who created a statue of the idealized male thus creating the greek canon of proportions
Polykleitos
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The renowned Greek sculptor Polykleitos designed a sculptural work as a demonstration of his written treatise, entitled the ""Kanon"" (or "Canon", translated as "measure" or "rule"), exemplifying what he considered to be the perfectly harmonious and balanced proportions of the human body in the sculpted form. Sometime in the 2nd century CE, the Greek medical writer Galen wrote about the "Doryphoros" as the perfect visual expression of the Greeks' search for harmony and beauty, which is rendered in the perfectly proportioned sculpted male nude: "Chrysippos holds beauty to consist not in the commensurability or "symmetria" [ie proportions] of the constituent
Doryphoros
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figures have grown much more muscular over time, with many contemporary figures far exceeding the muscularity of even the largest human bodybuilders," reflecting an American cultural ideal of a super muscular man. Also, female dolls reflect the cultural ideal of thinness in women. The ancient Greek sculptor Polykleitos (c.450–420 BC), known for his ideally proportioned bronze "Doryphoros", wrote an influential "Canon" describing the proportions to be followed in sculpture. The "Canon" applies the basic mathematical concepts of Greek geometry, such as the ratio, proportion, and "symmetria" (Greek for "harmonious proportions") creating a system capable of describing the human form through
Body proportions
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The renowned Greek sculptor Polykleitos designed a sculptural work as a demonstration of his written treatise, entitled the ""Kanon"" (or "Canon", translated as "measure" or "rule"), exemplifying what he considered to be the perfectly harmonious and balanced proportions of the human body in the sculpted form. Sometime in the 2nd century CE, the Greek medical writer Galen wrote about the "Doryphoros" as the perfect visual expression of the Greeks' search for harmony and beauty, which is rendered in the perfectly proportioned sculpted male nude: "Chrysippos holds beauty to consist not in the commensurability or "symmetria" [ie proportions] of the constituent
Doryphoros
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“The thorax and pelvis of the Diadoumenos tilt in opposite directions, setting up rhythmic contrasts in the torso that create an impression of organic vitality. The position of the feet poised between standing and walking give a sense of potential movement. This rigorously calculated pose, which is found in almost all works attributed to Polykleitos, became a standard formula used in Greco-Roman and, later, western European art.” Another statue created by Polykleitos is the "Doryphoros", also called the "Spear bearer". It is a typical Greek sculpture depicting the beauty of the male body. “Polykleitos sought to capture the ideal proportions
Polykleitos
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Greek marble original and not a Roman copy. Prior to the introduction of contrapposto, the statues that dominated ancient Greece were the archaic kouros (male) and the kore (female). Contrapposto has been used since the dawn of classical western sculpture. According to the "canon" of the Classical Greek Sculptor Polykleitos in the 4th century BC, it is one of the most important characteristics of his figurative works and those of his successors, Lysippos, Skopas, etc. The Polykletian statues – for example, Discophoros ("discus-bearer") and Doryphoros ("spear-bearer") – are idealized athletic young men with the divine sense, and captured in contrapposto.
Contrapposto
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works and statues consisted mainly of bronze and were of athletes. According to the philosopher and mathematician Xenocrates, Polykleitos is ranked as one of the most important sculptors of Classical antiquity for his work on the "Doryphorus" and the statue of Hera in the Heraion of Argos. While his sculptures may not be as famous as those of Phidias, they are much admired. In the "Canon" of Polykleitos, a treatise he wrote designed to document the "perfect" anatomical proportions of the male nude, Polykleitos gives us a mathematical approach towards sculpturing the human body. Polykleitos uses the distal phalanx of
Mathematics and art
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element. Anatomy and geometry are fused in one, and each does something to the other. The Greek sculptors tried to clarify it by looking for mathematical proportions, just as they sought some reality behind appearances. Polykleitos in his "Canon" wrote that beauty consists in the proportion not of the elements (materials), but of the parts, that is the interrelation of parts with one another and with the whole. It seems that he was influenced by the theories of Pythagoras. The famous "Apollo of Mantua" and its variants are early forms of the Apollo Citharoedus statue type, in which the god
Apollo
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Polykleitos is known as the best sculptor of men, with the primary subjects of his works being male athletes with idealized body proportions. He was interested in the mathematical proportions of the human form, which led him to write an essay the Kanon, on the proportions of humans. The Doryphoros is an illustration of his writings in Kanon on the symmetria between the body parts. Polykleitos achieved a balance between muscular tensions and relaxation due to the chiastic principle that he relied on. "Scholars agree that Polykleitos based his calculations on a single module, perhaps the terminal section of the
Doryphoros
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Mathematics and art Mathematics and art are related in a variety of ways. Mathematics has itself been described as an art motivated by beauty. Mathematics can be discerned in arts such as music, dance, painting, architecture, sculpture, and textiles. This article focuses, however, on mathematics in the visual arts. Mathematics and art have a long historical relationship. Artists have used mathematics since the 4th century BC when the Greek sculptor Polykleitos wrote his "Canon", prescribing proportions based on the ratio 1: for the ideal male nude. Persistent popular claims have been made for the use of the golden ratio in
Mathematics and art
