INSERT INTO `wp_posts` VALUES (277,7,'2011-02-16 20:44:30','2011-02-17 02:44:30','<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> http://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\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>\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.\n\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\n\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.)\n\nSimilar works of the day offer interesting contrasts. Comparing <em>Apollo (also referred to as Nero as Apollo) in the image above 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-13','','','2011-02-16 20:44:30','2011-02-17 02:44:30','',167,'http://jeanatacc.com/2011/?p=277',0,'revision','',0),(278,1,'2011-02-16 20:44:53','2011-02-17 02:44:53','<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\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-10','','','2011-02-16 20:44:53','2011-02-17 02:44:53','',179,'http://jeanatacc.com/2011/?p=278',0,'revision','',0),(279,1,'2011-02-16 20:45:08','2011-02-17 02:45:08','<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-11','','','2011-02-16 20:45:08','2011-02-17 02:45:08','',179,'http://jeanatacc.com/2011/?p=279',0,'revision','',0),(280,7,'2011-02-16 20:56:56','2011-02-17 02:56:56','','Apollo','','inherit','open','open','','apollo','','','2011-02-16 20:56:56','2011-02-17 02:56:56','',167,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/Apollo.jpg',0,'attachment','image/jpeg',0),(285,7,'2011-02-16 21:11:55','2011-02-17 03:11:55','','Villa','','inherit','open','open','','villa-2','','','2011-02-16 21:11:55','2011-02-17 03:11:55','',167,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/Villa1.jpg',0,'attachment','image/jpeg',0),(281,7,'2011-02-16 20:59:50','2011-02-17 02:59:50','','Apollo','','inherit','open','open','','apollo-2','','','2011-02-16 20:59:50','2011-02-17 02:59:50','',167,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/Apollo1.jpg',0,'attachment','image/jpeg',0),(282,23,'2011-02-16 20:45:50','2011-02-17 02:45:50','<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\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 well 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 space 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-12','','','2011-02-16 20:45:50','2011-02-17 02:45:50','',179,'http://jeanatacc.com/2011/?p=282',0,'revision','',0),(284,7,'2011-02-16 21:06:37','2011-02-17 03:06:37','<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> http://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\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>\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.\n\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\n\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.)\n\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\n\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.\n\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>\n\nhttp://www.fr-novaroma.com/E_cards/\n\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.\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-14','','','2011-02-16 21:06:37','2011-02-17 03:06:37','',167,'http://jeanatacc.com/2011/?p=284',0,'revision','',0),(343,1,'2011-02-16 16:43:29','2011-02-16 22:43:29','Oedipus the King (Sophocles) TCP1\r\n\r\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>\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.  \r\n\r\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)\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\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. \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\n Works 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)','','inherit','open','open','','235-revision-3','','','2011-02-16 16:43:29','2011-02-16 22:43:29','',235,'http://jeanatacc.com/2011/?p=343',0,'revision','',0),(286,7,'2011-02-16 21:15:46','2011-02-17 03:15:46','<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> http://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\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>\n\nhttp://www.corbisimages.com/Enlargement/MI001556.html\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.\n\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\n\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.)\n\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\n\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.\n\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>\n\nhttp://www.fr-novaroma.com/E_cards/\n\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.\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-15','','','2011-02-16 21:15:46','2011-02-17 03:15:46','',167,'http://jeanatacc.com/2011/?p=286',0,'revision','',0),(287,7,'2011-02-16 21:24:28','2011-02-17 03:24:28','','myst_big','','inherit','open','open','','myst_big-2','','','2011-02-16 21:24:28','2011-02-17 03:24:28','',167,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/myst_big1.jpg',0,'attachment','image/jpeg',0),(288,7,'2011-02-16 21:21:52','2011-02-17 03:21:52','<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> http://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\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>\n\nhttp://www.corbisimages.com/Enlargement/MI001556.html\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.\n\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\n\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.)\n\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\n\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.\n\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>\n\nhttp://www.fr-novaroma.com/E_cards/\n\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.\n\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. 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-16','','','2011-02-16 21:21:52','2011-02-17 03:21:52','',167,'http://jeanatacc.com/2011/?p=288',0,'revision','',0),(289,7,'2011-02-16 21:28:01','2011-02-17 03:28:01','','images','','inherit','open','open','','images-2','','','2011-02-16 21:28:01','2011-02-17 03:28:01','',167,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/images1.jpg',0,'attachment','image/jpeg',0),(290,7,'2011-02-16 21:29:03','2011-02-17 03:29:03','<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.)                                                                                                                                                                                                                                            <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\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\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>\n\nhttp://www.corbisimages.com/Enlargement/MI001556.html\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.\n\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\n\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.)\n\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\n\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.\n\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>\n\nhttp://www.fr-novaroma.com/E_cards/\n\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.\n\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.\n\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>\n\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. 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-17','','','2011-02-16 21:29:03','2011-02-17 03:29:03','',167,'http://jeanatacc.com/2011/?p=290',0,'revision','',0),(291,31,'2011-02-16 21:31:54','2011-02-17 03:31:54','','catullus','','inherit','open','open','','catullus','','','2011-02-16 21:31:54','2011-02-17 03:31:54','',188,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/catullus.jpg',0,'attachment','image/jpeg',0),(292,31,'2011-02-16 21:33:05','2011-02-17 03:33:05','Catullus was a Greek poet who was preserved through time. His Latin poetry is used commonly to teach Latin and the art of poetry. He is known and seen as a father to modern day poetry despite his reputation of being an abnormal poet in his time. Between his use of elegiac couplets you’re able to see the fall of Roman, through Gaius Valerius Catullus eyes. That is what makes Catullus’s poetry worth saving.<!--more-->\n\nI don’t believe any of Catullus’s work should be condensed from his 116 poems we have today but if his work had to be reduced to <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/catullus.jpg\"><img class=\"size-medium wp-image-291 alignright\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/catullus-300x265.jpg\" alt=\"book of catullus\'s poetry\" width=\"300\" height=\"265\" /></a>preserver for the future I think it would be well noted to keep Catullus’s love poems.  These poems I think preserver the charm, angst, and stunning sarcasm of Catullus. They provide a rare looking glass into the past. His work reminds us that history was human, not just text, sculptures, and paints. In this way it is very unique and allows us to see socially what it was like between 84-54 BC in upper class society. There were many other poets of the time of Catullus. Catullus fell deeply in love, probably with Clodia, sister of Cicero\'s opponent Publius Clodius. She was suspected of murdering her husband. Catullus wrote to his beloved, addressed as Lesbia (to reference Sappho of the Lesbos poems), a series of superb little poems that run from early passion and tenderness to the hatred and disillusionment that overwhelmed him after his mistress was faithless. (Catullus) Also throughout his poems he shows a grudge match against Cicero another poet of his time, whom dismisses Catullus’s poems as abnormal. It is noted that Catullus was never considered a “canonical school author” do to the sexual content of some and the silliness of his other poems, but his work was well appreciated for its uniqueness. He is however now seen as one of the best lyricists of all time despite of being discredited by others in his time. Today he is studied often in poetry and Latin he is seen as a father of modern lyrical poetry although it is understood that he did not invent the meter or the elegiac couplets. His work is widely translated and picked apart in Latin today to understand what he was saying. There are even debates on the ownership of 3 of his poems that are believed to have been written by someone else. To this day scholars debate on his works sarcasm and meaning.\n\nIt’s unusual that Catullus’s work was preserved through time, with 116 of his poems are still available today. In the fourteenth century, a single manuscript containing the 116 poems was discovered in the poet’s native Verona. That manuscript disappeared in the following century, but two copies had been made, and one of these survives to the present day, and is housed at Oxford University in England. (Rankin) But Catullus’s work also unique in content specifically Catullus’s blazing sarcasm throughout his work. His work had a flare of emotion that made is work stand out from others throughout history.\n\nThe Catullus’s poetry is typical of its era do to its meter and content.  Many love poems were also made during his era the Lesbos Island poems of Sappho.  It was also common to use the hendecasyllabic meter and elegiac couplets. Hendecasyllabic meter comes from a fourth century poet Phalaecus, the name comes from the fact that there are 11 syllables in each line.  Elegiac couplets are dactylic hexameter or dactylic pentameter that where commonly used in roman epics and love poems. (couplet)\n<p style=\"text-align: left\">“Asinius Marrucinus, left hand\nYou do not use well: in joke and wine\nYou lift the napkins of the more careless.\nDo you think that this is witty? It escapes you, foolish man\nThis thing is utterly sordid and unattractive.\nDo you not believe me? Believe you brother Pollio\nWho would wish that your acts of stealing\nBe changed for even a talent - for the boy\nIs full of charm and wit.\nTherefore expect either 300 hendecasyllabic verses\nOr send back the napkin to me,\nWhich does not move me by means of price,\nBut rather it is a souvenir of my friend.\nFor Fabullus and Veranius sent Saetaban napkins\nFrom the Spaniards to me as a gift;\nIt is necessary that I love these things\nAs I love my little Veranius and Fabullus.”( Drudy)</p>\n“stop stealing the napkins!: to Asinius Marrucinus, “ Catullus’s 12<sup>th</sup> poem. It shows blazing sarcasm and anger towards his napkin stealing friend Asinius Marrucinus. It’s a very relatable poem and even gives us a look into social customs at the time, by letting us know that it was disgusting to take someone’s napkin at a dinner party and also lets us know Rome had social hygiene standards. Catullus is as insufferable as Simmon from American idol. They both critiquing peoples actions with a stern eye and strong language.\n\n“…I can’t\nspeak — my tongue is broken;\na thin flame runs under\nmy skin; seeing nothing,\nhearing only my own ears\ndrumming, I drip with sweat;\ntrembling shakes my body\n\nand I turn paler than\ndry grass…”(Graves)\n\nCompared to a piece of Sappho’s poem (another famous poet at the time) showing that poets of the era were capability of writing a beautiful piece, but doesn’t give us a looking glass into society like Catullus’s works do. She was also well credited in her time even admired by Catullus. She is still noted to be to a great if not the greatest lyric poets of all time today.\n\nI believe what is most meaningful about his work is that when you read his work you become him. There are very few pieces of history that allow you to read about that person’s life it really makes me feel less of disconnect from the time. You become a person in the end of the Roman Empire. For Future generations to truly understand the importance of Catullus one must read his work. Otherwise I don’t believe future generations will understand why his work is beloved and debated about, or see Rome though Catullus’s looking glass.\n\n<strong>Works Cited</strong>\n\n\"Catullus.\" <em>Columbia Electronic Encyclopedia, 6th Edition</em> (2010): 1. <em>MasterFILE Premier</em>. EBSCO. Web. 16 Feb. 2011.\n\nRankin, Thomas. \"Catullus.\" <em>Magill’s Survey of World Literature, Revised Edition</em> (2009): 1-5. <em>MagillOnLiterature Plus</em>. EBSCO. Web. 16 Feb. 2011.\n\n\"couplet.\" (n.d.): <em>Facts on File: Bloom\'s Literary Reference Online Database</em>. EBSCO. Web. 16 Feb. 2011.\n\nGraves, Roy Neil. \"Sappho.\" <em>Magill’s Survey of World Literature, Revised Edition</em> (2009): 1-5. <em>MagillOnLiterature Plus</em>. EBSCO. Web. 16 Feb. 2011.\n\nDrudy, Greg. “Carmen 12.”<em> Gaius Valerius Catullus</em>. 5 Dec. 1997. 16 Feb. 2010 &lt; http://rudy.negenborn.net/catullus/text2/e12.htm&gt;','Catullus’s Poetic Looking Glass','','inherit','open','open','','188-revision','','','2011-02-16 21:33:05','2011-02-17 03:33:05','',188,'http://jeanatacc.com/2011/?p=292',0,'revision','',0),(293,7,'2011-02-16 21:33:31','2011-02-17 03:33:31','<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> http://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\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>\n\nhttp://www.corbisimages.com/Enlargement/MI001556.html\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.\n\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\n\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.)\n\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\n\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.\n\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>\n\nhttp://www.fr-novaroma.com/E_cards/\n\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.\n\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.\n\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>\n\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. 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\n\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.\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-18','','','2011-02-16 21:33:31','2011-02-17 03:33:31','',167,'http://jeanatacc.com/2011/?p=293',0,'revision','',0),(295,31,'2011-02-16 21:34:52','2011-02-17 03:34:52','Catullus was a Greek poet who was preserved through time. His Latin poetry is used commonly to teach Latin and the art of poetry. He is known and seen as a father to modern day poetry despite his reputation of being an abnormal poet in his time. Between his use of elegiac couplets you’re able to see the fall of Roman, through Gaius Valerius Catullus eyes. That is what makes Catullus’s poetry worth saving.<!--more-->\r\n\r\nI don’t believe any of Catullus’s work should be condensed from his 116 poems we have today but if his work had to be reduced to <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/catullus.jpg\"><img class=\"size-medium wp-image-291 alignright\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/catullus-300x265.jpg\" alt=\"book of catullus\'s poetry\" width=\"300\" height=\"265\" /></a>preserver for the future I think it would be well noted to keep Catullus’s love poems.  These poems I think preserver the charm, angst, and stunning sarcasm of Catullus. They provide a rare looking glass into the past. His work reminds us that history was human, not just text, sculptures, and paints. In this way it is very unique and allows us to see socially what it was like between 84-54 BC in upper class society. There were many other poets of the time of Catullus. Catullus fell deeply in love, probably with Clodia, sister of Cicero\'s opponent Publius Clodius. She was suspected of murdering her husband. Catullus wrote to his beloved, addressed as Lesbia (to reference Sappho of the Lesbos poems), a series of superb little poems that run from early passion and tenderness to the hatred and disillusionment that overwhelmed him after his mistress was faithless. (Catullus) Also throughout his poems he shows a grudge match against Cicero another poet of his time, whom dismisses Catullus’s poems as abnormal. It is noted that Catullus was never considered a “canonical school author” do to the sexual content of some and the silliness of his other poems, but his work was well appreciated for its uniqueness. He is however now seen as one of the best lyricists of all time despite of being discredited by others in his time. Today he is studied often in poetry and Latin he is seen as a father of modern lyrical poetry although it is understood that he did not invent the meter or the elegiac couplets. His work is widely translated and picked apart in Latin today to understand what he was saying. There are even debates on the ownership of 3 of his poems that are believed to have been written by someone else. To this day scholars debate on his works sarcasm and meaning.\r\n\r\nIt’s unusual that Catullus’s work was preserved through time, with 116 of his poems are still available today. In the fourteenth century, a single manuscript containing the 116 poems was discovered in the poet’s native Verona. That manuscript disappeared in the following century, but two copies had been made, and one of these survives to the present day, and is housed at Oxford University in England. (Rankin) But Catullus’s work also unique in content specifically Catullus’s blazing sarcasm throughout his work. His work had a flare of emotion that made is work stand out from others throughout history.\r\n\r\nThe Catullus’s poetry is typical of its era do to its meter and content.  Many love poems were also made during his era the Lesbos Island poems of Sappho.  It was also common to use the hendecasyllabic meter and elegiac couplets. Hendecasyllabic meter comes from a fourth century poet Phalaecus, the name comes from the fact that there are 11 syllables in each line.  Elegiac couplets are dactylic hexameter or dactylic pentameter that where commonly used in roman epics and love poems. (couplet)\r\n<p style=\"text-align: left\">“Asinius Marrucinus, left hand\r\nYou do not use well: in joke and wine\r\nYou lift the napkins of the more careless.\r\nDo you think that this is witty? It escapes you, foolish man\r\nThis thing is utterly sordid and unattractive.\r\nDo you not believe me? Believe you brother Pollio\r\nWho would wish that your acts of stealing\r\nBe changed for even a talent - for the boy\r\nIs full of charm and wit.\r\nTherefore expect either 300 hendecasyllabic verses\r\nOr send back the napkin to me,\r\nWhich does not move me by means of price,\r\nBut rather it is a souvenir of my friend.\r\nFor Fabullus and Veranius sent Saetaban napkins\r\nFrom the Spaniards to me as a gift;\r\nIt is necessary that I love these things\r\nAs I love my little Veranius and Fabullus.”( Drudy)</p>\r\n“stop stealing the napkins!: to Asinius Marrucinus, “ Catullus’s 12<sup>th</sup> poem. It shows blazing sarcasm and anger towards his napkin stealing friend Asinius Marrucinus. It’s a very relatable poem and even gives us a look into social customs at the time, by letting us know that it was disgusting to take someone’s napkin at a dinner party and also lets us know Rome had social hygiene standards. Catullus is as insufferable as Simmon from American idol. They both critiquing peoples actions with a stern eye and strong language.\r\n\r\n“…I can’t\r\nspeak — my tongue is broken;\r\na thin flame runs under\r\nmy skin; seeing nothing,\r\nhearing only my own ears\r\ndrumming, I drip with sweat;\r\ntrembling shakes my body\r\n\r\nand I turn paler than\r\ndry grass…”(Graves)\r\n\r\nCompared to a piece of Sappho’s poem (another famous poet at the time) showing that poets of the era were capability of writing a beautiful piece, but doesn’t give us a looking glass into society like Catullus’s works do. She was also well credited in her time even admired by Catullus. She is still noted to be to a great if not the greatest lyric poets of all time today.\r\n\r\nI believe what is most meaningful about his work is that when you read his work you become him. There are very few pieces of history that allow you to read about that person’s life it really makes me feel less of disconnect from the time. You become a person in the end of the Roman Empire. For Future generations to truly understand the importance of Catullus one must read his work. Otherwise I don’t believe future generations will understand why his work is beloved and debated about, or see Rome though Catullus’s looking glass.\r\n\r\n<strong>Works Cited</strong>\r\n\r\n\"Catullus.\" <em>Columbia Electronic Encyclopedia, 6th Edition</em> (2010): 1. <em>MasterFILE Premier</em>. EBSCO. Web. 16 Feb. 2011.\r\n\r\nRankin, Thomas. \"Catullus.\" <em>Magill’s Survey of World Literature, Revised Edition</em> (2009): 1-5. <em>MagillOnLiterature Plus</em>. EBSCO. Web. 16 Feb. 2011.\r\n\r\n\"couplet.\" (n.d.): <em>Facts on File: Bloom\'s Literary Reference Online Database</em>. EBSCO. Web. 16 Feb. 2011.\r\n\r\nGraves, Roy Neil. \"Sappho.\" <em>Magill’s Survey of World Literature, Revised Edition</em> (2009): 1-5. <em>MagillOnLiterature Plus</em>. EBSCO. Web. 16 Feb. 2011.\r\n\r\nDrudy, Greg. “Carmen 12.”<em> Gaius Valerius Catullus</em>. 5 Dec. 1997. 16 Feb. 2010 &lt; http://rudy.negenborn.net/catullus/text2/e12.htm&gt;','Catullus’s Poetic Looking Glass','','inherit','open','open','','188-revision-3','','','2011-02-16 21:34:52','2011-02-17 03:34:52','',188,'http://jeanatacc.com/2011/?p=295',0,'revision','',0),(294,31,'2011-02-16 21:33:08','2011-02-17 03:33:08','Catullus was a Greek poet who was preserved through time. His Latin poetry is used commonly to teach Latin and the art of poetry. He is known and seen as a father to modern day poetry despite his reputation of being an abnormal poet in his time. Between his use of elegiac couplets you’re able to see the fall of Roman, through Gaius Valerius Catullus eyes. That is what makes Catullus’s poetry worth saving.<!--more-->\r\n\r\nI don’t believe any of Catullus’s work should be condensed from his 116 poems we have today but if his work had to be reduced to <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/catullus.jpg\"><img class=\"size-medium wp-image-291 alignright\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/catullus-300x265.jpg\" alt=\"book of catullus\'s poetry\" width=\"300\" height=\"265\" /></a>preserver for the future I think it would be well noted to keep Catullus’s love poems.  These poems I think preserver the charm, angst, and stunning sarcasm of Catullus. They provide a rare looking glass into the past. His work reminds us that history was human, not just text, sculptures, and paints. In this way it is very unique and allows us to see socially what it was like between 84-54 BC in upper class society. There were many other poets of the time of Catullus. Catullus fell deeply in love, probably with Clodia, sister of Cicero\'s opponent Publius Clodius. She was suspected of murdering her husband. Catullus wrote to his beloved, addressed as Lesbia (to reference Sappho of the Lesbos poems), a series of superb little poems that run from early passion and tenderness to the hatred and disillusionment that overwhelmed him after his mistress was faithless. (Catullus) Also throughout his poems he shows a grudge match against Cicero another poet of his time, whom dismisses Catullus’s poems as abnormal. It is noted that Catullus was never considered a “canonical school author” do to the sexual content of some and the silliness of his other poems, but his work was well appreciated for its uniqueness. He is however now seen as one of the best lyricists of all time despite of being discredited by others in his time. Today he is studied often in poetry and Latin he is seen as a father of modern lyrical poetry although it is understood that he did not invent the meter or the elegiac couplets. His work is widely translated and picked apart in Latin today to understand what he was saying. There are even debates on the ownership of 3 of his poems that are believed to have been written by someone else. To this day scholars debate on his works sarcasm and meaning.\r\n\r\nIt’s unusual that Catullus’s work was preserved through time, with 116 of his poems are still available today. In the fourteenth century, a single manuscript containing the 116 poems was discovered in the poet’s native Verona. That manuscript disappeared in the following century, but two copies had been made, and one of these survives to the present day, and is housed at Oxford University in England. (Rankin) But Catullus’s work also unique in content specifically Catullus’s blazing sarcasm throughout his work. His work had a flare of emotion that made is work stand out from others throughout history.\r\n\r\nThe Catullus’s poetry is typical of its era do to its meter and content.  Many love poems were also made during his era the Lesbos Island poems of Sappho.  It was also common to use the hendecasyllabic meter and elegiac couplets. Hendecasyllabic meter comes from a fourth century poet Phalaecus, the name comes from the fact that there are 11 syllables in each line.  Elegiac couplets are dactylic hexameter or dactylic pentameter that where commonly used in roman epics and love poems. (couplet)\r\n<p style=\"text-align: left\">“Asinius Marrucinus, left hand\r\nYou do not use well: in joke and wine\r\nYou lift the napkins of the more careless.\r\nDo you think that this is witty? It escapes you, foolish man\r\nThis thing is utterly sordid and unattractive.