-1000 B.C. In other words, the late stone and the early bronze ages (STONEHENGE New World). Though scientist and researchers have approximated a time period of creation, who exactly built Stonehenge remains unknown.\n\nWhoever the creators were, built Stonehenge in several phases. As a whole, Stonehenge was constructed, “Over a period of 2000 years...” (Robinson and Evans-Freke). The first phase consisted of, “Two raised circles of earth about 300 ft from each other with a series of 56 holes (now known as the Aubrey holes) arranged inside of the circles” (Stonehenge Wonders). Around a hundred years later, the four rows of stones (as seen in the picture below) were situated in a circular formation. These sets of stones include Blue stones and Sarsen stones (STONEHENGE New World).\n\n<img class=\"aligncenter\" src=\"http://news.bbc.co.uk/nol/shared/spl/hi/uk/06/stonehenge/img/stonehenge_416.gif\" alt=\"\" width=\"416\" height=\"300\" />\n<p style=\"text-align: center\">http://news.bbc.co.uk/nol/shared/spl/hi/uk/06/stonehenge/img/stonehenge_416.gif</p>\nThe stones could have only been found miles and miles away from where they stand today. The Blue stones were likely to have been transported over 250 miles from the Prescelly Mountains in Wales (Stonehenge Wonders). The Sarsen stones came from 24 miles away in the Marlborough Downs in southern England (Stonehenge Wonders).  The largest of the Sarsen stones at Stonehenge weigh up to 45 tons (\"Discovering the Secrets\"). Due to the size of the stones and the distance that the stones were moved, people over centuries have theorized ridiculous ideas of how Stonehenge came to be.  Some theories say giants from Africa brought the stones over to England and others have said the gods placed the stones there. Archeologists like Andrew Young have put the outrageous theories to rest. Though his test has not yet been proven, Young believes that it was highly likely the Neolithic people transported the stones using a rolling method (\"Discovering the Secrets\"). Stone balls with diameters only a few millimeters apart were excavated and given correlation as to how the stones could have been brought to Stonehenge. Young felt that all the balls had been used together as a way to roll the stones from place to place (\"Discovering the Secrets\").\n\nWhat we know about the Neolithic people of the Stone Age is that they were very skilled in carving stone and wood (Robinson and Evans-Freke). Though not much of the Neolithic culture survived, people have their stone structures left to remember them by. Neolithic stone circles like Stonehenge have been, “Found all over the British Isles. Nearly a thousand stone circles still stand today” (Robinson and Evans-Freke).  As time passed, archaeologists found that most of the stones mark graves (Pearson and Goerke-Shrode).  The stones that mark the graves were formed as, “Megalith, upright slabs roofed by a capstone…” ( Pearson and Goerke-Shrode). The megaliths were considered stone tombs for the ones who had passed.\n\nDue to further excavation, the world now knows that Stonehenge was once a burial site, but that is not how Stonehenge was always perceived.  Before the cremations were found in and around Stonehenge, scientist figured that Stonehenge, “Served as a celestial calendar predicting the movements of the sun and moon, clocking the seasonable cycle, and thus providing information that would have been essential to an agricultural society” (Pearson and Goerke-Shrode).  Stonehenge does align with the winter and summer solstice but more for religious purposes than agricultural use (Robinson and Evan-Freke).  Stonehenge is not the only structure with astronomical alignment.  All over the world, ancient people have incorporated them into their works (Robinson and Evan-Freke).  Recumbent stone circles found in Scotland also have an astronomical alliance.  The Recumbent stone circles had a, “Primary association with the observation of the extreme setting points on the lunar cycle” (Whitaker). What makes Stonehenge unusual from the other stone circles though is the cremated bodies buried at the site. Most of the remains found belonged to older males. If men were only to be buried at Stonehenge, “They must have been selected” (Robinson and Evans-Freke).  The male cremations gave way to a deeper discovery of Stonehenge and its surroundings.\n\nArcheologist Mike Parker Pearson took advantage of Stonehenge’s new discovery. He had a fascination with the people of Madagascar’s association of timber wood linked with, “The living… and stone with the dead…” (Snodgrass). After he studied the people of Madagascar’s rituals of life and death, he brought his research over to England. In England he begin to work with others in hope of finding a link between wood and stone at Stonehenge the way they were linked in Madagascar (Robinson and Evans-Freke).  About 1,000 meters away from Stonehenge lays a prehistoric layout of a village located at Durrington Walls that was recently founded by Pearson and other archeologist (\"Stonehenge\'s Twin\"). The house remains of the village believe to have been dated back to the same time as Stonehenge appears to be built (\"Stonehenge\'s Twin\").  The houses were, “Excavated nearby a timber henge of enormous postholes” (Key). Pearson and his crew suggested that Stonehenge and Durrington Walls, “Were built as a single complex of complementary stone and wood circles” (Key). Excavations of large mounds of pig bones at Durrington Walls also indicated, “Feasting around the time of the winter solstice” (Snodgrass). Pearson believed that, “Celebrations were held at both circles related to the rising and setting of the sun and the cycles of life between summer and winter” (Snodgrass). Pearson concluded from the connection that life was celebrated at Durrington Walls and death was celebrated at Stonehenge during the time of the Neolithic culture.\n\nEvery year thousands of people visit Stonehenge for scientific and recreational purposes. It is a well-known monument all through England and around the world. Stonehenge was at the top of my list of choices for the first time capsule topic and I am more than grateful that I was able to do research on it. I knew there was a great circle of stones in England called Stonehenge through stories and pictures but until now, I never knew why it is perceived to be a mystery or a historical structure. What I find meaningful behind Stonehenge is the lengths that the Neolithic people took to honor their dead. The stones, which were placed at Stonehenge, came from miles and miles away and align perfectly to the winter and summer solstices. A great amount of determination and dedication had to be in place in order to do so. It also fascinates me on how far scientist and technology have gone to solve the mystery of Stonehenge. Without people like Pearson or Young, the world may never have gained as much information as we know now about the stones today. Stonehenge beholds a mysterious beauty that is waiting to be solved. It is up to further generations to solve the wonders of Stonehenge yet still preserve the burials of our ancestors.\n\nA very informative and interesting video over Stonehenge, check it out. <a href=\"http://www.pbs.org/wgbh/nova/ancient/secrets-stonehenge.html\">Stonehenge</a>\n\n<!--more-->\n<p style=\"text-align: center\"><strong>Works Cited</strong></p>\n<p style=\"text-align: left\">Key, David. \"HOUSES OF THE HOLY\". <em>Discover </em>28.2 (2007): 10-11. <em>Academic Search Complete</em>, EBSCO. Web. 15 Feb. 2011.</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Pearson, Mike Parker, and Sabine Goerke-Shrode, 5 2009, \'Stonehenge Takes Shape\', <em>dig</em>, 11,8, p.8, MasterFILE Premier,                            EBSCO<em>host</em>, viewed 31 January 2011.</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Robinson, Alice and Evans-Freke, Anna \"Secrets of Stonehenge\". NOVA pbs.org. Web. 10 Feb  2011.                                                                     &lt;http://www.pbs.org/wgbh/nova/ancient/secrets-stonehenge.html&gt;</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Snodgrass, Elizabeth. \"New Theory About Stonehenge.\" Editorial. <em>National Geographic</em> 20 May 2008: 3 pars. Web. 10 Feb 2011</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">\"STONEHENGE.\" (n.d.) <em>Funk &amp; Wagnalls New World Encyclopedia</em>. EBSCO. Web. 31 Jan. 2011</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">\"Stonehenge.\" <em>Wonders of the World</em>. 11. Toucan Valley Publications, Inc., 1999. <em>MasterFILE Premier.</em> EBSCO. Web. 30 Jan.                          2011</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">\"Stonehenge\'s Twin Could Have Been the Dining Area.\" <em>Times</em> [London, England] 23 July 2010: 10. <em>Info Trac Newspaper. </em>Web. 7 Feb. 2011.</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">University of Exeter. \"Discovering the Secrets of Stonehenge.\" Science Daily. 30 November 2010. Web. 10 Feb 2011</p>\n<p style=\"text-align: left\"></p>\n<p style=\"text-align: left\">Whitaker, Alex. \"Recumbent Stone Circles (RSC\'s).\" <em>Ancient-wisdom: Online Guide to Prehistory</em>.n.d. Web. 15 Feb. 2011</p>','Discovering Stonehenge','','inherit','open','open','','162-revision-19','','','2011-02-16 17:40:24','2011-02-16 23:40:24','',162,'http://jeanatacc.com/2011/?p=248',0,'revision','',0),(249,25,'2011-02-16 18:06:51','2011-02-17 00:06:51','North of Salisbury, England, a prehistoric monument lies within the Salisbury Plain (STONEHENGE New World). The monument consists of a group of stones that have long beheld mysteries and theories as to how they got there. The mystery of the stones is known as Stonehenge.\r\n\r\n<!--more-->\r\n\r\nFrom the wear and weathering of the stones at Stonehenge, researchers have gathered information to date the stone arrangement. The markings on the stones match the tools used in the time period from C. 3000-1000 B.C. In other words, the late stone and the early bronze ages (STONEHENGE New World). Though scientist and researchers have approximated a time period of creation, who exactly built Stonehenge remains unknown.\r\n\r\nWhoever the creators were, built Stonehenge in several phases. As a whole, Stonehenge was constructed, “Over a period of 2000 years...” (Robinson and Evans-Freke). The first phase consisted of, “Two raised circles of earth about 300 ft from each other with a series of 56 holes (now known as the Aubrey holes) arranged inside of the circles” (Stonehenge Wonders). Around a hundred years later, the four rows of stones (as seen in the picture below) were situated in a circular formation. These sets of stones include Blue stones and Sarsen stones (STONEHENGE New World).\r\n\r\n<img class=\"aligncenter\" src=\"http://news.bbc.co.uk/nol/shared/spl/hi/uk/06/stonehenge/img/stonehenge_416.gif\" alt=\"\" width=\"416\" height=\"300\" />\r\n<p style=\"text-align: center\">http://news.bbc.co.uk/nol/shared/spl/hi/uk/06/stonehenge/img/stonehenge_416.gif</p>\r\nThe stones could have only been found miles and miles away from where they stand today. The Blue stones were likely to have been transported over 250 miles from the Prescelly Mountains in Wales (Stonehenge Wonders). The Sarsen stones came from 24 miles away in the Marlborough Downs in southern England (Stonehenge Wonders).  The largest of the Sarsen stones at Stonehenge weigh up to 45 tons (\"Discovering the Secrets\"). Due to the size of the stones and the distance that the stones were moved, people over centuries have theorized ridiculous ideas of how Stonehenge came to be.  Some theories say giants from Africa brought the stones over to England and others have said the gods placed the stones there. Archeologists like Andrew Young have put the outrageous theories to rest. Though his test has not yet been proven, Young believes that it was highly likely the Neolithic people transported the stones using a rolling method (\"Discovering the Secrets\"). Stone balls with diameters only a few millimeters apart were excavated and given correlation as to how the stones could have been brought to Stonehenge. Young felt that all the balls had been used together as a way to roll the stones from place to place (\"Discovering the Secrets\").\r\n\r\nWhat we know about the Neolithic people of the Stone Age is that they were very skilled in carving stone and wood (Robinson and Evans-Freke). Though not much of the Neolithic culture survived, people have their stone structures left to remember them by. Neolithic stone circles like Stonehenge have been, “Found all over the British Isles. Nearly a thousand stone circles still stand today” (Robinson and Evans-Freke).  As time passed, archaeologists found that most of the stones mark graves (Pearson and Goerke-Shrode).  The stones that mark the graves were formed as, “Megalith, upright slabs roofed by a capstone…” ( Pearson and Goerke-Shrode). The megaliths were considered stone tombs for the ones who had passed.\r\n\r\nDue to further excavation, the world now knows that Stonehenge was once a burial site, but that is not how Stonehenge was always perceived.  Before the cremations were found in and around Stonehenge, scientist figured that Stonehenge, “Served as a celestial calendar predicting the movements of the sun and moon, clocking the seasonable cycle, and thus providing information that would have been essential to an agricultural society” (Pearson and Goerke-Shrode).  Stonehenge does align with the winter and summer solstice but more for religious purposes than agricultural use (Robinson and Evan-Freke).  Stonehenge is not the only structure with astronomical alignment.  All over the world, ancient people have incorporated them into their works (Robinson and Evan-Freke).  Recumbent stone circles found in Scotland also have an astronomical alliance.  The Recumbent stone circles had a, “Primary association with the observation of the extreme setting points on the lunar cycle” (Whitaker). What makes Stonehenge unusual from the other stone circles though is the cremated bodies buried at the site. Most of the remains found belonged to older males. If men were only to be buried at Stonehenge, “They must have been selected” (Robinson and Evans-Freke).  The male cremations gave way to a deeper discovery of Stonehenge and its surroundings.\r\n\r\nArcheologist Mike Parker Pearson took advantage of Stonehenge’s new discovery. He had a fascination with the people of Madagascar’s association of timber wood linked with, “The living… and stone with the dead…” (Snodgrass). After he studied the people of Madagascar’s rituals of life and death, he brought his research over to England. In England he begin to work with others in hope of finding a link between wood and stone at Stonehenge the way they were linked in Madagascar (Robinson and Evans-Freke).  About 1,000 meters away from Stonehenge lays a prehistoric layout of a village located at Durrington Walls that was recently founded by Pearson and other archeologist (\"Stonehenge\'s Twin\"). The house remains of the village believe to have been dated back to the same time as Stonehenge appears to be built (\"Stonehenge\'s Twin\").  The houses were, “Excavated nearby a timber henge of enormous postholes” (Key). Pearson and his crew suggested that Stonehenge and Durrington Walls, “Were built as a single complex of complementary stone and wood circles” (Key). Excavations of large mounds of pig bones at Durrington Walls also indicated, “Feasting around the time of the winter solstice” (Snodgrass). Pearson believed that, “Celebrations were held at both circles related to the rising and setting of the sun and the cycles of life between summer and winter” (Snodgrass). Pearson concluded from the connection that life was celebrated at Durrington Walls and death was celebrated at Stonehenge during the time of the Neolithic culture.\r\n\r\nEvery year thousands of people visit Stonehenge for scientific and recreational purposes. It is a well-known monument all through England and around the world. Stonehenge was at the top of my list of choices for the first time capsule topic and I am more than grateful that I was able to do research on it. I knew there was a great circle of stones in England called Stonehenge through stories and pictures but until now, I never knew why it is perceived to be a mystery or a historical structure. What I find meaningful behind Stonehenge is the lengths that the Neolithic people took to honor their dead. The stones, which were placed at Stonehenge, came from miles and miles away and align perfectly to the winter and summer solstices. A great amount of determination and dedication had to be in place in order to do so. It also fascinates me on how far scientist and technology have gone to solve the mystery of Stonehenge. Without people like Pearson or Young, the world may never have gained as much information as we know now about the stones today. Stonehenge beholds a mysterious beauty that is waiting to be solved. It is up to further generations to solve the wonders of Stonehenge yet still preserve the burials of our ancestors.\r\n\r\nA very informative and interesting video over Stonehenge, check it out. <a href=\"http://www.pbs.org/wgbh/nova/ancient/secrets-stonehenge.html\">Stonehenge</a>\r\n\r\n<!--more-->\r\n<p style=\"text-align: center\"><strong>Works Cited</strong></p>\r\n<p style=\"text-align: left\">Key, David. \"HOUSES OF THE HOLY\". <em>Discover </em>28.2 (2007): 10-11. <em>Academic Search Complete</em>, EBSCO. Web. 15 Feb. 2011.</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">Pearson, Mike Parker, and Sabine Goerke-Shrode, 5 2009, \'Stonehenge Takes Shape\', <em>dig</em>, 11,8, p.8, MasterFILE Premier,                            EBSCO<em>host</em>, viewed 31 January 2011.</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">Robinson, Alice and Evans-Freke, Anna \"Secrets of Stonehenge\". NOVA pbs.org. Web. 10 Feb  2011.                                                                     &lt;http://www.pbs.org/wgbh/nova/ancient/secrets-stonehenge.html&gt;</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">Snodgrass, Elizabeth. \"New Theory About Stonehenge.\" Editorial. <em>National Geographic</em> 20 May 2008: 3 pars. Web. 10 Feb 2011</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">\"STONEHENGE.\" (n.d.) <em>Funk &amp; Wagnalls New World Encyclopedia</em>. EBSCO. Web. 31 Jan. 2011</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">\"Stonehenge.\" <em>Wonders of the World</em>. 11. Toucan Valley Publications, Inc., 1999. <em>MasterFILE Premier.</em> EBSCO. Web. 30 Jan.                          2011</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">\"Stonehenge\'s Twin Could Have Been the Dining Area.\" <em>Times</em> [London, England] 23 July 2010: 10. <em>Info Trac Newspaper. </em>Web. 7 Feb. 2011.</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">University of Exeter. \"Discovering the Secrets of Stonehenge.\" Science Daily. 30 November 2010. Web. 10 Feb 2011</p>\r\n<p style=\"text-align: left\"></p>\r\n<p style=\"text-align: left\">Whitaker, Alex. \"Recumbent Stone Circles (RSC\'s).\" <em>Ancient-wisdom: Online Guide to Prehistory</em>.n.d. Web. 15 Feb. 2011</p>','Discovering Stonehenge','','inherit','open','open','','162-revision-20','','','2011-02-16 18:06:51','2011-02-17 00:06:51','',162,'http://jeanatacc.com/2011/?p=249',0,'revision','',0),(252,7,'2011-02-16 19:47:24','2011-02-17 01:47:24','The artisan employed by to wealthy merchants and the owners of the Villa, Aulus Vettius Restitutus and Aulus Vettius Coniviva, created this work about 60 B.C.E. sometime after the earthquake of 62 B.C.E. (Janson, H.W.)  This frieze represents the “Dionysiac initiation rites and the prenuptial ordeals of a bride, in the so-called triclinium of the Villa of the Mysteries (or Villa Item)” (Villa of the Mysteries) found near the Herculaneum gate of Pompeii. Each component of these frescoes is separated from the next with strips of a black. One might image the old strips of film found in the 20<sup>th</sup> century; each frame separated by a narrow line from the next, yet all images on the film joined in the context of the film. \n\nThe pageantry of the work in total provides cadence in the characters movements while the artists’ brilliant use of color speaks to the sumptuous atmosphere of the day. Also typical of the day is the artists’ use of mythological themes. Equally important is the quality of this work with its beautiful images that were likely copies of Greek statues or images; a practice common throughout the Roman territories. As summarized in the History of Art, “An artist of exceptional greatness of vision has filled these forms with new life,” further comparing the artist to the famous Greek masters, “whose works are lost to us forever, he (the artist) was their legitimate heir.”( Janson, H.W.)\n\nThere is very scant research material mentioning critiques of wall paintings in these times and nothing is found that specifically mentions the Villa of Mysteries murals; however, there is one critic of the day offering comments on Roman paintings in general terms. In the rule of Emperor Augustus (27 B.C.E.–14 C.E.), an architectural author, Vitruvius, critiqued some of Roman’s (meaning those of Roman territories) frescos. Though the Villa of Mysteries frescoes is of the Second Style, the following is offered for an overview of the genre as judged by Vitruvius; the First Style or, as Vitruvius described it, the Masonry Style utilized color mixed with mortar allowing the artist to create a dimensional work like a low relief carving;  the Second Style (as seen in the frescoes at Villa of Mysteries) was described by Vitruvius thusly, “(this art) took some of its inspiration from the scenery in theatrical productions,” however, the Second Style gained his approval for its depiction of mythological themes; the Third Style was not completely to Vitruvius’ liking as evident with his comment, “(this work is) elegant and exquisite, but it was also oppressive,” utilizing mural designs emphasizing the wall and not as in the second style with its mural motif, illustrating landscapes that seem to melt into a distant haze. (Vitruvius) The Fourth Style was described by Vitruvius as utilizing imagery that is not found in nature, not copied from real life and like other frescoes produce in the same time period, the wall art at the Villa of Mysteries are colorful, sumptuous and carried a distinct mythological theme.\n\nThe masterful work at the Villa of Mysteries (right) is quite different from its counterparts executed by other painters throughout Pompeii and even Rome; though generally speaking, all artistic endeavors of the day reflected the pinnacle of the Roman Empire’s expanse and success. Wall art from most of these artists exhibited less skill than that of the Mystery panels and very little attention to scale from one figure to the next in the same piece.  