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of Polykleitos is immense in Classical Greek, Roman, and Renaissance sculpture, many sculptors following Polykleitos's prescription. While none of Polykleitos's original works survive, Roman copies demonstrate his ideal of physical perfection and mathematical precision. Some scholars argue that Pythagorean thought influenced the "Canon" of Polykleitos. The "Canon" applies the basic mathematical concepts of Greek geometry, such as the ratio, proportion, and "symmetria" (Greek for "harmonious proportions") and turns it into a system capable of describing the human form through a series of continuous geometric progressions. In classical times, rather than making distant figures smaller with linear perspective, painters sized objects
Mathematics and art
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top, the chariot of the Sun illuminates Augustus's deeds. The statue is an idealized image of Augustus showing a standard pose of a Roman orator and based on the 5th-century BC statue of the Spear Bearer or "Doryphoros" by the sculptor Polykleitos. The "Doryphoros"'s contrapposto stance, creating diagonals between tense and relaxed limbs, a feature typical of classical sculpture, is adapted here. The pose of the statue's legs is similar to "Doryphoros". The right leg is taut, while the left leg is relaxed, as if the statue is moving forward. The misidentification of the "Doryphoros" in the Roman period as
Augustus of Prima Porta
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of the human figure in his statues and developed a set of aesthetic principles governing these proportions that was known as the Canon or ‘Rule.’ ” He created the system based on mathematical ratios. “Though we do not know the exact details of Polykleitos’s formula, the end result, as manifested in the Doryphoros, was the perfect expression of what the Greeks called symmetria.” On this sculpture, it shows somewhat of a contrapposto pose; the body is leaning most on the right leg. “The proportions of the Doryphoros together with the perfect balance between tension and relaxation, create a visual image
Polykleitos
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of three official portrait types: other hairstyles of Augustus may be seen on the Ara Pacis, for example. Another full-size statue of Augustus with these "Primaporta type" features is the Augustus of Via Labicana, portraying Augustus in the role of Pontifex Maximus, now in the Museo Nazionale Romano. The face is idealized, but not as those of Polykleitos' statues. Augustus's face is not smoothed and shows details to indicate the individual features of Augustus. Art underwent important changes during Augustus's reign, with the extreme realism that dominated the Republican era giving way to Greek influence, as seen in the portraits
Augustus of Prima Porta
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fringe), the distant and tranquil expression of his face has been idealized, as have the conventional contrapposto, the anatomical proportions and the deeply draped "paludamentum" or "cloth of the commander". On the other hand, Augustus's barefootedness and the inclusion of Cupid riding a dolphin as structural support for the statue reveals his mythical connection to the goddess Venus (Cupid's mother) by way of his adopted father Julius Caesar. The clear Greek inspiration in style and symbol for official sculptural portraits, which under the Roman emperors became instruments of governmental propaganda, is a central part of the Augustan ideological campaign, a
Augustus of Prima Porta
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Lovers' Legends: The Gay Greek Myths Lovers' Legends: The Greek Myths () is a 2002 book by Andrew Calimach, which presents and discusses the Greek myths of male love. This work evokes the world view of two- to three thousand years ago. The work restores the myths using the exact language of the original fragments whenever possible using the present tense. Calimach, in his seminars, describes the stories as "orphan myths" because they do not play into any of the main modern political agendas. They depict idealized age-structured male love relationships, thus they do not serve the purpose of the
Lovers' Legends: The Gay Greek Myths
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diverse types of commercially printed books. The Van de Graaf canon is a historical reconstruction of a method that may have been used in book design to divide a page in pleasing proportions. This canon is also known as the "secret canon" used in many medieval manuscripts and incunabula. The geometrical solution of the construction of Van de Graaf's canon, which works for any page width:height ratio, enables the book designer to position the text body in a specific area of the page. Using the canon, the proportions are maintained while creating pleasing and functional margins of size 1/9 and
Canons of page construction
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human or animal body parts to each other and to the whole. These ratios are used in depictions of the figure (to varying degrees naturalistic, idealized or stylized), and may become part of an aesthetic canon within a culture. It is important in figure drawing to draw the human figure in proportion. Though there are subtle differences between individuals, human proportions fit within a fairly standard range, though artists have historically tried to create idealised standards, which have varied considerably over different periods and regions. In modern figure drawing, the basic unit of measurement is the 'head', which is the
Body proportions
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Similarly, the United States Congress, in the National Foundation on the Arts and Humanities Act, defined "the arts" as follows: In Ancient Greece, all art and craft was referred to by the same word, "techne". Thus, there was no distinction among the arts. Ancient Greek art brought the veneration of the animal form and the development of equivalent skills to show musculature, poise, beauty, and anatomically correct proportions. Ancient Roman art depicted gods as idealized humans, shown with characteristic distinguishing features (e.g. Zeus' thunderbolt). In Byzantine and Gothic art of the Middle Ages, the dominance of the church insisted on
The arts
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elements [of the body], but in the commensurability of the parts, such as that of finger to finger, and of all the fingers to the palm and wrist, and of those to the forearm, and of the forearm to the upper arm, and in fact, of everything to everything else, just as it is written in the Canon of Polyclitus. For having taught us in that work all the proportions of the body, Polyclitus supported his treatise with a work: he made a statue according to the tenets of his treatise, and called the statue, like the work, the 'Canon'.