\r\nDo you not believe me? Believe you brother Pollio\r\nWho would wish that your acts of stealing\r\nBe changed for even a talent - for the boy\r\nIs full of charm and wit.\r\nTherefore expect either 300 hendecasyllabic verses\r\nOr send back the napkin to me,\r\nWhich does not move me by means of price,\r\nBut rather it is a souvenir of my friend.\r\nFor Fabullus and Veranius sent Saetaban napkins\r\nFrom the Spaniards to me as a gift;\r\nIt is necessary that I love these things\r\nAs I love my little Veranius and Fabullus.”( Drudy)</p>\r\n“stop stealing the napkins!: to Asinius Marrucinus, “ Catullus’s 12<sup>th</sup> poem. It shows blazing sarcasm and anger towards his napkin stealing friend Asinius Marrucinus. It’s a very relatable poem and even gives us a look into social customs at the time, by letting us know that it was disgusting to take someone’s napkin at a dinner party and also lets us know Rome had social hygiene standards. Catullus is as insufferable as Simmon from American idol. They both critiquing peoples actions with a stern eye and strong language.\r\n\r\n“…I can’t\r\nspeak — my tongue is broken;\r\na thin flame runs under\r\nmy skin; seeing nothing,\r\nhearing only my own ears\r\ndrumming, I drip with sweat;\r\ntrembling shakes my body\r\n\r\nand I turn paler than\r\ndry grass…”(Graves)\r\n\r\nCompared to a piece of Sappho’s poem (another famous poet at the time) showing that poets of the era were capability of writing a beautiful piece, but doesn’t give us a looking glass into society like Catullus’s works do. She was also well credited in her time even admired by Catullus. She is still noted to be to a great if not the greatest lyric poets of all time today.\r\n\r\nI believe what is most meaningful about his work is that when you read his work you become him. There are very few pieces of history that allow you to read about that person’s life it really makes me feel less of disconnect from the time. You become a person in the end of the Roman Empire. For Future generations to truly understand the importance of Catullus one must read his work. Otherwise I don’t believe future generations will understand why his work is beloved and debated about, or see Rome though Catullus’s looking glass.\r\n\r\n<strong>Works Cited</strong>\r\n\r\n\"Catullus.\" <em>Columbia Electronic Encyclopedia, 6th Edition</em> (2010): 1. <em>MasterFILE Premier</em>. EBSCO. Web. 16 Feb. 2011.\r\n\r\nRankin, Thomas. \"Catullus.\" <em>Magill’s Survey of World Literature, Revised Edition</em> (2009): 1-5. <em>MagillOnLiterature Plus</em>. EBSCO. Web. 16 Feb. 2011.\r\n\r\n\"couplet.\" (n.d.): <em>Facts on File: Bloom\'s Literary Reference Online Database</em>. EBSCO. Web. 16 Feb. 2011.\r\n\r\nGraves, Roy Neil. \"Sappho.\" <em>Magill’s Survey of World Literature, Revised Edition</em> (2009): 1-5. <em>MagillOnLiterature Plus</em>. EBSCO. Web. 16 Feb. 2011.\r\n\r\nDrudy, Greg. “Carmen 12.”<em> Gaius Valerius Catullus</em>. 5 Dec. 1997. 16 Feb. 2010 &lt; http://rudy.negenborn.net/catullus/text2/e12.htm&gt;','Catullus’s Poetic Looking Glass','','inherit','open','open','','188-revision-2','','','2011-02-16 21:33:08','2011-02-17 03:33:08','',188,'http://jeanatacc.com/2011/?p=294',0,'revision','',0),(306,23,'2011-02-16 21:54:07','2011-02-17 03:54:07','<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,\nMy name is Jay Dongieux.\nThe Earth has become uninhabitable as we all know.\nHow sad that we have become so self-focused that we have allowed our world to crumble and wither away.\nThis has occurred partially as a result of fragmented societies.  Families as well as individuals focused too much on themselves rather\nthan the planet as a whole. The year is 2100.\nOur goal here together today is to choose four art works to carry aboard our space ship, to preserve and serve as inspiration for our\npeople.\nThe work I have chosen is the Ziggurat of Ur.\n\nThe reason I have chosen this work is because of its architectural, historical\nand societal influence. The building of the Ziggurat of Ur showed that huge\nthrongs of people could come together for long periods of time to accomplish\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\nof its kind anywhere in the world.  It showed the architectural awareness of\nits builders. It is historically significant because it was\nfollowed by many other ziggurats, 32 that we know of today.\nIt was similar to the pyramids of Egypt. It is societally significant because , unlike the society\nof today where families and communities are splintered off and separated,\nthousands of people probably came together for years at a time to build\nthis magnificent building.\n\nSociety should become more communal ,rather\nthan individualistic. When we become so individualistic, we lose focus of the\ngood of all mankind as a whole.\n\nA ziggurat is a rectangular tiered temple mound.  Many have seven tiers. The\nseven tiers represent the heavens.  It was erected by ancient Babylonians\naround 2100 B.C.   Ziggurat is the moderm term derived from\nthe Akkadian word ziggurratu. They resembled pyramids, and are made of\nmud-brick and stone.  The structures were intended to be ladders to the\ngods. Building techniques were mastered by the third\nmillenium. Ziggurats are similar to pyramids, because they have\nstair-stepped shape and temple tops.  Ziggurats had large stairways, or in\nsome cases ramps.\n\nUr is a Sumerian city in southern Iraq. Abraham, from the bible,  home was\nknown as Ur. It is along the Euphrates River. Water is essential to human\nsurvival, so the location of structures  is of the utmost importance.\nAn ur is a \"tell\" , which is an artificial mound containing remains of\naccumulated habitants.\n\nThe ziggurat is the most enduring symbol of the Mesopotamian era.  They are\nmonuments of their kings, as well as to the combined labor forces of the time.\nThe Ziggurat of Ur was basically the center for many community activities\nsuch as religion,economy,education and government.\n\nThe Ziggurat of Ur was the first known structure of its kind anywhere.  It\nwas constructed under the direction of King Ur-Nammu. Ur-Nammu directed\nthe construction of ziggurats in the cities of Eridu, Uruk and Nippur.Nanna is\nthe moon god, who was the patron deity and divine king of Ur.Knowledge of\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\nfirst land to appear on earth.  Ziggurats remind us of the possibility of a higher\npower, being, god or divinity figure. It helps us focus on something other\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\nof the British Museum.\nThe Ziggurat of Ur has also been referred to as the Tower of Babel.\nUnlike Egyptian pyramids, ziggurats were never tomb\nbuildings. So far , archaeologists have found the remains of thirty-two\nziggurats in and around the Mesopotamian plains.\n\nFollowed was  Mr. Leonard Woolley led the well\npublished excavations between 1922 and 1934. Woolley\'s excavations gave\nus information about Ur. The information from his work focused on walls,\ntombs, houses and a religious center. His  work was very important , because\nit greatly expanded our knowledge of  history. There is some evidence\nthat the occupation of Ur ended with a flood, the  one described in Genesis in\nthe Bible. Woolley\'s work showed that the builders were familiar with\ncolumns, arches, vaults and domes.  Excavations have revealed\nstorerooms, courtyards,other buildings and a shrine. Excavations have also\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\nactivity for its people. It was used very frequently and was the most\nsignificant structure in the area. Judging by the detail of what was found in\nthe excavations of Woolley and Hall, it contained items relevant to all facets\nof life in the present, and up to and including present day year 2100 such as\nreligion,art,science,industry and government.\n\nThe Ziggurat of Ur should be preserved to remind future generations of how\nto accomplish a common goal over a long time period and among a  huge\nnumber of people. Society has become so splintered and multi-focused today\nthat we have forgotten the common good for immediate gratification.\nInternet, cell phones, instant messages, everything is disposable and nothing\nis made to last or carry any meaning behind it.  Nothing these days has any\nlasting value, permanence or significance. Columns, canals, perfumes and\nglass were all very important innovations of the time of the ziggurats.\n\nworks cited\n\n','Ziggurats and Us','','inherit','open','open','','179-revision-14','','','2011-02-16 21:54:07','2011-02-17 03:54:07','',179,'http://jeanatacc.com/2011/?p=306',0,'revision','',0),(296,30,'2011-02-16 21:42:35','2011-02-17 03:42:35','Version:1.0 StartHTML:0000000178 EndHTML:0000003499 StartFragment:0000002430 EndFragment:0000003463 SourceURL:file://localhost/Users/jenniferreha/Desktop/RehaJennifer-TCP1             @font-face {   font-family: \"Times New Roman\"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt; font-size: 12pt; font-family: \"Times New Roman\"; }table.MsoNormalTable { font-size: 10pt; font-family: \"Times New Roman\"; }span.citationgenerated {  }div.Section1 { page: Section1; }\n\nThe Nike of Samothrace, also known as the Victory of Samothrace, was discovered on April 15, 1863 on the northern Greek island of Samothrace in the Aegean Sea (Hamiaux and Marmois). The Nike of Samothrace is an eight-foot tall sculpture of the goddess Victory landing onto the prow of a ship and has an approximate date of 190-160 B.C.E (“The Hellenistic Period”). This piece could possibly commemorate a naval victory over Syria; the true reason and artist are unknown. (“The Hellenistic Period”). The goddess’ wings are extended outward and her drapery blows in the wind as it presses closely to her body. It is now displayed in The Louvre in Paris, France (Astier). This sculpture is important to remind people of the power of the human body and that victory can be achieved.<!--more-->','Nike of Samothrace','','inherit','open','open','','185-revision','','','2011-02-16 21:42:35','2011-02-17 03:42:35','',185,'http://jeanatacc.com/2011/?p=296',0,'revision','',0),(299,30,'2011-02-16 21:44:57','2011-02-17 03:44:57','The Nike of Samothrace, also known as the Victory of Samothrace, was discovered on April 15, 1863 on the northern Greek island of Samothrace in the Aegean Sea (Hamiaux and Marmois). The Nike of Samothrace is an eight-foot tall sculpture of the goddess Victory landing onto the prow of a ship and has an approximate date of 190-160 B.C.E (“The Hellenistic Period”). This piece could possibly commemorate a naval victory over Syria; the true reason and artist are unknown. (“The Hellenistic Period”). The goddess’ wings are extended outward and her drapery blows in the wind as it presses closely to her body. It is now displayed in The Louvre in Paris, France (Astier). This sculpture is important to remind people of the power of the human body and that victory can be achieved.<!--more-->\r\n\r\nThe Hellenistic Period was approximately 323-30 B.C.E. It began with the death of Alexander the Great, who had expanded Greece’s empire to the borders of modern day India. When he died, the empire split into three segments: Egypt, Persia, and Macedonia- Greece (Fiero B1.130). There was constant battling for territory during this era. Since the exact date or sculptor is not known for the Nike of Samothrace, there is prospect that it was erected in honor of the last naval victory in 190 B.C. when a Syrian dynasty known as the Seleucids were defeated by the Rhodian navy (Fiero B1.134).\r\n\r\nThe goddess Nike was the daughter of the Titans, Pallas and Styx and her siblings were Kratos (strength), Bia (force), and Zelos (rivalry). She helped Zeus eliminate the Titans from Mt. Olympus and was honored the title of “goddess of victory” by Zeus (“The Hellenistic Period”). Nike is associated with victories in athletics, battle, or other significant contests.\r\n\r\nThis work was typical of the Hellenistic era because during this time, sculptors used new techniques to show patterns of dark and light, body movements, and a bigger range of details that were expressive. The sculpture of Nike of Samothrace is best viewed “from a three-quarter left view” and the right side is plain (Hamiaux and Marmois). There was more emotion in the artwork and the subjects of sculptors expanded to include all age groups of people (Fiero B1.134). There were more sensuous, celebratory views on the nude male and female. Art was more realistic and not idealized like it was in the Hellenic era (Fiero B1.134). The Nike of Samothrace celebrates femininity by showing off the female body. The chiton, a common article of clothing in Ancient Greece, is portrayed as being wet from the water from the sea and is hugging the body tightly as the excess cloth is flowing in the wind. Her stance is at a twisting angle as though she is landing from the air onto the prow and stabilizing herself. The posture is proud, tall, and shows no fear.\r\n\r\nThe Nike of Samothrace is innovative for its time because it is a sensuous, triumphant structure that portrays a goddess as a more realistic figure. With close attention to detail, the unknown artist sculpted the chiton in just the right way to be tightly clinging to the skin, due to the moisture from the ocean spray, and it flows down the figure’s body and in between her legs (“Nike of Samothrace”). Her stomach and parts of her upper chest are not covered, so it is slightly sexual. The excess of the cloth hangs down or flows in the wind behind the sculpture to express the triumph. The drapery of cloth the artist created on the winged goddess made the piece unique from other sculptures of the Hellenistic era.\r\n\r\nSince there is so much unknown about the artist, creation date, and true reason for the sculpture’s creation, it is hard to pinpoint a specific, true statement of the reaction of how people received this piece of art back in Ancient Greece. If the statue was indeed built to commemorate the Rhodian naval victory over the Syrians, then it would be received by the Rhodians with pride, gratefulness, and honor (“Nike of Samothrace”). After the powerful win, there would be a united spirit of victory. The Rhodians would be very emotional and appreciative of the statue because if the battle had been lost, their homes, territory, and lives could have been lost, too. The Nike of Samothrace is a symbol for “victory,” so her presence would commemorate the physical and moral excellence, or arête (“Nike of Samothrace”).\r\n\r\nToday, viewers still find this statue powerful. It is located on the grand staircase landing of the Louvre Museum. “Her large size, dramatic forward motion, and location in the museum attract much attention” (“Nike of Samothrace”). Walking into the Louvre and looking up the stairs, the statue stands tall. The large outstretched wings radiate a powerful and triumphant feeling. When close to the figure, her pose is highly effective. Although the feet were not retrieved, the positioning has been recreated; her right foot barely skimming the boat’s deck while her left foot is still in the air as she comes down from flight (Hamiaux and Marmois). Although viewers today were not alive at the time the sculpture was erected and did not have a direct experience with it, it still causes amazement and feelings of victorious spirit when studied.\r\n\r\nWhen I viewed the Nike of Samothrace, I immediately noticed its grandeur and size. I also noticed that it was missing parts: the head, arms, and feet. Without a face showing emotion or arms to show a gesture, I did not believe that the sculpture would have such an emotional expression and be as dramatic as it is. The stature the figure is positioned in combined with the effects of the damp chiton draped down its body instilled awe in me when I studied it. The sea spray that hit the goddess left the cloth wet and pressed close to her skin. It shows the detail of the goddess’ body. Some of the cloth is falling down in between her legs and exposes her stomach and parts of her leg while the rest flows behind her in the wind. The Nike goddess is just landing down from the sky onto the boat. It’s upright, open posture and expanded wings show courage and triumph; it made me feel in a way feel proud. The sculpture made me feel that I could be strong and accomplish something.\r\n\r\nAnother Hellenistic sculpture was Laocoön and His Sons. This sculpture captures the scene of Laocoön and his two sons resisting an attack by sea serpents, which had been ordered to attack by the gods who favored the Achaeans (Fiero B1.134). Laocoön had tried to reveal to the Trojans that the Greek wooden horse, or ruse, had many Achaean soldiers in it that would conquer Troy and end the Trojan War (Fiero B1.134). As the three men are entangled within the snakes, their muscles are flexing and stretching and their faces express struggle. The Nike of Samothrace is headless, but still has a powerful impact and shows emotion, too. The poses of both statues shows how placement of the human body and the way it is portrayed can have an effect on the viewer. Both sculptures appear life-like and full of expression, unlike structures in the preceding Hellenic era.\r\n\r\nBoth the Nike of Samothrace and Laocoön and His Sons show some nudity; the body can be appreciated greater. Whether it be showing off the smooth flat stomach of the goddess or showing off Laocoön’s abdominal muscles at work, both proudly reveal the beauty of the human body. Both have some sort of cloth draping down or hanging from their bodies. The skin that is uncovered by the cloth in both sculptures shows the natural state of the body and reveals the muscles or curves of both genders.\r\n\r\nThe Nike of Samothrace is still a breath-taking piece of art to see today. From this work, it is important for future generations to know the importance of posture, body language, clothing attire, and context. The upright, courageous posture of the goddess expresses confidence and victory. The way her body is landing onto the ship shows the energy of her forward movement (Hamiaux and Marmois). The outspread wings show the power of the goddess and express a triumphant, open spirit. The gusting wind is holding the draped clothing against the goddess’ body as the rest is folding down and flowing in the wind. The cloth “both clings and billows dramatically” (“Nike of Samothrace”). The context of fighting for territories during the Hellenistic era and the victory expressed through this sculpture shows how artists capture the events occurring at the time through art. The Nike of Samothrace was commemorating some victory, though the exact battle is unknown. It is key to preserve this sculpture in order to show the importance of triumph and honor.\r\n\r\nWorks Cited\r\n\r\nAstier, Marie-Benedicte. \"Greek, Etruscan, and Roman Antiquities.\" <em>Louvre</em>. Musee de Louvre, 2005. Web. 14 Feb 2011. &lt;http://www.louvre.fr/llv/oeuvres/detail_notice.jsp?CONTENT%3C%3Ecnt_id=10134198673225805&amp;CURRENT_LLV_NOTICE%3C%3Ecnt_id=10134198673225805&amp;FOLDER%3C%3Efolder_id=9852723696500817&amp;bmLocale=en&gt;.\r\n\r\nFiero, Gloria K. <em>The Humanistic Tradition</em>. 6th. McGraw-Hill, 2011. B1.130-134. eBook. (Fiero B1.130-134)\r\n\r\nHamiaux, Marianne, and Sophie Marmois. \"Winged Victory of Samothrace.\" <em>A Closer Look at the Victory of Samothrace</em>. Opixido, Oct 2008. Web. 15 Feb 2011. &lt;http://www.louvre.fr/templates/llv/flash/victoiredesamothrace/victoiredesamothrace_acc_en.html&gt;. (Hamiaux, and Marmois)\r\n\r\n\"Nike of Samothrace.\" <em>Museum of Art and Archaeology</em>. The Curators of the University of Missouri, 08 Oct 2010. Web. 14 Feb 2011. &lt;http://maa.missouri.edu/objects/castgallery/castNikeSamothrace.html&gt;. (\"Museum of Art and Archaeology\")\r\n\r\n\"The Hellenistic Period.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 2: Ancient Greece and Rome 1200 B.C.E.-476 C.E.. Detroit: Gale, 2005. 420-425. <em>Gale Virtual Reference Library</em>. Web. 15 Feb. 2011.','Nike of Samothrace','','inherit','open','open','','185-revision-4','','','2011-02-16 21:44:57','2011-02-17 03:44:57','',185,'http://jeanatacc.com/2011/?p=299',0,'revision','',0),(297,30,'2011-02-16 21:44:13','2011-02-17 03:44:13','Version:1.0 StartHTML:0000000178 EndHTML:0000003499 StartFragment:0000002430 EndFragment:0000003463 SourceURL:file://localhost/Users/jenniferreha/Desktop/RehaJennifer-TCP1             @font-face {   font-family: \"Times New Roman\"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt; font-size: 12pt; font-family: \"Times New Roman\"; }table.MsoNormalTable { font-size: 10pt; font-family: \"Times New Roman\"; }span.citationgenerated {  }div.Section1 { page: Section1; }\r\n\r\nThe Nike of Samothrace, also known as the Victory of Samothrace, was discovered on April 15, 1863 on the northern Greek island of Samothrace in the Aegean Sea (Hamiaux and Marmois). The Nike of Samothrace is an eight-foot tall sculpture of the goddess Victory landing onto the prow of a ship and has an approximate date of 190-160 B.C.E (“The Hellenistic Period”). This piece could possibly commemorate a naval victory over Syria; the true reason and artist are unknown. (“The Hellenistic Period”). The goddess’ wings are extended outward and her drapery blows in the wind as it presses closely to her body. It is now displayed in The Louvre in Paris, France (Astier). This sculpture is important to remind people of the power of the human body and that victory can be achieved.<!--more-->\r\n\r\nVersion:1.0 StartHTML:0000000178 EndHTML:0000014298 StartFragment:0000002475 EndFragment:0000014262 SourceURL:file://localhost/Users/jenniferreha/Desktop/RehaJennifer-TCP1             @font-face {   font-family: \"Times New Roman\"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt; font-size: 12pt; font-family: \"Times New Roman\"; }table.MsoNormalTable { font-size: 10pt; font-family: \"Times New Roman\"; }span.citationgenerated {  }span.contenu {  }div.Section1 { page: Section1; }\r\n\r\nThe Hellenistic Period was approximately 323-30 B.C.E. It began with the death of Alexander the Great, who had expanded Greece’s empire to the borders of modern day India. When he died, the empire split into three segments: Egypt, Persia, and Macedonia- Greece (Fiero B1.130). There was constant battling for territory during this era. Since the exact date or sculptor is not known for the Nike of Samothrace, there is prospect that it was erected in honor of the last naval victory in 190 B.C. when a Syrian dynasty known as the Seleucids were defeated by the Rhodian navy (Fiero B1.134).\r\n\r\nThe goddess Nike was the daughter of the Titans, Pallas and Styx and her siblings were Kratos (strength), Bia (force), and Zelos (rivalry). She helped Zeus eliminate the Titans from Mt. Olympus and was honored the title of “goddess of victory” by Zeus (“The Hellenistic Period”). Nike is associated with victories in athletics, battle, or other significant contests.\r\n\r\nThis work was typical of the Hellenistic era because during this time, sculptors used new techniques to show patterns of dark and light, body movements, and a bigger range of details that were expressive. The sculpture of Nike of Samothrace is best viewed “from a three-quarter left view” and the right side is plain (Hamiaux and Marmois). There was more emotion in the artwork and the subjects of sculptors expanded to include all age groups of people (Fiero B1.134). There were more sensuous, celebratory views on the nude male and female. Art was more realistic and not idealized like it was in the Hellenic era (Fiero B1.134). The Nike of Samothrace celebrates femininity by showing off the female body. The chiton, a common article of clothing in Ancient Greece, is portrayed as being wet from the water from the sea and is hugging the body tightly as the excess cloth is flowing in the wind. Her stance is at a twisting angle as though she is landing from the air onto the prow and stabilizing herself. The posture is proud, tall, and shows no fear.\r\n\r\nThe Nike of Samothrace is innovative for its time because it is a sensuous, triumphant structure that portrays a goddess as a more realistic figure. With close attention to detail, the unknown artist sculpted the chiton in just the right way to be tightly clinging to the skin, due to the moisture from the ocean spray, and it flows down the figure’s body and in between her legs (“Nike of Samothrace”). Her stomach and parts of her upper chest are not covered, so it is slightly sexual. The excess of the cloth hangs down or flows in the wind behind the sculpture to express the triumph. The drapery of cloth the artist created on the winged goddess made the piece unique from other sculptures of the Hellenistic era.\r\n\r\nSince there is so much unknown about the artist, creation date, and true reason for the sculpture’s creation, it is hard to pinpoint a specific, true statement of the reaction of how people received this piece of art back in Ancient Greece. If the statue was indeed built to commemorate the Rhodian naval victory over the Syrians, then it would be received by the Rhodians with pride, gratefulness, and honor (“Nike of Samothrace”). After the powerful win, there would be a united spirit of victory. The Rhodians would be very emotional and appreciative of the statue because if the battle had been lost, their homes, territory, and lives could have been lost, too. The Nike of Samothrace is a symbol for “victory,” so her presence would commemorate the physical and moral excellence, or arête (“Nike of Samothrace”).\r\n\r\nToday, viewers still find this statue powerful. It is located on the grand staircase landing of the Louvre Museum. “Her large size, dramatic forward motion, and location in the museum attract much attention” (“Nike of Samothrace”). Walking into the Louvre and looking up the stairs, the statue stands tall. The large outstretched wings radiate a powerful and triumphant feeling. When close to the figure, her pose is highly effective. Although the feet were not retrieved, the positioning has been recreated; her right foot barely skimming the boat’s deck while her left foot is still in the air as she comes down from flight (Hamiaux and Marmois). Although viewers today were not alive at the time the sculpture was erected and did not have a direct experience with it, it still causes amazement and feelings of victorious spirit when studied.\r\n\r\nWhen I viewed the Nike of Samothrace, I immediately noticed its grandeur and size. I also noticed that it was missing parts: the head, arms, and feet. Without a face showing emotion or arms to show a gesture, I did not believe that the sculpture would have such an emotional expression and be as dramatic as it is. The stature the figure is positioned in combined with the effects of the damp chiton draped down its body instilled awe in me when I studied it. The sea spray that hit the goddess left the cloth wet and pressed close to her skin. It shows the detail of the goddess’ body. Some of the cloth is falling down in between her legs and exposes her stomach and parts of her leg while the rest flows behind her in the wind. The Nike goddess is just landing down from the sky onto the boat. It’s upright, open posture and expanded wings show courage and triumph; it made me feel in a way feel proud. The sculpture made me feel that I could be strong and accomplish something.