The most disconcerting aspect of many of the frescos of the time was the very execution of the work. For example, the wall painting found in Herculaneum, <em>Hercules and Telphus</em> c 70 AD (left) reveals that “not only the forms, but even the brushwork varies from one figure to the next.”(Janson, H.W.) The wall art panels in the Villa of Mysteries are not only consistent and coherent they are unified in there execution. Shedding more light on the exceptional quality of this work we turn to H. W. Jansen who asserted, “An artist of exceptional greatness of vision has filled these forms with new life.”(Janson, H.W.)\n\nSimilar works of the day offer interesting contrasts. Comparing <em>Apollo (also referred to as Nero as Apollo) in the image on the left to mythical fresco on the right </em>in the Villa of Mysteries similarities are in evidence and the differences are apparent. Both bodies of work carry themes based upon mythological and both designs have marked similarities: vivid red toned background, a faux marble decorative lower segment, a decorative band above the key images and dividing the images one from the next are columns represented as thin lines.  There are differences in these bodies of work made clear in the figures of each work. The Mysteries panels, according to Jansen, carry a, “dignity of bearing and expression,” and “the wonderful firmness of body and drapery.”(Janson, H.W.) Each panel exhibits life-sized models or portraits of the human form (Dionysus phallus excluded) that are clearly grounded in a realistic setting.  \n\nIn contrast to the Villa panels, the Apollo work features small figures float or stand on pedestals with voluptuous, colorful fabrics swelling about them. Above these figures are miniature landscapes set in a perspective, imitating a coffered ceiling. Thematically, each work is divergent. The ritualistic myth of the Dionysus cult is played out in a series of panels of a private home or villa; each depicting a specific scene and an allegory from the times. The Apollo works are found in the Building of the Triclinia, a structure perhaps used as a public house or a restaurant; some scholars even supposed it may have been the head office of an affluent corporation. The images depicting the individual characters and props are clues to the buildings uses: Apollo, eight of the nine muse’s musical instruments and dimensional structures “jutting” out into the room.  Perhaps the Apollo image is that of Nero and the muses represent his family as Nero was renowned as a devotee of music and poetry. Clearly this work is secular in nature and a model of the Fourth Style.\n\nThe content of the imagery is quite risqué. Brochures offering, “Pompeii’s Frisky Frescoes Revealed, Sexy Wall Art Uncovered at Archaeological Site!” (Blanchard, Paul.) in 2011 seemed to pander to the baser human traits.   However, the theme of the work underscores its importance as an example of the cult-like atmosphere of the day; treating sex as sacrament to the cult god, unique to this time and place of the antiquities. The panels; however, are acclaimed art work and praised by artists, historians, and scholars for their significance in the history of artistic expression. From a personal perspective; these images, at first “blush” were amusing; especially that of <em>Dionysus Weighing His Phallus</em> (not pictured though the image at the beginning of this piece offers a similar excesses) which seemed, at least to me, an extreme exaggeration of locker room aggrandizement.  Upon further study, a realization of the historical significance of these colorful, cryptic, and evocative works represents an immeasurable documentation of some of the religious rites in the 1<sup>st</sup> century A.D. is evident; make use of the artist as the historian.  As an artist, I find the style, use of color, and theme a snap-shot of the times when mortality, morality, and the cycle of life were explained through mythology; a time of proving mans resilience in the face of natural disasters.\n\nFuture generations, much as past and present generations, will seek to define creation, evolution, and the mysteries of the universe that elude us today in an artistically expressed documentary and exceptional example of creative style, content, and application of the day.  A study of historical belief patterns and the purposes of those beliefs offer future generations a glimpse into mans’ vulnerability; a fear of mortality and man’s lack of control over the outcome, a thesis poignantly explored by artists throughout human history.\n\nThe frescoes of the Villa of Mysteries are an important body of work for future generations as a way to scrutinize mans quest for immortality and explaining the unknown while offering an excellent example of the artistic mastery of the Roman Empire during a monumental era in its history.\n\nWorks Cited\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\n\"Villa of the Mysteries.\" <em>Encyclopedia Britannica. Encyclopedia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. February 10, 2011.\n\nJanson, H.W.  History of Art, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nVitruvius, \"The Decadence of Fresco Painting,\" in <em>the Ten Books of Architecture</em>. Trans. Morris Hicky Morgan (New York: Dover, 1969): 210–211. Text modified by James Allan Evans.\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nBlanchard, Paul. <em>Blue Guide, Southern Italy; From Rome to Calabrie</em>. New York: W.W. Norton &amp; Company Inc. 1982\n\nThe megalographia (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.  To this date, no other collection like it has been discovered, offering sufficient cause for its preservation.','The Frescoes of the Villa of Mysteries','','inherit','open','open','','167-revision-2','','','2011-02-16 19:47:24','2011-02-17 01:47:24','',167,'http://jeanatacc.com/2011/?p=252',0,'revision','',0),(253,7,'2011-02-16 19:51:00','2011-02-17 01:51:00','The artisan employed by to wealthy merchants and the owners of the Villa, Aulus Vettius Restitutus and Aulus Vettius Coniviva, created this work about 60 B.C.E. sometime after the earthquake of 62 B.C.E. (Janson, H.W.)  This frieze represents the “Dionysiac initiation rites and the prenuptial ordeals of a bride, in the so-called triclinium of the Villa of the Mysteries (or Villa Item)” (Villa of the Mysteries) found near the Herculaneum gate of Pompeii. Each component of these frescoes is separated from the next with strips of a black. One might image the old strips of film found in the 20<sup>th</sup> century; each frame separated by a narrow line from the next, yet all images on the film joined in the context of the film.\n\nThe pageantry of the work in total provides cadence in the characters movements while the artists’ brilliant use of color speaks to the sumptuous atmosphere of the day. Also typical of the day is the artists’ use of mythological themes. Equally important is the quality of this work with its beautiful images that were likely copies of Greek statues or images; a practice common throughout the Roman territories. As summarized in the History of Art, “An artist of exceptional greatness of vision has filled these forms with new life,” further comparing the artist to the famous Greek masters, “whose works are lost to us forever, he (the artist) was their legitimate heir.”( Janson, H.W.)\n\nThere is very scant research material mentioning critiques of wall paintings in these times and nothing is found that specifically mentions the Villa of Mysteries murals; however, there is one critic of the day offering comments on Roman paintings in general terms. In the rule of Emperor Augustus (27 B.C.E.–14 C.E.), an architectural author, Vitruvius, critiqued some of Roman’s (meaning those of Roman territories) frescos. Though the Villa of Mysteries frescoes is of the Second Style, the following is offered for an overview of the genre as judged by Vitruvius; the First Style or, as Vitruvius described it, the Masonry Style utilized color mixed with mortar allowing the artist to create a dimensional work like a low relief carving;  the Second Style (as seen in the frescoes at Villa of Mysteries) was described by Vitruvius thusly, “(this art) took some of its inspiration from the scenery in theatrical productions,” however, the Second Style gained his approval for its depiction of mythological themes; the Third Style was not completely to Vitruvius’ liking as evident with his comment, “(this work is) elegant and exquisite, but it was also oppressive,” utilizing mural designs emphasizing the wall and not as in the second style with its mural motif, illustrating landscapes that seem to melt into a distant haze. (Vitruvius) The Fourth Style was described by Vitruvius as utilizing imagery that is not found in nature, not copied from real life and like other frescoes produce in the same time period, the wall art at the Villa of Mysteries are colorful, sumptuous and carried a distinct mythological theme.\n\nThe masterful work at the Villa of Mysteries (right) is quite different from its counterparts executed by other painters throughout Pompeii and even Rome; though generally speaking, all artistic endeavors of the day reflected the pinnacle of the Roman Empire’s expanse and success. Wall art from most of these artists exhibited less skill than that of the Mystery panels and very little attention to scale from one figure to the next in the same piece.  The most disconcerting aspect of many of the frescos of the time was the very execution of the work. For example, the wall painting found in Herculaneum, <em>Hercules and Telphus</em> c 70 AD (left) reveals that “not only the forms, but even the brushwork varies from one figure to the next.”(Janson, H.W.) The wall art panels in the Villa of Mysteries are not only consistent and coherent they are unified in there execution. Shedding more light on the exceptional quality of this work we turn to H. W. Jansen who asserted, “An artist of exceptional greatness of vision has filled these forms with new life.”(Janson, H.W.)\n\nSimilar works of the day offer interesting contrasts. Comparing <em>Apollo (also referred to as Nero as Apollo) in the image on the left to mythical fresco on the right </em>in the Villa of Mysteries similarities are in evidence and the differences are apparent. Both bodies of work carry themes based upon mythological and both designs have marked similarities: vivid red toned background, a faux marble decorative lower segment, a decorative band above the key images and dividing the images one from the next are columns represented as thin lines.  There are differences in these bodies of work made clear in the figures of each work. The Mysteries panels, according to Jansen, carry a, “dignity of bearing and expression,” and “the wonderful firmness of body and drapery.”(Janson, H.W.) Each panel exhibits life-sized models or portraits of the human form (Dionysus phallus excluded) that are clearly grounded in a realistic setting.\n\nIn contrast to the Villa panels, the Apollo work features small figures float or stand on pedestals with voluptuous, colorful fabrics swelling about them. Above these figures are miniature landscapes set in a perspective, imitating a coffered ceiling. Thematically, each work is divergent. The ritualistic myth of the Dionysus cult is played out in a series of panels of a private home or villa; each depicting a specific scene and an allegory from the times. The Apollo works are found in the Building of the Triclinia, a structure perhaps used as a public house or a restaurant; some scholars even supposed it may have been the head office of an affluent corporation. The images depicting the individual characters and props are clues to the buildings uses: Apollo, eight of the nine muse’s musical instruments and dimensional structures “jutting” out into the room.  Perhaps the Apollo image is that of Nero and the muses represent his family as Nero was renowned as a devotee of music and poetry. Clearly this work is secular in nature and a model of the Fourth Style.\n\nThe content of the imagery is quite risqué. Brochures offering, “Pompeii’s Frisky Frescoes Revealed, Sexy Wall Art Uncovered at Archaeological Site!” (Blanchard, Paul.) in 2011 seemed to pander to the baser human traits.   However, the theme of the work underscores its importance as an example of the cult-like atmosphere of the day; treating sex as sacrament to the cult god, unique to this time and place of the antiquities. The panels; however, are acclaimed art work and praised by artists, historians, and scholars for their significance in the history of artistic expression. From a personal perspective; these images, at first “blush” were amusing; especially that of <em>Dionysus Weighing His Phallus</em> (not pictured though the image at the beginning of this piece offers a similar excesses) which seemed, at least to me, an extreme exaggeration of locker room aggrandizement.  Upon further study, a realization of the historical significance of these colorful, cryptic, and evocative works represents an immeasurable documentation of some of the religious rites in the 1<sup>st</sup> century A.D. is evident; make use of the artist as the historian.  As an artist, I find the style, use of color, and theme a snap-shot of the times when mortality, morality, and the cycle of life were explained through mythology; a time of proving mans resilience in the face of natural disasters.\n\nFuture generations, much as past and present generations, will seek to define creation, evolution, and the mysteries of the universe that elude us today in an artistically expressed documentary and exceptional example of creative style, content, and application of the day.  A study of historical belief patterns and the purposes of those beliefs offer future generations a glimpse into mans’ vulnerability; a fear of mortality and man’s lack of control over the outcome, a thesis poignantly explored by artists throughout human history.\n\nThe frescoes of the Villa of Mysteries are an important body of work for future generations as a way to scrutinize mans quest for immortality and explaining the unknown while offering an excellent example of the artistic mastery of the Roman Empire during a monumental era in its history.\n\nWorks Cited\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\n\"Villa of the Mysteries.\" <em>Encyclopedia Britannica. Encyclopedia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. February 10, 2011.\n\nJanson, H.W.  History of Art, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nVitruvius, \"The Decadence of Fresco Painting,\" in <em>the Ten Books of Architecture</em>. Trans. Morris Hicky Morgan (New York: Dover, 1969): 210–211. Text modified by James Allan Evans.\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nBlanchard, Paul. <em>Blue Guide, Southern Italy; From Rome to Calabrie</em>. New York: W.W. Norton &amp; Company Inc. 1982\n\nThe megalographia (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.  To this date, no other collection like it has been discovered, offering sufficient cause for its preservation.','The Frescoes of the Villa of Mysteries','','inherit','open','open','','167-revision-3','','','2011-02-16 19:51:00','2011-02-17 01:51:00','',167,'http://jeanatacc.com/2011/?p=253',0,'revision','',0),(255,1,'2011-02-16 20:02:16','2011-02-17 02:02:16','<!--more-->\n\nThe artisan employed by to wealthy merchants and the owners of the Villa, Aulus Vettius Restitutus and Aulus Vettius Coniviva, created this work about 60 B.C.E. sometime after the earthquake of 62 B.C.E. (Janson, H.W.)  This frieze represents the “Dionysiac initiation rites and the prenuptial ordeals of a bride, in the so-called triclinium of the Villa of the Mysteries (or Villa Item)” (Villa of the Mysteries) found near the Herculaneum gate of Pompeii. Each component of these frescoes is separated from the next with strips of a black. One might image the old strips of film found in the 20<sup>th</sup> century; each frame separated by a narrow line from the next, yet all images on the film joined in the context of the film.\n\nThe pageantry of the work in total provides cadence in the characters movements while the artists’ brilliant use of color speaks to the sumptuous atmosphere of the day. Also typical of the day is the artists’ use of mythological themes. Equally important is the quality of this work with its beautiful images that were likely copies of Greek statues or images; a practice common throughout the Roman territories. As summarized in the History of Art, “An artist of exceptional greatness of vision has filled these forms with new life,” further comparing the artist to the famous Greek masters, “whose works are lost to us forever, he (the artist) was their legitimate heir.”( Janson, H.W.)\n\nThere is very scant research material mentioning critiques of wall paintings in these times and nothing is found that specifically mentions the Villa of Mysteries murals; however, there is one critic of the day offering comments on Roman paintings in general terms. In the rule of Emperor Augustus (27 B.C.E.–14 C.E.), an architectural author, Vitruvius, critiqued some of Roman’s (meaning those of Roman territories) frescos. Though the Villa of Mysteries frescoes is of the Second Style, the following is offered for an overview of the genre as judged by Vitruvius; the First Style or, as Vitruvius described it, the Masonry Style utilized color mixed with mortar allowing the artist to create a dimensional work like a low relief carving;  the Second Style (as seen in the frescoes at Villa of Mysteries) was described by Vitruvius thusly, “(this art) took some of its inspiration from the scenery in theatrical productions,” however, the Second Style gained his approval for its depiction of mythological themes; the Third Style was not completely to Vitruvius’ liking as evident with his comment, “(this work is) elegant and exquisite, but it was also oppressive,” utilizing mural designs emphasizing the wall and not as in the second style with its mural motif, illustrating landscapes that seem to melt into a distant haze. (Vitruvius) The Fourth Style was described by Vitruvius as utilizing imagery that is not found in nature, not copied from real life and like other frescoes produce in the same time period, the wall art at the Villa of Mysteries are colorful, sumptuous and carried a distinct mythological theme.\n\nThe masterful work at the Villa of Mysteries (right) is quite different from its counterparts executed by other painters throughout Pompeii and even Rome; though generally speaking, all artistic endeavors of the day reflected the pinnacle of the Roman Empire’s expanse and success. Wall art from most of these artists exhibited less skill than that of the Mystery panels and very little attention to scale from one figure to the next in the same piece.  The most disconcerting aspect of many of the frescos of the time was the very execution of the work. For example, the wall painting found in Herculaneum, <em>Hercules and Telphus</em> c 70 AD (left) reveals that “not only the forms, but even the brushwork varies from one figure to the next.”(Janson, H.W.) The wall art panels in the Villa of Mysteries are not only consistent and coherent they are unified in there execution. Shedding more light on the exceptional quality of this work we turn to H. W. Jansen who asserted, “An artist of exceptional greatness of vision has filled these forms with new life.”(Janson, H.W.)\n\nSimilar works of the day offer interesting contrasts. Comparing <em>Apollo (also referred to as Nero as Apollo) in the image on the left to mythical fresco on the right </em>in the Villa of Mysteries similarities are in evidence and the differences are apparent. Both bodies of work carry themes based upon mythological and both designs have marked similarities: vivid red toned background, a faux marble decorative lower segment, a decorative band above the key images and dividing the images one from the next are columns represented as thin lines.  There are differences in these bodies of work made clear in the figures of each work. The Mysteries panels, according to Jansen, carry a, “dignity of bearing and expression,” and “the wonderful firmness of body and drapery.”(Janson, H.W.) Each panel exhibits life-sized models or portraits of the human form (Dionysus phallus excluded) that are clearly grounded in a realistic setting.\n\nIn contrast to the Villa panels, the Apollo work features small figures float or stand on pedestals with voluptuous, colorful fabrics swelling about them. Above these figures are miniature landscapes set in a perspective, imitating a coffered ceiling. Thematically, each work is divergent. The ritualistic myth of the Dionysus cult is played out in a series of panels of a private home or villa; each depicting a specific scene and an allegory from the times. The Apollo works are found in the Building of the Triclinia, a structure perhaps used as a public house or a restaurant; some scholars even supposed it may have been the head office of an affluent corporation. The images depicting the individual characters and props are clues to the buildings uses: Apollo, eight of the nine muse’s musical instruments and dimensional structures “jutting” out into the room.  Perhaps the Apollo image is that of Nero and the muses represent his family as Nero was renowned as a devotee of music and poetry. Clearly this work is secular in nature and a model of the Fourth Style.\n\nThe content of the imagery is quite risqué. Brochures offering, “Pompeii’s Frisky Frescoes Revealed, Sexy Wall Art Uncovered at Archaeological Site!” (Blanchard, Paul.) in 2011 seemed to pander to the baser human traits.   However, the theme of the work underscores its importance as an example of the cult-like atmosphere of the day; treating sex as sacrament to the cult god, unique to this time and place of the antiquities. The panels; however, are acclaimed art work and praised by artists, historians, and scholars for their significance in the history of artistic expression. From a personal perspective; these images, at first “blush” were amusing; especially that of <em>Dionysus Weighing His Phallus</em> (not pictured though the image at the beginning of this piece offers a similar excesses) which seemed, at least to me, an extreme exaggeration of locker room aggrandizement.  Upon further study, a realization of the historical significance of these colorful, cryptic, and evocative works represents an immeasurable documentation of some of the religious rites in the 1<sup>st</sup> century A.D. is evident; make use of the artist as the historian.  As an artist, I find the style, use of color, and theme a snap-shot of the times when mortality, morality, and the cycle of life were explained through mythology; a time of proving mans resilience in the face of natural disasters.