Doryphoros
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"Hercules Slaying a Centaur" was also placed in the Loggia dei Lanzi in 1599. Giambologna's several depictions of Venus established a canon of proportions, and set models for the goddess' representation that were influential for two generations of sculptors in Italy and in the North. He created allegories strongly promoting Medicean political propaganda, such as "Florence Defeating Pisa" and, less overtly, "Samson Slaying a Philistine", for Francesco de' Medici (1562). The equestrian statue of Cosimo I de' Medici also in Florence, was completed by his studio assistant Pietro Tacca. Giambologna provided as well as many sculptures for garden grottos and
Giambologna
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Mathura Herakles The Mathura Herakles is a famous statue found in the city of Mathura, India, thought to represent the Greek hero Herakles fighting the Nemean lion. The statue was discovered at the end of the 19th century by Alexander Cunningham in Mathura. It depicts a defaced male strangling a lion. It has been interpreted as a sculpture created by a foreign artist that shows Herakles strangling the Nemaean lion. However, the male is wearing lion's skin, which has been interpreted as proof that the foreign artist lacked full knowledge of the Greek mythology, because he is shown already wearing
Mathura Herakles
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as the highest form of friendship. Ficino maintained that men could use each other's beauty and friendship to discover the greatest good, that is, God, and thus Christianized idealized male love as expressed by Socrates. During the Renaissance, artists such as Leonardo da Vinci and Michelangelo used Plato's philosophy as inspiration for some of their greatest works. The "rediscovery" of classical antiquity was perceived as a liberating experience, and Greek love as an ideal after a Platonic model. Michelangelo presented himself to the public as a Platonic lover of men, combining Catholic orthodoxy and pagan enthusiasm in his portrayal of
Greek love
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Roman head and idealized Greek body dates back to 75-50 BCE. To show his rank in the army and hold up the heavy marble statue, there is a cuirass at his side. His typical Republican stern and wrinkled face is contrasted by a youthful almost nude body that exudes power and is in the tradition of a Hellenistic ruler. Through the reference back to Greek idealized body, the patron expresses cultural superiority. The general exudes modesty by using a draped cloth to cover his genitals. Pseudo-athlete Pseudo-athlete is a concept in Roman portraiture, favored in the late Republican Period, to
Pseudo-athlete
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main front, followed by a flat area before the final few steps. After the eclipse of the Etruscan models, the Greek classical orders in all their details were closely followed in the façades of Roman temples, as in other prestigious buildings, with the direct adoption of Greek models apparently beginning around 200 BC, under the late Republic. But the distinctive differences in the general arrangement of temples between the Etruscan-Roman style and the Greek, as outlined above, were retained. However the idealized proportions between the different elements in the orders set out by the only significant Roman writer on architecture
Roman temple
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Roman examples than Greek, with up ten or twelve or more steps rather than the three typical in Greek temples; the Temple of Claudius was raised twenty steps. These steps were normally only at the front, and typically not the whole width of that. The Greek classical orders in all their details were closely followed in the façades of temples, as in other prestigious buildings. However the idealized proportions between the different elements set out by the only significant Roman writer on architecture to survive, Vitruvius, and subsequent Italian Renaissance writers, do not reflect actual Roman practice, which could be
Ancient Roman architecture
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was a heroic uniform assigned only to men. Heroic nudity served for the male viewer and its purpose was to bring visual pleasure to the viewer, who was inextricably male. When making the Aphrodite of Knidos, Spivey argues that her iconography can be attributed to Praxiteles creating the statue for the intent of being viewed by male onlookers. Overwhelming evidence from aggregations suggests that the Knidian sculpture was meant to evoke male responses of sexuality upon viewing the statue, which were said to have been encouraged by the temple staff. The Knidian Aphrodite has not survived. Possibly the statue was
Aphrodite of Knidos
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Aphrodite of Knidos established a canon for the proportions of the female nude, and inspired many copies to follow its lead, the best of which is considered to be the Colonna Knidia, which is in the Vatican's Pio-Clementine Museum. A Roman copy, it is not thought to match the polished beauty of the original, which was destroyed in a disastrous fire at Constantinople in AD 475. According to an account by Pliny the Elder, Praxiteles sculpted both a nude statue and a draped statue of Aphrodite. The city of Kos purchased the draped statue, because they felt the nude version
Aphrodite of Knidos