\r\n\r\nAnother Hellenistic sculpture was Laocoön and His Sons. This sculpture captures the scene of Laocoön and his two sons resisting an attack by sea serpents, which had been ordered to attack by the gods who favored the Achaeans (Fiero B1.134). Laocoön had tried to reveal to the Trojans that the Greek wooden horse, or ruse, had many Achaean soldiers in it that would conquer Troy and end the Trojan War (Fiero B1.134). As the three men are entangled within the snakes, their muscles are flexing and stretching and their faces express struggle. The Nike of Samothrace is headless, but still has a powerful impact and shows emotion, too. The poses of both statues shows how placement of the human body and the way it is portrayed can have an effect on the viewer. Both sculptures appear life-like and full of expression, unlike structures in the preceding Hellenic era.\r\n\r\nBoth the Nike of Samothrace and Laocoön and His Sons show some nudity; the body can be appreciated greater. Whether it be showing off the smooth flat stomach of the goddess or showing off Laocoön’s abdominal muscles at work, both proudly reveal the beauty of the human body. Both have some sort of cloth draping down or hanging from their bodies. The skin that is uncovered by the cloth in both sculptures shows the natural state of the body and reveals the muscles or curves of both genders.\r\n\r\nThe Nike of Samothrace is still a breath-taking piece of art to see today. From this work, it is important for future generations to know the importance of posture, body language, clothing attire, and context. The upright, courageous posture of the goddess expresses confidence and victory. The way her body is landing onto the ship shows the energy of her forward movement (Hamiaux and Marmois). The outspread wings show the power of the goddess and express a triumphant, open spirit. The gusting wind is holding the draped clothing against the goddess’ body as the rest is folding down and flowing in the wind. The cloth “both clings and billows dramatically” (“Nike of Samothrace”). The context of fighting for territories during the Hellenistic era and the victory expressed through this sculpture shows how artists capture the events occurring at the time through art. The Nike of Samothrace was commemorating some victory, though the exact battle is unknown. It is key to preserve this sculpture in order to show the importance of triumph and honor.\r\n\r\nWorks Cited\r\n\r\nAstier, Marie-Benedicte. \"Greek, Etruscan, and Roman Antiquities.\" <em>Louvre</em>. Musee de Louvre, 2005. Web. 14 Feb 2011. &lt;http://www.louvre.fr/llv/oeuvres/detail_notice.jsp?CONTENT%3C%3Ecnt_id=10134198673225805&amp;CURRENT_LLV_NOTICE%3C%3Ecnt_id=10134198673225805&amp;FOLDER%3C%3Efolder_id=9852723696500817&amp;bmLocale=en&gt;.\r\n\r\nFiero, Gloria K. <em>The Humanistic Tradition</em>. 6th. McGraw-Hill, 2011. B1.130-134. eBook. (Fiero B1.130-134)\r\n\r\nHamiaux, Marianne, and Sophie Marmois. \"Winged Victory of Samothrace.\" <em>A Closer Look at the Victory of Samothrace</em>. Opixido, Oct 2008. Web. 15 Feb 2011. &lt;http://www.louvre.fr/templates/llv/flash/victoiredesamothrace/victoiredesamothrace_acc_en.html&gt;. (Hamiaux, and Marmois)\r\n\r\n\"Nike of Samothrace.\" <em>Museum of Art and Archaeology</em>. The Curators of the University of Missouri, 08 Oct 2010. Web. 14 Feb 2011. &lt;http://maa.missouri.edu/objects/castgallery/castNikeSamothrace.html&gt;. (\"Museum of Art and Archaeology\")\r\n\r\n\"The Hellenistic Period.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 2: Ancient Greece and Rome 1200 B.C.E.-476 C.E.. Detroit: Gale, 2005. 420-425. <em>Gale Virtual Reference Library</em>. Web. 15 Feb. 2011.','Nike of Samothrace','','inherit','open','open','','185-revision-2','','','2011-02-16 21:44:13','2011-02-17 03:44:13','',185,'http://jeanatacc.com/2011/?p=297',0,'revision','',0),(298,30,'2011-02-16 21:44:21','2011-02-17 03:44:21','Version:1.0 StartHTML:0000000178 EndHTML:0000003499 StartFragment:0000002430 EndFragment:0000003463 SourceURL:file://localhost/Users/jenniferreha/Desktop/RehaJennifer-TCP1             @font-face {   font-family: \"Times New Roman\"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt; font-size: 12pt; font-family: \"Times New Roman\"; }table.MsoNormalTable { font-size: 10pt; font-family: \"Times New Roman\"; }span.citationgenerated {  }div.Section1 { page: Section1; }\r\n\r\nThe Nike of Samothrace, also known as the Victory of Samothrace, was discovered on April 15, 1863 on the northern Greek island of Samothrace in the Aegean Sea (Hamiaux and Marmois). The Nike of Samothrace is an eight-foot tall sculpture of the goddess Victory landing onto the prow of a ship and has an approximate date of 190-160 B.C.E (“The Hellenistic Period”). This piece could possibly commemorate a naval victory over Syria; the true reason and artist are unknown. (“The Hellenistic Period”). The goddess’ wings are extended outward and her drapery blows in the wind as it presses closely to her body. It is now displayed in The Louvre in Paris, France (Astier). This sculpture is important to remind people of the power of the human body and that victory can be achieved.<!--more-->\r\n\r\nVersion:1.0 StartHTML:0000000178 EndHTML:0000014298 StartFragment:0000002475 EndFragment:0000014262 SourceURL:file://localhost/Users/jenniferreha/Desktop/RehaJennifer-TCP1             @font-face {   font-family: \"Times New Roman\"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt; font-size: 12pt; font-family: \"Times New Roman\"; }table.MsoNormalTable { font-size: 10pt; font-family: \"Times New Roman\"; }span.citationgenerated {  }span.contenu {  }div.Section1 { page: Section1; }\r\n\r\nThe Hellenistic Period was approximately 323-30 B.C.E. It began with the death of Alexander the Great, who had expanded Greece’s empire to the borders of modern day India. When he died, the empire split into three segments: Egypt, Persia, and Macedonia- Greece (Fiero B1.130). There was constant battling for territory during this era. Since the exact date or sculptor is not known for the Nike of Samothrace, there is prospect that it was erected in honor of the last naval victory in 190 B.C. when a Syrian dynasty known as the Seleucids were defeated by the Rhodian navy (Fiero B1.134).\r\n\r\nThe goddess Nike was the daughter of the Titans, Pallas and Styx and her siblings were Kratos (strength), Bia (force), and Zelos (rivalry). She helped Zeus eliminate the Titans from Mt. Olympus and was honored the title of “goddess of victory” by Zeus (“The Hellenistic Period”). Nike is associated with victories in athletics, battle, or other significant contests.\r\n\r\nThis work was typical of the Hellenistic era because during this time, sculptors used new techniques to show patterns of dark and light, body movements, and a bigger range of details that were expressive. The sculpture of Nike of Samothrace is best viewed “from a three-quarter left view” and the right side is plain (Hamiaux and Marmois). There was more emotion in the artwork and the subjects of sculptors expanded to include all age groups of people (Fiero B1.134). There were more sensuous, celebratory views on the nude male and female. Art was more realistic and not idealized like it was in the Hellenic era (Fiero B1.134). The Nike of Samothrace celebrates femininity by showing off the female body. The chiton, a common article of clothing in Ancient Greece, is portrayed as being wet from the water from the sea and is hugging the body tightly as the excess cloth is flowing in the wind. Her stance is at a twisting angle as though she is landing from the air onto the prow and stabilizing herself. The posture is proud, tall, and shows no fear.\r\n\r\nThe Nike of Samothrace is innovative for its time because it is a sensuous, triumphant structure that portrays a goddess as a more realistic figure. With close attention to detail, the unknown artist sculpted the chiton in just the right way to be tightly clinging to the skin, due to the moisture from the ocean spray, and it flows down the figure’s body and in between her legs (“Nike of Samothrace”). Her stomach and parts of her upper chest are not covered, so it is slightly sexual. The excess of the cloth hangs down or flows in the wind behind the sculpture to express the triumph. The drapery of cloth the artist created on the winged goddess made the piece unique from other sculptures of the Hellenistic era.\r\n\r\nSince there is so much unknown about the artist, creation date, and true reason for the sculpture’s creation, it is hard to pinpoint a specific, true statement of the reaction of how people received this piece of art back in Ancient Greece. If the statue was indeed built to commemorate the Rhodian naval victory over the Syrians, then it would be received by the Rhodians with pride, gratefulness, and honor (“Nike of Samothrace”). After the powerful win, there would be a united spirit of victory. The Rhodians would be very emotional and appreciative of the statue because if the battle had been lost, their homes, territory, and lives could have been lost, too. The Nike of Samothrace is a symbol for “victory,” so her presence would commemorate the physical and moral excellence, or arête (“Nike of Samothrace”).\r\n\r\nToday, viewers still find this statue powerful. It is located on the grand staircase landing of the Louvre Museum. “Her large size, dramatic forward motion, and location in the museum attract much attention” (“Nike of Samothrace”). Walking into the Louvre and looking up the stairs, the statue stands tall. The large outstretched wings radiate a powerful and triumphant feeling. When close to the figure, her pose is highly effective. Although the feet were not retrieved, the positioning has been recreated; her right foot barely skimming the boat’s deck while her left foot is still in the air as she comes down from flight (Hamiaux and Marmois). Although viewers today were not alive at the time the sculpture was erected and did not have a direct experience with it, it still causes amazement and feelings of victorious spirit when studied.\r\n\r\nWhen I viewed the Nike of Samothrace, I immediately noticed its grandeur and size. I also noticed that it was missing parts: the head, arms, and feet. Without a face showing emotion or arms to show a gesture, I did not believe that the sculpture would have such an emotional expression and be as dramatic as it is. The stature the figure is positioned in combined with the effects of the damp chiton draped down its body instilled awe in me when I studied it. The sea spray that hit the goddess left the cloth wet and pressed close to her skin. It shows the detail of the goddess’ body. Some of the cloth is falling down in between her legs and exposes her stomach and parts of her leg while the rest flows behind her in the wind. The Nike goddess is just landing down from the sky onto the boat. It’s upright, open posture and expanded wings show courage and triumph; it made me feel in a way feel proud. The sculpture made me feel that I could be strong and accomplish something.\r\n\r\nAnother Hellenistic sculpture was Laocoön and His Sons. This sculpture captures the scene of Laocoön and his two sons resisting an attack by sea serpents, which had been ordered to attack by the gods who favored the Achaeans (Fiero B1.134). Laocoön had tried to reveal to the Trojans that the Greek wooden horse, or ruse, had many Achaean soldiers in it that would conquer Troy and end the Trojan War (Fiero B1.134). As the three men are entangled within the snakes, their muscles are flexing and stretching and their faces express struggle. The Nike of Samothrace is headless, but still has a powerful impact and shows emotion, too. The poses of both statues shows how placement of the human body and the way it is portrayed can have an effect on the viewer. Both sculptures appear life-like and full of expression, unlike structures in the preceding Hellenic era.\r\n\r\nBoth the Nike of Samothrace and Laocoön and His Sons show some nudity; the body can be appreciated greater. Whether it be showing off the smooth flat stomach of the goddess or showing off Laocoön’s abdominal muscles at work, both proudly reveal the beauty of the human body. Both have some sort of cloth draping down or hanging from their bodies. The skin that is uncovered by the cloth in both sculptures shows the natural state of the body and reveals the muscles or curves of both genders.\r\n\r\nThe Nike of Samothrace is still a breath-taking piece of art to see today. From this work, it is important for future generations to know the importance of posture, body language, clothing attire, and context. The upright, courageous posture of the goddess expresses confidence and victory. The way her body is landing onto the ship shows the energy of her forward movement (Hamiaux and Marmois). The outspread wings show the power of the goddess and express a triumphant, open spirit. The gusting wind is holding the draped clothing against the goddess’ body as the rest is folding down and flowing in the wind. The cloth “both clings and billows dramatically” (“Nike of Samothrace”). The context of fighting for territories during the Hellenistic era and the victory expressed through this sculpture shows how artists capture the events occurring at the time through art. The Nike of Samothrace was commemorating some victory, though the exact battle is unknown. It is key to preserve this sculpture in order to show the importance of triumph and honor.\r\n\r\nWorks Cited\r\n\r\nAstier, Marie-Benedicte. \"Greek, Etruscan, and Roman Antiquities.\" <em>Louvre</em>. Musee de Louvre, 2005. Web. 14 Feb 2011. &lt;http://www.louvre.fr/llv/oeuvres/detail_notice.jsp?CONTENT%3C%3Ecnt_id=10134198673225805&amp;CURRENT_LLV_NOTICE%3C%3Ecnt_id=10134198673225805&amp;FOLDER%3C%3Efolder_id=9852723696500817&amp;bmLocale=en&gt;.\r\n\r\nFiero, Gloria K. <em>The Humanistic Tradition</em>. 6th. McGraw-Hill, 2011. B1.130-134. eBook. (Fiero B1.130-134)\r\n\r\nHamiaux, Marianne, and Sophie Marmois. \"Winged Victory of Samothrace.\" <em>A Closer Look at the Victory of Samothrace</em>. Opixido, Oct 2008. Web. 15 Feb 2011. &lt;http://www.louvre.fr/templates/llv/flash/victoiredesamothrace/victoiredesamothrace_acc_en.html&gt;. (Hamiaux, and Marmois)\r\n\r\n\"Nike of Samothrace.\" <em>Museum of Art and Archaeology</em>. The Curators of the University of Missouri, 08 Oct 2010. Web. 14 Feb 2011. &lt;http://maa.missouri.edu/objects/castgallery/castNikeSamothrace.html&gt;. (\"Museum of Art and Archaeology\")\r\n\r\n\"The Hellenistic Period.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 2: Ancient Greece and Rome 1200 B.C.E.-476 C.E.. Detroit: Gale, 2005. 420-425. <em>Gale Virtual Reference Library</em>. Web. 15 Feb. 2011.','Nike of Samothrace','','inherit','open','open','','185-revision-3','','','2011-02-16 21:44:21','2011-02-17 03:44:21','',185,'http://jeanatacc.com/2011/?p=298',0,'revision','',0),(300,23,'2011-02-16 21:44:04','2011-02-17 03:44:04','<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 well as individuals focused too much on themselves rather\n \nthan 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 space ship, to preserve and serve as inspiration for our\n\n 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.\n\nIt was similar to the 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.\n\nSociety 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.\n\nworks cited\n\n','Ziggurats and Us','','inherit','open','open','','179-revision-13','','','2011-02-16 21:44:04','2011-02-17 03:44:04','',179,'http://jeanatacc.com/2011/?p=300',0,'revision','',0),(301,7,'2011-02-16 21:45:16','2011-02-17 03:45:16','<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> http://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\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>\n\nhttp://www.corbisimages.com/Enlargement/MI001556.html\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.\n\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\n\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.)\n\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\n\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.\n\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>\n\nhttp://www.fr-novaroma.com/E_cards/\n\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.\n\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.\n\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>\n\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. 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\n\nhttp://www.nytimes.com/2008/10/24/arts/design/24pomp.html\n\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.\n\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. 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-19','','','2011-02-16 21:45:16','2011-02-17 03:45:16','',167,'http://jeanatacc.com/2011/?p=301',0,'revision','',0),(302,30,'2011-02-16 21:47:51','2011-02-17 03:47:51','','NikeSamothrace','','inherit','open','open','','nikesamothrace','','','2011-02-16 21:47:51','2011-02-17 03:47:51','',185,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/NikeSamothrace.jpg',0,'attachment','image/jpeg',0),(303,30,'2011-02-16 21:50:39','2011-02-17 03:50:39','','x196image_65401_v2_m56577569830699584','','inherit','open','open','','x196image_65401_v2_m56577569830699584','','','2011-02-16 21:50:39','2011-02-17 03:50:39','',185,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/x196image_65401_v2_m56577569830699584.jpg',0,'attachment','image/jpeg',0),(304,30,'2011-02-16 21:47:16','2011-02-17 03:47:16','﻿﻿﻿﻿﻿﻿\n\nThe Nike of Samothrace, also known as the Victory of Samothrace, was discovered on April 15, 1863 on the northern Greek island of Samothrace in the Aegean Sea (Hamiaux and Marmois). The Nike of Samothrace is an eight-foot tall sculpture of the goddess Victory landing onto the prow of a ship and has an approximate date of 190-160 B.C.E (“The Hellenistic Period”). This piece could possibly commemorate a naval victory over Syria; the true reason and artist are unknown. (“The Hellenistic Period”). The goddess’ wings are extended outward and her drapery blows in the wind as it presses closely to her body. It is now displayed in The Louvre in Paris, France (Astier). This sculpture is important to remind people of the power of the human body and that victory can be achieved.<!--more-->\n\nThe Hellenistic Period was approximately 323-30 B.C.E. It began with the death of Alexander the Great, who had expanded Greece’s empire to the borders of modern day India. When he died, the empire split into three segments: Egypt, Persia, and Macedonia- Greece (Fiero B1.130). There was constant battling for territory during this era. Since the exact date or sculptor is not known for the Nike of Samothrace, there is prospect that it was erected in honor of the last naval victory in 190 B.C. when a Syrian dynasty known as the Seleucids were defeated by the Rhodian navy (Fiero B1.134).\n\nThe goddess Nike was the daughter of the Titans, Pallas and Styx and her siblings were Kratos (strength), Bia (force), and Zelos (rivalry). She helped Zeus eliminate the Titans from Mt. Olympus and was honored the title of “goddess of victory” by Zeus (“The Hellenistic Period”). Nike is associated with victories in athletics, battle, or other significant contests.\n\nThis work was typical of the Hellenistic era because during this time, sculptors used new techniques to show patterns of dark and light, body movements, and a bigger range of details that were expressive. The sculpture of Nike of Samothrace is best viewed “from a three-quarter left view” and the right side is plain (Hamiaux and Marmois). There was more emotion in the artwork and the subjects of sculptors expanded to include all age groups of people (Fiero B1.134). There were more sensuous, celebratory views on the nude male and female. Art was more realistic and not idealized like it was in the Hellenic era (Fiero B1.134). The Nike of Samothrace celebrates femininity by showing off the female body. The chiton, a common article of clothing in Ancient Greece, is portrayed as being wet from the water from the sea and is hugging the body tightly as the excess cloth is flowing in the wind. Her stance is at a twisting angle as though she is landing from the air onto the prow and stabilizing herself. The posture is proud, tall, and shows no fear.\n\nThe Nike of Samothrace is innovative for its time because it is a sensuous, triumphant structure that portrays a goddess as a more realistic figure. With close attention to detail, the unknown artist sculpted the chiton in just the right way to be tightly clinging to the skin, due to the moisture from the ocean spray, and it flows down the figure’s body and in between her legs (“Nike of Samothrace”). Her stomach and parts of her upper chest are not covered, so it is slightly sexual. The excess of the cloth hangs down or flows in the wind behind the sculpture to express the triumph. The drapery of cloth the artist created on the winged goddess made the piece unique from other sculptures of the Hellenistic era.\n\nSince there is so much unknown about the artist, creation date, and true reason for the sculpture’s creation, it is hard to pinpoint a specific, true statement of the reaction of how people received this piece of art back in Ancient Greece. If the statue was indeed built to commemorate the Rhodian naval victory over the Syrians, then it would be received by the Rhodians with pride, gratefulness, and honor (“Nike of Samothrace”). After the powerful win, there would be a united spirit of victory. The Rhodians would be very emotional and appreciative of the statue because if the battle had been lost, their homes, territory, and lives could have been lost, too. The Nike of Samothrace is a symbol for “victory,” so her presence would commemorate the physical and moral excellence, or arête (“Nike of Samothrace”).\n\nToday, viewers still find this statue powerful. It is located on the grand staircase landing of the Louvre Museum. “Her large size, dramatic forward motion, and location in the museum attract much attention” (“Nike of Samothrace”). Walking into the Louvre and looking up the stairs, the statue stands tall. The large outstretched wings radiate a powerful and triumphant feeling. When close to the figure, her pose is highly effective. Although the feet were not retrieved, the positioning has been recreated; her right foot barely skimming the boat’s deck while her left foot is still in the air as she comes down from flight (Hamiaux and Marmois). Although viewers today were not alive at the time the sculpture was erected and did not have a direct experience with it, it still causes amazement and feelings of victorious spirit when studied.\n\nWhen I viewed the Nike of Samothrace, I immediately noticed its grandeur and size. I also noticed that it was missing parts: the head, arms, and feet. Without a face showing emotion or arms to show a gesture, I did not believe that the sculpture would have such an emotional expression and be as dramatic as it is. The stature the figure is positioned in combined with the effects of the damp chiton draped down its body instilled awe in me when I studied it. The sea spray that hit the goddess left the cloth wet and pressed close to her skin. It shows the detail of the goddess’ body. Some of the cloth is falling down in between her legs and exposes her stomach and parts of her leg while the rest flows behind her in the wind. The Nike goddess is just landing down from the sky onto the boat. It’s upright, open posture and expanded wings show courage and triumph; it made me feel in a way feel proud. The sculpture made me feel that I could be strong and accomplish something.\n\nAnother Hellenistic sculpture was Laocoön and His Sons. This sculpture captures the scene of Laocoön and his two sons resisting an attack by sea serpents, which had been ordered to attack by the gods who favored the Achaeans (Fiero B1.134). Laocoön had tried to reveal to the Trojans that the Greek wooden horse, or ruse, had many Achaean soldiers in it that would conquer Troy and end the Trojan War (Fiero B1.134). As the three men are entangled within the snakes, their muscles are flexing and stretching and their faces express struggle. The Nike of Samothrace is headless, but still has a powerful impact and shows emotion, too. The poses of both statues shows how placement of the human body and the way it is portrayed can have an effect on the viewer. Both sculptures appear life-like and full of expression, unlike structures in the preceding Hellenic era.\n\nBoth the Nike of Samothrace and Laocoön and His Sons show some nudity; the body can be appreciated greater. Whether it be showing off the smooth flat stomach of the goddess or showing off Laocoön’s abdominal muscles at work, both proudly reveal the beauty of the human body. Both have some sort of cloth draping down or hanging from their bodies. The skin that is uncovered by the cloth in both sculptures shows the natural state of the body and reveals the muscles or curves of both genders.\n\nThe Nike of Samothrace is still a breath-taking piece of art to see today. From this work, it is important for future generations to know the importance of posture, body language, clothing attire, and context. The upright, courageous posture of the goddess expresses confidence and victory. The way her body is landing onto the ship shows the energy of her forward movement (Hamiaux and Marmois). The outspread wings show the power of the goddess and express a triumphant, open spirit. The gusting wind is holding the draped clothing against the goddess’ body as the rest is folding down and flowing in the wind. The cloth “both clings and billows dramatically” (“Nike of Samothrace”). The context of fighting for territories during the Hellenistic era and the victory expressed through this sculpture shows how artists capture the events occurring at the time through art. The Nike of Samothrace was commemorating some victory, though the exact battle is unknown. It is key to preserve this sculpture in order to show the importance of triumph and honor.\n\nWorks Cited\n\nAstier, Marie-Benedicte. \"Greek, Etruscan, and Roman Antiquities.\" <em>Louvre</em>. Musee de Louvre, 2005. Web. 14 Feb 2011. &lt;http://www.louvre.fr/llv/oeuvres/detail_notice.jsp?CONTENT%3C%3Ecnt_id=10134198673225805&amp;CURRENT_LLV_NOTICE%3C%3Ecnt_id=10134198673225805&amp;FOLDER%3C%3Efolder_id=9852723696500817&amp;bmLocale=en&gt;.\n\nFiero, Gloria K. <em>The Humanistic Tradition</em>. 6th. McGraw-Hill, 2011. B1.130-134. eBook. (Fiero B1.130-134)\n\nHamiaux, Marianne, and Sophie Marmois. \"Winged Victory of Samothrace.\" <em>A Closer Look at the Victory of Samothrace</em>. Opixido, Oct 2008. Web. 15 Feb 2011. &lt;http://www.louvre.fr/templates/llv/flash/victoiredesamothrace/victoiredesamothrace_acc_en.html&gt;. (Hamiaux, and Marmois)\n\n\"Nike of Samothrace.\" <em>Museum of Art and Archaeology</em>. The Curators of the University of Missouri, 08 Oct 2010. Web. 14 Feb 2011. &lt;http://maa.missouri.edu/objects/castgallery/castNikeSamothrace.html&gt;. (\"Museum of Art and Archaeology\")\n\n\"The Hellenistic Period.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 2: Ancient Greece and Rome 1200 B.C.E.