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Titian's Bacchus and Ariadne (1522–23) and The Bacchanal of the Andrians (1523–26), both painted for the same room, offer an influential heroic pastoral, [324] while Diego Velázquez in The Triumph of Bacchus (or Los borrachos – "the drinkers", c. 1629) and Jusepe de Ribera in his Drunken Silenus choose a genre realism.
Her impassioned vituperations and eventual discovery by the wine-god Bacchus are some of the included plot events. The poem relies heavily on the theme of nostalgia as Catullus reflects on what he believes are better times in Roman history.
The Bacchae (/ ˈ b æ k iː /; Ancient Greek: Βάκχαι, Bakkhai; also known as The Bacchantes / ˈ b æ k ə n t s, b ə ˈ k æ n t s,-ˈ k ɑː n t s /) is an ancient Greek tragedy, written by the Athenian playwright Euripides during his final years in Macedonia, at the court of Archelaus I of Macedon.
Hesiod identifies Paeon as an individual deity: "Unless Phoebus Apollo should save him from death, or Paean himself who knows the remedies for all things." [10] [11] In time, Paeon (more usually spelled Paean) became an epithet of Apollo, in his capacity as a god capable of bringing disease and therefore propitiated as a god of healing. [12]
An inscription found on a stone stele (c. 340 BC), found at Delphi, contains a paean to Dionysus, which describes the travels of Dionysus to various locations in Greece where he was honored. [40] From Thebes , where he was born, he first went to Delphi where he displayed his "starry body", and with "Delphian girls" took his "place on the folds ...
Acoetes alone was saved and continued on his journey with Bacchus, [3] returning to Naxos, where he was initiated in the Bacchic mysteries and became a priest of the god. [4] In Ovid's Pentheus and Bacchus, Acoetes was brought before the King to determine if Bacchus was truly a god. After listening to Acoetes tale of being on the ship with ...
The Triumph of Bacchus and Ariadne. Prominently displayed in the center panel, the Triumph of Bacchus and Ariadne depicts a both riotous and classically restrained procession which ferries Bacchus and Ariadne to their lovers' bed. Here, the underlying myth is that Bacchus, the god of wine, had gained the love of the abandoned princess, Ariadne.
The Triumph of Bacchus received a number of rather grand and elaborate idealized treatments in Renaissance art, of which Titian's Bacchus and Ariadne, then in the Spanish royal collection, was an imaginative variant. Usually Bacchus was processing in a chariot drawn by leopards, with a retinue of satyrs and revellers, including his guardian ...