\n\nFuture generations, much as past and present generations, will seek to define creation, evolution, and the mysteries of the universe that elude us today in an artistically expressed documentary and exceptional example of creative style, content, and application of the day.  A study of historical belief patterns and the purposes of those beliefs offer future generations a glimpse into mans’ vulnerability; a fear of mortality and man’s lack of control over the outcome, a thesis poignantly explored by artists throughout human history.\n\nThe frescoes of the Villa of Mysteries are an important body of work for future generations as a way to scrutinize mans quest for immortality and explaining the unknown while offering an excellent example of the artistic mastery of the Roman Empire during a monumental era in its history.\n\nWorks Cited\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\n\"Villa of the Mysteries.\" <em>Encyclopedia Britannica. Encyclopedia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. February 10, 2011.\n\nJanson, H.W.  History of Art, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nVitruvius, \"The Decadence of Fresco Painting,\" in <em>the Ten Books of Architecture</em>. Trans. Morris Hicky Morgan (New York: Dover, 1969): 210–211. Text modified by James Allan Evans.\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nBlanchard, Paul. <em>Blue Guide, Southern Italy; From Rome to Calabrie</em>. New York: W.W. Norton &amp; Company Inc. 1982\n\nThe megalographia (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.  To this date, no other collection like it has been discovered, offering sufficient cause for its preservation.','The Frescoes of the Villa of Mysteries','','inherit','open','open','','167-revision-4','','','2011-02-16 20:02:16','2011-02-17 02:02:16','',167,'http://jeanatacc.com/2011/?p=255',0,'revision','',0),(254,23,'2011-02-16 19:55:09','2011-02-17 01:55:09','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/UrZiggurat.jpg\"><img class=\"aligncenter size-medium wp-image-178\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/UrZiggurat-300x225.jpg\" alt=\"\" width=\"300\" height=\"225\" /></a>\n\nGood Morning all,\n\nMy name is Jay Dongieux.\n\nThe Earth has become uninhabitable as we all know.\n\nHow sad that we have become so self-focused that we have allowed our\n\nworld to crumble and wither away.\n\nThis has occurred partially as a result of fragmented societies.  Families as\n\nwell as individuals focused too much on themselves rather than the planet as a whole. The year is 2100.\n\nOur goal here together today is to choose four art works to carry aboard our\n\nspace ship, to preserve and serve as inspiration for our people.\n\nThe work I have chosen is the Ziggurat of Ur.\n\nThe reason I have chosen this work is because of its architectural, historical\n\nand societal influence. The building of the Ziggurat of Ur showed that huge\n\nthrongs of people could come together for long periods of time to accomplish\n\na common goal for the good of the people as a whole.\n\nIt is architecturally significant in the fact that it was the first known structure\n\nof its kind anywhere in the world.  It showed the architectural awareness of\n\nits builders. It is historically significant because it was\n\nfollowed by many other ziggurats, 32 that we know of today. It was similar to\n\nthe pyramids of Egypt. It is societally significant because , unlike the society\n\nof today where families and communities are splintered off and separated,\n\nthousands of people probably came together for years at a time to build\n\nthis magnificent building.  Society should become more communal ,rather\n\nthan individualistic. When we become so individualistic, we lose focus of the\n\ngood of all mankind as a whole.\n\nA ziggurat is a rectangular tiered temple mound.  Many have seven tiers. The\n\nseven tiers represent the heavens.  It was erected by ancient Babylonians\n\naround 2100 B.C.   Ziggurat is the moderm term derived from\n\nthe Akkadian word ziggurratu. They resembled pyramids, and are made of\n\nmud-brick and stone.  The structures were intended to be ladders to the\n\ngods. Building techniques were mastered by the third\n\nmillenium. Ziggurats are similar to pyramids, because they have\n\nstair-stepped shape and temple tops.  Ziggurats had large stairways, or in\n\nsome cases ramps.\n\nUr is a Sumerian city in southern Iraq. Abraham, from the bible,  home was\n\nknown as Ur. It is along the Euphrates River. Water is essential to human\n\nsurvival, so the location of structures  is of the utmost importance.\n\nAn ur is a \"tell\" , which is an artificial mound containing remains of\n\naccumulated habitants.\n\nThe ziggurat is the most enduring symbol of the Mesopotamian era.  They are\n\nmonuments of their kings, as well as to the combined labor forces of the time.\n\nThe Ziggurat of Ur was basically the center for many community activities\n\nsuch as religion,economy,education and government.\n\nThe Ziggurat of Ur was the first known structure of its kind anywhere.  It\n\nwas constructed under the direction of King Ur-Nammu. Ur-Nammu directed\n\nthe construction of ziggurats in the cities of Eridu, Uruk and Nippur.Nanna is\n\nthe moon god, who was the patron deity and divine king of Ur.Knowledge of\n\nthe peoples life, history, business and art is now fairly complete and detailed.\n\nBoth ziggurats and pyramids were viewed as symbolic representations of the\n\nfirst land to appear on earth.  Ziggurats remind us of the possibility of a higher\n\npower, being, god or divinity figure. It helps us focus on something other\n\nthan ourselves. Taking the focus away from oneself allows us to grow.\n\nThe first serious excavations at Ur were made after World War I by H.R. Hall\n\nof the British Museum.\n\nThe Ziggurat of Ur has also been referred to as the Tower of Babel.\n\nUnlike Egyptian pyramids, ziggurats were never tomb\n\nbuildings. So far , archaeologists have found the remains of thirty-two\n\nziggurats in and around the Mesopotamian plains.\n\nFollowed was  Mr. Leonard Woolley led the well\n\npublished excavations between 1922 and 1934. Woolley\'s excavations gave\n\nus information about Ur. The information from his work focused on walls,\n\ntombs, houses and a religious center. His  work was very important , because\n\nit greatly expanded our knowledge of  history. There is some evidence\n\nthat the occupation of Ur ended with a flood, the  one described in Genesis in\n\nthe Bible. Woolley\'s work showed that the builders were familiar with\n\ncolumns, arches, vaults and domes.  Excavations have revealed\n\nstorerooms, courtyards,other buildings and a shrine. Excavations have also\n\nrevealed massive treasures of gold, silver, bronze and semiprecious stones.\n\nThe ziggurat was an icon of the community at the time. It was the center of\n\nactivity for its people. It was used very frequently and was the most\n\nsignificant structure in the area. Judging by the detail of what was found in\n\nthe excavations of Woolley and Hall, it contained items relevant to all facets\n\nof life in the present, and up to and including present day year 2100 such as\n\nreligion,art,science,industry and government.\n\nThe Ziggurat of Ur should be preserved to remind future generations of how\n\nto accomplish a common goal over a long time period and among a  huge\n\nnumber of people. Society has become so splintered and multi-focused today\n\nthat we have forgotten the common good for immediate gratification.\n\nInternet, cell phones, instant messages, everything is disposable and nothing\n\nis made to last or carry any meaning behind it.  Nothing these days has any\n\nlasting value, permanence or significance. Columns, canals, perfumes and\n\nglass were all very important innovations of the time of the ziggurats.','Ziggurats and Us','','inherit','open','open','','179-revision-3','','','2011-02-16 19:55:09','2011-02-17 01:55:09','',179,'http://jeanatacc.com/2011/?p=254',0,'revision','',0),(256,7,'2011-02-16 20:03:04','2011-02-17 02:03:04','\r\n\r\n<!--more-->\r\n\r\nThe artisan employed by to wealthy merchants and the owners of the Villa, Aulus Vettius Restitutus and Aulus Vettius Coniviva, created this work about 60 B.C.E. sometime after the earthquake of 62 B.C.E. (Janson, H.W.)  This frieze represents the “Dionysiac initiation rites and the prenuptial ordeals of a bride, in the so-called triclinium of the Villa of the Mysteries (or Villa Item)” (Villa of the Mysteries) found near the Herculaneum gate of Pompeii. Each component of these frescoes is separated from the next with strips of a black. One might image the old strips of film found in the 20<sup>th</sup> century; each frame separated by a narrow line from the next, yet all images on the film joined in the context of the film.\r\n\r\nThe pageantry of the work in total provides cadence in the characters movements while the artists’ brilliant use of color speaks to the sumptuous atmosphere of the day. Also typical of the day is the artists’ use of mythological themes. Equally important is the quality of this work with its beautiful images that were likely copies of Greek statues or images; a practice common throughout the Roman territories. As summarized in the History of Art, “An artist of exceptional greatness of vision has filled these forms with new life,” further comparing the artist to the famous Greek masters, “whose works are lost to us forever, he (the artist) was their legitimate heir.”( Janson, H.W.)\r\n\r\nThere is very scant research material mentioning critiques of wall paintings in these times and nothing is found that specifically mentions the Villa of Mysteries murals; however, there is one critic of the day offering comments on Roman paintings in general terms. In the rule of Emperor Augustus (27 B.C.E.–14 C.E.), an architectural author, Vitruvius, critiqued some of Roman’s (meaning those of Roman territories) frescos. Though the Villa of Mysteries frescoes is of the Second Style, the following is offered for an overview of the genre as judged by Vitruvius; the First Style or, as Vitruvius described it, the Masonry Style utilized color mixed with mortar allowing the artist to create a dimensional work like a low relief carving;  the Second Style (as seen in the frescoes at Villa of Mysteries) was described by Vitruvius thusly, “(this art) took some of its inspiration from the scenery in theatrical productions,” however, the Second Style gained his approval for its depiction of mythological themes; the Third Style was not completely to Vitruvius’ liking as evident with his comment, “(this work is) elegant and exquisite, but it was also oppressive,” utilizing mural designs emphasizing the wall and not as in the second style with its mural motif, illustrating landscapes that seem to melt into a distant haze. (Vitruvius) The Fourth Style was described by Vitruvius as utilizing imagery that is not found in nature, not copied from real life and like other frescoes produce in the same time period, the wall art at the Villa of Mysteries are colorful, sumptuous and carried a distinct mythological theme.\r\n\r\nThe masterful work at the Villa of Mysteries (right) is quite different from its counterparts executed by other painters throughout Pompeii and even Rome; though generally speaking, all artistic endeavors of the day reflected the pinnacle of the Roman Empire’s expanse and success. Wall art from most of these artists exhibited less skill than that of the Mystery panels and very little attention to scale from one figure to the next in the same piece.  The most disconcerting aspect of many of the frescos of the time was the very execution of the work. For example, the wall painting found in Herculaneum, <em>Hercules and Telphus</em> c 70 AD (left) reveals that “not only the forms, but even the brushwork varies from one figure to the next.”(Janson, H.W.) The wall art panels in the Villa of Mysteries are not only consistent and coherent they are unified in there execution. Shedding more light on the exceptional quality of this work we turn to H. W. Jansen who asserted, “An artist of exceptional greatness of vision has filled these forms with new life.”(Janson, H.W.)\r\n\r\nSimilar works of the day offer interesting contrasts. Comparing <em>Apollo (also referred to as Nero as Apollo) in the image on the left to mythical fresco on the right </em>in the Villa of Mysteries similarities are in evidence and the differences are apparent. Both bodies of work carry themes based upon mythological and both designs have marked similarities: vivid red toned background, a faux marble decorative lower segment, a decorative band above the key images and dividing the images one from the next are columns represented as thin lines.  There are differences in these bodies of work made clear in the figures of each work. The Mysteries panels, according to Jansen, carry a, “dignity of bearing and expression,” and “the wonderful firmness of body and drapery.”(Janson, H.W.) Each panel exhibits life-sized models or portraits of the human form (Dionysus phallus excluded) that are clearly grounded in a realistic setting.\r\n\r\nIn contrast to the Villa panels, the Apollo work features small figures float or stand on pedestals with voluptuous, colorful fabrics swelling about them. Above these figures are miniature landscapes set in a perspective, imitating a coffered ceiling. Thematically, each work is divergent. The ritualistic myth of the Dionysus cult is played out in a series of panels of a private home or villa; each depicting a specific scene and an allegory from the times. The Apollo works are found in the Building of the Triclinia, a structure perhaps used as a public house or a restaurant; some scholars even supposed it may have been the head office of an affluent corporation. The images depicting the individual characters and props are clues to the buildings uses: Apollo, eight of the nine muse’s musical instruments and dimensional structures “jutting” out into the room.  Perhaps the Apollo image is that of Nero and the muses represent his family as Nero was renowned as a devotee of music and poetry. Clearly this work is secular in nature and a model of the Fourth Style.\r\n\r\nThe content of the imagery is quite risqué. Brochures offering, “Pompeii’s Frisky Frescoes Revealed, Sexy Wall Art Uncovered at Archaeological Site!” (Blanchard, Paul.) in 2011 seemed to pander to the baser human traits.   However, the theme of the work underscores its importance as an example of the cult-like atmosphere of the day; treating sex as sacrament to the cult god, unique to this time and place of the antiquities. The panels; however, are acclaimed art work and praised by artists, historians, and scholars for their significance in the history of artistic expression. From a personal perspective; these images, at first “blush” were amusing; especially that of <em>Dionysus Weighing His Phallus</em> (not pictured though the image at the beginning of this piece offers a similar excesses) which seemed, at least to me, an extreme exaggeration of locker room aggrandizement.  Upon further study, a realization of the historical significance of these colorful, cryptic, and evocative works represents an immeasurable documentation of some of the religious rites in the 1<sup>st</sup> century A.D. is evident; make use of the artist as the historian.  As an artist, I find the style, use of color, and theme a snap-shot of the times when mortality, morality, and the cycle of life were explained through mythology; a time of proving mans resilience in the face of natural disasters.\r\n\r\nFuture generations, much as past and present generations, will seek to define creation, evolution, and the mysteries of the universe that elude us today in an artistically expressed documentary and exceptional example of creative style, content, and application of the day.  A study of historical belief patterns and the purposes of those beliefs offer future generations a glimpse into mans’ vulnerability; a fear of mortality and man’s lack of control over the outcome, a thesis poignantly explored by artists throughout human history.\r\n\r\nThe frescoes of the Villa of Mysteries are an important body of work for future generations as a way to scrutinize mans quest for immortality and explaining the unknown while offering an excellent example of the artistic mastery of the Roman Empire during a monumental era in its history.\r\n\r\nWorks Cited\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\n\"Villa of the Mysteries.\" <em>Encyclopedia Britannica. Encyclopedia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. February 10, 2011.\r\n\r\nJanson, H.W.  History of Art, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nVitruvius, \"The Decadence of Fresco Painting,\" in <em>the Ten Books of Architecture</em>. Trans. Morris Hicky Morgan (New York: Dover, 1969): 210–211. Text modified by James Allan Evans.\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nBlanchard, Paul. <em>Blue Guide, Southern Italy; From Rome to Calabrie</em>. New York: W.W. Norton &amp; Company Inc. 1982\r\n\r\nThe megalographia (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.  To this date, no other collection like it has been discovered, offering sufficient cause for its preservation.','The Frescoes of the Villa of Mysteries','','inherit','open','open','','167-revision-5','','','2011-02-16 20:03:04','2011-02-17 02:03:04','',167,'http://jeanatacc.com/2011/?p=256',0,'revision','',0),(259,1,'2011-02-16 20:12:03','2011-02-17 02:12:03','<em>The megalographia</em> (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.  To this date, no other collection like it has been discovered.\n\n<!--more-->The artisan employed by to wealthy merchants and the owners of the Villa, Aulus Vettius Restitutus and Aulus Vettius Coniviva, created this work about 60 B.C.E. sometime after the earthquake of 62 B.C.E. (Janson, H.W.)  This frieze represents the “Dionysiac initiation rites and the prenuptial ordeals of a bride, in the so-called triclinium of the Villa of the Mysteries (or Villa Item)” (Villa of the Mysteries) found near the Herculaneum gate of Pompeii. Each component of these frescoes is separated from the next with strips of a black. One might image the old strips of film found in the 20<sup>th</sup> century; each frame separated by a narrow line from the next, yet all images on the film joined in the context of the film.\n\nThe pageantry of the work in total provides cadence in the characters movements while the artists’ brilliant use of color speaks to the sumptuous atmosphere of the day. Also typical of the day is the artists’ use of mythological themes. Equally important is the quality of this work with its beautiful images that were likely copies of Greek statues or images; a practice common throughout the Roman territories. As summarized in the History of Art, “An artist of exceptional greatness of vision has filled these forms with new life,” further comparing the artist to the famous Greek masters, “whose works are lost to us forever, he (the artist) was their legitimate heir.”( Janson, H.W.)\n\nThere is very scant research material mentioning critiques of wall paintings in these times and nothing is found that specifically mentions the Villa of Mysteries murals; however, there is one critic of the day offering comments on Roman paintings in general terms. In the rule of Emperor Augustus (27 B.C.E.–14 C.E.), an architectural author, Vitruvius, critiqued some of Roman’s (meaning those of Roman territories) frescos. Though the Villa of Mysteries frescoes is of the Second Style, the following is offered for an overview of the genre as judged by Vitruvius; the First Style or, as Vitruvius described it, the Masonry Style utilized color mixed with mortar allowing the artist to create a dimensional work like a low relief carving;  the Second Style (as seen in the frescoes at Villa of Mysteries) was described by Vitruvius thusly, “(this art) took some of its inspiration from the scenery in theatrical productions,” however, the Second Style gained his approval for its depiction of mythological themes; the Third Style was not completely to Vitruvius’ liking as evident with his comment, “(this work is) elegant and exquisite, but it was also oppressive,” utilizing mural designs emphasizing the wall and not as in the second style with its mural motif, illustrating landscapes that seem to melt into a distant haze. (Vitruvius) The Fourth Style was described by Vitruvius as utilizing imagery that is not found in nature, not copied from real life and like other frescoes produce in the same time period, the wall art at the Villa of Mysteries are colorful, sumptuous and carried a distinct mythological theme.\n\nThe masterful work at the Villa of Mysteries (right) is quite different from its counterparts executed by other painters throughout Pompeii and even Rome; though generally speaking, all artistic endeavors of the day reflected the pinnacle of the Roman Empire’s expanse and success. Wall art from most of these artists exhibited less skill than that of the Mystery panels and very little attention to scale from one figure to the next in the same piece.  The most disconcerting aspect of many of the frescos of the time was the very execution of the work. For example, the wall painting found in Herculaneum, <em>Hercules and Telphus</em> c 70 AD (left) reveals that “not only the forms, but even the brushwork varies from one figure to the next.”(Janson, H.W.) The wall art panels in the Villa of Mysteries are not only consistent and coherent they are unified in there execution. Shedding more light on the exceptional quality of this work we turn to H. W. Jansen who asserted, “An artist of exceptional greatness of vision has filled these forms with new life.”(Janson, H.W.)\n\nSimilar works of the day offer interesting contrasts. Comparing <em>Apollo (also referred to as Nero as Apollo) in the image on the left to mythical fresco on the right </em>in the Villa of Mysteries similarities are in evidence and the differences are apparent. Both bodies of work carry themes based upon mythological and both designs have marked similarities: vivid red toned background, a faux marble decorative lower segment, a decorative band above the key images and dividing the images one from the next are columns represented as thin lines.  There are differences in these bodies of work made clear in the figures of each work. The Mysteries panels, according to Jansen, carry a, “dignity of bearing and expression,” and “the wonderful firmness of body and drapery.”(Janson, H.W.) Each panel exhibits life-sized models or portraits of the human form (Dionysus phallus excluded) that are clearly grounded in a realistic setting.