-476 C.E.. Detroit: Gale, 2005. 420-425. <em>Gale Virtual Reference Library</em>. Web. 15 Feb. 2011.','Nike of Samothrace','','inherit','open','open','','185-revision-5','','','2011-02-16 21:47:16','2011-02-17 03:47:16','',185,'http://jeanatacc.com/2011/?p=304',0,'revision','',0),(307,23,'2011-02-16 21:55:21','2011-02-17 03:55:21','<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\nMy name is Jay Dongieux.\r\nThe Earth has become uninhabitable as we all know.\r\nHow sad that we have become so self-focused that we have allowed our world to crumble and wither away.\r\nThis has occurred partially as a result of fragmented societies.  Families as well as individuals focused too much on themselves rather\r\nthan the planet as a whole. The year is 2100.\r\nOur goal here together today is to choose four art works to carry aboard our space ship, to preserve and serve as inspiration for our\r\npeople.\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\nand societal influence. The building of the Ziggurat of Ur showed that huge\r\nthrongs of people could come together for long periods of time to accomplish\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\nof its kind anywhere in the world.  It showed the architectural awareness of\r\nits builders. It is historically significant because it was\r\nfollowed by many other ziggurats, 32 that we know of today.\r\nIt was similar to the pyramids of Egypt. It is societally significant because , unlike the society\r\nof today where families and communities are splintered off and separated,\r\nthousands of people probably came together for years at a time to build\r\nthis magnificent building.\r\n\r\nSociety should become more communal ,rather\r\nthan individualistic. When we become so individualistic, we lose focus of the\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\nseven tiers represent the heavens.  It was erected by ancient Babylonians\r\naround 2100 B.C.   Ziggurat is the moderm term derived from\r\nthe Akkadian word ziggurratu. They resembled pyramids, and are made of\r\nmud-brick and stone.  The structures were intended to be ladders to the\r\ngods. Building techniques were mastered by the third\r\nmillenium. Ziggurats are similar to pyramids, because they have\r\nstair-stepped shape and temple tops.  Ziggurats had large stairways, or in\r\nsome cases ramps.\r\n\r\nUr is a Sumerian city in southern Iraq. Abraham, from the bible,  home was\r\nknown as Ur. It is along the Euphrates River. Water is essential to human\r\nsurvival, so the location of structures  is of the utmost importance.\r\nAn ur is a \"tell\" , which is an artificial mound containing remains of\r\naccumulated habitants.\r\n\r\nThe ziggurat is the most enduring symbol of the Mesopotamian era.  They are\r\nmonuments of their kings, as well as to the combined labor forces of the time.\r\nThe Ziggurat of Ur was basically the center for many community activities\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\nwas constructed under the direction of King Ur-Nammu. Ur-Nammu directed\r\nthe construction of ziggurats in the cities of Eridu, Uruk and Nippur.Nanna is\r\nthe moon god, who was the patron deity and divine king of Ur.Knowledge of\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\nfirst land to appear on earth.  Ziggurats remind us of the possibility of a higher\r\npower, being, god or divinity figure. It helps us focus on something other\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\nof the British Museum.\r\nThe Ziggurat of Ur has also been referred to as the Tower of Babel.\r\nUnlike Egyptian pyramids, ziggurats were never tomb\r\nbuildings. So far , archaeologists have found the remains of thirty-two\r\nziggurats in and around the Mesopotamian plains.\r\n\r\nFollowed was  Mr. Leonard Woolley led the well\r\npublished excavations between 1922 and 1934. Woolley\'s excavations gave\r\nus information about Ur. The information from his work focused on walls,\r\ntombs, houses and a religious center. His  work was very important , because\r\nit greatly expanded our knowledge of  history. There is some evidence\r\nthat the occupation of Ur ended with a flood, the  one described in Genesis in\r\nthe Bible. Woolley\'s work showed that the builders were familiar with\r\ncolumns, arches, vaults and domes.  Excavations have revealed\r\nstorerooms, courtyards,other buildings and a shrine. Excavations have also\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\nactivity for its people. It was used very frequently and was the most\r\nsignificant structure in the area. Judging by the detail of what was found in\r\nthe excavations of Woolley and Hall, it contained items relevant to all facets\r\nof life in the present, and up to and including present day year 2100 such as\r\nreligion,art,science,industry and government.\r\n\r\nThe Ziggurat of Ur should be preserved to remind future generations of how\r\nto accomplish a common goal over a long time period and among a  huge\r\nnumber of people. Society has become so splintered and multi-focused today\r\nthat we have forgotten the common good for immediate gratification.\r\nInternet, cell phones, instant messages, everything is disposable and nothing\r\nis made to last or carry any meaning behind it.  Nothing these days has any\r\nlasting value, permanence or significance. Columns, canals, perfumes and\r\nglass were all very important innovations of the time of the ziggurats.\r\n\r\nworks cited\r\n\r\n','Ziggurats and Us','','inherit','open','open','','179-revision-15','','','2011-02-16 21:55:21','2011-02-17 03:55:21','',179,'http://jeanatacc.com/2011/?p=307',0,'revision','',0),(305,30,'2011-02-16 21:52:10','2011-02-17 03:52:10','﻿﻿﻿﻿﻿﻿\r\n\r\nThe Nike of Samothrace, also known as the Victory of Samothrace, was discovered on April 15, 1863 on the northern Greek island of Samothrace in the Aegean Sea (Hamiaux and Marmois). The Nike of Samothrace is an eight-foot tall sculpture of the goddess Victory landing onto the prow of a ship and has an approximate date of 190-160 B.C.E (“The Hellenistic Period”). This piece could possibly commemorate a naval victory over Syria; the true reason and artist are unknown. (“The Hellenistic Period”). The goddess’ wings are extended outward and her drapery blows in the wind as it presses closely to her body. It is now displayed in The Louvre in Paris, France (Astier). This sculpture is important to remind people of the power of the human body and that victory can be achieved.<!--more-->\r\n\r\nThe Hellenistic Period was approximately 323-30 B.C.E. It began with the death of Alexander the Great, who had expanded Greece’s empire to the borders of modern day India. When he died, the empire split into three segments: Egypt, Persia, and Macedonia- Greece (Fiero B1.130). There was constant battling for territory during this era. Since the exact date or sculptor is not known for the Nike of Samothrace, there is prospect that it was erected in honor of the last naval victory in 190 B.C. when a Syrian dynasty known as the Seleucids were defeated by the Rhodian navy (Fiero B1.134).\r\n\r\nThe goddess Nike was the daughter of the Titans, Pallas and Styx and her siblings were Kratos (strength), Bia (force), and Zelos (rivalry). She helped Zeus eliminate the Titans from Mt. Olympus and was honored the title of “goddess of victory” by Zeus (“The Hellenistic Period”). Nike is associated with victories in athletics, battle, or other significant contests.\r\n\r\nThis work was typical of the Hellenistic era because during this time, sculptors used new techniques to show patterns of dark and light, body movements, and a bigger range of details that were expressive. The sculpture of Nike of Samothrace is best viewed “from a three-quarter left view” and the right side is plain (Hamiaux and Marmois). There was more emotion in the artwork and the subjects of sculptors expanded to include all age groups of people (Fiero B1.134). There were more sensuous, celebratory views on the nude male and female. Art was more realistic and not idealized like it was in the Hellenic era (Fiero B1.134). The Nike of Samothrace celebrates femininity by showing off the female body. The chiton, a common article of clothing in Ancient Greece, is portrayed as being wet from the water from the sea and is hugging the body tightly as the excess cloth is flowing in the wind. Her stance is at a twisting angle as though she is landing from the air onto the prow and stabilizing herself. The posture is proud, tall, and shows no fear.\r\n\r\nThe Nike of Samothrace is innovative for its time because it is a sensuous, triumphant structure that portrays a goddess as a more realistic figure. With close attention to detail, the unknown artist sculpted the chiton in just the right way to be tightly clinging to the skin, due to the moisture from the ocean spray, and it flows down the figure’s body and in between her legs (“Nike of Samothrace”). Her stomach and parts of her upper chest are not covered, so it is slightly sexual. The excess of the cloth hangs down or flows in the wind behind the sculpture to express the triumph. The drapery of cloth the artist created on the winged goddess made the piece unique from other sculptures of the Hellenistic era.\r\n\r\nSince there is so much unknown about the artist, creation date, and true reason for the sculpture’s creation, it is hard to pinpoint a specific, true statement of the reaction of how people received this piece of art back in Ancient Greece. If the statue was indeed built to commemorate the Rhodian naval victory over the Syrians, then it would be received by the Rhodians with pride, gratefulness, and honor (“Nike of Samothrace”). After the powerful win, there would be a united spirit of victory. The Rhodians would be very emotional and appreciative of the statue because if the battle had been lost, their homes, territory, and lives could have been lost, too. The Nike of Samothrace is a symbol for “victory,” so her presence would commemorate the physical and moral excellence, or arête (“Nike of Samothrace”).\r\n\r\nToday, viewers still find this statue powerful. It is located on the grand staircase landing of the Louvre Museum. “Her large size, dramatic forward motion, and location in the museum attract much attention” (“Nike of Samothrace”). Walking into the Louvre and looking up the stairs, the statue stands tall. The large outstretched wings radiate a powerful and triumphant feeling. When close to the figure, her pose is highly effective. Although the feet were not retrieved, the positioning has been recreated; her right foot barely skimming the boat’s deck while her left foot is still in the air as she comes down from flight (Hamiaux and Marmois). Although viewers today were not alive at the time the sculpture was erected and did not have a direct experience with it, it still causes amazement and feelings of victorious spirit when studied.\r\n\r\nWhen I viewed the Nike of Samothrace, I immediately noticed its grandeur and size. I also noticed that it was missing parts: the head, arms, and feet. Without a face showing emotion or arms to show a gesture, I did not believe that the sculpture would have such an emotional expression and be as dramatic as it is. The stature the figure is positioned in combined with the effects of the damp chiton draped down its body instilled awe in me when I studied it. The sea spray that hit the goddess left the cloth wet and pressed close to her skin. It shows the detail of the goddess’ body. Some of the cloth is falling down in between her legs and exposes her stomach and parts of her leg while the rest flows behind her in the wind. The Nike goddess is just landing down from the sky onto the boat. It’s upright, open posture and expanded wings show courage and triumph; it made me feel in a way feel proud. The sculpture made me feel that I could be strong and accomplish something.\r\n\r\nAnother Hellenistic sculpture was Laocoön and His Sons. This sculpture captures the scene of Laocoön and his two sons resisting an attack by sea serpents, which had been ordered to attack by the gods who favored the Achaeans (Fiero B1.134). Laocoön had tried to reveal to the Trojans that the Greek wooden horse, or ruse, had many Achaean soldiers in it that would conquer Troy and end the Trojan War (Fiero B1.134). As the three men are entangled within the snakes, their muscles are flexing and stretching and their faces express struggle. The Nike of Samothrace is headless, but still has a powerful impact and shows emotion, too. The poses of both statues shows how placement of the human body and the way it is portrayed can have an effect on the viewer. Both sculptures appear life-like and full of expression, unlike structures in the preceding Hellenic era.\r\n\r\nBoth the Nike of Samothrace and Laocoön and His Sons show some nudity; the body can be appreciated greater. Whether it be showing off the smooth flat stomach of the goddess or showing off Laocoön’s abdominal muscles at work, both proudly reveal the beauty of the human body. Both have some sort of cloth draping down or hanging from their bodies. The skin that is uncovered by the cloth in both sculptures shows the natural state of the body and reveals the muscles or curves of both genders.\r\n\r\nThe Nike of Samothrace is still a breath-taking piece of art to see today. From this work, it is important for future generations to know the importance of posture, body language, clothing attire, and context. The upright, courageous posture of the goddess expresses confidence and victory. The way her body is landing onto the ship shows the energy of her forward movement (Hamiaux and Marmois). The outspread wings show the power of the goddess and express a triumphant, open spirit. The gusting wind is holding the draped clothing against the goddess’ body as the rest is folding down and flowing in the wind. The cloth “both clings and billows dramatically” (“Nike of Samothrace”). The context of fighting for territories during the Hellenistic era and the victory expressed through this sculpture shows how artists capture the events occurring at the time through art. The Nike of Samothrace was commemorating some victory, though the exact battle is unknown. It is key to preserve this sculpture in order to show the importance of triumph and honor.\r\n\r\nWorks Cited\r\n\r\nAstier, Marie-Benedicte. \"Greek, Etruscan, and Roman Antiquities.\" <em>Louvre</em>. Musee de Louvre, 2005. Web. 14 Feb 2011. &lt;http://www.louvre.fr/llv/oeuvres/detail_notice.jsp?CONTENT%3C%3Ecnt_id=10134198673225805&amp;CURRENT_LLV_NOTICE%3C%3Ecnt_id=10134198673225805&amp;FOLDER%3C%3Efolder_id=9852723696500817&amp;bmLocale=en&gt;.\r\n\r\nFiero, Gloria K. <em>The Humanistic Tradition</em>. 6th. McGraw-Hill, 2011. B1.130-134. eBook. (Fiero B1.130-134)\r\n\r\nHamiaux, Marianne, and Sophie Marmois. \"Winged Victory of Samothrace.\" <em>A Closer Look at the Victory of Samothrace</em>. Opixido, Oct 2008. Web. 15 Feb 2011. &lt;http://www.louvre.fr/templates/llv/flash/victoiredesamothrace/victoiredesamothrace_acc_en.html&gt;. (Hamiaux, and Marmois)\r\n\r\n\"Nike of Samothrace.\" <em>Museum of Art and Archaeology</em>. The Curators of the University of Missouri, 08 Oct 2010. Web. 14 Feb 2011. &lt;http://maa.missouri.edu/objects/castgallery/castNikeSamothrace.html&gt;. (\"Museum of Art and Archaeology\")\r\n\r\n\"The Hellenistic Period.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 2: Ancient Greece and Rome 1200 B.C.E.-476 C.E.. Detroit: Gale, 2005. 420-425. <em>Gale Virtual Reference Library</em>. Web. 15 Feb. 2011.','Nike of Samothrace','','inherit','open','open','','185-revision-6','','','2011-02-16 21:52:10','2011-02-17 03:52:10','',185,'http://jeanatacc.com/2011/?p=305',0,'revision','',0),(308,30,'2011-02-16 22:02:39','2011-02-17 04:02:39','','S29.2Nike','','inherit','open','open','','s29-2nike','','','2011-02-16 22:02:39','2011-02-17 04:02:39','',185,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/S29.2Nike.jpg',0,'attachment','image/jpeg',0),(323,34,'2011-02-16 22:14:23','2011-02-17 04:14:23','[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? \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.','The Colosseum ','WORK CITED\r\nBarbi, Guiomar. \"The Colosseum.\" World &amp; I 22.9 (2007): 3. Military &amp; Government Collection. EBSCO. Web. 16 Feb. 2011.','inherit','open','open','','262-revision-3','','','2011-02-16 22:14:23','2011-02-17 04:14:23','',262,'http://jeanatacc.com/2011/?p=323',0,'revision','',0),(310,7,'2011-02-16 22:06:20','2011-02-17 04:06:20','Mural from the villa of the Mysteries, Pompeii. The series of \r\nfrescoes illustrates the rites of initiation of brides to the cult of Dionysos. \r\nBefore 79 CE','03-05-03/42','','inherit','open','open','','03-05-0342','','','2011-02-16 22:06:20','2011-02-17 04:06:20','',167,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/fresco-panels.jpg',0,'attachment','image/jpeg',0),(314,30,'2011-02-16 22:10:45','2011-02-17 04:10:45','','Statue of Laocoon and his sons','','inherit','open','open','','statue-of-laocoon-and-his-sons','','','2011-02-16 22:10:45','2011-02-17 04:10:45','',185,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/Statue-of-Laocoon-and-his-sons.jpg',0,'attachment','image/jpeg',0),(311,30,'2011-02-16 22:07:47','2011-02-17 04:07:47','','S29.2Nike','','inherit','open','open','','s29-2nike-2','','','2011-02-16 22:07:47','2011-02-17 04:07:47','',185,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/S29.2Nike1.jpg',0,'attachment','image/jpeg',0),(312,34,'2011-02-16 22:07:49','2011-02-17 04:07:49','','Coliseumnjsndfjkasnmdf','The Colosseum','inherit','open','open','','coliseumnjsndfjkasnmdf','','','2011-02-16 22:07:49','2011-02-17 04:07:49','',262,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/Coliseumnjsndfjkasnmdf.jpg',0,'attachment','image/jpeg',0),(313,7,'2011-02-16 22:08:47','2011-02-17 04:08:47','<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> http://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\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>\n\nhttp://www.corbisimages.com/Enlargement/MI001556.html\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.\n\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\n\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.)\n\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\n\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.\n\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>\n\nhttp://www.fr-novaroma.com/E_cards/\n\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.\n\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.\n\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>\n\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\n\nhttp://www.nytimes.com/2008/10/24/arts/design/24pomp.html\n\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.\n\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>\n\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.\n\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.\n\nA periodical piece from 2008 described an exhibition 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.\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-20','','','2011-02-16 22:08:47','2011-02-17 04:08:47','',167,'http://jeanatacc.com/2011/?p=313',0,'revision','',0),(315,30,'2011-02-16 22:09:49','2011-02-17 04:09:49','﻿﻿﻿﻿﻿﻿<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/S29.2Nike1.jpg\"><img class=\"aligncenter size-medium wp-image-311\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/S29.2Nike1-234x300.jpg\" alt=\"\" width=\"234\" height=\"300\" /></a>\n<p style=\"text-align: center\">http://www.theoi.com/image/S29.2Nike.jpg</p>\nThe Nike of Samothrace, also known as the Victory of Samothrace, was discovered on April 15, 1863 on the northern Greek island of Samothrace in the Aegean Sea (Hamiaux and Marmois). The Nike of Samothrace is an eight-foot tall sculpture of the goddess Victory landing onto the prow of a ship and has an approximate date of 190-160 B.C.E (“The Hellenistic Period”). This piece could possibly commemorate a naval victory over Syria; the true reason and artist are unknown. (“The Hellenistic Period”). The goddess’ wings are extended outward and her drapery blows in the wind as it presses closely to her body. It is now displayed in The Louvre in Paris, France (Astier). This sculpture is important to remind people of the power of the human body and that victory can be achieved.<!--more-->\n\nThe Hellenistic Period was approximately 323-30 B.C.E. It began with the death of Alexander the Great, who had expanded Greece’s empire to the borders of modern day India. When he died, the empire split into three segments: Egypt, Persia, and Macedonia- Greece (Fiero B1.130). There was constant battling for territory during this era. Since the exact date or sculptor is not known for the Nike of Samothrace, there is prospect that it was erected in honor of the last naval victory in 190 B.C. when a Syrian dynasty known as the Seleucids were defeated by the Rhodian navy (Fiero B1.134).\n\nThe goddess Nike was the daughter of the Titans, Pallas and Styx and her siblings were Kratos (strength), Bia (force), and Zelos (rivalry). She helped Zeus eliminate the Titans from Mt. Olympus and was honored the title of “goddess of victory” by Zeus (“The Hellenistic Period”). Nike is associated with victories in athletics, battle, or other significant contests.\n\nThis work was typical of the Hellenistic era because during this time, sculptors used new techniques to show patterns of dark and light, body movements, and a bigger range of details that were expressive. The sculpture of Nike of Samothrace is best viewed “from a three-quarter left view” and the right side is plain (Hamiaux and Marmois). There was more emotion in the artwork and the subjects of sculptors expanded to include all age groups of people (Fiero B1.134). There were more sensuous, celebratory views on the nude male and female. Art was more realistic and not idealized like it was in the Hellenic era (Fiero B1.134). The Nike of Samothrace celebrates femininity by showing off the female body. The chiton, a common article of clothing in Ancient Greece, is portrayed as being wet from the water from the sea and is hugging the body tightly as the excess cloth is flowing in the wind. Her stance is at a twisting angle as though she is landing from the air onto the prow and stabilizing herself. The posture is proud, tall, and shows no fear.\n\nThe Nike of Samothrace is innovative for its time because it is a sensuous, triumphant structure that portrays a goddess as a more realistic figure. With close attention to detail, the unknown artist sculpted the chiton in just the right way to be tightly clinging to the skin, due to the moisture from the ocean spray, and it flows down the figure’s body and in between her legs (“Nike of Samothrace”). Her stomach and parts of her upper chest are not covered, so it is slightly sexual. The excess of the cloth hangs down or flows in the wind behind the sculpture to express the triumph. The drapery of cloth the artist created on the winged goddess made the piece unique from other sculptures of the Hellenistic era.\n\nSince there is so much unknown about the artist, creation date, and true reason for the sculpture’s creation, it is hard to pinpoint a specific, true statement of the reaction of how people received this piece of art back in Ancient Greece. If the statue was indeed built to commemorate the Rhodian naval victory over the Syrians, then it would be received by the Rhodians with pride, gratefulness, and honor (“Nike of Samothrace”). After the powerful win, there would be a united spirit of victory. The Rhodians would be very emotional and appreciative of the statue because if the battle had been lost, their homes, territory, and lives could have been lost, too. The Nike of Samothrace is a symbol for “victory,” so her presence would commemorate the physical and moral excellence, or arête (“Nike of Samothrace”).\n\nToday, viewers still find this statue powerful. It is located on the grand staircase landing of the Louvre Museum. “Her large size, dramatic forward motion, and location in the museum attract much attention” (“Nike of Samothrace”). Walking into the Louvre and looking up the stairs, the statue stands tall. The large outstretched wings radiate a powerful and triumphant feeling. When close to the figure, her pose is highly effective. Although the feet were not retrieved, the positioning has been recreated; her right foot barely skimming the boat’s deck while her left foot is still in the air as she comes down from flight (Hamiaux and Marmois). Although viewers today were not alive at the time the sculpture was erected and did not have a direct experience with it, it still causes amazement and feelings of victorious spirit when studied.\n\nWhen I viewed the Nike of Samothrace, I immediately noticed its grandeur and size. I also noticed that it was missing parts: the head, arms, and feet. Without a face showing emotion or arms to show a gesture, I did not believe that the sculpture would have such an emotional expression and be as dramatic as it is. The stature the figure is positioned in combined with the effects of the damp chiton draped down its body instilled awe in me when I studied it. The sea spray that hit the goddess left the cloth wet and pressed close to her skin. It shows the detail of the goddess’ body. Some of the cloth is falling down in between her legs and exposes her stomach and parts of her leg while the rest flows behind her in the wind. The Nike goddess is just landing down from the sky onto the boat. It’s upright, open posture and expanded wings show courage and triumph; it made me feel in a way feel proud. The sculpture made me feel that I could be strong and accomplish something.\n\nAnother Hellenistic sculpture was Laocoön and His Sons. This sculpture captures the scene of Laocoön and his two sons resisting an attack by sea serpents, which had been ordered to attack by the gods who favored the Achaeans (Fiero B1.134). Laocoön had tried to reveal to the Trojans that the Greek wooden horse, or ruse, had many Achaean soldiers in it that would conquer Troy and end the Trojan War (Fiero B1.134). As the three men are entangled within the snakes, their muscles are flexing and stretching and their faces express struggle. The Nike of Samothrace is headless, but still has a powerful impact and shows emotion, too. The poses of both statues shows how placement of the human body and the way it is portrayed can have an effect on the viewer. Both sculptures appear life-like and full of expression, unlike structures in the preceding Hellenic era.\n\nBoth the Nike of Samothrace and Laocoön and His Sons show some nudity; the body can be appreciated greater. Whether it be showing off the smooth flat stomach of the goddess or showing off Laocoön’s abdominal muscles at work, both proudly reveal the beauty of the human body. Both have some sort of cloth draping down or hanging from their bodies. The skin that is uncovered by the cloth in both sculptures shows the natural state of the body and reveals the muscles or curves of both genders.