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The implementation of chords using particular tunings is a defining part of the literature on guitar chords, which is omitted in the abstract musical-theory of chords for all instruments. For example, in the guitar (like other stringed instruments but unlike the piano ), open-string notes are not fretted and so require less hand-motion.
Ecce Homo, Caravaggio, 1605. Ecce homo (/ ˈ ɛ k s i ˈ h oʊ m oʊ /, Ecclesiastical Latin: [ˈettʃe ˈomo], Classical Latin: [ˈɛkkɛ ˈhɔmoː]; "behold the man") are the Latin words used by Pontius Pilate in the Vulgate translation of the Gospel of John, when he presents a scourged Jesus, bound and crowned with thorns, to a hostile crowd shortly before his crucifixion (John 19:5).
The Ecce Homo (Latin: "Behold the Man") in the Sanctuary of Mercy church in Borja, Spain, is a fresco painted circa 1930 by the Spanish painter Elías García Martínez depicting Jesus crowned with thorns. Both the subject and style are typical of traditional Catholic art. [1]
Diogenes (/ d aɪ ˈ ɒ dʒ ɪ n iː z / dy-OJ-in-eez; Ancient Greek: Διογένης, romanized: Diogénēs [di.oɡénɛːs]), also known as Diogenes the Cynic (Διογένης ὁ Κυνικός, Diogénēs ho Kynikós) or Diogenes of Sinope, was a Greek philosopher and one of the founders of Cynicism.
Behold the Man may refer to: Ecce Homo, Latin words for Behold the Man, scourged Jesus Christ, bound and crowned with thorns, to a hostile crowd shortly before his Crucifixion; Behold the Man, 1969 science fiction novel by Michael Moorcock; Behold the Man, 1981 album by the band Zion
Diogenes requests that Alexander return the sunshine to him, it being something that Alexander cannot give to him in the first place. [4] [22] Diogenes' answer circulated as an aphorism in western Britain in the early Middle Ages, but it does not seem to have been understood or else had become completely divorced from the story.
Ecce Homo is an allusion to Christ's trial under Pontius Pilate. The phrase "Ecce Homo" translate to "behold the Man," which is used to ridicule Jesus' claim of divinity. In a similar sense, the red cape and crown of thorns satirizes Jesus' royal claim to Israel.
The Ecce Homo Titian finished in the year 1543 for Giovanni d'Anna, a rich Dutch or Flemish merchant settled in Venice, whom Vasari calls "Titian's compare"('gossip'). [2] It was still in the possession of the merchant family in 1580. [3]