HAMIIS H13 True HEPA Luftreiniger, Air Purifier mit HEPA

Product Information

Painted in around 1631, The Abduction of Proserpina has largely been attributed to Rembrandt. Although the painting remains unsigned, the style and composition is highly indicative of being a legitimate Rembrandt. It is currently displayed as a part of Gemäldegalerie, Berlin permanent exhibit. [4] Rubens [ edit ] Peter Paul Rubens' The Rape of Proserpina, 1636-1637 Many sculptures of the time did not have one central perspective from which to view them, instead forcing the observer to see them from many angles before they could understand it in its entirety. [11] The Rape of Proserpina, however, can be seen in full from one angle, directly in front of the base. All other viewpoints are subordinate. [12] History [ edit ] Patronage [ edit ] Bust of Pope Paul V in the Galleria Borghese

The 10th-century Byzantine encyclopedia Suda introduces a goddess of a blessed afterlife assured to Orphic mystery initiates. This Macaria is asserted to be the daughter of Hades, but no mother is mentioned. [51] Interpretation of the myth [ edit ] Fragment of a marble relief depicting a Kore, 3rd centuryBC, from Panticapaeum, Taurica ( Crimea), Bosporan Kingdom Mormando, Franco (2011). Bernini: His Life and His Rome. Chicago: University of Chicago Press. ISBN 9780226538525. Melindia or Melinoia (meli, "honey"), as the consort of Hades, in Hermione. (Compare Hecate, Melinoë) [34] Kenseth, Joy (1981). "Bernini's Borghese Sculptures: Another View". The Art Bulletin. 63 (2): 191–210. doi: 10.2307/3050112. JSTOR 3050112– via JSTOR.Jones, Brandon (January 2019). "The Poetics of Legalism: Ovid and Claudian on the Rape of Proserpina". Arethusa. 52: 71–104. doi: 10.1353/are.2019.0002. S2CID 202374163.

The cults of Persephone and Demeter in the Eleusinian mysteries and in the Thesmophoria were based on old agrarian cults. [100] The beliefs of these cults were closely-guarded secrets, kept hidden because they were believed to offer believers a better place in the afterlife than in miserable Hades. There is evidence that some practices were derived from the religious practices of the Mycenaean age. [101] [99] Kerenyi asserts that these religious practices were introduced from Minoan Crete. [102] [103] The idea of immortality which appears in the syncretistic religions of the Near East did not exist in the Eleusinian mysteries at the very beginning. [104] [i] In the Near East and Minoan Crete [ edit ] The Museo Archeologico Regionale is located on the outskirts of the medieval city-center of Aidone. It is housed in an ex-Convent of the Capuchin Fathers, constructed between 1611 and 1613, the original architectural plan of which also included a Church, dedicated to San Francesco, and a graceful cloister. After a long and damaging period of abandonment, the baroque complex was the subject of a major restoration in 1984. It was appropriated by the museum for the purpose of exhibiting the history of Morgantina, a Sikel and Greek city, from the Bronze Age through the Roman Republican period. The collections on display come from the excavations conducted there since 1955 by Princeton University and the University of Virginia and by the Superintendencies of Syracuse, Agrigento, and Enna. With works such as The Rape of Persephone Bernini was not restricted by his materials; in carving his white marble he sought to create movement, life and warmth. His success is evident and as a true master of realism and emotion, he earned not only respect but a great following.In ancient Greek mythology and religion, Persephone ( / p ər ˈ s ɛ f ə n iː/ pər- SEF-ə-nee; Greek: Περσεφόνη, romanized: Persephónē), also called Kore or Cora ( / ˈ k ɔːr iː/ KOR-ee; Greek: Κόρη, romanized: Kórē, lit.'the maiden'), is the daughter of Zeus and Demeter. She became the queen of the underworld after her abduction by and marriage to her uncle Hades, the king of the underworld. [6]

The place where the ruins of the Sanctuary of Persephone were brought to light is located at the foot of the Mannella hill, near the walls (upstream side) of the polis of Epizephyrian Locri. Marble statues were dedicated to the temples or mounted over the graves of significant people as grave markers (semata). These statues, the Kouroi or Korai (youths and maidens), created in the 6th century BC, are frontally depicted with restricted movement, yet they all smile at us. The Kouroi are portrayed standing with their arms extending downwards at the side of their torso, with their left foot slightly advanced. They are usually nude, while emphasis is placed on the modelling of the muscles; however some of them are shown wearing painted sandals, as in the case of the large Sounion Kouros that had been dedicated to the sanctuary of Poseidon there (no 2720, Room 8). Several examples of Kouroi follow in the next Rooms; among the most important are the Kouroi of the Kerameikos (no 3372, Room 11), of Myrhinnous (Attic deme, present-day Merenda) (no 4890, Room 11), of Volomandra (no 1906, Room 11) and the Anavyssos Kouros in Attica (depicting Kroisos who died in battle, no 3851, Room 13), of the sanctuary of Apollo at the Boeotian mountain Ptoon (no 20, Room 13), and also the latest Kouros of the Collection, Aristodikos, from Mesogeia (no 3938, Room 13). The sole Kouros that is depicted clothed was found on the riverbed of the Athenian river Ilissos (no 3687, Room 13). Bases of Kouroi decorated with relief representations of sports and games were possibly installed over the graves of athletes (no 3476, 3747, Room 13). The Korai are shown standing lifting their garment with one hand, whereas the other hand carries either a flower bud or a fruit before their chest. The earliest and best preserved Kore of the Collection is Phrasikleia that was unearthed together with the Kouros of Myrrhinous and is portrayed wearing jewels and red peplos (no 4889, Room 11), whereas two Korai from the Acropolis of Athens (BE 15, 16, Room 13) follow, as well as the Kore of Eleusis (no 26, Room 14). The sculptural funerary monuments of the time could also take the form of very tall stelae (up to 4,5 m in height) (no 2687, Room 11) crowned with the statue of a sphinx, a mythological creature with the head of a woman and the body of a winged lion (Room 11). In the transitional phase to the Classical Period bronze statues were also cast, such as Poseidon that was recovered from the seabed off the south coast of Boeotia. The statue that had been dedicated to the god, according to the inscription found at the base, shows him holding his trident vertically (no X11761, Room 14). In the temples of the time the pediments (the triangular part at the top of the front of a building beneath the roof) are decorated with multi-figure battle scenes, as in the case of the temple of Athena Aphaia on Aegina (Room 14).A fragment study of Proserpina's head, long thought to be by Bernini but probably created by a related artist, is in the Cleveland Museum of Art. [27] Harsh times followed associated with the Peloponnesian War (431-404 BC), the civil strife between Athens and Sparta. The erection of funerary monuments that had been banned in the past by law for political and economic reasons was allowed once again for the victims of the war and the plague (epidemic) that broke out at the early stages of the conflict. Large marble vases that entailed special symbolism are frequently encountered (Room 16), or simple stelae, such as the one that depicts a youth holding the bird which he has just released from its cage, perhaps in a symbolic gesture that signifies the emancipation of the soul from his dead body (no 715, Room 16). Sometimes, they take the form of a naiskos (small temple) inside of which the deceased is depicted, such as the stele of Hegeso from the Kerameikos who is portrayed seated before her saddened slave (no 738, Room 18). The freshness of its surface suggested it had been illegally excavated only recently, and it was probably exported during the upheavals of 2011 when the dictator Muammar Gaddafi was deposed and killed.