\n\nThe Nike of Samothrace is still a breath-taking piece of art to see today. From this work, it is important for future generations to know the importance of posture, body language, clothing attire, and context. The upright, courageous posture of the goddess expresses confidence and victory. The way her body is landing onto the ship shows the energy of her forward movement (Hamiaux and Marmois). The outspread wings show the power of the goddess and express a triumphant, open spirit. The gusting wind is holding the draped clothing against the goddess’ body as the rest is folding down and flowing in the wind. The cloth “both clings and billows dramatically” (“Nike of Samothrace”). The context of fighting for territories during the Hellenistic era and the victory expressed through this sculpture shows how artists capture the events occurring at the time through art. The Nike of Samothrace was commemorating some victory, though the exact battle is unknown. It is key to preserve this sculpture in order to show the importance of triumph and honor.\n\nWorks Cited\n\nAstier, Marie-Benedicte. \"Greek, Etruscan, and Roman Antiquities.\" <em>Louvre</em>. Musee de Louvre, 2005. Web. 14 Feb 2011. &lt;http://www.louvre.fr/llv/oeuvres/detail_notice.jsp?CONTENT%3C%3Ecnt_id=10134198673225805&amp;CURRENT_LLV_NOTICE%3C%3Ecnt_id=10134198673225805&amp;FOLDER%3C%3Efolder_id=9852723696500817&amp;bmLocale=en&gt;.\n\nFiero, Gloria K. <em>The Humanistic Tradition</em>. 6th. McGraw-Hill, 2011. B1.130-134. eBook. (Fiero B1.130-134)\n\nHamiaux, Marianne, and Sophie Marmois. \"Winged Victory of Samothrace.\" <em>A Closer Look at the Victory of Samothrace</em>. Opixido, Oct 2008. Web. 15 Feb 2011. &lt;http://www.louvre.fr/templates/llv/flash/victoiredesamothrace/victoiredesamothrace_acc_en.html&gt;. (Hamiaux, and Marmois)\n\n\"Nike of Samothrace.\" <em>Museum of Art and Archaeology</em>. The Curators of the University of Missouri, 08 Oct 2010. Web. 14 Feb 2011. &lt;http://maa.missouri.edu/objects/castgallery/castNikeSamothrace.html&gt;. (\"Museum of Art and Archaeology\")\n\n\"The Hellenistic Period.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 2: Ancient Greece and Rome 1200 B.C.E.-476 C.E.. Detroit: Gale, 2005. 420-425. <em>Gale Virtual Reference Library</em>. Web. 15 Feb. 2011.','Nike of Samothrace','','inherit','open','open','','185-revision-7','','','2011-02-16 22:09:49','2011-02-17 04:09:49','',185,'http://jeanatacc.com/2011/?p=315',0,'revision','',0),(316,30,'2011-02-16 22:11:19','2011-02-17 04:11:19','﻿﻿﻿﻿﻿﻿<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/S29.2Nike1.jpg\"><img class=\"aligncenter size-medium wp-image-311\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/S29.2Nike1-234x300.jpg\" alt=\"\" width=\"234\" height=\"300\" /></a>\r\n<p style=\"text-align: center\">http://www.theoi.com/image/S29.2Nike.jpg</p>\r\nThe Nike of Samothrace, also known as the Victory of Samothrace, was discovered on April 15, 1863 on the northern Greek island of Samothrace in the Aegean Sea (Hamiaux and Marmois). The Nike of Samothrace is an eight-foot tall sculpture of the goddess Victory landing onto the prow of a ship and has an approximate date of 190-160 B.C.E (“The Hellenistic Period”). This piece could possibly commemorate a naval victory over Syria; the true reason and artist are unknown. (“The Hellenistic Period”). The goddess’ wings are extended outward and her drapery blows in the wind as it presses closely to her body. It is now displayed in The Louvre in Paris, France (Astier). This sculpture is important to remind people of the power of the human body and that victory can be achieved.<!--more-->\r\n\r\nThe Hellenistic Period was approximately 323-30 B.C.E. It began with the death of Alexander the Great, who had expanded Greece’s empire to the borders of modern day India. When he died, the empire split into three segments: Egypt, Persia, and Macedonia- Greece (Fiero B1.130). There was constant battling for territory during this era. Since the exact date or sculptor is not known for the Nike of Samothrace, there is prospect that it was erected in honor of the last naval victory in 190 B.C. when a Syrian dynasty known as the Seleucids were defeated by the Rhodian navy (Fiero B1.134).\r\n\r\nThe goddess Nike was the daughter of the Titans, Pallas and Styx and her siblings were Kratos (strength), Bia (force), and Zelos (rivalry). She helped Zeus eliminate the Titans from Mt. Olympus and was honored the title of “goddess of victory” by Zeus (“The Hellenistic Period”). Nike is associated with victories in athletics, battle, or other significant contests.\r\n\r\nThis work was typical of the Hellenistic era because during this time, sculptors used new techniques to show patterns of dark and light, body movements, and a bigger range of details that were expressive. The sculpture of Nike of Samothrace is best viewed “from a three-quarter left view” and the right side is plain (Hamiaux and Marmois). There was more emotion in the artwork and the subjects of sculptors expanded to include all age groups of people (Fiero B1.134). There were more sensuous, celebratory views on the nude male and female. Art was more realistic and not idealized like it was in the Hellenic era (Fiero B1.134). The Nike of Samothrace celebrates femininity by showing off the female body. The chiton, a common article of clothing in Ancient Greece, is portrayed as being wet from the water from the sea and is hugging the body tightly as the excess cloth is flowing in the wind. Her stance is at a twisting angle as though she is landing from the air onto the prow and stabilizing herself. The posture is proud, tall, and shows no fear.\r\n\r\nThe Nike of Samothrace is innovative for its time because it is a sensuous, triumphant structure that portrays a goddess as a more realistic figure. With close attention to detail, the unknown artist sculpted the chiton in just the right way to be tightly clinging to the skin, due to the moisture from the ocean spray, and it flows down the figure’s body and in between her legs (“Nike of Samothrace”). Her stomach and parts of her upper chest are not covered, so it is slightly sexual. The excess of the cloth hangs down or flows in the wind behind the sculpture to express the triumph. The drapery of cloth the artist created on the winged goddess made the piece unique from other sculptures of the Hellenistic era.\r\n\r\nSince there is so much unknown about the artist, creation date, and true reason for the sculpture’s creation, it is hard to pinpoint a specific, true statement of the reaction of how people received this piece of art back in Ancient Greece. If the statue was indeed built to commemorate the Rhodian naval victory over the Syrians, then it would be received by the Rhodians with pride, gratefulness, and honor (“Nike of Samothrace”). After the powerful win, there would be a united spirit of victory. The Rhodians would be very emotional and appreciative of the statue because if the battle had been lost, their homes, territory, and lives could have been lost, too. The Nike of Samothrace is a symbol for “victory,” so her presence would commemorate the physical and moral excellence, or arête (“Nike of Samothrace”).\r\n\r\nToday, viewers still find this statue powerful. It is located on the grand staircase landing of the Louvre Museum. “Her large size, dramatic forward motion, and location in the museum attract much attention” (“Nike of Samothrace”). Walking into the Louvre and looking up the stairs, the statue stands tall. The large outstretched wings radiate a powerful and triumphant feeling. When close to the figure, her pose is highly effective. Although the feet were not retrieved, the positioning has been recreated; her right foot barely skimming the boat’s deck while her left foot is still in the air as she comes down from flight (Hamiaux and Marmois). Although viewers today were not alive at the time the sculpture was erected and did not have a direct experience with it, it still causes amazement and feelings of victorious spirit when studied.\r\n\r\nWhen I viewed the Nike of Samothrace, I immediately noticed its grandeur and size. I also noticed that it was missing parts: the head, arms, and feet. Without a face showing emotion or arms to show a gesture, I did not believe that the sculpture would have such an emotional expression and be as dramatic as it is. The stature the figure is positioned in combined with the effects of the damp chiton draped down its body instilled awe in me when I studied it. The sea spray that hit the goddess left the cloth wet and pressed close to her skin. It shows the detail of the goddess’ body. Some of the cloth is falling down in between her legs and exposes her stomach and parts of her leg while the rest flows behind her in the wind. The Nike goddess is just landing down from the sky onto the boat. It’s upright, open posture and expanded wings show courage and triumph; it made me feel in a way feel proud. The sculpture made me feel that I could be strong and accomplish something.\r\n\r\nAnother Hellenistic sculpture was Laocoön and His Sons. This sculpture captures the scene of Laocoön and his two sons resisting an attack by sea serpents, which had been ordered to attack by the gods who favored the Achaeans (Fiero B1.134). Laocoön had tried to reveal to the Trojans that the Greek wooden horse, or ruse, had many Achaean soldiers in it that would conquer Troy and end the Trojan War (Fiero B1.134). As the three men are entangled within the snakes, their muscles are flexing and stretching and their faces express struggle. The Nike of Samothrace is headless, but still has a powerful impact and shows emotion, too. The poses of both statues shows how placement of the human body and the way it is portrayed can have an effect on the viewer. Both sculptures appear life-like and full of expression, unlike structures in the preceding Hellenic era.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Statue-of-Laocoon-and-his-sons.jpg\"><img class=\"aligncenter size-medium wp-image-314\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Statue-of-Laocoon-and-his-sons-225x300.jpg\" alt=\"\" width=\"225\" height=\"300\" /></a>http://www.molon.de/galleries/Italy/Rome/Vatican/Museum/images01/09%20Statue%20of%20Laocoon%20and%20his%20sons.jpg</p>\r\nBoth the Nike of Samothrace and Laocoön and His Sons show some nudity; the body can be appreciated greater. Whether it be showing off the smooth flat stomach of the goddess or showing off Laocoön’s abdominal muscles at work, both proudly reveal the beauty of the human body. Both have some sort of cloth draping down or hanging from their bodies. The skin that is uncovered by the cloth in both sculptures shows the natural state of the body and reveals the muscles or curves of both genders.\r\n\r\nThe Nike of Samothrace is still a breath-taking piece of art to see today. From this work, it is important for future generations to know the importance of posture, body language, clothing attire, and context. The upright, courageous posture of the goddess expresses confidence and victory. The way her body is landing onto the ship shows the energy of her forward movement (Hamiaux and Marmois). The outspread wings show the power of the goddess and express a triumphant, open spirit. The gusting wind is holding the draped clothing against the goddess’ body as the rest is folding down and flowing in the wind. The cloth “both clings and billows dramatically” (“Nike of Samothrace”). The context of fighting for territories during the Hellenistic era and the victory expressed through this sculpture shows how artists capture the events occurring at the time through art. The Nike of Samothrace was commemorating some victory, though the exact battle is unknown. It is key to preserve this sculpture in order to show the importance of triumph and honor.\r\n\r\nWorks Cited\r\n\r\nAstier, Marie-Benedicte. \"Greek, Etruscan, and Roman Antiquities.\" <em>Louvre</em>. Musee de Louvre, 2005. Web. 14 Feb 2011. &lt;http://www.louvre.fr/llv/oeuvres/detail_notice.jsp?CONTENT%3C%3Ecnt_id=10134198673225805&amp;CURRENT_LLV_NOTICE%3C%3Ecnt_id=10134198673225805&amp;FOLDER%3C%3Efolder_id=9852723696500817&amp;bmLocale=en&gt;.\r\n\r\nFiero, Gloria K. <em>The Humanistic Tradition</em>. 6th. McGraw-Hill, 2011. B1.130-134. eBook. (Fiero B1.130-134)\r\n\r\nHamiaux, Marianne, and Sophie Marmois. \"Winged Victory of Samothrace.\" <em>A Closer Look at the Victory of Samothrace</em>. Opixido, Oct 2008. Web. 15 Feb 2011. &lt;http://www.louvre.fr/templates/llv/flash/victoiredesamothrace/victoiredesamothrace_acc_en.html&gt;. (Hamiaux, and Marmois)\r\n\r\n\"Nike of Samothrace.\" <em>Museum of Art and Archaeology</em>. The Curators of the University of Missouri, 08 Oct 2010. Web. 14 Feb 2011. &lt;http://maa.missouri.edu/objects/castgallery/castNikeSamothrace.html&gt;. (\"Museum of Art and Archaeology\")\r\n\r\n\"The Hellenistic Period.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 2: Ancient Greece and Rome 1200 B.C.E.-476 C.E.. Detroit: Gale, 2005. 420-425. <em>Gale Virtual Reference Library</em>. Web. 15 Feb. 2011.','Nike of Samothrace','','inherit','open','open','','185-revision-8','','','2011-02-16 22:11:19','2011-02-17 04:11:19','',185,'http://jeanatacc.com/2011/?p=316',0,'revision','',0),(317,7,'2011-02-16 22:10:19','2011-02-17 04:10:19','<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> http://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\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>\n\nhttp://www.corbisimages.com/Enlargement/MI001556.html\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.\n\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\n\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.)\n\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\n\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.\n\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>\n\nhttp://www.fr-novaroma.com/E_cards/\n\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.\n\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.\n\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>\n\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\n\nhttp://www.nytimes.com/2008/10/24/arts/design/24pomp.html\n\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.\n\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>\n\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.\n\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.\n\nA periodical piece from 2008 described an exhibition 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.\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\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\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-21','','','2011-02-16 22:10:19','2011-02-17 04:10:19','',167,'http://jeanatacc.com/2011/?p=317',0,'revision','',0),(319,34,'2011-02-16 22:12:27','2011-02-17 04:12:27','[gallery columns=\"2\" orderby=\"title\"]\n\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? \n\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 has 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.\n\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.\n\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.\n\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.\n\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.','The Colosseum ','','inherit','open','open','','262-revision','','','2011-02-16 22:12:27','2011-02-17 04:12:27','',262,'http://jeanatacc.com/2011/?p=319',0,'revision','',0),(318,30,'2011-02-16 22:11:23','2011-02-17 04:11:23','﻿﻿﻿﻿﻿﻿<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/S29.2Nike1.jpg\"><img class=\"aligncenter size-medium wp-image-311\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/S29.2Nike1-234x300.jpg\" alt=\"\" width=\"234\" height=\"300\" /></a>\r\n<p style=\"text-align: center\">http://www.theoi.com/image/S29.2Nike.jpg</p>\r\nThe Nike of Samothrace, also known as the Victory of Samothrace, was discovered on April 15, 1863 on the northern Greek island of Samothrace in the Aegean Sea (Hamiaux and Marmois). The Nike of Samothrace is an eight-foot tall sculpture of the goddess Victory landing onto the prow of a ship and has an approximate date of 190-160 B.C.E (“The Hellenistic Period”). This piece could possibly commemorate a naval victory over Syria; the true reason and artist are unknown. (“The Hellenistic Period”). The goddess’ wings are extended outward and her drapery blows in the wind as it presses closely to her body. It is now displayed in The Louvre in Paris, France (Astier). This sculpture is important to remind people of the power of the human body and that victory can be achieved.<!--more-->\r\n\r\nThe Hellenistic Period was approximately 323-30 B.C.E. It began with the death of Alexander the Great, who had expanded Greece’s empire to the borders of modern day India. When he died, the empire split into three segments: Egypt, Persia, and Macedonia- Greece (Fiero B1.130). There was constant battling for territory during this era. Since the exact date or sculptor is not known for the Nike of Samothrace, there is prospect that it was erected in honor of the last naval victory in 190 B.C. when a Syrian dynasty known as the Seleucids were defeated by the Rhodian navy (Fiero B1.134).\r\n\r\nThe goddess Nike was the daughter of the Titans, Pallas and Styx and her siblings were Kratos (strength), Bia (force), and Zelos (rivalry). She helped Zeus eliminate the Titans from Mt. Olympus and was honored the title of “goddess of victory” by Zeus (“The Hellenistic Period”). Nike is associated with victories in athletics, battle, or other significant contests.\r\n\r\nThis work was typical of the Hellenistic era because during this time, sculptors used new techniques to show patterns of dark and light, body movements, and a bigger range of details that were expressive. The sculpture of Nike of Samothrace is best viewed “from a three-quarter left view” and the right side is plain (Hamiaux and Marmois). There was more emotion in the artwork and the subjects of sculptors expanded to include all age groups of people (Fiero B1.134). There were more sensuous, celebratory views on the nude male and female. Art was more realistic and not idealized like it was in the Hellenic era (Fiero B1.134). The Nike of Samothrace celebrates femininity by showing off the female body. The chiton, a common article of clothing in Ancient Greece, is portrayed as being wet from the water from the sea and is hugging the body tightly as the excess cloth is flowing in the wind. Her stance is at a twisting angle as though she is landing from the air onto the prow and stabilizing herself. The posture is proud, tall, and shows no fear.\r\n\r\nThe Nike of Samothrace is innovative for its time because it is a sensuous, triumphant structure that portrays a goddess as a more realistic figure. With close attention to detail, the unknown artist sculpted the chiton in just the right way to be tightly clinging to the skin, due to the moisture from the ocean spray, and it flows down the figure’s body and in between her legs (“Nike of Samothrace”). Her stomach and parts of her upper chest are not covered, so it is slightly sexual. The excess of the cloth hangs down or flows in the wind behind the sculpture to express the triumph. The drapery of cloth the artist created on the winged goddess made the piece unique from other sculptures of the Hellenistic era.\r\n\r\nSince there is so much unknown about the artist, creation date, and true reason for the sculpture’s creation, it is hard to pinpoint a specific, true statement of the reaction of how people received this piece of art back in Ancient Greece. If the statue was indeed built to commemorate the Rhodian naval victory over the Syrians, then it would be received by the Rhodians with pride, gratefulness, and honor (“Nike of Samothrace”). After the powerful win, there would be a united spirit of victory. The Rhodians would be very emotional and appreciative of the statue because if the battle had been lost, their homes, territory, and lives could have been lost, too. The Nike of Samothrace is a symbol for “victory,” so her presence would commemorate the physical and moral excellence, or arête (“Nike of Samothrace”).\r\n\r\nToday, viewers still find this statue powerful. It is located on the grand staircase landing of the Louvre Museum. “Her large size, dramatic forward motion, and location in the museum attract much attention” (“Nike of Samothrace”). Walking into the Louvre and looking up the stairs, the statue stands tall. The large outstretched wings radiate a powerful and triumphant feeling. When close to the figure, her pose is highly effective. Although the feet were not retrieved, the positioning has been recreated; her right foot barely skimming the boat’s deck while her left foot is still in the air as she comes down from flight (Hamiaux and Marmois). Although viewers today were not alive at the time the sculpture was erected and did not have a direct experience with it, it still causes amazement and feelings of victorious spirit when studied.\r\n\r\nWhen I viewed the Nike of Samothrace, I immediately noticed its grandeur and size. I also noticed that it was missing parts: the head, arms, and feet. Without a face showing emotion or arms to show a gesture, I did not believe that the sculpture would have such an emotional expression and be as dramatic as it is. The stature the figure is positioned in combined with the effects of the damp chiton draped down its body instilled awe in me when I studied it. The sea spray that hit the goddess left the cloth wet and pressed close to her skin. It shows the detail of the goddess’ body. Some of the cloth is falling down in between her legs and exposes her stomach and parts of her leg while the rest flows behind her in the wind. The Nike goddess is just landing down from the sky onto the boat. It’s upright, open posture and expanded wings show courage and triumph; it made me feel in a way feel proud. The sculpture made me feel that I could be strong and accomplish something.\r\n\r\nAnother Hellenistic sculpture was Laocoön and His Sons. This sculpture captures the scene of Laocoön and his two sons resisting an attack by sea serpents, which had been ordered to attack by the gods who favored the Achaeans (Fiero B1.134). Laocoön had tried to reveal to the Trojans that the Greek wooden horse, or ruse, had many Achaean soldiers in it that would conquer Troy and end the Trojan War (Fiero B1.134). As the three men are entangled within the snakes, their muscles are flexing and stretching and their faces express struggle. The Nike of Samothrace is headless, but still has a powerful impact and shows emotion, too. The poses of both statues shows how placement of the human body and the way it is portrayed can have an effect on the viewer. Both sculptures appear life-like and full of expression, unlike structures in the preceding Hellenic era.\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Statue-of-Laocoon-and-his-sons.jpg\"><img class=\"aligncenter size-medium wp-image-314\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/02/Statue-of-Laocoon-and-his-sons-225x300.jpg\" alt=\"\" width=\"225\" height=\"300\" /></a>http://www.molon.de/galleries/Italy/Rome/Vatican/Museum/images01/09%20Statue%20of%20Laocoon%20and%20his%20sons.jpg</p>\r\nBoth the Nike of Samothrace and Laocoön and His Sons show some nudity; the body can be appreciated greater. Whether it be showing off the smooth flat stomach of the goddess or showing off Laocoön’s abdominal muscles at work, both proudly reveal the beauty of the human body. Both have some sort of cloth draping down or hanging from their bodies. The skin that is uncovered by the cloth in both sculptures shows the natural state of the body and reveals the muscles or curves of both genders.\r\n\r\nThe Nike of Samothrace is still a breath-taking piece of art to see today. From this work, it is important for future generations to know the importance of posture, body language, clothing attire, and context. The upright, courageous posture of the goddess expresses confidence and victory. The way her body is landing onto the ship shows the energy of her forward movement (Hamiaux and Marmois). The outspread wings show the power of the goddess and express a triumphant, open spirit. The gusting wind is holding the draped clothing against the goddess’ body as the rest is folding down and flowing in the wind. The cloth “both clings and billows dramatically” (“Nike of Samothrace”). The context of fighting for territories during the Hellenistic era and the victory expressed through this sculpture shows how artists capture the events occurring at the time through art. The Nike of Samothrace was commemorating some victory, though the exact battle is unknown. It is key to preserve this sculpture in order to show the importance of triumph and honor.\r\n\r\nWorks Cited\r\n\r\nAstier, Marie-Benedicte. \"Greek, Etruscan, and Roman Antiquities.\" <em>Louvre</em>. Musee de Louvre, 2005. Web. 14 Feb 2011. &lt;http://www.louvre.fr/llv/oeuvres/detail_notice.jsp?CONTENT%3C%3Ecnt_id=10134198673225805&amp;CURRENT_LLV_NOTICE%3C%3Ecnt_id=10134198673225805&amp;FOLDER%3C%3Efolder_id=9852723696500817&amp;bmLocale=en&gt;.\r\n\r\nFiero, Gloria K. <em>The Humanistic Tradition</em>. 6th. McGraw-Hill, 2011. B1.130-134. eBook. (Fiero B1.130-134)\r\n\r\nHamiaux, Marianne, and Sophie Marmois. \"Winged Victory of Samothrace.\" <em>A Closer Look at the Victory of Samothrace</em>. Opixido, Oct 2008. Web. 15 Feb 2011. &lt;http://www.louvre.fr/templates/llv/flash/victoiredesamothrace/victoiredesamothrace_acc_en.html&gt;. (Hamiaux, and Marmois)\r\n\r\n\"Nike of Samothrace.\" <em>Museum of Art and Archaeology</em>. The Curators of the University of Missouri, 08 Oct 2010. Web. 14 Feb 2011. &lt;http://maa.missouri.edu/objects/castgallery/castNikeSamothrace.html&gt;. (\"Museum of Art and Archaeology\")\r\n\r\n\"The Hellenistic Period.\" <em>Arts and Humanities Through the Eras</em>. Ed. Edward I. Bleiberg, et al. Vol. 2: Ancient Greece and Rome 1200 B.C.E.-476 C.E.. Detroit: Gale, 2005. 420-425. <em>Gale Virtual Reference Library</em>. Web. 15 Feb. 2011.','Nike of Samothrace','','inherit','open','open','','185-revision-9','','','2011-02-16 22:11:23','2011-02-17 04:11:23','',185,'http://jeanatacc.com/2011/?p=318',0,'revision','',0),(320,34,'2011-02-16 22:20:54','2011-02-17 04:20:54','[gallery columns=\"2\" orderby=\"title\"]\n\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? \n\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.\n\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.\n\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.\n\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.\n\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.','The Colosseum ','WORK CITED\nBarbi, Guiomar. \"The Colosseum.\" World &amp; I 22.9 (2007): 3. Military &amp; Government Collection. EBSCO. Web. 16 Feb. 2011.','inherit','open','open','','262-autosave','','','2011-02-16 22:20:54','2011-02-17 04:20:54','',262,'http://jeanatacc.com/2011/?p=320',0,'revision','',0),(321,7,'2011-02-16 22:12:51','2011-02-17 04:12:51','<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> http://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\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>\n\nhttp://www.corbisimages.com/Enlargement/MI001556.html\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.