\n\nIn contrast to the Villa panels, the Apollo work features small figures float or stand on pedestals with voluptuous, colorful fabrics swelling about them. Above these figures are miniature landscapes set in a perspective, imitating a coffered ceiling. Thematically, each work is divergent. The ritualistic myth of the Dionysus cult is played out in a series of panels of a private home or villa; each depicting a specific scene and an allegory from the times. The Apollo works are found in the Building of the Triclinia, a structure perhaps used as a public house or a restaurant; some scholars even supposed it may have been the head office of an affluent corporation. The images depicting the individual characters and props are clues to the buildings uses: Apollo, eight of the nine muse’s musical instruments and dimensional structures “jutting” out into the room.  Perhaps the Apollo image is that of Nero and the muses represent his family as Nero was renowned as a devotee of music and poetry. Clearly this work is secular in nature and a model of the Fourth Style.\n\nThe content of the imagery is quite risqué. Brochures offering, “Pompeii’s Frisky Frescoes Revealed, Sexy Wall Art Uncovered at Archaeological Site!” (Blanchard, Paul.) in 2011 seemed to pander to the baser human traits.   However, the theme of the work underscores its importance as an example of the cult-like atmosphere of the day; treating sex as sacrament to the cult god, unique to this time and place of the antiquities. The panels; however, are acclaimed art work and praised by artists, historians, and scholars for their significance in the history of artistic expression. From a personal perspective; these images, at first “blush” were amusing; especially that of <em>Dionysus Weighing His Phallus</em> (not pictured though the image at the beginning of this piece offers a similar excesses) which seemed, at least to me, an extreme exaggeration of locker room aggrandizement.  Upon further study, a realization of the historical significance of these colorful, cryptic, and evocative works represents an immeasurable documentation of some of the religious rites in the 1<sup>st</sup> century A.D. is evident; make use of the artist as the historian.  As an artist, I find the style, use of color, and theme a snap-shot of the times when mortality, morality, and the cycle of life were explained through mythology; a time of proving mans resilience in the face of natural disasters.\n\nFuture generations, much as past and present generations, will seek to define creation, evolution, and the mysteries of the universe that elude us today in an artistically expressed documentary and exceptional example of creative style, content, and application of the day.  A study of historical belief patterns and the purposes of those beliefs offer future generations a glimpse into mans’ vulnerability; a fear of mortality and man’s lack of control over the outcome, a thesis poignantly explored by artists throughout human history.\n\nThe frescoes of the Villa of Mysteries are an important body of work for future generations as a way to scrutinize mans quest for immortality and explaining the unknown while offering an excellent example of the artistic mastery of the Roman Empire during a monumental era in its history.\n\nWorks Cited\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\n\"Villa of the Mysteries.\" <em>Encyclopedia Britannica. Encyclopedia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. February 10, 2011.\n\nJanson, H.W.  History of Art, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nVitruvius, \"The Decadence of Fresco Painting,\" in <em>the Ten Books of Architecture</em>. Trans. Morris Hicky Morgan (New York: Dover, 1969): 210–211. Text modified by James Allan Evans.\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nBlanchard, Paul. <em>Blue Guide, Southern Italy; From Rome to Calabrie</em>. New York: W.W. Norton &amp; Company Inc. 1982\n\nThe megalographia (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.  To this date, no other collection like it has been discovered, offering sufficient cause for its preservation.','The Frescoes of the Villa of Mysteries','','inherit','open','open','','167-revision-7','','','2011-02-16 20:12:03','2011-02-17 02:12:03','',167,'http://jeanatacc.com/2011/?p=259',0,'revision','',0),(257,1,'2011-02-16 20:04:16','2011-02-17 02:04:16','<!--more--><em>The megalographia</em> (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.  To this date, no other collection like it has been discovered.\r\n\r\n<!--more-->The artisan employed by to wealthy merchants and the owners of the Villa, Aulus Vettius Restitutus and Aulus Vettius Coniviva, created this work about 60 B.C.E. sometime after the earthquake of 62 B.C.E. (Janson, H.W.)  This frieze represents the “Dionysiac initiation rites and the prenuptial ordeals of a bride, in the so-called triclinium of the Villa of the Mysteries (or Villa Item)” (Villa of the Mysteries) found near the Herculaneum gate of Pompeii. Each component of these frescoes is separated from the next with strips of a black. One might image the old strips of film found in the 20<sup>th</sup> century; each frame separated by a narrow line from the next, yet all images on the film joined in the context of the film.\r\n\r\nThe pageantry of the work in total provides cadence in the characters movements while the artists’ brilliant use of color speaks to the sumptuous atmosphere of the day. Also typical of the day is the artists’ use of mythological themes. Equally important is the quality of this work with its beautiful images that were likely copies of Greek statues or images; a practice common throughout the Roman territories. As summarized in the History of Art, “An artist of exceptional greatness of vision has filled these forms with new life,” further comparing the artist to the famous Greek masters, “whose works are lost to us forever, he (the artist) was their legitimate heir.”( Janson, H.W.)\r\n\r\nThere is very scant research material mentioning critiques of wall paintings in these times and nothing is found that specifically mentions the Villa of Mysteries murals; however, there is one critic of the day offering comments on Roman paintings in general terms. In the rule of Emperor Augustus (27 B.C.E.–14 C.E.), an architectural author, Vitruvius, critiqued some of Roman’s (meaning those of Roman territories) frescos. Though the Villa of Mysteries frescoes is of the Second Style, the following is offered for an overview of the genre as judged by Vitruvius; the First Style or, as Vitruvius described it, the Masonry Style utilized color mixed with mortar allowing the artist to create a dimensional work like a low relief carving;  the Second Style (as seen in the frescoes at Villa of Mysteries) was described by Vitruvius thusly, “(this art) took some of its inspiration from the scenery in theatrical productions,” however, the Second Style gained his approval for its depiction of mythological themes; the Third Style was not completely to Vitruvius’ liking as evident with his comment, “(this work is) elegant and exquisite, but it was also oppressive,” utilizing mural designs emphasizing the wall and not as in the second style with its mural motif, illustrating landscapes that seem to melt into a distant haze. (Vitruvius) The Fourth Style was described by Vitruvius as utilizing imagery that is not found in nature, not copied from real life and like other frescoes produce in the same time period, the wall art at the Villa of Mysteries are colorful, sumptuous and carried a distinct mythological theme.\r\n\r\nThe masterful work at the Villa of Mysteries (right) is quite different from its counterparts executed by other painters throughout Pompeii and even Rome; though generally speaking, all artistic endeavors of the day reflected the pinnacle of the Roman Empire’s expanse and success. Wall art from most of these artists exhibited less skill than that of the Mystery panels and very little attention to scale from one figure to the next in the same piece.  The most disconcerting aspect of many of the frescos of the time was the very execution of the work. For example, the wall painting found in Herculaneum, <em>Hercules and Telphus</em> c 70 AD (left) reveals that “not only the forms, but even the brushwork varies from one figure to the next.”(Janson, H.W.) The wall art panels in the Villa of Mysteries are not only consistent and coherent they are unified in there execution. Shedding more light on the exceptional quality of this work we turn to H. W. Jansen who asserted, “An artist of exceptional greatness of vision has filled these forms with new life.”(Janson, H.W.)\r\n\r\nSimilar works of the day offer interesting contrasts. Comparing <em>Apollo (also referred to as Nero as Apollo) in the image on the left to mythical fresco on the right </em>in the Villa of Mysteries similarities are in evidence and the differences are apparent. Both bodies of work carry themes based upon mythological and both designs have marked similarities: vivid red toned background, a faux marble decorative lower segment, a decorative band above the key images and dividing the images one from the next are columns represented as thin lines.  There are differences in these bodies of work made clear in the figures of each work. The Mysteries panels, according to Jansen, carry a, “dignity of bearing and expression,” and “the wonderful firmness of body and drapery.”(Janson, H.W.) Each panel exhibits life-sized models or portraits of the human form (Dionysus phallus excluded) that are clearly grounded in a realistic setting.\r\n\r\nIn contrast to the Villa panels, the Apollo work features small figures float or stand on pedestals with voluptuous, colorful fabrics swelling about them. Above these figures are miniature landscapes set in a perspective, imitating a coffered ceiling. Thematically, each work is divergent. The ritualistic myth of the Dionysus cult is played out in a series of panels of a private home or villa; each depicting a specific scene and an allegory from the times. The Apollo works are found in the Building of the Triclinia, a structure perhaps used as a public house or a restaurant; some scholars even supposed it may have been the head office of an affluent corporation. The images depicting the individual characters and props are clues to the buildings uses: Apollo, eight of the nine muse’s musical instruments and dimensional structures “jutting” out into the room.  Perhaps the Apollo image is that of Nero and the muses represent his family as Nero was renowned as a devotee of music and poetry. Clearly this work is secular in nature and a model of the Fourth Style.\r\n\r\nThe content of the imagery is quite risqué. Brochures offering, “Pompeii’s Frisky Frescoes Revealed, Sexy Wall Art Uncovered at Archaeological Site!” (Blanchard, Paul.) in 2011 seemed to pander to the baser human traits.   However, the theme of the work underscores its importance as an example of the cult-like atmosphere of the day; treating sex as sacrament to the cult god, unique to this time and place of the antiquities. The panels; however, are acclaimed art work and praised by artists, historians, and scholars for their significance in the history of artistic expression. From a personal perspective; these images, at first “blush” were amusing; especially that of <em>Dionysus Weighing His Phallus</em> (not pictured though the image at the beginning of this piece offers a similar excesses) which seemed, at least to me, an extreme exaggeration of locker room aggrandizement.  Upon further study, a realization of the historical significance of these colorful, cryptic, and evocative works represents an immeasurable documentation of some of the religious rites in the 1<sup>st</sup> century A.D. is evident; make use of the artist as the historian.  As an artist, I find the style, use of color, and theme a snap-shot of the times when mortality, morality, and the cycle of life were explained through mythology; a time of proving mans resilience in the face of natural disasters.\r\n\r\nFuture generations, much as past and present generations, will seek to define creation, evolution, and the mysteries of the universe that elude us today in an artistically expressed documentary and exceptional example of creative style, content, and application of the day.  A study of historical belief patterns and the purposes of those beliefs offer future generations a glimpse into mans’ vulnerability; a fear of mortality and man’s lack of control over the outcome, a thesis poignantly explored by artists throughout human history.\r\n\r\nThe frescoes of the Villa of Mysteries are an important body of work for future generations as a way to scrutinize mans quest for immortality and explaining the unknown while offering an excellent example of the artistic mastery of the Roman Empire during a monumental era in its history.\r\n\r\nWorks Cited\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\n\"Villa of the Mysteries.\" <em>Encyclopedia Britannica. Encyclopedia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. February 10, 2011.\r\n\r\nJanson, H.W.  History of Art, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nVitruvius, \"The Decadence of Fresco Painting,\" in <em>the Ten Books of Architecture</em>. Trans. Morris Hicky Morgan (New York: Dover, 1969): 210–211. Text modified by James Allan Evans.\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nBlanchard, Paul. <em>Blue Guide, Southern Italy; From Rome to Calabrie</em>. New York: W.W. Norton &amp; Company Inc. 1982\r\n\r\nThe megalographia (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.  To this date, no other collection like it has been discovered, offering sufficient cause for its preservation.','The Frescoes of the Villa of Mysteries','','inherit','open','open','','167-revision-6','','','2011-02-16 20:04:16','2011-02-17 02:04:16','',167,'http://jeanatacc.com/2011/?p=257',0,'revision','',0),(264,7,'2011-02-16 20:19:02','2011-02-17 02:19:02','<em>The megalographia</em> (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.  To this date, no other collection like it has been discovered.\n\n<!--more-->The artisan employed by to wealthy merchants and the owners of the Villa, Aulus Vettius Restitutus and Aulus Vettius Coniviva, created this work about 60 B.C.E. sometime after the earthquake of 62 B.C.E. (Janson, H.W.)                                                                                                                                                                                                                                            <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/6a0133ee47fab8970b013485341528970c-320wi.gif\"><img class=\"alignnone size-medium wp-image-263\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/6a0133ee47fab8970b013485341528970c-320wi-300x209.gif\" alt=\"\" width=\"300\" height=\"209\" /></a>\n\nhttp://www.flickr.com/photos/30485517@N00/1416691484\n\nThis frieze represents the “Dionysiac initiation rites and the prenuptial ordeals of a bride, in the so-called triclinium of the Villa of the Mysteries (or Villa Item)” (Villa of the Mysteries) found near the Herculaneum gate of Pompeii. Each component of these frescoes is separated from the next with strips of a black. One might image the old strips of film found in the 20<sup>th</sup> century; each frame separated by a narrow line from the next, yet all images on the film joined in the context of the film.\n\nThe pageantry of the work in total provides cadence in the characters movements while the artists’ brilliant use of color speaks to the sumptuous atmosphere of the day. Also typical of the day is the artists’ use of mythological themes. Equally important is the quality of this work with its beautiful images that were likely copies of Greek statues or images; a practice common throughout the Roman territories. As summarized in the History of Art, “An artist of exceptional greatness of vision has filled these forms with new life,” further comparing the artist to the famous Greek masters, “whose works are lost to us forever, he (the artist) was their legitimate heir.”( Janson, H.W.)\n\nThere is very scant research material mentioning critiques of wall paintings in these times and nothing is found that specifically mentions the Villa of Mysteries murals; however, there is one critic of the day offering comments on Roman paintings in general terms. In the rule of Emperor Augustus (27 B.C.E.–14 C.E.), an architectural author, Vitruvius, critiqued some of Roman’s (meaning those of Roman territories) frescos. Though the Villa of Mysteries frescoes is of the Second Style, the following is offered for an overview of the genre as judged by Vitruvius; the First Style or, as Vitruvius described it, the Masonry Style utilized color mixed with mortar allowing the artist to create a dimensional work like a low relief carving;  the Second Style (as seen in the frescoes at Villa of Mysteries) was described by Vitruvius thusly, “(this art) took some of its inspiration from the scenery in theatrical productions,” however, the Second Style gained his approval for its depiction of mythological themes; the Third Style was not completely to Vitruvius’ liking as evident with his comment, “(this work is) elegant and exquisite, but it was also oppressive,” utilizing mural designs emphasizing the wall and not as in the second style with its mural motif, illustrating landscapes that seem to melt into a distant haze. (Vitruvius) The Fourth Style was described by Vitruvius as utilizing imagery that is not found in nature, not copied from real life and like other frescoes produce in the same time period, the wall art at the Villa of Mysteries are colorful, sumptuous and carried a distinct mythological theme.\n\nThe masterful work at the Villa of Mysteries (right) is quite different from its counterparts executed by other painters throughout Pompeii and even Rome; though generally speaking, all artistic endeavors of the day reflected the pinnacle of the Roman Empire’s expanse and success. Wall art from most of these artists exhibited less skill than that of the Mystery panels and very little attention to scale from one figure to the next in the same piece.  The most disconcerting aspect of many of the frescos of the time was the very execution of the work. For example, the wall painting found in Herculaneum, <em>Hercules and Telphus</em> c 70 AD (left) reveals that “not only the forms, but even the brushwork varies from one figure to the next.”(Janson, H.W.) The wall art panels in the Villa of Mysteries are not only consistent and coherent they are unified in there execution. Shedding more light on the exceptional quality of this work we turn to H. W. Jansen who asserted, “An artist of exceptional greatness of vision has filled these forms with new life.”(Janson, H.W.)\n\nSimilar works of the day offer interesting contrasts. Comparing <em>Apollo (also referred to as Nero as Apollo) in the image on the left to mythical fresco on the right </em>in the Villa of Mysteries similarities are in evidence and the differences are apparent. Both bodies of work carry themes based upon mythological and both designs have marked similarities: vivid red toned background, a faux marble decorative lower segment, a decorative band above the key images and dividing the images one from the next are columns represented as thin lines.  There are differences in these bodies of work made clear in the figures of each work. The Mysteries panels, according to Jansen, carry a, “dignity of bearing and expression,” and “the wonderful firmness of body and drapery.”(Janson, H.W.) Each panel exhibits life-sized models or portraits of the human form (Dionysus phallus excluded) that are clearly grounded in a realistic setting.\n\nIn contrast to the Villa panels, the Apollo work features small figures float or stand on pedestals with voluptuous, colorful fabrics swelling about them. Above these figures are miniature landscapes set in a perspective, imitating a coffered ceiling. Thematically, each work is divergent. The ritualistic myth of the Dionysus cult is played out in a series of panels of a private home or villa; each depicting a specific scene and an allegory from the times. The Apollo works are found in the Building of the Triclinia, a structure perhaps used as a public house or a restaurant; some scholars even supposed it may have been the head office of an affluent corporation. The images depicting the individual characters and props are clues to the buildings uses: Apollo, eight of the nine muse’s musical instruments and dimensional structures “jutting” out into the room.  Perhaps the Apollo image is that of Nero and the muses represent his family as Nero was renowned as a devotee of music and poetry. Clearly this work is secular in nature and a model of the Fourth Style.\n\nThe content of the imagery is quite risqué. Brochures offering, “Pompeii’s Frisky Frescoes Revealed, Sexy Wall Art Uncovered at Archaeological Site!” (Blanchard, Paul.) in 2011 seemed to pander to the baser human traits.   However, the theme of the work underscores its importance as an example of the cult-like atmosphere of the day; treating sex as sacrament to the cult god, unique to this time and place of the antiquities. The panels; however, are acclaimed art work and praised by artists, historians, and scholars for their significance in the history of artistic expression. From a personal perspective; these images, at first “blush” were amusing; especially that of <em>Dionysus Weighing His Phallus</em> (not pictured though the image at the beginning of this piece offers a similar excesses) which seemed, at least to me, an extreme exaggeration of locker room aggrandizement.  Upon further study, a realization of the historical significance of these colorful, cryptic, and evocative works represents an immeasurable documentation of some of the religious rites in the 1<sup>st</sup> century A.D. is evident; make use of the artist as the historian.  As an artist, I find the style, use of color, and theme a snap-shot of the times when mortality, morality, and the cycle of life were explained through mythology; a time of proving mans resilience in the face of natural disasters.\n\nFuture generations, much as past and present generations, will seek to define creation, evolution, and the mysteries of the universe that elude us today in an artistically expressed documentary and exceptional example of creative style, content, and application of the day.  A study of historical belief patterns and the purposes of those beliefs offer future generations a glimpse into mans’ vulnerability; a fear of mortality and man’s lack of control over the outcome, a thesis poignantly explored by artists throughout human history.\n\nThe frescoes of the Villa of Mysteries are an important body of work for future generations as a way to scrutinize mans quest for immortality and explaining the unknown while offering an excellent example of the artistic mastery of the Roman Empire during a monumental era in its history.