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Zosimos of Panopolis (Greek: Ζώσιμος ὁ Πανοπολίτης; also known by the Latin name Zosimus Alchemista, i.e. "Zosimus the Alchemist") was an alchemist and Gnostic mystic. He was born in Panopolis (present day Akhmim, in the south of Roman Egypt), and likely flourished ca. 300. [2]
The next edition is that by Reitemeier, who, though he consulted no fresh manuscripts, made good use of the critical remarks of Heyne and other scholars (Leipzig, 1784). Bekker produced a reliable edition in 1837 at Bonn. There is a German translation by Seybold and Heyler, and also an English and a French translation. (Schöll, Gesch. d. Griech.
Mary or Maria the Jewess (Latin: Maria Hebraea), also known as Mary the Prophetess (Latin: Maria Prophetissa) or Maria the Copt (Arabic: مارية القبطية, romanized: Māriyya al-Qibṭiyya), [1] was an early alchemist known from the works of Zosimos of Panopolis (fl. c. 300) and other authors in the Greek alchemical tradition. [2]
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Blake used these images as part of a general celebration of sex and sexuality. This emphasis on free sexuality occurs in The Marriage of Heaven and Hell, Visions of the Daughters of Albion, and Blake's designs based on the Book of Enoch. Blake's beliefs emphasised the need for sexual openness in relationships and the lack of jealousy.
[2] According to AllMusic 's reviewer, the album was an indecisive mix of Nightwish and Evanescence . He wrote that both Nicole Bogner's operatic singing and Mario Plank's "pop-oriented" performance made the band lose its musical identity but also opened it for a wider audience.
Visions de l'Amen ("Visions of the Amen") is a suite of seven pieces for two pianos by the French composer Olivier Messiaen (1908–1992), commissioned for the Concerts de la Pléiade [1] that were held during the German occupation of Paris. It was composed in 1943 for the composer and Yvonne Loriod, and its performance requires about 40–45 ...
Visions of Ecstasy is a 1989 British short film directed by Nigel Wingrove and starring Louise Downie, Elisha Scott, and Dan Fox. It became the only work to be refused certification by the British Board of Film Classification (BBFC) on the grounds of blasphemy . [ 1 ]