\n\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\n\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.)\n\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\n\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.\n\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>\n\nhttp://www.fr-novaroma.com/E_cards/\n\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.\n\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.\n\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>\n\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\n\nhttp://www.nytimes.com/2008/10/24/arts/design/24pomp.html\n\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.\n\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>\n\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.\n\nhttp://www.lessing-photo.com/dispimg.asp?i=03050342+&amp;cr=42&amp;cl=1\n\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.\n\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.\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\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\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-22','','','2011-02-16 22:12:51','2011-02-17 04:12:51','',167,'http://jeanatacc.com/2011/?p=321',0,'revision','',0),(322,34,'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? \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.','The Colosseum ','','inherit','open','open','','262-revision-2','','','2011-02-16 22:12:52','2011-02-17 04:12:52','',262,'http://jeanatacc.com/2011/?p=322',0,'revision','',0),(324,23,'2011-02-16 22:31:37','2011-02-17 04:31:37','<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,\nMy name is Jay Dongieux.\nThe Earth has become uninhabitable as we all know.\nHow sad that we have become so self-focused that we have allowed our world to crumble and wither away.\nThis has occurred partially as a result of fragmented societies.  Families as well as individuals focused too much on themselves rather\nthan the planet as a whole. The year is 2100. Our goal here together today is to choose four art works to carry aboard our space ship, to preserve and serve as inspiration for our people.\nThe work I have chosen is the Ziggurat of Ur.\n\nThe reason I have chosen this work is because of its architectural, historical\nand societal influence. The building of the Ziggurat of Ur showed that huge\nthrongs of people could come together for long periods of time to accomplish\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\nof its kind anywhere in the world.  It showed the architectural awareness of\nits builders. It is historically significant because it was\nfollowed by many other ziggurats, 32 that we know of today.\nIt was similar to the pyramids of Egypt. It is societally significant because , unlike the society\nof today where families and communities are splintered off and separated,\nthousands of people probably came together for years at a time to build\nthis magnificent building.\n\nSociety should become more communal ,rather\nthan individualistic. When we become so individualistic, we lose focus of the\ngood of all mankind as a whole.\n\nA ziggurat is a rectangular tiered temple mound.  Many have seven tiers. The\nseven tiers represent the heavens.  It was erected by ancient Babylonians\naround 2100 B.C.   Ziggurat is the moderm term derived from\nthe Akkadian word ziggurratu. They resembled pyramids, and are made of\nmud-brick and stone.  The structures were intended to be ladders to the\ngods. Building techniques were mastered by the third\nmillenium. Ziggurats are similar to pyramids, because they have\nstair-stepped shape and temple tops.  Ziggurats had large stairways, or in\nsome cases ramps.\n\nUr is a Sumerian city in southern Iraq. Abraham, from the bible,  home was\nknown as Ur. It is along the Euphrates River. Water is essential to human\nsurvival, so the location of structures  is of the utmost importance.\nAn ur is a \"tell\" , which is an artificial mound containing remains of\naccumulated habitants.\n\nThe ziggurat is the most enduring symbol of the Mesopotamian era.  They are\nmonuments of their kings, as well as to the combined labor forces of the time.\nThe Ziggurat of Ur was basically the center for many community activities\nsuch as religion,economy,education and government.\n\nThe Ziggurat of Ur was the first known structure of its kind anywhere.  It\nwas constructed under the direction of King Ur-Nammu. Ur-Nammu directed\nthe construction of ziggurats in the cities of Eridu, Uruk and Nippur.Nanna is\nthe moon god, who was the patron deity and divine king of Ur.Knowledge of\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\nfirst land to appear on earth.  Ziggurats remind us of the possibility of a higher\npower, being, god or divinity figure. It helps us focus on something other\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\nof the British Museum. The Ziggurat of Ur has also been referred to as the Tower of Babel.\nUnlike Egyptian pyramids, ziggurats were never tomb\nbuildings. So far , archaeologists have found the remains of thirty-two\nziggurats in and around the Mesopotamian plains.\n\nFollowed was  Mr. Leonard Woolley led the well\npublished excavations between 1922 and 1934. Woolley\'s excavations gave\nus information about Ur. The information from his work focused on walls,\ntombs, houses and a religious center. His  work was very important , because\nit greatly expanded our knowledge of  history. There is some evidence\nthat the occupation of Ur ended with a flood, the  one described in Genesis in\nthe Bible. Woolley\'s work showed that the builders were familiar with\ncolumns, arches, vaults and domes.  Excavations have revealed\nstorerooms, courtyards,other buildings and a shrine. Excavations have also\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\nactivity for its people. It was used very frequently and was the most\nsignificant structure in the area. Judging by the detail of what was found in\nthe excavations of Woolley and Hall, it contained items relevant to all facets\nof life in the present, and up to and including present day year 2100 such as\nreligion,art,science,industry and government.\n\nThe Ziggurat of Ur should be preserved to remind future generations of how\nto accomplish a common goal over a long time period and among a  huge\nnumber of people. Society has become so splintered and multi-focused today\nthat we have forgotten the common good for immediate gratification.\nInternet, cell phones, instant messages, everything is disposable and nothing\nis made to last or carry any meaning behind it.  Nothing these days has any\nlasting value, permanence or significance. Columns, canals, perfumes and\nglass were all very important innovations of the time of the ziggurats.\n\nworks cited\n\nross,leslie, Art and Architecture of the World Religions, greenwood press,Volume 1 , 2009\npearsall, deborah m, Editor-In-Chief, Encyclopedia of Archaeology, Volume 1A, 2 , B-M, academic press, San Diego,2008\nturner, jane. Dictionary of art. Vol 12, London,oxford university press, 1996 , print\ndl.lib.brown.edu/reserves/pdffiles/10242','Ziggurats and Us','','inherit','open','open','','179-revision-16','','','2011-02-16 22:31:37','2011-02-17 04:31:37','',179,'http://jeanatacc.com/2011/?p=324',0,'revision','',0),(326,23,'2011-02-16 22:37:29','2011-02-17 04:37:29','<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\nMy name is Jay Dongieux.\r\nThe Earth has become uninhabitable as we all know.\r\nHow sad that we have become so self-focused that we have allowed our world to crumble and wither away.\r\nThis has occurred partially as a result of fragmented societies.  Families as well as individuals focused too much on themselves rather\r\nthan the planet as a whole. The year is 2100. Our goal here together today is to choose four art works to carry aboard our space ship, to preserve and serve as inspiration for our people.\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\nand societal influence. The building of the Ziggurat of Ur showed that huge\r\nthrongs of people could come together for long periods of time to accomplish\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\nof its kind anywhere in the world.  It showed the architectural awareness of\r\nits builders. It is historically significant because it was\r\nfollowed by many other ziggurats, 32 that we know of today.\r\nIt was similar to the pyramids of Egypt. It is societally significant because , unlike the society\r\nof today where families and communities are splintered off and separated,\r\nthousands of people probably came together for years at a time to build\r\nthis magnificent building.\r\n\r\nSociety should become more communal ,rather\r\nthan individualistic. When we become so individualistic, we lose focus of the\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\nseven tiers represent the heavens.  It was erected by ancient Babylonians\r\naround 2100 B.C.   Ziggurat is the moderm term derived from\r\nthe Akkadian word ziggurratu. They resembled pyramids, and are made of\r\nmud-brick and stone.  The structures were intended to be ladders to the\r\ngods. Building techniques were mastered by the third\r\nmillenium. Ziggurats are similar to pyramids, because they have\r\nstair-stepped shape and temple tops.  Ziggurats had large stairways, or in\r\nsome cases ramps.\r\n\r\nUr is a Sumerian city in southern Iraq. Abraham, from the bible,  home was\r\nknown as Ur. It is along the Euphrates River. Water is essential to human\r\nsurvival, so the location of structures  is of the utmost importance.\r\nAn ur is a \"tell\" , which is an artificial mound containing remains of\r\naccumulated habitants.\r\n\r\nThe ziggurat is the most enduring symbol of the Mesopotamian era.  They are\r\nmonuments of their kings, as well as to the combined labor forces of the time.\r\nThe Ziggurat of Ur was basically the center for many community activities\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\nwas constructed under the direction of King Ur-Nammu. Ur-Nammu directed\r\nthe construction of ziggurats in the cities of Eridu, Uruk and Nippur.Nanna is\r\nthe moon god, who was the patron deity and divine king of Ur.Knowledge of\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\nfirst land to appear on earth.  Ziggurats remind us of the possibility of a higher\r\npower, being, god or divinity figure. It helps us focus on something other\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\nof the British Museum. The Ziggurat of Ur has also been referred to as the Tower of Babel.\r\nUnlike Egyptian pyramids, ziggurats were never tomb\r\nbuildings. So far , archaeologists have found the remains of thirty-two\r\nziggurats in and around the Mesopotamian plains.\r\n\r\nFollowed was  Mr. Leonard Woolley led the well\r\npublished excavations between 1922 and 1934. Woolley\'s excavations gave\r\nus information about Ur. The information from his work focused on walls,\r\ntombs, houses and a religious center. His  work was very important , because\r\nit greatly expanded our knowledge of  history. There is some evidence\r\nthat the occupation of Ur ended with a flood, the  one described in Genesis in\r\nthe Bible. Woolley\'s work showed that the builders were familiar with\r\ncolumns, arches, vaults and domes.  Excavations have revealed\r\nstorerooms, courtyards,other buildings and a shrine. Excavations have also\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\nactivity for its people. It was used very frequently and was the most\r\nsignificant structure in the area. Judging by the detail of what was found in\r\nthe excavations of Woolley and Hall, it contained items relevant to all facets\r\nof life in the present, and up to and including present day year 2100 such as\r\nreligion,art,science,industry and government.\r\n\r\nThe Ziggurat of Ur should be preserved to remind future generations of how\r\nto accomplish a common goal over a long time period and among a  huge\r\nnumber of people. Society has become so splintered and multi-focused today\r\nthat we have forgotten the common good for immediate gratification.\r\nInternet, cell phones, instant messages, everything is disposable and nothing\r\nis made to last or carry any meaning behind it.  Nothing these days has any\r\nlasting value, permanence or significance. Columns, canals, perfumes and\r\nglass were all very important innovations of the time of the ziggurats.\r\n\r\nworks cited\r\n\r\nross,leslie, Art and Architecture of the World Religions, greenwood press,Volume 1 , 2009\r\npearsall, deborah m, Editor-In-Chief, Encyclopedia of Archaeology, Volume 1A, 2 , B-M, academic press, San Diego,2008\r\nturner, jane. Dictionary of art. Vol 12, London,oxford university press, 1996 , print\r\ndl.lib.brown.edu/reserves/pdffiles/10242_Westenholz_Ur.pdf\r\nhttp://www.flickr.com/photos/jmcfall/46769923/','Ziggurats and Us','','inherit','open','open','','179-revision-18','','','2011-02-16 22:37:29','2011-02-17 04:37:29','',179,'http://jeanatacc.com/2011/?p=326',0,'revision','',0),(325,23,'2011-02-16 22:32:34','2011-02-17 04:32:34','<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\nMy name is Jay Dongieux.\r\nThe Earth has become uninhabitable as we all know.\r\nHow sad that we have become so self-focused that we have allowed our world to crumble and wither away.\r\nThis has occurred partially as a result of fragmented societies.  Families as well as individuals focused too much on themselves rather\r\nthan the planet as a whole. The year is 2100. Our goal here together today is to choose four art works to carry aboard our space ship, to preserve and serve as inspiration for our people.\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\nand societal influence. The building of the Ziggurat of Ur showed that huge\r\nthrongs of people could come together for long periods of time to accomplish\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\nof its kind anywhere in the world.  It showed the architectural awareness of\r\nits builders. It is historically significant because it was\r\nfollowed by many other ziggurats, 32 that we know of today.\r\nIt was similar to the pyramids of Egypt. It is societally significant because , unlike the society\r\nof today where families and communities are splintered off and separated,\r\nthousands of people probably came together for years at a time to build\r\nthis magnificent building.\r\n\r\nSociety should become more communal ,rather\r\nthan individualistic. When we become so individualistic, we lose focus of the\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\nseven tiers represent the heavens.  It was erected by ancient Babylonians\r\naround 2100 B.C.   Ziggurat is the moderm term derived from\r\nthe Akkadian word ziggurratu. They resembled pyramids, and are made of\r\nmud-brick and stone.  The structures were intended to be ladders to the\r\ngods. Building techniques were mastered by the third\r\nmillenium. Ziggurats are similar to pyramids, because they have\r\nstair-stepped shape and temple tops.  Ziggurats had large stairways, or in\r\nsome cases ramps.\r\n\r\nUr is a Sumerian city in southern Iraq. Abraham, from the bible,  home was\r\nknown as Ur. It is along the Euphrates River. Water is essential to human\r\nsurvival, so the location of structures  is of the utmost importance.\r\nAn ur is a \"tell\" , which is an artificial mound containing remains of\r\naccumulated habitants.\r\n\r\nThe ziggurat is the most enduring symbol of the Mesopotamian era.  They are\r\nmonuments of their kings, as well as to the combined labor forces of the time.\r\nThe Ziggurat of Ur was basically the center for many community activities\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\nwas constructed under the direction of King Ur-Nammu. Ur-Nammu directed\r\nthe construction of ziggurats in the cities of Eridu, Uruk and Nippur.Nanna is\r\nthe moon god, who was the patron deity and divine king of Ur.Knowledge of\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\nfirst land to appear on earth.  Ziggurats remind us of the possibility of a higher\r\npower, being, god or divinity figure. It helps us focus on something other\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\nof the British Museum. The Ziggurat of Ur has also been referred to as the Tower of Babel.\r\nUnlike Egyptian pyramids, ziggurats were never tomb\r\nbuildings. So far , archaeologists have found the remains of thirty-two\r\nziggurats in and around the Mesopotamian plains.\r\n\r\nFollowed was  Mr. Leonard Woolley led the well\r\npublished excavations between 1922 and 1934. Woolley\'s excavations gave\r\nus information about Ur. The information from his work focused on walls,\r\ntombs, houses and a religious center. His  work was very important , because\r\nit greatly expanded our knowledge of  history. There is some evidence\r\nthat the occupation of Ur ended with a flood, the  one described in Genesis in\r\nthe Bible. Woolley\'s work showed that the builders were familiar with\r\ncolumns, arches, vaults and domes.  Excavations have revealed\r\nstorerooms, courtyards,other buildings and a shrine. Excavations have also\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\nactivity for its people. It was used very frequently and was the most\r\nsignificant structure in the area. Judging by the detail of what was found in\r\nthe excavations of Woolley and Hall, it contained items relevant to all facets\r\nof life in the present, and up to and including present day year 2100 such as\r\nreligion,art,science,industry and government.\r\n\r\nThe Ziggurat of Ur should be preserved to remind future generations of how\r\nto accomplish a common goal over a long time period and among a  huge\r\nnumber of people. Society has become so splintered and multi-focused today\r\nthat we have forgotten the common good for immediate gratification.\r\nInternet, cell phones, instant messages, everything is disposable and nothing\r\nis made to last or carry any meaning behind it.  Nothing these days has any\r\nlasting value, permanence or significance. Columns, canals, perfumes and\r\nglass were all very important innovations of the time of the ziggurats.\r\n\r\nworks cited\r\n\r\nross,leslie, Art and Architecture of the World Religions, greenwood press,Volume 1 , 2009\r\npearsall, deborah m, Editor-In-Chief, Encyclopedia of Archaeology, Volume 1A, 2 , B-M, academic press, San Diego,2008\r\nturner, jane. Dictionary of art. Vol 12, London,oxford university press, 1996 , print\r\ndl.lib.brown.edu/reserves/pdffiles/10242_Westenholz_Ur.pdf','Ziggurats and Us','','inherit','open','open','','179-revision-17','','','2011-02-16 22:32:34','2011-02-17 04:32:34','',179,'http://jeanatacc.com/2011/?p=325',0,'revision','',0),(327,7,'2011-02-16 22:39:55','2011-02-17 04:39:55','<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 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\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) 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.\n\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>\n\nhttp://www.corbisimages.com/Enlargement/MI001556.html\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.\n\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\n\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.)\n\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\n\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.\n\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>\n\nhttp://www.fr-novaroma.com/E_cards/\n\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.\n\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.\n\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>\n\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\n\nhttp://www.nytimes.com/2008/10/24/arts/design/24pomp.html\n\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.\n\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>\n\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.\n\nhttp://www.lessing-photo.com/dispimg.asp?i=03050342+&amp;cr=42&amp;cl=1\n\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.\n\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.\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<h1>Deem, James M. Bodies From the Ash: Life and Death in Ancient Pompeii. Houghton Mifflin, N.Y. 2005. Pg 10.</h1>\nDeem, James M. <em>Bodies From the Ash: Life and Death in Ancient Pompeii</em>. Houghton Mifflin, N.Y., N.Y. 2005. Pg 10.\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, New Jersey, 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\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\n\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-23','','','2011-02-16 22:39:55','2011-02-17 04:39:55','',167,'http://jeanatacc.com/2011/?p=327',0,'revision','',0),(328,7,'2011-02-16 22:40:11','2011-02-17 04:40:11','<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-24','','','2011-02-16 22:40:11','2011-02-17 04:40:11','',167,'http://jeanatacc.com/2011/?p=328',0,'revision','',0),(329,23,'2011-02-16 22:39:28','2011-02-17 04:39:28','<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\nMy name is Jay Dongieux.\r\nThe Earth has become uninhabitable as we all know.\r\nHow sad that we have become so self-focused that we have allowed our world to crumble and wither away.\r\nThis has occurred partially as a result of fragmented societies.  Families as well as individuals focused too much on themselves rather\r\nthan the planet as a whole. The year is 2100. Our goal here together today is to choose four art works to carry aboard our space ship, to preserve and serve as inspiration for our people.\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\nand societal influence. The building of the Ziggurat of Ur showed that huge\r\nthrongs of people could come together for long periods of time to accomplish\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\nof its kind anywhere in the world.  It showed the architectural awareness of\r\nits builders. It is historically significant because it was\r\nfollowed by many other ziggurats, 32 that we know of today.\r\nIt was similar to the pyramids of Egypt. It is societally significant because , unlike the society\r\nof today where families and communities are splintered off and separated,\r\nthousands of people probably came together for years at a time to build\r\nthis magnificent building.\r\n\r\nSociety should become more communal ,rather\r\nthan individualistic. When we become so individualistic, we lose focus of the\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\nseven tiers represent the heavens.  It was erected by ancient Babylonians\r\naround 2100 B.C.   Ziggurat is the moderm term derived from\r\nthe Akkadian word ziggurratu. They resembled pyramids, and are made of\r\nmud-brick and stone.  The structures were intended to be ladders to the\r\ngods. Building techniques were mastered by the third\r\nmillenium. Ziggurats are similar to pyramids, because they have\r\nstair-stepped shape and temple tops.  Ziggurats had large stairways, or in\r\nsome cases ramps.\r\n\r\nUr is a Sumerian city in southern Iraq. Abraham, from the bible,  home was\r\nknown as Ur. It is along the Euphrates River. Water is essential to human\r\nsurvival, so the location of structures  is of the utmost importance.\r\nAn ur is a \"tell\" , which is an artificial mound containing remains of\r\naccumulated habitants.\r\n\r\nThe ziggurat is the most enduring symbol of the Mesopotamian era.  They are\r\nmonuments of their kings, as well as to the combined labor forces of the time.\r\nThe Ziggurat of Ur was basically the center for many community activities\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\nwas constructed under the direction of King Ur-Nammu. Ur-Nammu directed\r\nthe construction of ziggurats in the cities of Eridu, Uruk and Nippur.Nanna is\r\nthe moon god, who was the patron deity and divine king of Ur.Knowledge of\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\nfirst land to appear on earth.  Ziggurats remind us of the possibility of a higher\r\npower, being, god or divinity figure. It helps us focus on something other\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\nof the British Museum. The Ziggurat of Ur has also been referred to as the Tower of Babel.\r\nUnlike Egyptian pyramids, ziggurats were never tomb\r\nbuildings. So far , archaeologists have found the remains of thirty-two\r\nziggurats in and around the Mesopotamian plains.\r\n\r\nFollowed was  Mr. Leonard Woolley led the well\r\npublished excavations between 1922 and 1934. Woolley\'s excavations gave\r\nus information about Ur. The information from his work focused on walls,\r\ntombs, houses and a religious center. His  work was very important , because\r\nit greatly expanded our knowledge of  history. There is some evidence\r\nthat the occupation of Ur ended with a flood, the  one described in Genesis in\r\nthe Bible. Woolley\'s work showed that the builders were familiar with\r\ncolumns, arches, vaults and domes.  Excavations have revealed\r\nstorerooms, courtyards,other buildings and a shrine. Excavations have also\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\nactivity for its people. It was used very frequently and was the most\r\nsignificant structure in the area. Judging by the detail of what was found in\r\nthe excavations of Woolley and Hall, it contained items relevant to all facets\r\nof life in the present, and up to and including present day year 2100 such as\r\nreligion,art,science,industry and government.\r\n\r\nThe Ziggurat of Ur should be preserved to remind future generations of how\r\nto accomplish a common goal over a long time period and among a  huge\r\nnumber of people. Society has become so splintered and multi-focused today\r\nthat we have forgotten the common good for immediate gratification.\r\nInternet, cell phones, instant messages, everything is disposable and nothing\r\nis made to last or carry any meaning behind it.  Nothing these days has any\r\nlasting value, permanence or significance. Columns, canals, perfumes and\r\nglass were all very important innovations of the time of the ziggurats.\r\n\r\nworks cited\r\n\r\nross,leslie, Art and Architecture of the World Religions, greenwood press,Volume 1 , 2009\r\npearsall, deborah m, Editor-In-Chief, Encyclopedia of Archaeology, Volume 1A, 2 , B-M, academic press, San Diego,2008\r\nturner, jane. Dictionary of art. Vol 12, London,oxford university press, 1996 , print\r\ndl.lib.brown.edu/reserves/pdffiles/10242_Westenholz_Ur.pdf\r\nhttp://www.flickr.com/photos/jmcfall/46769923/','Ziggurats and Us','','inherit','open','open','','179-revision-19','','','2011-02-16 22:39:28','2011-02-17 04:39:28','',179,'http://jeanatacc.com/2011/?p=329',0,'revision','',0),(332,23,'2011-02-16 22:45:45','2011-02-17 04:45:45','<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,\nMy name is Jay Dongieux.\nThe Earth has become uninhabitable as we all know.\nHow sad that we have become so self-focused that we have allowed our world to crumble and wither away.\nThis has occurred partially as a result of fragmented societies.  Families as well as individuals focused too much on themselves rather\nthan the planet as a whole. The year is 2100. Our goal here together today is to choose four art works to carry aboard our space ship, to preserve and serve as inspiration for our people.