\n\nWorks Cited\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\n\"Villa of the Mysteries.\" <em>Encyclopedia Britannica. Encyclopedia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. February 10, 2011.\n\nJanson, H.W.  History of Art, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nVitruvius, \"The Decadence of Fresco Painting,\" in <em>the Ten Books of Architecture</em>. Trans. Morris Hicky Morgan (New York: Dover, 1969): 210–211. Text modified by James Allan Evans.\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nBlanchard, Paul. <em>Blue Guide, Southern Italy; From Rome to Calabrie</em>. New York: W.W. Norton &amp; Company Inc. 1982\n\nThe megalographia (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.  To this date, no other collection like it has been discovered, offering sufficient cause for its preservation.\n<div style=\"width: 1px;height: 1px;overflow: hidden\"><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin:0in; 	mso-para-margin-bottom:.0001pt; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]--><em><span>The megalographia</span></em><span> (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.<span> </span>To this date, no other collection like it has been discovered</span></div>','The Frescoes of the Villa of Mysteries','','inherit','open','open','','167-revision-9','','','2011-02-16 20:19:02','2011-02-17 02:19:02','',167,'http://jeanatacc.com/2011/?p=264',0,'revision','',0),(262,34,'2011-02-16 22:12:52','2011-02-17 04:12:52','[gallery columns=\"2\" orderby=\"title\"]\r\n\r\nThe Colosseum is one of the biggest tourist attractions in the world. It\'s detailed artistry, entertaining arena, and facsinating history behind it has had people wondering; Where it came from? How it was constructed? and how has it stayed standing for so many years? <!--more-->\r\n\r\nThe architectural work of this era is based on percision and meticulous technique. The Colosseum is described as having an abundance amount of coloumns and arches. This famous ampitheater is a large cirrcular structure that has an open arena for all types of different entertainment. The Roman artistry portrayed in the Colosseum are the unique paintings, exquisite sculpures and carvings, and all around awe-inspiring architecture. The work of the Colosseum is unusual because it had very unique architecture and engineering details throughtout the entire ampitheater. Its mosaic artistry was one of the most particular out of any ampitheater. The construction started being built between 70 and 72 AD and what makes the Colosseum\'s engineered structured so particular was that wood was the only component involved in the seating area of the arena. The rest was made from a collection of stone and brick. They also had a retractable covering, also known as a velarium, that was there in case of bad weather. It also differed because most ampitheaters were constructed on the outer end of the city, whereas the Colosseum was constructed in the middle of the city.\r\n\r\nThe Colosseum was perceived in this time as one of the most fascinating pieces of art. The Colosseum is known to be \"one of the New Seven Wonders of the World.\" It became a romantic landmark for skillfulled artists and tourists visiting Rome. Charles Dicken\'s thoughts about the Colosseum that he once said was that, \"it is the most impressive, the most stately, the most solemn, grand majestic, mournful sight conceivable. Never, in its bloddiest prime, can the sight of the gigantic Colosseum, full and running over with the lustiest life, have moves one heart, as it must move all who look upon it now, a ruin. God be thanked: a ruin!\" People were also amazed with the lack of tools used to construct such a large piece of art, yet made it sturdy for so many years. It was obligatory for the ruling class to coordinate the games in order to keep the citizens content as the munera (battles or matches) were extremely well liked among the residence of Rome. People in today\'s era think that the work of the Colosseum is  a magnificent piece of art. \"Painters were especially partial to the pictorial appearance of the Colosseum.\" The Colosseum attracts many poets and writers that become infatuated with its exquisite appearance. Some of the differences between reception then and now are that, in the earlier ages, the people had gotten enslaved and used for games and battles. Also in the earlier years, they would only used the Colosseum for entertainment use for things such as, battles that invloved death, animals fighting animals (known as vanatio), or feeding the Christians to the lions. In today\'s era, they use the Colosseum for more of display use and artistic landmarks.\r\n\r\nMy personal reaction to the work of the Colosseum is its architecture and uniquely it was engineered. The engineering of the Colosseum is impeccable and how it is still standing to this day is truely astonishing. This particular part of the Colosseum I find meaningful are the paintings, carvings, and sculptures inside. The definite detail in all of the artwork is part of what makes the Colosseum so beautiful and inspiring. In the earlier era, it really showed the artist\'s skillful ability and what perspective they were wanting to show others. The Colosseum can compare , specifically, to one other piece of architecture in Rome and that\'s the Pantheon. It is still incredibly preserved and \"it is mainly of brick with a great hemispherical dome whose supporting walls are set in concrete.\" Simlilarites  between the Colosseum and the Pantheon is that they were both made for a particular God. The Pantheon was a temple constructed to shelter all of the Gods and was built by Agrippa in 27 B.C.\r\n\r\nI feel that is most significant for future generations to know about the Colosseum is how to construct a building that has stayed up for years and has had very few reconstructed areas. The lack of high tech tools they used and still were able to construct such a strong, prodigious architectural structure is astounding. The Colosseum has become a huge part of  artistic history. If future generations knew how to construct a structure that is as strong and well preserved as the Colosseum, our future generations are going to be on the path of great success with architectural artistry.\r\n\r\nThe Colosseum is one of the most beautiful, well preserved architectural structures  to ever be built. The detail and precision put in to something that aged and complex is fascinating. The Colosseum is the main iconic symbol of Rome and continues to still be Rome’s number one tourist attractions and always will be.\r\n\r\nWORK CITED\r\nBarbi, Guiomar. \"The Colosseum.\" World &amp;amp; I 22.9 (2007): 3. Military &amp;amp; Government Collection. EBSCO. Web. 16 Feb. 2011.','The Colosseum ','','publish','open','open','','the-colosseum','','','2011-02-17 12:54:49','2011-02-17 18:54:49','',0,'http://jeanatacc.com/2011/?p=262',0,'post','',10),(489,36,'2011-02-23 23:09:07','2011-02-24 05:09:07','<em> The Art of Love</em> is a didactic poem created by Ovid (a roman elegiac and epic poet).  It was created about 2-1 BC.  The Art of Love is a poem of love that is divided into three sections: “first telling men how to choose and capture their chosen women, second telling men how to keep this woman, and third directed at women, instructing them how to behave in reaction to the behavior suggested to men in the first two books.” (Reference guide to world literature) The poem consists of metaphors for men to master women.  The whole idea of this poem is love, but for men meaning sexual. For Ovid having a lot of experience he quoted “what I write, believe me, I have practiced.”  The arts of love was a great success that of Ovid and especially during the Middle Ages and high ages.<!--more-->\r\n\r\nThe reason that “The art of love” was created was because Ovid felt what they called Tristia. His poem brought people to think of many views. Some people agree with what he said, but then others felt offended. During its time it won the poet eternal fame.\r\n\r\nMany people today still read the poem of The Art of Love. It’s a great story for both women and men to read.  And in my point of view I agree in today’s society if girl were to read this magnificent work they would agree when Ovid talks about how “if a woman follows a beauty regimen specific to herself and exudes “elegance”, then she will be seen as desirable to many men.” (Poetry connection)  Many men know a day’s judge a women by the way girl is dress and that exactly what Ovid talks about. `By the way that Ovid expresses him in B.C about how women and men are seen, many things have not been changed.\r\n\r\nWhat I found meaningful about The Art of Love is about how Ovid gives both men and women advice on love. It’s surprising when someone from experience talks about what they went through and still give great advice.  But the bad thing about this poem is that it could be taken as two ways: sex or love.\r\n\r\nWork Cited\r\n\r\nGraham, Colin. \"<a href=\"http://go.galegroup.com/ps/i.do?&amp;id=GALE%7CCX3408400709&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\" target=\"_blank\">The Art of Love (Ars Amatoria) Poem by Ovid, C. 1 BC</a>.\" <span style=\"text-decoration: underline;\">Reference Guide to World Literature</span>. Ed. Sara Pendergast and Tom Pendergast. Vol. 2: Works. 3<sup>rd</sup> ed. Detroit: St. James Press, 2003. 1142-1143.\r\n\r\nN.p.: n.p., n.d. <em>Poetry Connection</em>. Web. 23 Feb. 2011.\r\n\r\n\"<a href=\"http://go.galegroup.com/ps/i.do?&amp;id=GALE%7CCX3404704911&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\" target=\"_blank\">Ovid</a>.\" <span style=\"text-decoration: underline;\">Encyclopedia of World Biography</span>. Vol. 12. 2<sup>nd</sup> ed. Detroit: Gale, 2004. 34-36. <span style=\"text-decoration: underline;\">Gale Virtual Reference Library</span>. Gale. Austin Community College Libraries. 31 Jan. 2011','The Art of Love','','publish','open','open','','the-art-of-love','','','2011-02-24 14:40:04','2011-02-24 20:40:04','',0,'http://jeanatacc.com/2011/?p=489',0,'post','',7),(261,7,'2011-02-16 20:12:22','2011-02-17 02:12:22','<em>The megalographia</em> (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.  To this date, no other collection like it has been discovered.\r\n\r\n<!--more-->The artisan employed by to wealthy merchants and the owners of the Villa, Aulus Vettius Restitutus and Aulus Vettius Coniviva, created this work about 60 B.C.E. sometime after the earthquake of 62 B.C.E. (Janson, H.W.)  This frieze represents the “Dionysiac initiation rites and the prenuptial ordeals of a bride, in the so-called triclinium of the Villa of the Mysteries (or Villa Item)” (Villa of the Mysteries) found near the Herculaneum gate of Pompeii. Each component of these frescoes is separated from the next with strips of a black. One might image the old strips of film found in the 20<sup>th</sup> century; each frame separated by a narrow line from the next, yet all images on the film joined in the context of the film.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/IMG_0862.jpg\"><img class=\"alignnone size-medium wp-image-258\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/IMG_0862-225x300.jpg\" alt=\"\" width=\"225\" height=\"300\" /></a>\r\n\r\nThe pageantry of the work in total provides cadence in the characters movements while the artists’ brilliant use of color speaks to the sumptuous atmosphere of the day. Also typical of the day is the artists’ use of mythological themes. Equally important is the quality of this work with its beautiful images that were likely copies of Greek statues or images; a practice common throughout the Roman territories. As summarized in the History of Art, “An artist of exceptional greatness of vision has filled these forms with new life,” further comparing the artist to the famous Greek masters, “whose works are lost to us forever, he (the artist) was their legitimate heir.”( Janson, H.W.)\r\n\r\nThere is very scant research material mentioning critiques of wall paintings in these times and nothing is found that specifically mentions the Villa of Mysteries murals; however, there is one critic of the day offering comments on Roman paintings in general terms. In the rule of Emperor Augustus (27 B.C.E.–14 C.E.), an architectural author, Vitruvius, critiqued some of Roman’s (meaning those of Roman territories) frescos. Though the Villa of Mysteries frescoes is of the Second Style, the following is offered for an overview of the genre as judged by Vitruvius; the First Style or, as Vitruvius described it, the Masonry Style utilized color mixed with mortar allowing the artist to create a dimensional work like a low relief carving;  the Second Style (as seen in the frescoes at Villa of Mysteries) was described by Vitruvius thusly, “(this art) took some of its inspiration from the scenery in theatrical productions,” however, the Second Style gained his approval for its depiction of mythological themes; the Third Style was not completely to Vitruvius’ liking as evident with his comment, “(this work is) elegant and exquisite, but it was also oppressive,” utilizing mural designs emphasizing the wall and not as in the second style with its mural motif, illustrating landscapes that seem to melt into a distant haze. (Vitruvius) The Fourth Style was described by Vitruvius as utilizing imagery that is not found in nature, not copied from real life and like other frescoes produce in the same time period, the wall art at the Villa of Mysteries are colorful, sumptuous and carried a distinct mythological theme.\r\n\r\nThe masterful work at the Villa of Mysteries (right) is quite different from its counterparts executed by other painters throughout Pompeii and even Rome; though generally speaking, all artistic endeavors of the day reflected the pinnacle of the Roman Empire’s expanse and success. Wall art from most of these artists exhibited less skill than that of the Mystery panels and very little attention to scale from one figure to the next in the same piece.  The most disconcerting aspect of many of the frescos of the time was the very execution of the work. For example, the wall painting found in Herculaneum, <em>Hercules and Telphus</em> c 70 AD (left) reveals that “not only the forms, but even the brushwork varies from one figure to the next.”(Janson, H.W.) The wall art panels in the Villa of Mysteries are not only consistent and coherent they are unified in there execution. Shedding more light on the exceptional quality of this work we turn to H. W. Jansen who asserted, “An artist of exceptional greatness of vision has filled these forms with new life.”(Janson, H.W.)\r\n\r\nSimilar works of the day offer interesting contrasts. Comparing <em>Apollo (also referred to as Nero as Apollo) in the image on the left to mythical fresco on the right </em>in the Villa of Mysteries similarities are in evidence and the differences are apparent. Both bodies of work carry themes based upon mythological and both designs have marked similarities: vivid red toned background, a faux marble decorative lower segment, a decorative band above the key images and dividing the images one from the next are columns represented as thin lines.  There are differences in these bodies of work made clear in the figures of each work. The Mysteries panels, according to Jansen, carry a, “dignity of bearing and expression,” and “the wonderful firmness of body and drapery.”(Janson, H.W.) Each panel exhibits life-sized models or portraits of the human form (Dionysus phallus excluded) that are clearly grounded in a realistic setting.\r\n\r\nIn contrast to the Villa panels, the Apollo work features small figures float or stand on pedestals with voluptuous, colorful fabrics swelling about them. Above these figures are miniature landscapes set in a perspective, imitating a coffered ceiling. Thematically, each work is divergent. The ritualistic myth of the Dionysus cult is played out in a series of panels of a private home or villa; each depicting a specific scene and an allegory from the times. The Apollo works are found in the Building of the Triclinia, a structure perhaps used as a public house or a restaurant; some scholars even supposed it may have been the head office of an affluent corporation. The images depicting the individual characters and props are clues to the buildings uses: Apollo, eight of the nine muse’s musical instruments and dimensional structures “jutting” out into the room.  Perhaps the Apollo image is that of Nero and the muses represent his family as Nero was renowned as a devotee of music and poetry. Clearly this work is secular in nature and a model of the Fourth Style.\r\n\r\nThe content of the imagery is quite risqué. Brochures offering, “Pompeii’s Frisky Frescoes Revealed, Sexy Wall Art Uncovered at Archaeological Site!” (Blanchard, Paul.) in 2011 seemed to pander to the baser human traits.   However, the theme of the work underscores its importance as an example of the cult-like atmosphere of the day; treating sex as sacrament to the cult god, unique to this time and place of the antiquities. The panels; however, are acclaimed art work and praised by artists, historians, and scholars for their significance in the history of artistic expression. From a personal perspective; these images, at first “blush” were amusing; especially that of <em>Dionysus Weighing His Phallus</em> (not pictured though the image at the beginning of this piece offers a similar excesses) which seemed, at least to me, an extreme exaggeration of locker room aggrandizement.  Upon further study, a realization of the historical significance of these colorful, cryptic, and evocative works represents an immeasurable documentation of some of the religious rites in the 1<sup>st</sup> century A.D. is evident; make use of the artist as the historian.  As an artist, I find the style, use of color, and theme a snap-shot of the times when mortality, morality, and the cycle of life were explained through mythology; a time of proving mans resilience in the face of natural disasters.\r\n\r\nFuture generations, much as past and present generations, will seek to define creation, evolution, and the mysteries of the universe that elude us today in an artistically expressed documentary and exceptional example of creative style, content, and application of the day.  A study of historical belief patterns and the purposes of those beliefs offer future generations a glimpse into mans’ vulnerability; a fear of mortality and man’s lack of control over the outcome, a thesis poignantly explored by artists throughout human history.\r\n\r\nThe frescoes of the Villa of Mysteries are an important body of work for future generations as a way to scrutinize mans quest for immortality and explaining the unknown while offering an excellent example of the artistic mastery of the Roman Empire during a monumental era in its history.\r\n\r\nWorks Cited\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\n\"Villa of the Mysteries.\" <em>Encyclopedia Britannica. Encyclopedia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. February 10, 2011.\r\n\r\nJanson, H.W.  History of Art, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nVitruvius, \"The Decadence of Fresco Painting,\" in <em>the Ten Books of Architecture</em>. Trans. Morris Hicky Morgan (New York: Dover, 1969): 210–211. Text modified by James Allan Evans.\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nBlanchard, Paul. <em>Blue Guide, Southern Italy; From Rome to Calabrie</em>. New York: W.W. Norton &amp; Company Inc. 1982\r\n\r\nThe megalographia (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.  To this date, no other collection like it has been discovered, offering sufficient cause for its preservation.','The Frescoes of the Villa of Mysteries','','inherit','open','open','','167-revision-8','','','2011-02-16 20:12:22','2011-02-17 02:12:22','',167,'http://jeanatacc.com/2011/?p=261',0,'revision','',0),(263,7,'2011-02-16 20:15:13','2011-02-17 02:15:13','','6a0133ee47fab8970b013485341528970c-320wi','','inherit','open','open','','6a0133ee47fab8970b013485341528970c-320wi','','','2011-02-16 20:15:13','2011-02-17 02:15:13','',167,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/6a0133ee47fab8970b013485341528970c-320wi.gif',0,'attachment','image/gif',0),(265,7,'2011-02-16 20:19:36','2011-02-17 02:19:36','<em>The megalographia</em> (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.  To this date, no other collection like it has been discovered.\r\n\r\n<!--more-->The artisan employed by to wealthy merchants and the owners of the Villa, Aulus Vettius Restitutus and Aulus Vettius Coniviva, created this work about 60 B.C.E. sometime after the earthquake of 62 B.C.E. (Janson, H.W.)                                                                                                                                                                                                                                            <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/6a0133ee47fab8970b013485341528970c-320wi.gif\"><img class=\"alignnone size-medium wp-image-263\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/6a0133ee47fab8970b013485341528970c-320wi-300x209.gif\" alt=\"\" width=\"300\" height=\"209\" /></a>\r\n\r\nhttp://www.flickr.com/photos/30485517@N00/1416691484\r\n\r\nThis frieze represents the “Dionysiac initiation rites and the prenuptial ordeals of a bride, in the so-called triclinium of the Villa of the Mysteries (or Villa Item)” (Villa of the Mysteries) found near the Herculaneum gate of Pompeii. Each component of these frescoes is separated from the next with strips of a black. One might image the old strips of film found in the 20<sup>th</sup> century; each frame separated by a narrow line from the next, yet all images on the film joined in the context of the film.\r\n\r\nThe pageantry of the work in total provides cadence in the characters movements while the artists’ brilliant use of color speaks to the sumptuous atmosphere of the day. Also typical of the day is the artists’ use of mythological themes. Equally important is the quality of this work with its beautiful images that were likely copies of Greek statues or images; a practice common throughout the Roman territories. As summarized in the History of Art, “An artist of exceptional greatness of vision has filled these forms with new life,” further comparing the artist to the famous Greek masters, “whose works are lost to us forever, he (the artist) was their legitimate heir.”( Janson, H.W.)\r\n\r\nThere is very scant research material mentioning critiques of wall paintings in these times and nothing is found that specifically mentions the Villa of Mysteries murals; however, there is one critic of the day offering comments on Roman paintings in general terms. In the rule of Emperor Augustus (27 B.C.E.–14 C.E.), an architectural author, Vitruvius, critiqued some of Roman’s (meaning those of Roman territories) frescos. Though the Villa of Mysteries frescoes is of the Second Style, the following is offered for an overview of the genre as judged by Vitruvius; the First Style or, as Vitruvius described it, the Masonry Style utilized color mixed with mortar allowing the artist to create a dimensional work like a low relief carving;  the Second Style (as seen in the frescoes at Villa of Mysteries) was described by Vitruvius thusly, “(this art) took some of its inspiration from the scenery in theatrical productions,” however, the Second Style gained his approval for its depiction of mythological themes; the Third Style was not completely to Vitruvius’ liking as evident with his comment, “(this work is) elegant and exquisite, but it was also oppressive,” utilizing mural designs emphasizing the wall and not as in the second style with its mural motif, illustrating landscapes that seem to melt into a distant haze. (Vitruvius) The Fourth Style was described by Vitruvius as utilizing imagery that is not found in nature, not copied from real life and like other frescoes produce in the same time period, the wall art at the Villa of Mysteries are colorful, sumptuous and carried a distinct mythological theme.\r\n\r\nThe masterful work at the Villa of Mysteries (right) is quite different from its counterparts executed by other painters throughout Pompeii and even Rome; though generally speaking, all artistic endeavors of the day reflected the pinnacle of the Roman Empire’s expanse and success. Wall art from most of these artists exhibited less skill than that of the Mystery panels and very little attention to scale from one figure to the next in the same piece.  The most disconcerting aspect of many of the frescos of the time was the very execution of the work. For example, the wall painting found in Herculaneum, <em>Hercules and Telphus</em> c 70 AD (left) reveals that “not only the forms, but even the brushwork varies from one figure to the next.”(Janson, H.W.) The wall art panels in the Villa of Mysteries are not only consistent and coherent they are unified in there execution. Shedding more light on the exceptional quality of this work we turn to H. W. Jansen who asserted, “An artist of exceptional greatness of vision has filled these forms with new life.”(Janson, H.W.)\r\n\r\nSimilar works of the day offer interesting contrasts. Comparing <em>Apollo (also referred to as Nero as Apollo) in the image on the left to mythical fresco on the right </em>in the Villa of Mysteries similarities are in evidence and the differences are apparent. Both bodies of work carry themes based upon mythological and both designs have marked similarities: vivid red toned background, a faux marble decorative lower segment, a decorative band above the key images and dividing the images one from the next are columns represented as thin lines.  There are differences in these bodies of work made clear in the figures of each work. The Mysteries panels, according to Jansen, carry a, “dignity of bearing and expression,” and “the wonderful firmness of body and drapery.”(Janson, H.W.) Each panel exhibits life-sized models or portraits of the human form (Dionysus phallus excluded) that are clearly grounded in a realistic setting.\r\n\r\nIn contrast to the Villa panels, the Apollo work features small figures float or stand on pedestals with voluptuous, colorful fabrics swelling about them. Above these figures are miniature landscapes set in a perspective, imitating a coffered ceiling. Thematically, each work is divergent. The ritualistic myth of the Dionysus cult is played out in a series of panels of a private home or villa; each depicting a specific scene and an allegory from the times. The Apollo works are found in the Building of the Triclinia, a structure perhaps used as a public house or a restaurant; some scholars even supposed it may have been the head office of an affluent corporation. The images depicting the individual characters and props are clues to the buildings uses: Apollo, eight of the nine muse’s musical instruments and dimensional structures “jutting” out into the room.  Perhaps the Apollo image is that of Nero and the muses represent his family as Nero was renowned as a devotee of music and poetry. Clearly this work is secular in nature and a model of the Fourth Style.\r\n\r\nThe content of the imagery is quite risqué. Brochures offering, “Pompeii’s Frisky Frescoes Revealed, Sexy Wall Art Uncovered at Archaeological Site!” (Blanchard, Paul.) in 2011 seemed to pander to the baser human traits.   However, the theme of the work underscores its importance as an example of the cult-like atmosphere of the day; treating sex as sacrament to the cult god, unique to this time and place of the antiquities. The panels; however, are acclaimed art work and praised by artists, historians, and scholars for their significance in the history of artistic expression. From a personal perspective; these images, at first “blush” were amusing; especially that of <em>Dionysus Weighing His Phallus</em> (not pictured though the image at the beginning of this piece offers a similar excesses) which seemed, at least to me, an extreme exaggeration of locker room aggrandizement.  Upon further study, a realization of the historical significance of these colorful, cryptic, and evocative works represents an immeasurable documentation of some of the religious rites in the 1<sup>st</sup> century A.D. is evident; make use of the artist as the historian.  As an artist, I find the style, use of color, and theme a snap-shot of the times when mortality, morality, and the cycle of life were explained through mythology; a time of proving mans resilience in the face of natural disasters.\r\n\r\nFuture generations, much as past and present generations, will seek to define creation, evolution, and the mysteries of the universe that elude us today in an artistically expressed documentary and exceptional example of creative style, content, and application of the day.  A study of historical belief patterns and the purposes of those beliefs offer future generations a glimpse into mans’ vulnerability; a fear of mortality and man’s lack of control over the outcome, a thesis poignantly explored by artists throughout human history.\r\n\r\nThe frescoes of the Villa of Mysteries are an important body of work for future generations as a way to scrutinize mans quest for immortality and explaining the unknown while offering an excellent example of the artistic mastery of the Roman Empire during a monumental era in its history.\r\n\r\nWorks Cited\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\n\"Villa of the Mysteries.\" <em>Encyclopedia Britannica. Encyclopedia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. February 10, 2011.\r\n\r\nJanson, H.W.  History of Art, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nVitruvius, \"The Decadence of Fresco Painting,\" in <em>the Ten Books of Architecture</em>. Trans. Morris Hicky Morgan (New York: Dover, 1969): 210–211. Text modified by James Allan Evans.\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nBlanchard, Paul. <em>Blue Guide, Southern Italy; From Rome to Calabrie</em>. New York: W.W. Norton &amp; Company Inc. 1982\r\n\r\nThe megalographia (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.  To this date, no other collection like it has been discovered, offering sufficient cause for its preservation.\r\n<div style=\"width: 1px;height: 1px;overflow: hidden\"><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin:0in; 	mso-para-margin-bottom:.0001pt; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]--><em><span>The megalographia</span></em><span> (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.<span> </span>To this date, no other collection like it has been discovered</span></div>','The Frescoes of the Villa of Mysteries','','inherit','open','open','','167-revision-10','','','2011-02-16 20:19:36','2011-02-17 02:19:36','',167,'http://jeanatacc.com/2011/?p=265',0,'revision','',0),(266,7,'2011-02-16 20:25:20','2011-02-17 02:25:20','','myst_big','','inherit','open','open','','myst_big','','','2011-02-16 20:25:20','2011-02-17 02:25:20','',167,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/myst_big.jpg',0,'attachment','image/jpeg',0),(267,23,'2011-02-16 20:28:49','2011-02-17 02:28:49','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/UrZiggurat.jpg\"><img class=\"aligncenter size-medium wp-image-178\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/UrZiggurat-300x225.jpg\" alt=\"\" width=\"300\" height=\"225\" /></a>\n\nGood Morning all,\n\nMy name is Jay Dongieux.\n\nThe Earth has become uninhabitable as we all know.\n\nHow sad that we have become so self-focused that we have allowed our\n\nworld to crumble and wither away.\n\nThis has occurred partially as a result of fragmented societies.  Families as\n\nwell as individuals focused too much on themselves rather than the planet as a whole. The year is 2100.\n\nOur goal here together today is to choose four art works to carry aboard our\n\nspace ship, to preserve and serve as inspiration for our people.\n\nThe work I have chosen is the Ziggurat of Ur.\n\nThe reason I have chosen this work is because of its architectural, historical\n\nand societal influence. The building of the Ziggurat of Ur showed that huge\n\nthrongs of people could come together for long periods of time to accomplish\n\na common goal for the good of the people as a whole.\n\nIt is architecturally significant in the fact that it was the first known structure\n\nof its kind anywhere in the world.  It showed the architectural awareness of\n\nits builders. It is historically significant because it was\n\nfollowed by many other ziggurats, 32 that we know of today. It was similar to\n\nthe pyramids of Egypt. It is societally significant because , unlike the society\n\nof today where families and communities are splintered off and separated,\n\nthousands of people probably came together for years at a time to build\n\nthis magnificent building.  Society should become more communal ,rather\n\nthan individualistic. When we become so individualistic, we lose focus of the\n\ngood of all mankind as a whole.\n\nA ziggurat is a rectangular tiered temple mound.  Many have seven tiers. The\n\nseven tiers represent the heavens.  It was erected by ancient Babylonians\n\naround 2100 B.C.   Ziggurat is the moderm term derived from\n\nthe Akkadian word ziggurratu. They resembled pyramids, and are made of\n\nmud-brick and stone.  The structures were intended to be ladders to the\n\ngods. Building techniques were mastered by the third\n\nmillenium. Ziggurats are similar to pyramids, because they have\n\nstair-stepped shape and temple tops.  Ziggurats had large stairways, or in\n\nsome cases ramps.\n\nUr is a Sumerian city in southern Iraq. Abraham, from the bible,  home was\n\nknown as Ur. It is along the Euphrates River. Water is essential to human\n\nsurvival, so the location of structures  is of the utmost importance.\n\nAn ur is a \"tell\" , which is an artificial mound containing remains of\n\naccumulated habitants.\n\nThe ziggurat is the most enduring symbol of the Mesopotamian era.  They are\n\nmonuments of their kings, as well as to the combined labor forces of the time.\n\nThe Ziggurat of Ur was basically the center for many community activities\n\nsuch as religion,economy,education and government.\n\nThe Ziggurat of Ur was the first known structure of its kind anywhere.  It\n\nwas constructed under the direction of King Ur-Nammu. Ur-Nammu directed\n\nthe construction of ziggurats in the cities of Eridu, Uruk and Nippur.Nanna is\n\nthe moon god, who was the patron deity and divine king of Ur.Knowledge of\n\nthe peoples life, history, business and art is now fairly complete and detailed.\n\nBoth ziggurats and pyramids were viewed as symbolic representations of the\n\nfirst land to appear on earth.  Ziggurats remind us of the possibility of a higher\n\npower, being, god or divinity figure. It helps us focus on something other\n\nthan ourselves. Taking the focus away from oneself allows us to grow.\n\nThe first serious excavations at Ur were made after World War I by H.R. Hall\n\nof the British Museum.\n\nThe Ziggurat of Ur has also been referred to as the Tower of Babel.\n\nUnlike Egyptian pyramids, ziggurats were never tomb\n\nbuildings. So far , archaeologists have found the remains of thirty-two\n\nziggurats in and around the Mesopotamian plains.\n\nFollowed was  Mr. Leonard Woolley led the well\n\npublished excavations between 1922 and 1934. Woolley\'s excavations gave\n\nus information about Ur. The information from his work focused on walls,\n\ntombs, houses and a religious center. His  work was very important , because\n\nit greatly expanded our knowledge of  history. There is some evidence\n\nthat the occupation of Ur ended with a flood, the  one described in Genesis in\n\nthe Bible. Woolley\'s work showed that the builders were familiar with\n\ncolumns, arches, vaults and domes.  Excavations have revealed\n\nstorerooms, courtyards,other buildings and a shrine. Excavations have also\n\nrevealed massive treasures of gold, silver, bronze and semiprecious stones.\n\nThe ziggurat was an icon of the community at the time. It was the center of\n\nactivity for its people. It was used very frequently and was the most\n\nsignificant structure in the area. Judging by the detail of what was found in\n\nthe excavations of Woolley and Hall, it contained items relevant to all facets\n\nof life in the present, and up to and including present day year 2100 such as\n\nreligion,art,science,industry and government.\n\nThe Ziggurat of Ur should be preserved to remind future generations of how\n\nto accomplish a common goal over a long time period and among a  huge\n\nnumber of people. Society has become so splintered and multi-focused today\n\nthat we have forgotten the common good for immediate gratification.\n\nInternet, cell phones, instant messages, everything is disposable and nothing\n\nis made to last or carry any meaning behind it.  Nothing these days has any\n\nlasting value, permanence or significance. Columns, canals, perfumes and\n\nglass were all very important innovations of the time of the ziggurats.','Ziggurats and Us','','inherit','open','open','','179-revision-4','','','2011-02-16 20:28:49','2011-02-17 02:28:49','',179,'http://jeanatacc.com/2011/?p=267',0,'revision','',0),(268,7,'2011-02-16 20:30:43','2011-02-17 02:30:43','<em>The megalographia</em> (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.  To this date, no other collection like it has been discovered.\n\n<!--more-->The artisan employed by to wealthy merchants and the owners of the Villa, Aulus Vettius Restitutus and Aulus Vettius Coniviva, created this work about 60 B.C.E. sometime after the earthquake of 62 B.C.E. (Janson, H.W.)                                                                                                                                                                                                                                            <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/6a0133ee47fab8970b013485341528970c-320wi.gif\"><img class=\"alignnone size-medium wp-image-263\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/6a0133ee47fab8970b013485341528970c-320wi-300x209.gif\" alt=\"\" width=\"300\" height=\"209\" /></a>\n\nThis frieze represents the “Dionysiac initiation rites and the prenuptial ordeals of a bride, in the so-called triclinium of the Villa of the Mysteries (or Villa Item)” (Villa of the Mysteries) found near the Herculaneum gate of Pompeii. Each component of these frescoes is separated from the next with strips of a black. One might image the old strips of film found in the 20<sup>th</sup> century; each frame separated by a narrow line from the next, yet all images on the film joined in the context of the film.\n\nThe pageantry of the work in total provides cadence in the characters movements while the artists’ brilliant use of color speaks to the sumptuous atmosphere of the day. Also typical of the day is the artists’ use of mythological themes. Equally important is the quality of this work with its beautiful images that were likely copies of Greek statues or images; a practice common throughout the Roman territories. As summarized in the History of Art, “An artist of exceptional greatness of vision has filled these forms with new life,” further comparing the artist to the famous Greek masters, “whose works are lost to us forever, he (the artist) was their legitimate heir.”( Janson, H.W.)\n\nThere is very scant research material mentioning critiques of wall paintings in these times and nothing is found that specifically mentions the Villa of Mysteries murals; however, there is one critic of the day offering comments on Roman paintings in general terms. In the rule of Emperor Augustus (27 B.C.E.–14 C.E.), an architectural author, Vitruvius, critiqued some of Roman’s (meaning those of Roman territories) frescos. Though the Villa of Mysteries frescoes is of the Second Style, the following is offered for an overview of the genre as judged by Vitruvius; the First Style or, as Vitruvius described it, the Masonry Style utilized color mixed with mortar allowing the artist to create a dimensional work like a low relief carving;  the Second Style (as seen in the frescoes at Villa of Mysteries) was described by Vitruvius thusly, “(this art) took some of its inspiration from the scenery in theatrical productions,” however, the Second Style gained his approval for its depiction of mythological themes; the Third Style was not completely to Vitruvius’ liking as evident with his comment, “(this work is) elegant and exquisite, but it was also oppressive,” utilizing mural designs emphasizing the wall and not as in the second style with its mural motif, illustrating landscapes that seem to melt into a distant haze. (Vitruvius) The Fourth Style was described by Vitruvius as utilizing imagery that is not found in nature, not copied from real life and like other frescoes produce in the same time period, the wall art at the Villa of Mysteries are colorful, sumptuous and carried a distinct mythological theme.\n\nThe masterful work at the Villa of Mysteries (right) is quite different from its counterparts executed by other painters throughout Pompeii and even Rome; though generally speaking, all artistic endeavors of the day reflected the pinnacle of the Roman Empire’s expanse and success. Wall art from most of these artists exhibited less skill than that of the Mystery panels and very little attention to scale from one figure to the next in the same piece.  The most disconcerting aspect of many of the frescos of the time was the very execution of the work. For example, the wall painting found in Herculaneum, <em>Hercules and Telphus</em> c 70 AD (left) reveals that “not only the forms, but even the brushwork varies from one figure to the next.”(Janson, H.W.) The wall art panels in the Villa of Mysteries are not only consistent and coherent they are unified in there execution. Shedding more light on the exceptional quality of this work we turn to H. W. Jansen who asserted, “An artist of exceptional greatness of vision has filled these forms with new life.”(Janson, H.W.)\n\nSimilar works of the day offer interesting contrasts. Comparing <em>Apollo (also referred to as Nero as Apollo) in the image on the left to mythical fresco on the right </em>in the Villa of Mysteries similarities are in evidence and the differences are apparent. Both bodies of work carry themes based upon mythological and both designs have marked similarities: vivid red toned background, a faux marble decorative lower segment, a decorative band above the key images and dividing the images one from the next are columns represented as thin lines.  There are differences in these bodies of work made clear in the figures of each work. The Mysteries panels, according to Jansen, carry a, “dignity of bearing and expression,” and “the wonderful firmness of body and drapery.”(Janson, H.W.) Each panel exhibits life-sized models or portraits of the human form (Dionysus phallus excluded) that are clearly grounded in a realistic setting.\n\nIn contrast to the Villa panels, the Apollo work features small figures float or stand on pedestals with voluptuous, colorful fabrics swelling about them. Above these figures are miniature landscapes set in a perspective, imitating a coffered ceiling. Thematically, each work is divergent. The ritualistic myth of the Dionysus cult is played out in a series of panels of a private home or villa; each depicting a specific scene and an allegory from the times. The Apollo works are found in the Building of the Triclinia, a structure perhaps used as a public house or a restaurant; some scholars even supposed it may have been the head office of an affluent corporation. The images depicting the individual characters and props are clues to the buildings uses: Apollo, eight of the nine muse’s musical instruments and dimensional structures “jutting” out into the room.  Perhaps the Apollo image is that of Nero and the muses represent his family as Nero was renowned as a devotee of music and poetry. Clearly this work is secular in nature and a model of the Fourth Style.\n\nThe content of the imagery is quite risqué. Brochures offering, “Pompeii’s Frisky Frescoes Revealed, Sexy Wall Art Uncovered at Archaeological Site!” (Blanchard, Paul.) in 2011 seemed to pander to the baser human traits.   However, the theme of the work underscores its importance as an example of the cult-like atmosphere of the day; treating sex as sacrament to the cult god, unique to this time and place of the antiquities. The panels; however, are acclaimed art work and praised by artists, historians, and scholars for their significance in the history of artistic expression. From a personal perspective; these images, at first “blush” were amusing; especially that of <em>Dionysus Weighing His Phallus</em> (not pictured though the image at the beginning of this piece offers a similar excesses) which seemed, at least to me, an extreme exaggeration of locker room aggrandizement.  Upon further study, a realization of the historical significance of these colorful, cryptic, and evocative works represents an immeasurable documentation of some of the religious rites in the 1<sup>st</sup> century A.D. is evident; make use of the artist as the historian.  As an artist, I find the style, use of color, and theme a snap-shot of the times when mortality, morality, and the cycle of life were explained through mythology; a time of proving mans resilience in the face of natural disasters.\n\nFuture generations, much as past and present generations, will seek to define creation, evolution, and the mysteries of the universe that elude us today in an artistically expressed documentary and exceptional example of creative style, content, and application of the day.  