\nThe work I have chosen is the Ziggurat of Ur.\n\nThe reason I have chosen this work is because of its architectural, historical\nand societal influence. The building of the Ziggurat of Ur showed that huge\nthrongs of people could come together for long periods of time to accomplish\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\nof its kind anywhere in the world.  It showed the architectural awareness of\nits builders. It is historically significant because it was\nfollowed by many other ziggurats, 32 that we know of today.\nIt was similar to the pyramids of Egypt. It is societally significant because , unlike the society\nof today where families and communities are splintered off and separated,\nthousands of people probably came together for years at a time to build\nthis magnificent building.\n\nSociety should become more communal ,rather\nthan individualistic. When we become so individualistic, we lose focus of the\ngood of all mankind as a whole.\n\nA ziggurat is a rectangular tiered temple mound.  Many have seven tiers. The\nseven tiers represent the heavens.  It was erected by ancient Babylonians\naround 2100 B.C.   Ziggurat is the moderm term derived from\nthe Akkadian word ziggurratu. They resembled pyramids, and are made of\nmud-brick and stone.  The structures were intended to be ladders to the\ngods. Building techniques were mastered by the third\nmillenium. Ziggurats are similar to pyramids, because they have\nstair-stepped shape and temple tops.  Ziggurats had large stairways, or in\nsome cases ramps.\n\nUr is a Sumerian city in southern Iraq. Abraham, from the bible,  home was\nknown as Ur. It is along the Euphrates River. Water is essential to human\nsurvival, so the location of structures  is of the utmost importance.\nAn ur is a \"tell\" , which is an artificial mound containing remains of\naccumulated habitants.\n\nThe ziggurat is the most enduring symbol of the Mesopotamian era.  They are\nmonuments of their kings, as well as to the combined labor forces of the time.\nThe Ziggurat of Ur was basically the center for many community activities\nsuch as religion,economy,education and government.\n\nThe Ziggurat of Ur was the first known structure of its kind anywhere.  It\nwas constructed under the direction of King Ur-Nammu. Ur-Nammu directed\nthe construction of ziggurats in the cities of Eridu, Uruk and Nippur.Nanna is\nthe moon god, who was the patron deity and divine king of Ur.Knowledge of\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\nfirst land to appear on earth.  Ziggurats remind us of the possibility of a higher\npower, being, god or divinity figure. It helps us focus on something other\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\nof the British Museum. The Ziggurat of Ur has also been referred to as the Tower of Babel.\nUnlike Egyptian pyramids, ziggurats were never tomb\nbuildings. So far , archaeologists have found the remains of thirty-two\nziggurats in and around the Mesopotamian plains.\n\nFollowed was  Mr. Leonard Woolley led the well\npublished excavations between 1922 and 1934. Woolley\'s excavations gave\nus information about Ur. The information from his work focused on walls,\ntombs, houses and a religious center. His  work was very important , because\nit greatly expanded our knowledge of  history. There is some evidence\nthat the occupation of Ur ended with a flood, the  one described in Genesis in\nthe Bible. Woolley\'s work showed that the builders were familiar with\ncolumns, arches, vaults and domes.  Excavations have revealed\nstorerooms, courtyards,other buildings and a shrine. Excavations have also\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\nactivity for its people. It was used very frequently and was the most\nsignificant structure in the area. Judging by the detail of what was found in\nthe excavations of Woolley and Hall, it contained items relevant to all facets\nof life in the present, and up to and including present day year 2100 such as\nreligion,art,science,industry and government.\n\nThe Ziggurat of Ur should be preserved to remind future generations of how\nto accomplish a common goal over a long time period and among a  huge\nnumber of people. Society has become so splintered and multi-focused today\nthat we have forgotten the common good for immediate gratification.\nInternet, cell phones, instant messages, everything is disposable and nothing\nis made to last or carry any meaning behind it.  Nothing these days has any\nlasting value, permanence or significance. Columns, canals, perfumes and\nglass were all very important innovations of the time of the ziggurats.\n\nworks cited\n\nross,leslie, Art and Architecture of the World Religions, greenwood press,Volume 1 , 2009\npearsall, deborah m, Editor-In-Chief, Encyclopedia of Archaeology, Volume 1A, 2 , B-M, academic press, San Diego,2008\nturner, jane. Dictionary of art. Vol 12, London,oxford university press, 1996 , print\ndl.lib.brown.edu/reserves/pdffiles/10242_Westenholz_Ur.pdf\nhttp://www.flickr.com/photos/jmcfall/46769923/\n','dongieuxjay-TCP1','','inherit','open','open','','179-revision-21','','','2011-02-16 22:45:45','2011-02-17 04:45:45','',179,'http://jeanatacc.com/2011/?p=332',0,'revision','',0),(330,7,'2011-02-16 22:40:19','2011-02-17 04:40:19','<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-25','','','2011-02-16 22:40:19','2011-02-17 04:40:19','',167,'http://jeanatacc.com/2011/?p=330',0,'revision','',0),(342,1,'2011-02-17 13:00:43','2011-02-17 19:00:43','','oedipus','','inherit','open','open','','oedipus','','','2011-02-17 13:00:43','2011-02-17 19:00:43','',235,'http://jeanatacc.com/2011/wp-content/uploads/2011/02/oedipus.jpg',0,'attachment','image/jpeg',0),(331,23,'2011-02-16 22:41:23','2011-02-17 04:41:23','<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>\r\n\r\nGood Morning all,\r\nMy name is Jay Dongieux.\r\nThe Earth has become uninhabitable as we all know.\r\nHow sad that we have become so self-focused that we have allowed our world to crumble and wither away.\r\nThis has occurred partially as a result of fragmented societies.  Families as well as individuals focused too much on themselves rather\r\nthan the planet as a whole. The year is 2100. Our goal here together today is to choose four art works to carry aboard our space ship, to preserve and serve as inspiration for our people.\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\nand societal influence. The building of the Ziggurat of Ur showed that huge\r\nthrongs of people could come together for long periods of time to accomplish\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\nof its kind anywhere in the world.  It showed the architectural awareness of\r\nits builders. It is historically significant because it was\r\nfollowed by many other ziggurats, 32 that we know of today.\r\nIt was similar to the pyramids of Egypt. It is societally significant because , unlike the society\r\nof today where families and communities are splintered off and separated,\r\nthousands of people probably came together for years at a time to build\r\nthis magnificent building.\r\n\r\nSociety should become more communal ,rather\r\nthan individualistic. When we become so individualistic, we lose focus of the\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\nseven tiers represent the heavens.  It was erected by ancient Babylonians\r\naround 2100 B.C.   Ziggurat is the moderm term derived from\r\nthe Akkadian word ziggurratu. They resembled pyramids, and are made of\r\nmud-brick and stone.  The structures were intended to be ladders to the\r\ngods. Building techniques were mastered by the third\r\nmillenium. Ziggurats are similar to pyramids, because they have\r\nstair-stepped shape and temple tops.  Ziggurats had large stairways, or in\r\nsome cases ramps.\r\n\r\nUr is a Sumerian city in southern Iraq. Abraham, from the bible,  home was\r\nknown as Ur. It is along the Euphrates River. Water is essential to human\r\nsurvival, so the location of structures  is of the utmost importance.\r\nAn ur is a \"tell\" , which is an artificial mound containing remains of\r\naccumulated habitants.\r\n\r\nThe ziggurat is the most enduring symbol of the Mesopotamian era.  They are\r\nmonuments of their kings, as well as to the combined labor forces of the time.\r\nThe Ziggurat of Ur was basically the center for many community activities\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\nwas constructed under the direction of King Ur-Nammu. Ur-Nammu directed\r\nthe construction of ziggurats in the cities of Eridu, Uruk and Nippur.Nanna is\r\nthe moon god, who was the patron deity and divine king of Ur.Knowledge of\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\nfirst land to appear on earth.  Ziggurats remind us of the possibility of a higher\r\npower, being, god or divinity figure. It helps us focus on something other\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\nof the British Museum. The Ziggurat of Ur has also been referred to as the Tower of Babel.\r\nUnlike Egyptian pyramids, ziggurats were never tomb\r\nbuildings. So far , archaeologists have found the remains of thirty-two\r\nziggurats in and around the Mesopotamian plains.\r\n\r\nFollowed was  Mr. Leonard Woolley led the well\r\npublished excavations between 1922 and 1934. Woolley\'s excavations gave\r\nus information about Ur. The information from his work focused on walls,\r\ntombs, houses and a religious center. His  work was very important , because\r\nit greatly expanded our knowledge of  history. There is some evidence\r\nthat the occupation of Ur ended with a flood, the  one described in Genesis in\r\nthe Bible. Woolley\'s work showed that the builders were familiar with\r\ncolumns, arches, vaults and domes.  Excavations have revealed\r\nstorerooms, courtyards,other buildings and a shrine. Excavations have also\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\nactivity for its people. It was used very frequently and was the most\r\nsignificant structure in the area. Judging by the detail of what was found in\r\nthe excavations of Woolley and Hall, it contained items relevant to all facets\r\nof life in the present, and up to and including present day year 2100 such as\r\nreligion,art,science,industry and government.\r\n\r\nThe Ziggurat of Ur should be preserved to remind future generations of how\r\nto accomplish a common goal over a long time period and among a  huge\r\nnumber of people. Society has become so splintered and multi-focused today\r\nthat we have forgotten the common good for immediate gratification.\r\nInternet, cell phones, instant messages, everything is disposable and nothing\r\nis made to last or carry any meaning behind it.  Nothing these days has any\r\nlasting value, permanence or significance. Columns, canals, perfumes and\r\nglass were all very important innovations of the time of the ziggurats.\r\n\r\nworks cited\r\n\r\nross,leslie, Art and Architecture of the World Religions, greenwood press,Volume 1 , 2009\r\npearsall, deborah m, Editor-In-Chief, Encyclopedia of Archaeology, Volume 1A, 2 , B-M, academic press, San Diego,2008\r\nturner, jane. Dictionary of art. Vol 12, London,oxford university press, 1996 , print\r\ndl.lib.brown.edu/reserves/pdffiles/10242_Westenholz_Ur.pdf\r\nhttp://www.flickr.com/photos/jmcfall/46769923/\r\nhttp://www.flickr.com/photos/jmcfall/46769923/','Ziggurats and Us','','inherit','open','open','','179-revision-20','','','2011-02-16 22:41:23','2011-02-17 04:41:23','',179,'http://jeanatacc.com/2011/?p=331',0,'revision','',0),(334,23,'2011-02-16 22:54:49','2011-02-17 04:54:49','<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,\nMy name is Jay Dongieux.\nThe Earth has become uninhabitable as we all know.\nHow sad that we have become so self-focused that we have allowed our world to crumble and wither away.\nThis has occurred partially as a result of fragmented societies.  Families as well as individuals focused too much on themselves rather\nthan the planet as a whole. The year is 2100. Our goal here together today is to choose four art works to carry aboard our space ship, to preserve and serve as inspiration for our people.\nThe work I have chosen is the Ziggurat of Ur.\n\nThe reason I have chosen this work is because of its architectural, historical\nand societal influence. The building of the Ziggurat of Ur showed that huge\nthrongs of people could come together for long periods of time to accomplish\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\nof its kind anywhere in the world.  It showed the architectural awareness of\nits builders. It is historically significant because it was\nfollowed by many other ziggurats, 32 that we know of today.\nIt was similar to the pyramids of Egypt. It is societally significant because , unlike the society\nof today where families and communities are splintered off and separated,\nthousands of people probably came together for years at a time to build\nthis magnificent building.\n\nSociety should become more communal ,rather\nthan individualistic. When we become so individualistic, we lose focus of the\ngood of all mankind as a whole.\n\nA ziggurat is a rectangular tiered temple mound.  Many have seven tiers. The\nseven tiers represent the heavens.  It was erected by ancient Babylonians\naround 2100 B.C.   Ziggurat is the moderm term derived from\nthe Akkadian word ziggurratu. They resembled pyramids, and are made of\nmud-brick and stone.  The structures were intended to be ladders to the\ngods. Building techniques were mastered by the third\nmillenium. Ziggurats are similar to pyramids, because they have\nstair-stepped shape and temple tops.  Ziggurats had large stairways, or in\nsome cases ramps.\n\nUr is a Sumerian city in southern Iraq. Abraham, from the bible,  home was\nknown as Ur. It is along the Euphrates River. Water is essential to human\nsurvival, so the location of structures  is of the utmost importance.\nAn ur is a \"tell\" , which is an artificial mound containing remains of\naccumulated habitants.\n\nThe ziggurat is the most enduring symbol of the Mesopotamian era.  They are\nmonuments of their kings, as well as to the combined labor forces of the time.\nThe Ziggurat of Ur was basically the center for many community activities\nsuch as religion,economy,education and government.\n\nThe Ziggurat of Ur was the first known structure of its kind anywhere.  It\nwas constructed under the direction of King Ur-Nammu. Ur-Nammu directed\nthe construction of ziggurats in the cities of Eridu, Uruk and Nippur.Nanna is\nthe moon god, who was the patron deity and divine king of Ur.Knowledge of\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\nfirst land to appear on earth.  Ziggurats remind us of the possibility of a higher\npower, being, god or divinity figure. It helps us focus on something other\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\nof the British Museum. The Ziggurat of Ur has also been referred to as the Tower of Babel.\nUnlike Egyptian pyramids, ziggurats were never tomb\nbuildings. So far , archaeologists have found the remains of thirty-two\nziggurats in and around the Mesopotamian plains.\n\nFollowed was  Mr. Leonard Woolley led the well\npublished excavations between 1922 and 1934. Woolley\'s excavations gave\nus information about Ur. The information from his work focused on walls,\ntombs, houses and a religious center. His  work was very important , because\nit greatly expanded our knowledge of  history. There is some evidence\nthat the occupation of Ur ended with a flood, the  one described in Genesis in\nthe Bible. Woolley\'s work showed that the builders were familiar with\ncolumns, arches, vaults and domes.  Excavations have revealed\nstorerooms, courtyards,other buildings and a shrine. Excavations have also\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\nactivity for its people. It was used very frequently and was the most\nsignificant structure in the area. Judging by the detail of what was found in\nthe excavations of Woolley and Hall, it contained items relevant to all facets\nof life in the present, and up to and including present day year 2100 such as\nreligion,art,science,industry and government.\n\nThe Ziggurat of Ur should be preserved to remind future generations of how\nto accomplish a common goal over a long time period and among a  huge\nnumber of people. Society has become so splintered and multi-focused today\nthat we have forgotten the common good for immediate gratification.\nInternet, cell phones, instant messages, everything is disposable and nothing\nis made to last or carry any meaning behind it.  Nothing these days has any\nlasting value, permanence or significance. Columns, canals, perfumes and\nglass were all very important innovations of the time of the ziggurats.\n\nworks cited\n\nross,leslie, Art and Architecture of the World Religions, greenwood press,Volume 1 , 2009\npearsall, deborah m, Editor-In-Chief, Encyclopedia of Archaeology, Volume 1A, 2 , B-M, academic press, San Diego,2008\nturner, jane. Dictionary of art. Vol 12, London,oxford university press, 1996 , print\ndl.lib.brown.edu/reserves/pdffiles/10242_Westenholz_Ur.pdf\n\n&lt;http://www.flickr.com/photos/jmcfall/46769923/\n','DONGIEUXJAY-TCP1','','inherit','open','open','','179-revision-23','','','2011-02-16 22:54:49','2011-02-17 04:54:49','',179,'http://jeanatacc.com/2011/?p=334',0,'revision','',0),(333,23,'2011-02-16 22:48:28','2011-02-17 04:48:28','<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\nMy name is Jay Dongieux.\r\nThe Earth has become uninhabitable as we all know.\r\nHow sad that we have become so self-focused that we have allowed our world to crumble and wither away.\r\nThis has occurred partially as a result of fragmented societies.  Families as well as individuals focused too much on themselves rather\r\nthan the planet as a whole. The year is 2100. Our goal here together today is to choose four art works to carry aboard our space ship, to preserve and serve as inspiration for our people.\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\nand societal influence. The building of the Ziggurat of Ur showed that huge\r\nthrongs of people could come together for long periods of time to accomplish\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\nof its kind anywhere in the world.  It showed the architectural awareness of\r\nits builders. It is historically significant because it was\r\nfollowed by many other ziggurats, 32 that we know of today.\r\nIt was similar to the pyramids of Egypt. It is societally significant because , unlike the society\r\nof today where families and communities are splintered off and separated,\r\nthousands of people probably came together for years at a time to build\r\nthis magnificent building.\r\n\r\nSociety should become more communal ,rather\r\nthan individualistic. When we become so individualistic, we lose focus of the\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\nseven tiers represent the heavens.  It was erected by ancient Babylonians\r\naround 2100 B.C.   Ziggurat is the moderm term derived from\r\nthe Akkadian word ziggurratu. They resembled pyramids, and are made of\r\nmud-brick and stone.  The structures were intended to be ladders to the\r\ngods. Building techniques were mastered by the third\r\nmillenium. Ziggurats are similar to pyramids, because they have\r\nstair-stepped shape and temple tops.  Ziggurats had large stairways, or in\r\nsome cases ramps.\r\n\r\nUr is a Sumerian city in southern Iraq. Abraham, from the bible,  home was\r\nknown as Ur. It is along the Euphrates River. Water is essential to human\r\nsurvival, so the location of structures  is of the utmost importance.\r\nAn ur is a \"tell\" , which is an artificial mound containing remains of\r\naccumulated habitants.\r\n\r\nThe ziggurat is the most enduring symbol of the Mesopotamian era.  They are\r\nmonuments of their kings, as well as to the combined labor forces of the time.\r\nThe Ziggurat of Ur was basically the center for many community activities\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\nwas constructed under the direction of King Ur-Nammu. Ur-Nammu directed\r\nthe construction of ziggurats in the cities of Eridu, Uruk and Nippur.Nanna is\r\nthe moon god, who was the patron deity and divine king of Ur.Knowledge of\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\nfirst land to appear on earth.  Ziggurats remind us of the possibility of a higher\r\npower, being, god or divinity figure. It helps us focus on something other\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\nof the British Museum. The Ziggurat of Ur has also been referred to as the Tower of Babel.\r\nUnlike Egyptian pyramids, ziggurats were never tomb\r\nbuildings. So far , archaeologists have found the remains of thirty-two\r\nziggurats in and around the Mesopotamian plains.\r\n\r\nFollowed was  Mr. Leonard Woolley led the well\r\npublished excavations between 1922 and 1934. Woolley\'s excavations gave\r\nus information about Ur. The information from his work focused on walls,\r\ntombs, houses and a religious center. His  work was very important , because\r\nit greatly expanded our knowledge of  history. There is some evidence\r\nthat the occupation of Ur ended with a flood, the  one described in Genesis in\r\nthe Bible. Woolley\'s work showed that the builders were familiar with\r\ncolumns, arches, vaults and domes.  Excavations have revealed\r\nstorerooms, courtyards,other buildings and a shrine. Excavations have also\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\nactivity for its people. It was used very frequently and was the most\r\nsignificant structure in the area. Judging by the detail of what was found in\r\nthe excavations of Woolley and Hall, it contained items relevant to all facets\r\nof life in the present, and up to and including present day year 2100 such as\r\nreligion,art,science,industry and government.\r\n\r\nThe Ziggurat of Ur should be preserved to remind future generations of how\r\nto accomplish a common goal over a long time period and among a  huge\r\nnumber of people. Society has become so splintered and multi-focused today\r\nthat we have forgotten the common good for immediate gratification.\r\nInternet, cell phones, instant messages, everything is disposable and nothing\r\nis made to last or carry any meaning behind it.  Nothing these days has any\r\nlasting value, permanence or significance. Columns, canals, perfumes and\r\nglass were all very important innovations of the time of the ziggurats.\r\n\r\nworks cited\r\n\r\nross,leslie, Art and Architecture of the World Religions, greenwood press,Volume 1 , 2009\r\npearsall, deborah m, Editor-In-Chief, Encyclopedia of Archaeology, Volume 1A, 2 , B-M, academic press, San Diego,2008\r\nturner, jane. Dictionary of art. Vol 12, London,oxford university press, 1996 , print\r\ndl.lib.brown.edu/reserves/pdffiles/10242_Westenholz_Ur.pdf\r\nhttp://www.flickr.com/photos/jmcfall/46769923/\r\n','dongieuxjay-TCP1','','inherit','open','open','','179-revision-22','','','2011-02-16 22:48:28','2011-02-17 04:48:28','',179,'http://jeanatacc.com/2011/?p=333',0,'revision','',0),(335,23,'2011-02-16 22:55:16','2011-02-17 04:55:16','<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\nMy name is Jay Dongieux.\r\nThe Earth has become uninhabitable as we all know.\r\nHow sad that we have become so self-focused that we have allowed our world to crumble and wither away.\r\nThis has occurred partially as a result of fragmented societies.  Families as well as individuals focused too much on themselves rather\r\nthan the planet as a whole. The year is 2100. Our goal here together today is to choose four art works to carry aboard our space ship, to preserve and serve as inspiration for our people.\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\nand societal influence. The building of the Ziggurat of Ur showed that huge\r\nthrongs of people could come together for long periods of time to accomplish\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\nof its kind anywhere in the world.  It showed the architectural awareness of\r\nits builders. It is historically significant because it was\r\nfollowed by many other ziggurats, 32 that we know of today.\r\nIt was similar to the pyramids of Egypt. It is societally significant because , unlike the society\r\nof today where families and communities are splintered off and separated,\r\nthousands of people probably came together for years at a time to build\r\nthis magnificent building.\r\n\r\nSociety should become more communal ,rather\r\nthan individualistic. When we become so individualistic, we lose focus of the\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\nseven tiers represent the heavens.  It was erected by ancient Babylonians\r\naround 2100 B.C.   Ziggurat is the moderm term derived from\r\nthe Akkadian word ziggurratu. They resembled pyramids, and are made of\r\nmud-brick and stone.  The structures were intended to be ladders to the\r\ngods. Building techniques were mastered by the third\r\nmillenium. Ziggurats are similar to pyramids, because they have\r\nstair-stepped shape and temple tops.  Ziggurats had large stairways, or in\r\nsome cases ramps.\r\n\r\nUr is a Sumerian city in southern Iraq. Abraham, from the bible,  home was\r\nknown as Ur. It is along the Euphrates River. Water is essential to human\r\nsurvival, so the location of structures  is of the utmost importance.\r\nAn ur is a \"tell\" , which is an artificial mound containing remains of\r\naccumulated habitants.\r\n\r\nThe ziggurat is the most enduring symbol of the Mesopotamian era.  They are\r\nmonuments of their kings, as well as to the combined labor forces of the time.\r\nThe Ziggurat of Ur was basically the center for many community activities\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\nwas constructed under the direction of King Ur-Nammu. Ur-Nammu directed\r\nthe construction of ziggurats in the cities of Eridu, Uruk and Nippur.Nanna is\r\nthe moon god, who was the patron deity and divine king of Ur.Knowledge of\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\nfirst land to appear on earth.  Ziggurats remind us of the possibility of a higher\r\npower, being, god or divinity figure. It helps us focus on something other\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\nof the British Museum. The Ziggurat of Ur has also been referred to as the Tower of Babel.\r\nUnlike Egyptian pyramids, ziggurats were never tomb\r\nbuildings. So far , archaeologists have found the remains of thirty-two\r\nziggurats in and around the Mesopotamian plains.\r\n\r\nFollowed was  Mr. Leonard Woolley led the well\r\npublished excavations between 1922 and 1934. Woolley\'s excavations gave\r\nus information about Ur. The information from his work focused on walls,\r\ntombs, houses and a religious center. His  work was very important , because\r\nit greatly expanded our knowledge of  history. There is some evidence\r\nthat the occupation of Ur ended with a flood, the  one described in Genesis in\r\nthe Bible. Woolley\'s work showed that the builders were familiar with\r\ncolumns, arches, vaults and domes.  