A study of historical belief patterns and the purposes of those beliefs offer future generations a glimpse into mans’ vulnerability; a fear of mortality and man’s lack of control over the outcome, a thesis poignantly explored by artists throughout human history.\n\nThe frescoes of the Villa of Mysteries are an important body of work for future generations as a way to scrutinize mans quest for immortality and explaining the unknown while offering an excellent example of the artistic mastery of the Roman Empire during a monumental era in its history.\n\nWorks Cited\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\n\"Villa of the Mysteries.\" <em>Encyclopedia Britannica. Encyclopedia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. February 10, 2011.\n\nJanson, H.W.  History of Art, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nVitruvius, \"The Decadence of Fresco Painting,\" in <em>the Ten Books of Architecture</em>. Trans. Morris Hicky Morgan (New York: Dover, 1969): 210–211. Text modified by James Allan Evans.\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\n\nBlanchard, Paul. <em>Blue Guide, Southern Italy; From Rome to Calabrie</em>. New York: W.W. Norton &amp; Company Inc. 1982\n\nThe megalographia (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.  To this date, no other collection like it has been discovered, offering sufficient cause for its preservation.\n<div style=\"width: 1px;height: 1px;overflow: hidden\"><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin:0in; 	mso-para-margin-bottom:.0001pt; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]--><em><span>The megalographia</span></em><span> (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.<span> </span>To this date, no other collection like it has been discovered</span></div>','The Frescoes of the Villa of Mysteries','','inherit','open','open','','167-revision-11','','','2011-02-16 20:30:43','2011-02-17 02:30:43','',167,'http://jeanatacc.com/2011/?p=268',0,'revision','',0),(269,7,'2011-02-16 20:34:14','2011-02-17 02:34:14','<em>The megalographia</em> (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.  To this date, no other collection like it has been discovered.\r\n\r\n<!--more-->The artisan employed by to wealthy merchants and the owners of the Villa, Aulus Vettius Restitutus and Aulus Vettius Coniviva, created this work about 60 B.C.E. sometime after the earthquake of 62 B.C.E. (Janson, H.W.)                                                                                                                                                                                                                                            <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/6a0133ee47fab8970b013485341528970c-320wi.gif\"><img class=\"alignnone size-medium wp-image-263\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/6a0133ee47fab8970b013485341528970c-320wi-300x209.gif\" alt=\"\" width=\"300\" height=\"209\" /></a> http://www.flickr.com/photos/30485517@N00/1416691484\r\n\r\nThis frieze represents the “Dionysiac initiation rites and the prenuptial ordeals of a bride, in the so-called triclinium of the Villa of the Mysteries (or Villa Item)” (Villa of the Mysteries) found near the Herculaneum gate of Pompeii. Each component of these frescoes is separated from the next with strips of a black. One might image the old strips of film found in the 20<sup>th</sup> century; each frame separated by a narrow line from the next, yet all images on the film joined in the context of the film.\r\n\r\nThe pageantry of the work in total provides cadence in the characters movements while the artists’ brilliant use of color speaks to the sumptuous atmosphere of the day. Also typical of the day is the artists’ use of mythological themes. Equally important is the quality of this work with its beautiful images that were likely copies of Greek statues or images; a practice common throughout the Roman territories. As summarized in the History of Art, “An artist of exceptional greatness of vision has filled these forms with new life,” further comparing the artist to the famous Greek masters, “whose works are lost to us forever, he (the artist) was their legitimate heir.”( Janson, H.W.)\r\n\r\nThere is very scant research material mentioning critiques of wall paintings in these times and nothing is found that specifically mentions the Villa of Mysteries murals; however, there is one critic of the day offering comments on Roman paintings in general terms. In the rule of Emperor Augustus (27 B.C.E.–14 C.E.), an architectural author, Vitruvius, critiqued some of Roman’s (meaning those of Roman territories) frescos. Though the Villa of Mysteries frescoes is of the Second Style, the following is offered for an overview of the genre as judged by Vitruvius; the First Style or, as Vitruvius described it, the Masonry Style utilized color mixed with mortar allowing the artist to create a dimensional work like a low relief carving;  the Second Style (as seen in the frescoes at Villa of Mysteries) was described by Vitruvius thusly, “(this art) took some of its inspiration from the scenery in theatrical productions,” however, the Second Style gained his approval for its depiction of mythological themes; the Third Style was not completely to Vitruvius’ liking as evident with his comment, “(this work is) elegant and exquisite, but it was also oppressive,” utilizing mural designs emphasizing the wall and not as in the second style with its mural motif, illustrating landscapes that seem to melt into a distant haze. (Vitruvius) The Fourth Style was described by Vitruvius as utilizing imagery that is not found in nature, not copied from real life and like other frescoes produce in the same time period, the wall art at the Villa of Mysteries are colorful, sumptuous and carried a distinct mythological theme.\r\n\r\nThe masterful work at the Villa of Mysteries (right) is quite different from its counterparts executed by other painters throughout Pompeii and even Rome; though generally speaking, all artistic endeavors of the day reflected the pinnacle of the Roman Empire’s expanse and success. Wall art from most of these artists exhibited less skill than that of the Mystery panels and very little attention to scale from one figure to the next in the same piece.  The most disconcerting aspect of many of the frescos of the time was the very execution of the work. For example, the wall painting found in Herculaneum, <em>Hercules and Telphus</em> c 70 AD (left) reveals that “not only the forms, but even the brushwork varies from one figure to the next.”(Janson, H.W.) The wall art panels in the Villa of Mysteries are not only consistent and coherent they are unified in there execution. Shedding more light on the exceptional quality of this work we turn to H. W. Jansen who asserted, “An artist of exceptional greatness of vision has filled these forms with new life.”(Janson, H.W.)\r\n\r\nSimilar works of the day offer interesting contrasts. Comparing <em>Apollo (also referred to as Nero as Apollo) in the image on the left to mythical fresco on the right </em>in the Villa of Mysteries similarities are in evidence and the differences are apparent. Both bodies of work carry themes based upon mythological and both designs have marked similarities: vivid red toned background, a faux marble decorative lower segment, a decorative band above the key images and dividing the images one from the next are columns represented as thin lines.  There are differences in these bodies of work made clear in the figures of each work. The Mysteries panels, according to Jansen, carry a, “dignity of bearing and expression,” and “the wonderful firmness of body and drapery.”(Janson, H.W.) Each panel exhibits life-sized models or portraits of the human form (Dionysus phallus excluded) that are clearly grounded in a realistic setting.\r\n\r\nIn contrast to the Villa panels, the Apollo work features small figures float or stand on pedestals with voluptuous, colorful fabrics swelling about them. Above these figures are miniature landscapes set in a perspective, imitating a coffered ceiling. Thematically, each work is divergent. The ritualistic myth of the Dionysus cult is played out in a series of panels of a private home or villa; each depicting a specific scene and an allegory from the times. The Apollo works are found in the Building of the Triclinia, a structure perhaps used as a public house or a restaurant; some scholars even supposed it may have been the head office of an affluent corporation. The images depicting the individual characters and props are clues to the buildings uses: Apollo, eight of the nine muse’s musical instruments and dimensional structures “jutting” out into the room.  Perhaps the Apollo image is that of Nero and the muses represent his family as Nero was renowned as a devotee of music and poetry. Clearly this work is secular in nature and a model of the Fourth Style.\r\n\r\nThe content of the imagery is quite risqué. Brochures offering, “Pompeii’s Frisky Frescoes Revealed, Sexy Wall Art Uncovered at Archaeological Site!” (Blanchard, Paul.) in 2011 seemed to pander to the baser human traits.   However, the theme of the work underscores its importance as an example of the cult-like atmosphere of the day; treating sex as sacrament to the cult god, unique to this time and place of the antiquities. The panels; however, are acclaimed art work and praised by artists, historians, and scholars for their significance in the history of artistic expression. From a personal perspective; these images, at first “blush” were amusing; especially that of <em>Dionysus Weighing His Phallus</em> (not pictured though the image at the beginning of this piece offers a similar excesses) which seemed, at least to me, an extreme exaggeration of locker room aggrandizement.  Upon further study, a realization of the historical significance of these colorful, cryptic, and evocative works represents an immeasurable documentation of some of the religious rites in the 1<sup>st</sup> century A.D. is evident; make use of the artist as the historian.  As an artist, I find the style, use of color, and theme a snap-shot of the times when mortality, morality, and the cycle of life were explained through mythology; a time of proving mans resilience in the face of natural disasters.\r\n\r\nFuture generations, much as past and present generations, will seek to define creation, evolution, and the mysteries of the universe that elude us today in an artistically expressed documentary and exceptional example of creative style, content, and application of the day.  A study of historical belief patterns and the purposes of those beliefs offer future generations a glimpse into mans’ vulnerability; a fear of mortality and man’s lack of control over the outcome, a thesis poignantly explored by artists throughout human history.\r\n\r\nThe frescoes of the Villa of Mysteries are an important body of work for future generations as a way to scrutinize mans quest for immortality and explaining the unknown while offering an excellent example of the artistic mastery of the Roman Empire during a monumental era in its history.\r\n\r\nWorks Cited\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\n\"Villa of the Mysteries.\" <em>Encyclopedia Britannica. Encyclopedia Britannica Online</em>. Encyclopædia Britannica, 2011. Web. February 10, 2011.\r\n\r\nJanson, H.W.  History of Art, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nVitruvius, \"The Decadence of Fresco Painting,\" in <em>the Ten Books of Architecture</em>. Trans. Morris Hicky Morgan (New York: Dover, 1969): 210–211. Text modified by James Allan Evans.\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nJanson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189\r\n\r\nBlanchard, Paul. <em>Blue Guide, Southern Italy; From Rome to Calabrie</em>. New York: W.W. Norton &amp; Company Inc. 1982\r\n\r\nThe megalographia (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.  To this date, no other collection like it has been discovered, offering sufficient cause for its preservation.\r\n<div style=\"width: 1px;height: 1px;overflow: hidden\"><!--[if gte mso 9]&gt;  Normal 0     false false false  EN-US X-NONE X-NONE                           &lt;![endif]--><!--[if gte mso 9]&gt;                                                                                                                                            &lt;![endif]--><!--[if gte mso 10]&gt; &lt;!   /* Style Definitions */  table.MsoNormalTable 	{mso-style-name:&quot;Table Normal&quot;; 	mso-tstyle-rowband-size:0; 	mso-tstyle-colband-size:0; 	mso-style-noshow:yes; 	mso-style-priority:99; 	mso-style-qformat:yes; 	mso-style-parent:&quot;&quot;; 	mso-padding-alt:0in 5.4pt 0in 5.4pt; 	mso-para-margin:0in; 	mso-para-margin-bottom:.0001pt; 	mso-pagination:widow-orphan; 	font-size:11.0pt; 	font-family:&quot;Calibri&quot;,&quot;sans-serif&quot;; 	mso-ascii-font-family:Calibri; 	mso-ascii-theme-font:minor-latin; 	mso-fareast-font-family:&quot;Times New Roman&quot;; 	mso-fareast-theme-font:minor-fareast; 	mso-hansi-font-family:Calibri; 	mso-hansi-theme-font:minor-latin; 	mso-bidi-font-family:&quot;Times New Roman&quot;; 	mso-bidi-theme-font:minor-bidi;} --> <!--[endif]--><em><span>The megalographia</span></em><span> (portrayal of life-like figure) found in the Villa of Mysteries are a collection of narratives, speaking to the many facets of the Dionysius (Bacchus) Cult and are among the finest examples of fresco or wall art of the period.<span> </span>To this date, no other collection like it has been discovered</span></div>','The Frescoes of the Villa of Mysteries','','inherit','open','open','','167-revision-12','','','2011-02-16 20:34:14','2011-02-17 02:34:14','',167,'http://jeanatacc.com/2011/?p=269',0,'revision','',0),(270,23,'2011-02-16 20:33:02','2011-02-17 02:33:02','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/UrZiggurat.jpg\"><img class=\"aligncenter size-medium wp-image-178\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/UrZiggurat-300x225.jpg\" alt=\"\" width=\"300\" height=\"225\" /></a>\n\nGood Morning all,\n\nMy name is Jay Dongieux.\n\nThe Earth has become uninhabitable as we all know.\n\nHow sad that we have become so self-focused that we have allowed our\n\nworld to crumble and wither away.\n\nThis has occurred partially as a result of fragmented societies.  Families as\n\nwell as individuals focused too much on themselves rather than the planet as a whole. The year is 2100.\n\nOur goal here together today is to choose four art works to carry aboard our\n\nspace ship, to preserve and serve as inspiration for our people.\n\nThe work I have chosen is the Ziggurat of Ur.\n\nThe reason I have chosen this work is because of its architectural, historical\n\nand societal influence. The building of the Ziggurat of Ur showed that huge\n\nthrongs of people could come together for long periods of time to accomplish\n\na common goal for the good of the people as a whole.\n\nIt is architecturally significant in the fact that it was the first known structure\n\nof its kind anywhere in the world.  It showed the architectural awareness of\n\nits builders. It is historically significant because it was\n\nfollowed by many other ziggurats, 32 that we know of today. It was similar to\n\nthe pyramids of Egypt. It is societally significant because , unlike the society\n\nof today where families and communities are splintered off and separated,\n\nthousands of people probably came together for years at a time to build\n\nthis magnificent building.  Society should become more communal ,rather\n\nthan individualistic. When we become so individualistic, we lose focus of the\n\ngood of all mankind as a whole.\n\nA ziggurat is a rectangular tiered temple mound.  Many have seven tiers. The\n\nseven tiers represent the heavens.  It was erected by ancient Babylonians\n\naround 2100 B.C.   Ziggurat is the moderm term derived from\n\nthe Akkadian word ziggurratu. They resembled pyramids, and are made of\n\nmud-brick and stone.  The structures were intended to be ladders to the\n\ngods. Building techniques were mastered by the third\n\nmillenium. Ziggurats are similar to pyramids, because they have\n\nstair-stepped shape and temple tops.  Ziggurats had large stairways, or in\n\nsome cases ramps.\n\nUr is a Sumerian city in southern Iraq. Abraham, from the bible,  home was\n\nknown as Ur. It is along the Euphrates River. Water is essential to human\n\nsurvival, so the location of structures  is of the utmost importance.\n\nAn ur is a \"tell\" , which is an artificial mound containing remains of\n\naccumulated habitants.\n\nThe ziggurat is the most enduring symbol of the Mesopotamian era.  They are\n\nmonuments of their kings, as well as to the combined labor forces of the time.\n\nThe Ziggurat of Ur was basically the center for many community activities\n\nsuch as religion,economy,education and government.\n\nThe Ziggurat of Ur was the first known structure of its kind anywhere.  It\n\nwas constructed under the direction of King Ur-Nammu. Ur-Nammu directed\n\nthe construction of ziggurats in the cities of Eridu, Uruk and Nippur.Nanna is\n\nthe moon god, who was the patron deity and divine king of Ur.Knowledge of\n\nthe peoples life, history, business and art is now fairly complete and detailed.\n\nBoth ziggurats and pyramids were viewed as symbolic representations of the\n\nfirst land to appear on earth.  Ziggurats remind us of the possibility of a higher\n\npower, being, god or divinity figure. It helps us focus on something other\n\nthan ourselves. Taking the focus away from oneself allows us to grow.\n\nThe first serious excavations at Ur were made after World War I by H.R. Hall\n\nof the British Museum.\n\nThe Ziggurat of Ur has also been referred to as the Tower of Babel.\n\nUnlike Egyptian pyramids, ziggurats were never tomb\n\nbuildings. So far , archaeologists have found the remains of thirty-two\n\nziggurats in and around the Mesopotamian plains.\n\nFollowed was  Mr. Leonard Woolley led the well\n\npublished excavations between 1922 and 1934. Woolley\'s excavations gave\n\nus information about Ur. The information from his work focused on walls,\n\ntombs, houses and a religious center. His  work was very important , because\n\nit greatly expanded our knowledge of  history. There is some evidence\n\nthat the occupation of Ur ended with a flood, the  one described in Genesis in\n\nthe Bible. Woolley\'s work showed that the builders were familiar with\n\ncolumns, arches, vaults and domes.  Excavations have revealed\n\nstorerooms, courtyards,other buildings and a shrine. Excavations have also\n\nrevealed massive treasures of gold, silver, bronze and semiprecious stones.\n\nThe ziggurat was an icon of the community at the time. It was the center of\n\nactivity for its people. It was used very frequently and was the most\n\nsignificant structure in the area. Judging by the detail of what was found in\n\nthe excavations of Woolley and Hall, it contained items relevant to all facets\n\nof life in the present, and up to and including present day year 2100 such as\n\nreligion,art,science,industry and government.\n\nThe Ziggurat of Ur should be preserved to remind future generations of how\n\nto accomplish a common goal over a long time period and among a  huge\n\nnumber of people. Society has become so splintered and multi-focused today\n\nthat we have forgotten the common good for immediate gratification.\n\nInternet, cell phones, instant messages, everything is disposable and nothing\n\nis made to last or carry any meaning behind it.  Nothing these days has any\n\nlasting value, permanence or significance. Columns, canals, perfumes and\n\nglass were all very important innovations of the time of the ziggurats.','Ziggurats and Us','','inherit','open','open','','179-revision-5','','','2011-02-16 20:33:02','2011-02-17 02:33:02','',179,'http://jeanatacc.com/2011/?p=270',0,'revision','',0),(271,23,'2011-02-16 20:35:40','2011-02-17 02:35:40','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/UrZiggurat.jpg\"><img class=\"aligncenter size-medium wp-image-178\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/UrZiggurat-300x225.jpg\" alt=\"\" width=\"300\" height=\"225\" /></a>\r\n\r\nGood Morning all,\r\n\r\nMy name is Jay Dongieux.\r\n\r\nThe Earth has become uninhabitable as we all know.\r\n\r\nHow sad that we have become so self-focused that we have allowed our\r\n\r\nworld to crumble and wither away.\r\n\r\nThis has occurred partially as a result of fragmented societies.  Families as\r\n\r\nwell as individuals focused too much on themselves rather than the planet as a whole. The year is 2100.\r\n\r\nOur goal here together today is to choose four art works to carry aboard our\r\n\r\nspace ship, to preserve and serve as inspiration for our people.\r\n\r\nThe work I have chosen is the Ziggurat of Ur.\r\n\r\nThe reason I have chosen this work is because of its architectural, historical\r\n\r\nand societal influence. The building of the Ziggurat of Ur showed that huge\r\n\r\nthrongs of people could come together for long periods of time to accomplish\r\n\r\na common goal for the good of the people as a whole.\r\n\r\nIt is architecturally significant in the fact that it was the first known structure\r\n\r\nof its kind anywhere in the world.  It showed the architectural awareness of\r\n\r\nits builders. It is historically significant because it was\r\n\r\nfollowed by many other ziggurats, 32 that we know of today. It was similar to\r\n\r\nthe pyramids of Egypt. It is societally significant because , unlike the society\r\n\r\nof today where families and communities are splintered off and separated,\r\n\r\nthousands of people probably came together for years at a time to build\r\n\r\nthis magnificent building.  Society should become more communal ,rather\r\n\r\nthan individualistic. When we become so individualistic, we lose focus of the\r\n\r\ngood of all mankind as a whole.\r\n\r\nA ziggurat is a rectangular tiered temple mound.  Many have seven tiers. The\r\n\r\nseven tiers represent the heavens.  It was erected by ancient Babylonians\r\n\r\naround 2100 B.C.   Ziggurat is the moderm term derived from\r\n\r\nthe Akkadian word ziggurratu. They resembled pyramids, and are made of\r\n\r\nmud-brick and stone.  The structures were intended to be ladders to the\r\n\r\ngods. Building techniques were mastered by the third\r\n\r\nmillenium. Ziggurats are similar to pyramids, because they have\r\n\r\nstair-stepped shape and temple tops.  Ziggurats had large stairways, or in\r\n\r\nsome cases ramps.\r\n\r\nUr is a Sumerian city in southern Iraq. Abraham, from the bible,  home was\r\n\r\nknown as Ur. It is along the Euphrates River. Water is essential to human\r\n\r\nsurvival, so the location of structures  is of the utmost importance.\r\n\r\nAn ur is a \"tell\" , which is an artificial mound containing remains of\r\n\r\naccumulated habitants.\r\n\r\nThe ziggurat is the most enduring symbol of the Mesopotamian era.  They are\r\n\r\nmonuments of their kings, as well as to the combined labor forces of the time.\r\n\r\nThe Ziggurat of Ur was basically the center for many community activities\r\n\r\nsuch as religion,economy,education and government.\r\n\r\nThe Ziggurat of Ur was the first known structure of its kind anywhere.  It\r\n\r\nwas constructed under the direction of King Ur-Nammu. Ur-Nammu directed\r\n\r\nthe construction of ziggurats in the cities of Eridu, Uruk and Nippur.Nanna is\r\n\r\nthe moon god, who was the patron deity and divine king of Ur.Knowledge of\r\n\r\nthe peoples life, history, business and art is now fairly complete and detailed.\r\n\r\nBoth ziggurats and pyramids were viewed as symbolic representations of the\r\n\r\nfirst land to appear on earth.  Ziggurats remind us of the possibility of a higher\r\n\r\npower, being, god or divinity figure. It helps us focus on something other\r\n\r\nthan ourselves. Taking the focus away from oneself allows us to grow.\r\n\r\nThe first serious excavations at Ur were made after World War I by H.R. Hall\r\n\r\nof the British Museum.\r\n\r\nThe Ziggurat of Ur has also been referred to as the Tower of Babel.\r\n\r\nUnlike Egyptian pyramids, ziggurats were never tomb\r\n\r\nbuildings. So far , archaeologists have found the remains of thirty-two\r\n\r\nziggurats in and around the Mesopotamian plains.\r\n\r\nFollowed was  Mr. Leonard Woolley led the well\r\n\r\npublished excavations between 1922 and 1934. Woolley\'s excavations gave\r\n\r\nus information about Ur. The information from his work focused on walls,\r\n\r\ntombs, houses and a religious center. His  work was very important , because\r\n\r\nit greatly expanded our knowledge of  history. There is some evidence\r\n\r\nthat the occupation of Ur ended with a flood, the  one described in Genesis in\r\n\r\nthe Bible. Woolley\'s work showed that the builders were familiar with\r\n\r\ncolumns, arches, vaults and domes.  Excavations have revealed\r\n\r\nstorerooms, courtyards,other buildings and a shrine. Excavations have also\r\n\r\nrevealed massive treasures of gold, silver, bronze and semiprecious stones.\r\n\r\nThe ziggurat was an icon of the community at the time. It was the center of\r\n\r\nactivity for its people. It was used very frequently and was the most\r\n\r\nsignificant structure in the area. Judging by the detail of what was found in\r\n\r\nthe excavations of Woolley and Hall, it contained items relevant to all facets\r\n\r\nof life in the present, and up to and including present day year 2100 such as\r\n\r\nreligion,art,science,industry and government.\r\n\r\nThe Ziggurat of Ur should be preserved to remind future generations of how\r\n\r\nto accomplish a common goal over a long time period and among a  huge\r\n\r\nnumber of people. Society has become so splintered and multi-focused today\r\n\r\nthat we have forgotten the common good for immediate gratification.\r\n\r\nInternet, cell phones, instant messages, everything is disposable and nothing\r\n\r\nis made to last or carry any meaning behind it.  Nothing these days has any\r\n\r\nlasting value, permanence or significance. Columns, canals, perfumes and\r\n\r\nglass were all very important innovations of the time of the ziggurats.','Ziggurats and Us','','inherit','open','open','','179-revision-6','','','2011-02-16 20:35:40','2011-02-17 02:35:40','',179,'http://jeanatacc.com/2011/?p=271',0,'revision','',0),(272,7,'2011-02-16 20:37:19','2011-02-17 02:37:19','','Villa','','inherit','open','open','','villa','','','2011-02-16 20:37:19','2011-02-17 02:37:19','',167,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/Villa.jpg',0,'attachment','image/jpeg',0),(273,7,'2011-02-16 20:41:55','2011-02-17 02:41:55','','Hurcules','','inherit','open','open','','hurcules','','','2011-02-16 20:41:55','2011-02-17 02:41:55','',167,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/Hurcules.jpg',0,'attachment','image/jpeg',0),(274,1,'2011-02-16 20:38:23','2011-02-17 02:38:23','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/UrZiggurat.jpg\"><img class=\"aligncenter size-medium wp-image-178\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/UrZiggurat-300x225.jpg\" alt=\"\" width=\"300\" height=\"225\" /></a>\n\nGood Morning all,\n\nMy name is Jay Dongieux.\n\nThe Earth has become uninhabitable as we all know.\n\nHow sad that we have become so self-focused that we have allowed our\n\nworld to crumble and wither away.\n\nThis has occurred partially as a result of fragmented societies.  Families as\n\nwell as individuals focused too much on themselves rather than the planet as a whole. The year is 2100.\n\nOur goal here together today is to choose four art works to carry aboard our\n\nspace ship, to preserve and serve as inspiration for our people.\n\nThe work I have chosen is the Ziggurat of Ur.\n\nThe reason I have chosen this work is because of its architectural, historical\n\nand societal influence. The building of the Ziggurat of Ur showed that huge\n\nthrongs of people could come together for long periods of time to accomplish\n\na common goal for the good of the people as a whole.\n\nIt is architecturally significant in the fact that it was the first known structure\n\nof its kind anywhere in the world.  It showed the architectural awareness of\n\nits builders. It is historically significant because it was\n\nfollowed by many other ziggurats, 32 that we know of today. It was similar to\n\nthe pyramids of Egypt. It is societally significant because , unlike the society\n\nof today where families and communities are splintered off and separated,\n\nthousands of people probably came together for years at a time to build\n\nthis magnificent building.  Society should become more communal ,rather\n\nthan individualistic. When we become so individualistic, we lose focus of the\n\ngood of all mankind as a whole.\n\nA ziggurat is a rectangular tiered temple mound.  Many have seven tiers. The\n\nseven tiers represent the heavens.  It was erected by ancient Babylonians\n\naround 2100 B.C.   Ziggurat is the moderm term derived from\n\nthe Akkadian word ziggurratu. They resembled pyramids, and are made of\n\nmud-brick and stone.  The structures were intended to be ladders to the\n\ngods. Building techniques were mastered by the third\n\nmillenium. Ziggurats are similar to pyramids, because they have\n\nstair-stepped shape and temple tops.  Ziggurats had large stairways, or in\n\nsome cases ramps.\n\nUr is a Sumerian city in southern Iraq. Abraham, from the bible,  home was\n\nknown as Ur. It is along the Euphrates River. Water is essential to human\n\nsurvival, so the location of structures  is of the utmost importance.\n\nAn ur is a \"tell\" , which is an artificial mound containing remains of\n\naccumulated habitants.\n\nThe ziggurat is the most enduring symbol of the Mesopotamian era.  They are\n\nmonuments of their kings, as well as to the combined labor forces of the time.\n\nThe Ziggurat of Ur was basically the center for many community activities\n\nsuch as religion,economy,education and government.\n\nThe Ziggurat of Ur was the first known structure of its kind anywhere.  It\n\nwas constructed under the direction of King Ur-Nammu. Ur-Nammu directed\n\nthe construction of ziggurats in the cities of Eridu, Uruk and Nippur.Nanna is\n\nthe moon god, who was the patron deity and divine king of Ur.Knowledge of\n\nthe peoples life, history, business and art is now fairly complete and detailed.\n\nBoth ziggurats and pyramids were viewed as symbolic representations of the\n\nfirst land to appear on earth.  Ziggurats remind us of the possibility of a higher\n\npower, being, god or divinity figure. It helps us focus on something other\n\nthan ourselves. Taking the focus away from oneself allows us to grow.\n\nThe first serious excavations at Ur were made after World War I by H.R. Hall\n\nof the British Museum.\n\nThe Ziggurat of Ur has also been referred to as the Tower of Babel.\n\nUnlike Egyptian pyramids, ziggurats were never tomb\n\nbuildings. So far , archaeologists have found the remains of thirty-two\n\nziggurats in and around the Mesopotamian plains.\n\nFollowed was  Mr. Leonard Woolley led the well\n\npublished excavations between 1922 and 1934. Woolley\'s excavations gave\n\nus information about Ur. The information from his work focused on walls,\n\ntombs, houses and a religious center. His  work was very important , because\n\nit greatly expanded our knowledge of  history. There is some evidence\n\nthat the occupation of Ur ended with a flood, the  one described in Genesis in\n\nthe Bible. Woolley\'s work showed that the builders were familiar with\n\ncolumns, arches, vaults and domes.  Excavations have revealed\n\nstorerooms, courtyards,other buildings and a shrine. Excavations have also\n\nrevealed massive treasures of gold, silver, bronze and semiprecious stones.\n\nThe ziggurat was an icon of the community at the time. It was the center of\n\nactivity for its people. It was used very frequently and was the most\n\nsignificant structure in the area. Judging by the detail of what was found in\n\nthe excavations of Woolley and Hall, it contained items relevant to all facets\n\nof life in the present, and up to and including present day year 2100 such as\n\nreligion,art,science,industry and government.\n\nThe Ziggurat of Ur should be preserved to remind future generations of how\n\nto accomplish a common goal over a long time period and among a  huge\n\nnumber of people. Society has become so splintered and multi-focused today\n\nthat we have forgotten the common good for immediate gratification.\n\nInternet, cell phones, instant messages, everything is disposable and nothing\n\nis made to last or carry any meaning behind it.  Nothing these days has any\n\nlasting value, permanence or significance. Columns, canals, perfumes and\n\nglass were all very important innovations of the time of the ziggurats.','Ziggurats and Us','','inherit','open','open','','179-revision-7','','','2011-02-16 20:38:23','2011-02-17 02:38:23','',179,'http://jeanatacc.com/2011/?p=274',0,'revision','',0),(275,1,'2011-02-16 20:44:07','2011-02-17 02:44:07','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/UrZiggurat.jpg\"><img class=\"aligncenter size-medium wp-image-178\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/UrZiggurat-300x225.jpg\" alt=\"\" width=\"300\" height=\"225\" /></a>\n\nGood Morning all,\n\nMy name is Jay Dongieux.\n\nThe Earth has become uninhabitable as we all know.\n\nHow sad that we have become so self-focused that we have allowed our world to crumble and wither away.\n\nThis has occurred partially as a result of fragmented societies.  Families as\n\nwell as individuals focused too much on themselves rather than the planet as a whole. The year is 2100.\n\nOur goal here together today is to choose four art works to carry aboard our\n\nspace ship, to preserve and serve as inspiration for our people.\n\nThe work I have chosen is the Ziggurat of Ur.\n\nThe reason I have chosen this work is because of its architectural, historical\n\nand societal influence. The building of the Ziggurat of Ur showed that huge\n\nthrongs of people could come together for long periods of time to accomplish\n\na common goal for the good of the people as a whole.\n\nIt is architecturally significant in the fact that it was the first known structure\n\nof its kind anywhere in the world.  It showed the architectural awareness of\n\nits builders. It is historically significant because it was\n\nfollowed by many other ziggurats, 32 that we know of today. It was similar to\n\nthe pyramids of Egypt. It is societally significant because , unlike the society\n\nof today where families and communities are splintered off and separated,\n\nthousands of people probably came together for years at a time to build\n\nthis magnificent building.  Society should become more communal ,rather\n\nthan individualistic. When we become so individualistic, we lose focus of the\n\ngood of all mankind as a whole.\n\nA ziggurat is a rectangular tiered temple mound.  Many have seven tiers. The\n\nseven tiers represent the heavens.  It was erected by ancient Babylonians\n\naround 2100 B.C.   Ziggurat is the moderm term derived from\n\nthe Akkadian word ziggurratu. They resembled pyramids, and are made of\n\nmud-brick and stone.  The structures were intended to be ladders to the\n\ngods. Building techniques were mastered by the third\n\nmillenium. Ziggurats are similar to pyramids, because they have\n\nstair-stepped shape and temple tops.  Ziggurats had large stairways, or in\n\nsome cases ramps.\n\nUr is a Sumerian city in southern Iraq. Abraham, from the bible,  home was\n\nknown as Ur. It is along the Euphrates River. Water is essential to human\n\nsurvival, so the location of structures  is of the utmost importance.\n\nAn ur is a \"tell\" , which is an artificial mound containing remains of\n\naccumulated habitants.\n\nThe ziggurat is the most enduring symbol of the Mesopotamian era.  They are\n\nmonuments of their kings, as well as to the combined labor forces of the time.\n\nThe Ziggurat of Ur was basically the center for many community activities\n\nsuch as religion,economy,education and government.\n\nThe Ziggurat of Ur was the first known structure of its kind anywhere.  It\n\nwas constructed under the direction of King Ur-Nammu. Ur-Nammu directed\n\nthe construction of ziggurats in the cities of Eridu, Uruk and Nippur.Nanna is\n\nthe moon god, who was the patron deity and divine king of Ur.Knowledge of\n\nthe peoples life, history, business and art is now fairly complete and detailed.\n\nBoth ziggurats and pyramids were viewed as symbolic representations of the\n\nfirst land to appear on earth.  Ziggurats remind us of the possibility of a higher\n\npower, being, god or divinity figure. It helps us focus on something other\n\nthan ourselves. Taking the focus away from oneself allows us to grow.\n\nThe first serious excavations at Ur were made after World War I by H.R. Hall\n\nof the British Museum.\n\nThe Ziggurat of Ur has also been referred to as the Tower of Babel.\n\nUnlike Egyptian pyramids, ziggurats were never tomb\n\nbuildings. So far , archaeologists have found the remains of thirty-two\n\nziggurats in and around the Mesopotamian plains.\n\nFollowed was  Mr. Leonard Woolley led the well\n\npublished excavations between 1922 and 1934. Woolley\'s excavations gave\n\nus information about Ur. The information from his work focused on walls,\n\ntombs, houses and a religious center. His  work was very important , because\n\nit greatly expanded our knowledge of  history. There is some evidence\n\nthat the occupation of Ur ended with a flood, the  one described in Genesis in\n\nthe Bible. Woolley\'s work showed that the builders were familiar with\n\ncolumns, arches, vaults and domes.  Excavations have revealed\n\nstorerooms, courtyards,other buildings and a shrine. Excavations have also\n\nrevealed massive treasures of gold, silver, bronze and semiprecious stones.\n\nThe ziggurat was an icon of the community at the time. It was the center of\n\nactivity for its people. It was used very frequently and was the most\n\nsignificant structure in the area. Judging by the detail of what was found in\n\nthe excavations of Woolley and Hall, it contained items relevant to all facets\n\nof life in the present, and up to and including present day year 2100 such as\n\nreligion,art,science,industry and government.\n\nThe Ziggurat of Ur should be preserved to remind future generations of how\n\nto accomplish a common goal over a long time period and among a  huge\n\nnumber of people. Society has become so splintered and multi-focused today\n\nthat we have forgotten the common good for immediate gratification.\n\nInternet, cell phones, instant messages, everything is disposable and nothing\n\nis made to last or carry any meaning behind it.  Nothing these days has any\n\nlasting value, permanence or significance. Columns, canals, perfumes and\n\nglass were all very important innovations of the time of the ziggurats.','Ziggurats and Us','','inherit','open','open','','179-revision-8','','','2011-02-16 20:44:07','2011-02-17 02:44:07','',179,'http://jeanatacc.com/2011/?p=275',0,'revision','',0),(283,7,'2011-02-16 21:02:50','2011-02-17 03:02:50','','images','','inherit','open','open','','images','','','2011-02-16 21:02:50','2011-02-17 03:02:50','',167,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/images.jpg',0,'attachment','image/jpeg',0),(276,1,'2011-02-16 20:44:11','2011-02-17 02:44:11','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/UrZiggurat.jpg\"><img class=\"aligncenter size-medium wp-image-178\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/UrZiggurat-300x225.jpg\" alt=\"\" width=\"300\" height=\"225\" /></a>\r\n\r\nGood Morning all,\r\n\r\nMy name is Jay Dongieux.\r\n\r\nThe Earth has become uninhabitable as we all know.\r\n\r\nHow sad that we have become so self-focused that we have allowed our world to crumble and wither away.\r\n\r\nThis has occurred partially as a result of fragmented societies.  Families as\r\n\r\nwell as individuals focused too much on themselves rather than the planet as a whole. The year is 2100.\r\n\r\nOur goal here together today is to choose four art works to carry aboard our\r\n\r\nspace ship, to preserve and serve as inspiration for our people.\r\n\r\nThe work I have chosen is the Ziggurat of Ur.\r\n\r\nThe reason I have chosen this work is because of its architectural, historical\r\n\r\nand societal influence. The building of the Ziggurat of Ur showed that huge\r\n\r\nthrongs of people could come together for long periods of time to accomplish\r\n\r\na common goal for the good of the people as a whole.\r\n\r\nIt is architecturally significant in the fact that it was the first known structure\r\n\r\nof its kind anywhere in the world.  It showed the architectural awareness of\r\n\r\nits builders. It is historically significant because it was\r\n\r\nfollowed by many other ziggurats, 32 that we know of today. It was similar to\r\n\r\nthe pyramids of Egypt. It is societally significant because , unlike the society\r\n\r\nof today where families and communities are splintered off and separated,\r\n\r\nthousands of people probably came together for years at a time to build\r\n\r\nthis magnificent building.  Society should become more communal ,rather\r\n\r\nthan individualistic. When we become so individualistic, we lose focus of the\r\n\r\ngood of all mankind as a whole.\r\n\r\nA ziggurat is a rectangular tiered temple mound.  Many have seven tiers. The\r\n\r\nseven tiers represent the heavens.  It was erected by ancient Babylonians\r\n\r\naround 2100 B.C.   Ziggurat is the moderm term derived from\r\n\r\nthe Akkadian word ziggurratu. They resembled pyramids, and are made of\r\n\r\nmud-brick and stone.  The structures were intended to be ladders to the\r\n\r\ngods. Building techniques were mastered by the third\r\n\r\nmillenium. Ziggurats are similar to pyramids, because they have\r\n\r\nstair-stepped shape and temple tops.  Ziggurats had large stairways, or in\r\n\r\nsome cases ramps.\r\n\r\nUr is a Sumerian city in southern Iraq. Abraham, from the bible,  home was\r\n\r\nknown as Ur. It is along the Euphrates River. Water is essential to human\r\n\r\nsurvival, so the location of structures  is of the utmost importance.\r\n\r\nAn ur is a \"tell\" , which is an artificial mound containing remains of\r\n\r\naccumulated habitants.\r\n\r\nThe ziggurat is the most enduring symbol of the Mesopotamian era.  They are\r\n\r\nmonuments of their kings, as well as to the combined labor forces of the time.\r\n\r\nThe Ziggurat of Ur was basically the center for many community activities\r\n\r\nsuch as religion,economy,education and government.\r\n\r\nThe Ziggurat of Ur was the first known structure of its kind anywhere.  It\r\n\r\nwas constructed under the direction of King Ur-Nammu. Ur-Nammu directed\r\n\r\nthe construction of ziggurats in the cities of Eridu, Uruk and Nippur.Nanna is\r\n\r\nthe moon god, who was the patron deity and divine king of Ur.Knowledge of\r\n\r\nthe peoples life, history, business and art is now fairly complete and detailed.\r\n\r\nBoth ziggurats and pyramids were viewed as symbolic representations of the\r\n\r\nfirst land to appear on earth.  Ziggurats remind us of the possibility of a higher\r\n\r\npower, being, god or divinity figure. It helps us focus on something other\r\n\r\nthan ourselves. Taking the focus away from oneself allows us to grow.\r\n\r\nThe first serious excavations at Ur were made after World War I by H.R. Hall\r\n\r\nof the British Museum.\r\n\r\nThe Ziggurat of Ur has also been referred to as the Tower of Babel.\r\n\r\nUnlike Egyptian pyramids, ziggurats were never tomb\r\n\r\nbuildings. So far , archaeologists have found the remains of thirty-two\r\n\r\nziggurats in and around the Mesopotamian plains.\r\n\r\nFollowed was  Mr. Leonard Woolley led the well\r\n\r\npublished excavations between 1922 and 1934. Woolley\'s excavations gave\r\n\r\nus information about Ur. The information from his work focused on walls,\r\n\r\ntombs, houses and a religious center. His  work was very important , because\r\n\r\nit greatly expanded our knowledge of  history. There is some evidence\r\n\r\nthat the occupation of Ur ended with a flood, the  one described in Genesis in\r\n\r\nthe Bible. Woolley\'s work showed that the builders were familiar with\r\n\r\ncolumns, arches, vaults and domes.  Excavations have revealed\r\n\r\nstorerooms, courtyards,other buildings and a shrine. Excavations have also\r\n\r\nrevealed massive treasures of gold, silver, bronze and semiprecious stones.\r\n\r\nThe ziggurat was an icon of the community at the time. It was the center of\r\n\r\nactivity for its people. It was used very frequently and was the most\r\n\r\nsignificant structure in the area. Judging by the detail of what was found in\r\n\r\nthe excavations of Woolley and Hall, it contained items relevant to all facets\r\n\r\nof life in the present, and up to and including present day year 2100 such as\r\n\r\nreligion,art,science,industry and government.\r\n\r\nThe Ziggurat of Ur should be preserved to remind future generations of how\r\n\r\nto accomplish a common goal over a long time period and among a  huge\r\n\r\nnumber of people. Society has become so splintered and multi-focused today\r\n\r\nthat we have forgotten the common good for immediate gratification.\r\n\r\nInternet, cell phones, instant messages, everything is disposable and nothing\r\n\r\nis made to last or carry any meaning behind it.  Nothing these days has any\r\n\r\nlasting value, permanence or significance. Columns, canals, perfumes and\r\n\r\nglass were all very important innovations of the time of the ziggurats.','Ziggurats and Us','','inherit','open','open','','179-revision-9','','','2011-02-16 20:44:11','2011-02-17 02:44:11','',179,'http://jeanatacc.com/2011/?p=276',0,'revision','',0);