Excavations have revealed\r\nstorerooms, courtyards,other buildings and a shrine. Excavations have also\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\nactivity for its people. It was used very frequently and was the most\r\nsignificant structure in the area. Judging by the detail of what was found in\r\nthe excavations of Woolley and Hall, it contained items relevant to all facets\r\nof life in the present, and up to and including present day year 2100 such as\r\nreligion,art,science,industry and government.\r\n\r\nThe Ziggurat of Ur should be preserved to remind future generations of how\r\nto accomplish a common goal over a long time period and among a  huge\r\nnumber of people. Society has become so splintered and multi-focused today\r\nthat we have forgotten the common good for immediate gratification.\r\nInternet, cell phones, instant messages, everything is disposable and nothing\r\nis made to last or carry any meaning behind it.  Nothing these days has any\r\nlasting value, permanence or significance. Columns, canals, perfumes and\r\nglass were all very important innovations of the time of the ziggurats.\r\n\r\nworks cited\r\n\r\nross,leslie, Art and Architecture of the World Religions, greenwood press,Volume 1 , 2009\r\npearsall, deborah m, Editor-In-Chief, Encyclopedia of Archaeology, Volume 1A, 2 , B-M, academic press, San Diego,2008\r\nturner, jane. Dictionary of art. Vol 12, London,oxford university press, 1996 , print\r\ndl.lib.brown.edu/reserves/pdffiles/10242_Westenholz_Ur.pdf\r\nhttp://www.flickr.com/photos/jmcfall/46769923/</ul>\r\n\r\n','DONGIEUXJAY-TCP1','','inherit','open','open','','179-revision-24','','','2011-02-16 22:55:16','2011-02-17 04:55:16','',179,'http://jeanatacc.com/2011/?p=335',0,'revision','',0),(336,23,'2011-02-16 22:57:43','2011-02-17 04:57:43','<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\nMy name is Jay Dongieux.\r\nThe Earth has become uninhabitable as we all know.\r\nHow sad that we have become so self-focused that we have allowed our world to crumble and wither away.\r\nThis has occurred partially as a result of fragmented societies.  Families as well as individuals focused too much on themselves rather\r\nthan the planet as a whole. The year is 2100. Our goal here together today is to choose four art works to carry aboard our space ship, to preserve and serve as inspiration for our people.\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\nand societal influence. The building of the Ziggurat of Ur showed that huge\r\nthrongs of people could come together for long periods of time to accomplish\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\nof its kind anywhere in the world.  It showed the architectural awareness of\r\nits builders. It is historically significant because it was\r\nfollowed by many other ziggurats, 32 that we know of today.\r\nIt was similar to the pyramids of Egypt. It is societally significant because , unlike the society\r\nof today where families and communities are splintered off and separated,\r\nthousands of people probably came together for years at a time to build\r\nthis magnificent building.\r\n\r\nSociety should become more communal ,rather\r\nthan individualistic. When we become so individualistic, we lose focus of the\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\nseven tiers represent the heavens.  It was erected by ancient Babylonians\r\naround 2100 B.C.   Ziggurat is the moderm term derived from\r\nthe Akkadian word ziggurratu. They resembled pyramids, and are made of\r\nmud-brick and stone.  The structures were intended to be ladders to the\r\ngods. Building techniques were mastered by the third\r\nmillenium. Ziggurats are similar to pyramids, because they have\r\nstair-stepped shape and temple tops.  Ziggurats had large stairways, or in\r\nsome cases ramps.\r\n\r\nUr is a Sumerian city in southern Iraq. Abraham, from the bible,  home was\r\nknown as Ur. It is along the Euphrates River. Water is essential to human\r\nsurvival, so the location of structures  is of the utmost importance.\r\nAn ur is a \"tell\" , which is an artificial mound containing remains of\r\naccumulated habitants.\r\n\r\nThe ziggurat is the most enduring symbol of the Mesopotamian era.  They are\r\nmonuments of their kings, as well as to the combined labor forces of the time.\r\nThe Ziggurat of Ur was basically the center for many community activities\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\nwas constructed under the direction of King Ur-Nammu. Ur-Nammu directed\r\nthe construction of ziggurats in the cities of Eridu, Uruk and Nippur.Nanna is\r\nthe moon god, who was the patron deity and divine king of Ur.Knowledge of\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\nfirst land to appear on earth.  Ziggurats remind us of the possibility of a higher\r\npower, being, god or divinity figure. It helps us focus on something other\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\nof the British Museum. The Ziggurat of Ur has also been referred to as the Tower of Babel.\r\nUnlike Egyptian pyramids, ziggurats were never tomb\r\nbuildings. So far , archaeologists have found the remains of thirty-two\r\nziggurats in and around the Mesopotamian plains.\r\n\r\nFollowed was  Mr. Leonard Woolley led the well\r\npublished excavations between 1922 and 1934. Woolley\'s excavations gave\r\nus information about Ur. The information from his work focused on walls,\r\ntombs, houses and a religious center. His  work was very important , because\r\nit greatly expanded our knowledge of  history. There is some evidence\r\nthat the occupation of Ur ended with a flood, the  one described in Genesis in\r\nthe Bible. Woolley\'s work showed that the builders were familiar with\r\ncolumns, arches, vaults and domes.  Excavations have revealed\r\nstorerooms, courtyards,other buildings and a shrine. Excavations have also\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\nactivity for its people. It was used very frequently and was the most\r\nsignificant structure in the area. Judging by the detail of what was found in\r\nthe excavations of Woolley and Hall, it contained items relevant to all facets\r\nof life in the present, and up to and including present day year 2100 such as\r\nreligion,art,science,industry and government.\r\n\r\nThe Ziggurat of Ur should be preserved to remind future generations of how\r\nto accomplish a common goal over a long time period and among a  huge\r\nnumber of people. Society has become so splintered and multi-focused today\r\nthat we have forgotten the common good for immediate gratification.\r\nInternet, cell phones, instant messages, everything is disposable and nothing\r\nis made to last or carry any meaning behind it.  Nothing these days has any\r\nlasting value, permanence or significance. Columns, canals, perfumes and\r\nglass were all very important innovations of the time of the ziggurats.\r\n\r\nworks cited\r\n\r\nross,leslie, Art and Architecture of the World Religions, greenwood press,Volume 1 , 2009\r\npearsall, deborah m, Editor-In-Chief, Encyclopedia of Archaeology, Volume 1A, 2 , B-M, academic press, San Diego,2008\r\nturner, jane. Dictionary of art. Vol 12, London,oxford university press, 1996 , print\r\ndl.lib.brown.edu/reserves/pdffiles/10242_Westenholz_Ur.pdf\r\nTHE WEBSITE FOR THE ZIGGURAT PICTURE AT THE TOP IS AS FOLLOWS http://www.flickr.com/photos/jmcfall/46769923/\r\n\r\n','DONGIEUXJAY-TCP1','','inherit','open','open','','179-revision-25','','','2011-02-16 22:57:43','2011-02-17 04:57:43','',179,'http://jeanatacc.com/2011/?p=336',0,'revision','',0),(337,1,'2011-02-16 22:58:49','2011-02-17 04:58:49','<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>\r\n\r\nGood Morning all,\r\nMy name is Jay Dongieux.\r\nThe Earth has become uninhabitable as we all know.\r\nHow sad that we have become so self-focused that we have allowed our world to crumble and wither away.\r\nThis has occurred partially as a result of fragmented societies.  Families as well as individuals focused too much on themselves rather\r\nthan the planet as a whole. The year is 2100. Our goal here together today is to choose four art works to carry aboard our space ship, to preserve and serve as inspiration for our people.\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\nand societal influence. The building of the Ziggurat of Ur showed that huge\r\nthrongs of people could come together for long periods of time to accomplish\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\nof its kind anywhere in the world.  It showed the architectural awareness of\r\nits builders. It is historically significant because it was\r\nfollowed by many other ziggurats, 32 that we know of today.\r\nIt was similar to the pyramids of Egypt. It is societally significant because , unlike the society\r\nof today where families and communities are splintered off and separated,\r\nthousands of people probably came together for years at a time to build\r\nthis magnificent building.\r\n\r\nSociety should become more communal ,rather\r\nthan individualistic. When we become so individualistic, we lose focus of the\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\nseven tiers represent the heavens.  It was erected by ancient Babylonians\r\naround 2100 B.C.   Ziggurat is the moderm term derived from\r\nthe Akkadian word ziggurratu. They resembled pyramids, and are made of\r\nmud-brick and stone.  The structures were intended to be ladders to the\r\ngods. Building techniques were mastered by the third\r\nmillenium. Ziggurats are similar to pyramids, because they have\r\nstair-stepped shape and temple tops.  Ziggurats had large stairways, or in\r\nsome cases ramps.\r\n\r\nUr is a Sumerian city in southern Iraq. Abraham, from the bible,  home was\r\nknown as Ur. It is along the Euphrates River. Water is essential to human\r\nsurvival, so the location of structures  is of the utmost importance.\r\nAn ur is a \"tell\" , which is an artificial mound containing remains of\r\naccumulated habitants.\r\n\r\nThe ziggurat is the most enduring symbol of the Mesopotamian era.  They are\r\nmonuments of their kings, as well as to the combined labor forces of the time.\r\nThe Ziggurat of Ur was basically the center for many community activities\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\nwas constructed under the direction of King Ur-Nammu. Ur-Nammu directed\r\nthe construction of ziggurats in the cities of Eridu, Uruk and Nippur.Nanna is\r\nthe moon god, who was the patron deity and divine king of Ur.Knowledge of\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\nfirst land to appear on earth.  Ziggurats remind us of the possibility of a higher\r\npower, being, god or divinity figure. It helps us focus on something other\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\nof the British Museum. The Ziggurat of Ur has also been referred to as the Tower of Babel.\r\nUnlike Egyptian pyramids, ziggurats were never tomb\r\nbuildings. So far , archaeologists have found the remains of thirty-two\r\nziggurats in and around the Mesopotamian plains.\r\n\r\nFollowed was  Mr. Leonard Woolley led the well\r\npublished excavations between 1922 and 1934. Woolley\'s excavations gave\r\nus information about Ur. The information from his work focused on walls,\r\ntombs, houses and a religious center. His  work was very important , because\r\nit greatly expanded our knowledge of  history. There is some evidence\r\nthat the occupation of Ur ended with a flood, the  one described in Genesis in\r\nthe Bible. Woolley\'s work showed that the builders were familiar with\r\ncolumns, arches, vaults and domes.  Excavations have revealed\r\nstorerooms, courtyards,other buildings and a shrine. Excavations have also\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\nactivity for its people. It was used very frequently and was the most\r\nsignificant structure in the area. Judging by the detail of what was found in\r\nthe excavations of Woolley and Hall, it contained items relevant to all facets\r\nof life in the present, and up to and including present day year 2100 such as\r\nreligion,art,science,industry and government.\r\n\r\nThe Ziggurat of Ur should be preserved to remind future generations of how\r\nto accomplish a common goal over a long time period and among a  huge\r\nnumber of people. Society has become so splintered and multi-focused today\r\nthat we have forgotten the common good for immediate gratification.\r\nInternet, cell phones, instant messages, everything is disposable and nothing\r\nis made to last or carry any meaning behind it.  Nothing these days has any\r\nlasting value, permanence or significance. Columns, canals, perfumes and\r\nglass were all very important innovations of the time of the ziggurats.\r\n\r\nworks cited\r\n\r\nross,leslie, Art and Architecture of the World Religions, greenwood press,Volume 1 , 2009\r\npearsall, deborah m, Editor-In-Chief, Encyclopedia of Archaeology, Volume 1A, 2 , B-M, academic press, San Diego,2008\r\nturner, jane. Dictionary of art. Vol 12, London,oxford university press, 1996 , print\r\ndl.lib.brown.edu/reserves/pdffiles/10242_Westenholz_Ur.pdf\r\nTHE WEBSITE FOR THE ZIGGURAT PICTURE AT THE TOP IS AS FOLLOWS http://www.flickr.com/photos/jmcfall/46769923/\r\n\r\n','DONGIEUXJAY-TCP1','','inherit','open','open','','179-revision-26','','','2011-02-16 22:58:49','2011-02-17 04:58:49','',179,'http://jeanatacc.com/2011/?p=337',0,'revision','',0),(338,1,'2011-02-16 22:19:47','2011-02-17 04:19:47','[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? \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.','The Colosseum ','WORK CITED\r\nBarbi, Guiomar. \"The Colosseum.\" World &amp; I 22.9 (2007): 3. Military &amp; Government Collection. EBSCO. Web. 16 Feb. 2011.','inherit','open','open','','262-revision-4','','','2011-02-16 22:19:47','2011-02-17 04:19:47','',262,'http://jeanatacc.com/2011/?p=338',0,'revision','',0),(339,1,'2011-02-17 12:54:25','2011-02-17 18:54:25','[gallery columns=\"2\" orderby=\"title\"]\n\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? \n\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.\n\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.\n\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.\n\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.\n\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.','The Colosseum ','WORK CITED\nBarbi, Guiomar. \"The Colosseum.\" World &amp; I 22.9 (2007): 3. Military &amp; Government Collection. EBSCO. Web. 16 Feb. 2011.','inherit','open','open','','262-revision-5','','','2011-02-17 12:54:25','2011-02-17 18:54:25','',262,'http://jeanatacc.com/2011/?p=339',0,'revision','',0),(340,1,'2011-02-16 17:16:04','2011-02-16 23:16:04','<p style=\"text-align: center\">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\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\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-3','','','2011-02-16 17:16:04','2011-02-16 23:16:04','',240,'http://jeanatacc.com/2011/?p=340',0,'revision','',0),(344,1,'2011-02-16 14:44:46','2011-02-16 20:44:46','TCP PROPOSAL 1 - Kris Cooley\r\n\r\n<span style=\"text-decoration: underline\">Hymn to Aphrodite</span>\r\n\r\nby Sappho\r\n\r\n630-580 B.C.E\r\n\r\n<span style=\"text-decoration: underline\">Hymn to Aphrodite </span>is the piece of poetry written by Sappho . It is her only poem to make it through the ages in complete form, the rest of her work is fragmented or lost. This poem is a plea to Aphrodite to help with a broken heart and is seven stanzas long. It is believed that this peculiar poem was written to be performed for her cult to Aphrodite. (Graves)\r\n\r\nThis poem is typical of its era because it was written for the purpose of getting a god\'s attention or favor. During the time of its creation, gods were asked upon to intervene in common daily lives. This poem focuses on relieving the writer of grief of a lost love.\r\n\r\n<span style=\"text-decoration: underline\">Hymn to Aphrodite</span> was written as a lyric poem, Sappho created her poems to be sung accompanied by a lyre. She has often been acknowledged as one of the earliest poets to create lyric poetry. It wasn\'t documented until Dionysus of Halicarnassus quoted it in it\'s entirety. (Newlyn)\r\n\r\nSappho was exalted by many scholars and artists as a great lyrical poet. Her works were written down on papyrus and studied for approximately 300 years before their disappearance. Plato was said to call her his \"tenth muse\". (Columbia Electronic Encyclopedia, 6th Edition)\r\n\r\nPlato is credited with saying: “Some say the muses are nine - how careless - behold, Sappho of Lesbos is the tenth”.  (Anthologia Palantia)\r\n\r\nDioscorides  “greetings to you lady, as to the gods; for we still have your immortal daughters, your songs”.\r\n\r\nSolon, a contemporary of Sappho, is said to have heard a boy singing one of her songs, and asked him to teach it to him, so that he might learn it and die.\r\n\r\nToday, poets all over the world take the time to render their own translations of Sappho\'s work. She continues to inspire poets even in this modern age, which is an incredible accomplishment considering that Sappho herself never wrote down any of her poems.\r\n\r\nToday, many translations have been made, each poet that has taken upon this feat, has remade her poetry in their perception .\r\n\r\n\"Sappho’s oeuvre can be entered from\r\n\r\nmany different portals, and the Sapphic\r\n\r\nrealm of gold will have different aspects for\r\n\r\ndifferent readers.\" (Hadas)\r\n\r\nThe other type of poetry during Sappho\'s time was the epic poem. Homer is famous for writing <span style=\"text-decoration: underline\">The IIiad.</span> This was not a hymn meant to be sung for the gods, but instead a detailed description account of the gods, heroes, and war. This story was concieved on facts and didn\'t match the rhythmic feel of Sappho\'s <span style=\"text-decoration: underline\">Hymn to Aphrodite.</span>\r\n\r\nAs I read Sappho\'s <span style=\"text-decoration: underline\">Hymn to Aphrodite</span>, I was able to visualize emotion out of each line. It\'s not only a plea for help but also a statement of faith in her goddess, Aphrodite. The fragmented sentences causes a stop, pause, relate sensation to it. Yet I can feel the \'sway\' of each methodical syllable creating a natural tempo.\r\n\r\n\"Though Sappho\'s language is laden with color-adjectives and compound epithets typical of Greek lyric poetry, her syntax is simple and avoids rhetorical flourishes, creating the impression that we are directly witnessing her experience.\"  (Bloom)\r\n\r\nThis poem should be taken into the future, not only because of it’s extreme beauty, but as a testament of our breathe taking passion for this emotion called love. She embodied the essence that is love, by describing the pain of love not returned and a belief in her goddess’s mercy.\r\n\r\nBibliography\r\n\r\nNewlyn, Evelyn S. \"Sappho.\" Critical Survey of Poetry, Second Revised Edition (2003): 1-7. MagillOnLiterature Plus. EBSCO. Web\r\n\r\n\"Sappho.\" Columbia Electronic Encyclopedia, 6th Edition (2010): 1. MasterFILE Premier. EBSCO.\r\n\r\nHadas, Rachel. \"The tenth muse.\" New Criterion 28.7 (2010): 67. MasterFILE Premier. EBSCO. Web\r\n\r\nBloom, Harold \"Human Sexuality\" Infobase Publishing, 2009 – 68\r\n\r\nGraves, Roy Neil. \"Sappho.\" Magill\'s Survey of World Literature, Revised Edition (2009): 1-5. MagillOnLiterature Plus. EBSCO. Web','Sappho-TCP1','','inherit','open','open','','171-revision-5','','','2011-02-16 14:44:46','2011-02-16 20:44:46','',171,'http://jeanatacc.com/2011/?p=344',0,'revision','',0),(345,32,'2011-02-16 14:42:20','2011-02-16 20:42:20','Altars were common in Greek history, often they were raised structures that sacrifice and religious rites took place.  Greek altars, usually perched in open air, often had burnt offerings, as this was the dominant act of worship. These events continued to flourish as Greek culture grew and advanced.<!--more-->\n\nDuring the 4th century BC and into the 3rd century BC, Alexander the Great began to expand his empire east toward Persia, Central Asia, and Egypt. This movement sparked a change in Greek architecture from the traditional Classical style to a more Hellenistic style.  This change of architectural style is prevalent in the city of Pergamon, which was located in northwest Asia Minor (now Turkey).  At the highest point of the city of Pergamon stood the “Altar of Zeus” also known as “The Great Altar.”\n\nThe Altar of Zeus is a spectacular display of the Hellenistic style. Leading up to the main entrance of the Altar is a staircase that is 68 feet wide and 30 feet in depth. The Altar stood as a single-story structure with an open Ionic screen, with walls of Ionic colonnades that depicted Gigantomachy (battles between Olympic Gods and Giants). The colonnades, or panels, were 7 ½ feet tall at the ends. Many believe that the battling gods and giants on the friezes act as a metaphor that represents Pergamon’s victory over the barbaric tribal Gaul’s, showing the dominance of civilization over barbarians.\n\nClassical architecture traditionally built solid walls unlike the more decorative thinner slab-like walls used to build the Great Altar. This approach to architecture may have differed due to the lack of marble and the greater abundance of andesite. This made it more economical to the city of Pergamon because it lowered the need to import marble. The more noticeable difference between the old Classical architecture to that of Hellenistic is the uncanny theatrical presence of the life-like relief sculptures that protrude from the friezes. Many believe this to be the archetype of the Hellenistic style.\n\nWorks Cited\n\nChavalas, Mark W., and Mark S. Aldenderfer. Great Events from History. Vol. 2. Pasadena, CA: Salem, 2004. Print.\n\nChing, Frank, Mark Jarzombek, and Vikramaditya Prakash. A Global History of Architecture. Hoboken, NJ: J. Wiley &amp; Sons, 2007. Print.\n\nKuhl, Isabel, Klaus Reichold, Kristina Lowis, and Christiane Weidemann. 50 Sculptures You Should Know. New York, NY: Prestel Pub., 2009. Print.\n\nStokstad, Marilyn, Marion Spears. Grayson, and Stephen Addiss. Art History. New York: H.N. Abrams, 1995. Print.\n\nTurner, Jane. The Dictionary of Art. New York: Grove, 1996. Print.','The Altar of Zeus','','inherit','open','open','','187-revision-3','','','2011-02-16 14:42:20','2011-02-16 20:42:20','',187,'http://jeanatacc.com/2011/?p=345',0,'revision','',0),(346,5,'2011-02-16 16:31:06','2011-02-16 22:31:06','<!--[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<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).<!--more--></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-4','','','2011-02-16 16:31:06','2011-02-16 22:31:06','',186,'http://jeanatacc.com/2011/?p=346',0,'revision','',0),(3600,1,'2013-11-04 22:17:54','2013-11-05 04:17:54','<a href=\"http://youtu.be/yu1zmXQkCso\">Aimi Kobayashi plays Black Keys by Chopin</a>\r\n\r\nEtude Op. Number 5, also known as Black Keys, is both a beautiful piece of music and an important historical document (Yu). Composed by famed pianist Frederic Chopin between 1829 and 1833, the Etudes, and Black Keys in particular, represented not only a new and complex innovation in music, but also the rising influence of Nationalism in the Romantic period. For these reasons, it would be a disservice to art to let this masterpiece go unpreserved.\r\n<!--more-->\r\n\r\nIt could be said that the Etudes were underrated in their time. In the years after they were made, Chopin was really only famous among the elite in Paris as he was a piano tutor for the children of rich families (Britannica). In this respect, the Etudes served Chopin well as a teacher for the students needed to focus on skill and technique in order to properly perform them (Hough). Today, the Etudes are among the most famous of one of the world’s most renowned pianists, for their pure musical quality as well as their relevance in teaching the piano. Chopin has been called a genius by modern composers such as Stephen Hough, and Black Keys in particular has been described as an “astonishing keyboard [innovation]” (Hough).\r\n\r\n\r\nBlack Keys, like the title suggests, is played almost exclusively on the black keys of the piano. It is also a fast composition, with many complicated series’ of notes (Yu). The black keys, being thinner and higher up than the ivory keys, as well as the way the notes are structured, was practically impossible by the old method of playing, which Hough described as played with “cramped, curled fingers” (Hough). Instead, one had to adapt and play with a “fluid, flatter finger position” and have a much more flowing form in order to successfully play this song (Hough). It can be said that this piece, along with many others, also acted as an expression of Chopin’s personality; concentrated, contemplative, and passionate (Brittanica).\r\n\r\n\r\nAt this time (1830-31), the November Uprising was occurring in Poland (Brittanica). Chopin was away and didn’t participate, but his polish nationalism is apparent in the Revolutionary Etude, an accompanying piece to Black Keys (Yu). This was a feature of the Romantic period where Nationalism became a prominent inspiration for art (Britannica). Though the Revolutionary Etude has some subtle differences in sound, such as having a more passionate tone as it is about the uprising and not solely using black keys, the overall form of complicated note patterns and the use of hand positions is the same (Yu). A similar way this was employed was in Jacques-Louis David’s painting ‘Napoleon Crossing the Alps’ (Pollit). Both were inspired by a sense of national pride and loyalty, imbued with a feeling of passion and heroism (Pollit). While David’s painting was inspired by the hero-worship of Napoleon and French Nationalism, the Revolutionary Etude was inspired by Polish Nationalism and loyalty to the cause of the Polish Rebels (Britannica). As this moment was highly influential in Chopin’s life and Black Keys is, in a way, an expression of Chopin’s feelings, Black Keys can also be seen as exemplar of the themes and meaning of the Revolutionary Etude.\r\n\r\n\r\nIn this, Black Keys acts as a scion of both the incredible innovations Chopin brought to the piano and music as a whole as well as the influence that Nationalism had on this period of art and culture. As such, it needs to be preserved.\r\n\r\nWorks Cited\r\n\"Frederic Chopin (Polish-French Composer and Pianist).\" Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 24 Oct. 2013.\r\nWhere I got information about Chopin, his life, his personality, and his accomplishments.\r\nHough, Stephen. \"StephenHough.com | Writings | Chopin and the Development of Piano Technique.\" StephenHough.com | Writings | Chopin and the Development of Piano Technique. N.p., n.d. Web. 20 Oct. 2013.\r\nWhere I got a modern perspective on Chopin’s music and a professional opinion on it’s significance.\r\nPollit, Ben. \"David\'s Napoleon Crossing the Alps.\" - Smarthistory. N.p., n.d. Web. 01 Oct. 2013.\r\nWhere I got information on the painting of Napoleon.\r\nYu, Fred. \"Chopin : Complete Music Analysis - Etudes.\" Chopin : Complete Music Analysis - Etudes. N.p., n.d. Web. 01 Nov. 2013.\r\nWhere I got information on the various aspects of Black Keys and some of his other Etudes.','Etude in G-flat Major Black Keys','','inherit','open','open','','3583-revision-v1','','','2013-11-04 22:17:54','2013-11-05 04:17:54','',3583,'http://jeanatacc.com/2011/?p=3600',0,'revision','',0),