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Greek model as an aesthetic and philosophical ideal that shaped the 18th-century homosocial "cult of friendship". German 18th-century works from the "Greek love" milieu of classical studies include the academic essays of Christoph Meiners and Alexander von Humboldt, the parodic poem "Juno and Ganymede" by Christoph Martin Wieland, and "" (1805), a novel about an explicitly male-male love affair in a Greek setting by Augustus, Duke of Saxe-Gotha-Altenburg. Neoclassical works of art often represented ancient society and an idealized form of "Greek love". Jacques-Louis David's "Death of Socrates" is meant to be a "Greek" painting, imbued with an appreciation of
Greek love
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"[t]he most significant principle or canon of the Beuronese school is the role which geometry played in determining proportions." Lenz elaborated the philosophy and canon of a new artistic direction, which was based on the elements of ancient Egyptian, Greek, Roman, Byzantine and early Christian art. Some of the other principles that Lenz used to define the Beuronese style include: One of the most complete collections of Beuronese art is located at Conception Abbey in Conception, Missouri, which was founded by Beuronese monks who immigrated to the United States. According to the abbey's website, "Beuronese art was revolutionary for its
Beuron Art School
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all patrouchoi, or daughters of a man who had no male heirs, which would explain why they could own so much land. According to the Greek travel writer Pausanias (flourished 143–176 CE), a statue of Euryleonis was erected at Sparta c. 368 BCE It is one of few bronze statues that survives anywhere in the Greek world, and in writing there are no personal statues of athletic or military victors in Sparta before the statue of Euryleonis. According to the Lacedaemonians, the statue of Euryleonis was located near the Skenôma, or tent. Another writer also described the statue as being
Euryleonis
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statue to exhibit contrapposto is the famed Kritios Boy, dating circa 480 BC. Contrapposto soon became a defining element of Greek sculptural technique, culminating in the Canon of the Doryphoros ("spear-bearer"), which adopted extremely dynamic and sophisticated contrapposto in its cross-balance of rigid and loose limbs. Most of the sculptures made at this time were created to show appreciation to the gods for showing them good fortune, and also to help bring good fortune in the future, and to also gain favor from the gods. Greek temples were specially made to fit the large cult statues. They believed that placing
Classical sculpture
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canon and is reflective of research into the position of women throughout the history of art as model, mistress, and muse, but rarely as artist−genius. For example, throughout her career, she painted over thirty works that feature her husband as her subject. While somewhat idealized, Sleigh's figures remain highly individualized. In her male nudes, the subject "is used as a vehicle to express erotic feelings, just as male artists have always used the female nude" In works such as "Paul Rosano Reclining" (1974) and "Imperial Nude: Paul Rosano" (1975), Sleigh portrayed her male subjects in stereotypical female poses in order
Sylvia Sleigh
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with the full length of the arm until it was swung up and passed off to the right arm, after which it was released. Although the timeline of this piece suggests that it would be Classical, this statue is not entirely within a single style of Greek art. There are multiple facets of the piece that can be attributed to either the Classical style, archaic style, or transitional work that can not be fully categorized. The idealized, young athletic body is indicative of Classical style work. However, there are many features of the statue that exhibit features from other styles.
Bronze Diskos Thrower Statue
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as "a substitute for heterosexual love, free contacts between the sexes being restricted by society". Greek art and literature portray these relationships as sometimes erotic or sexual, or sometimes idealized, educational, non-consummated, or non-sexual. A distinctive feature of Greek male-male eros was its occurrence within a military setting, as with the Theban Band, though the extent to which homosexual bonds played a military role has been questioned. Some Greek myths have been interpreted as reflecting the custom of "paiderasteia", most notably the myth of Zeus kidnapping Ganymede to become his cupbearer in the Olympian symposium. The death of Hyacinthus is
Greek love
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orders of architecture whose canon of proportions is based on column diameters. Pous The pous ( podes; , "poûs") or Greek foot ( feet) was a Greek unit of length. It had various subdivisions whose lengths varied by place and over time. 100 podes made up one plethron, 600 podes made up a stade (the Greek furlong) and 5000 made up a milion (the Greek mile). The Greek pous also has long, median and short forms. The pous spread throughout much of Europe and the Middle East during the Hellenic period preceding and following the conquests of Alexander the Great
Pous
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statue] crimson and our cops caught them red-handed", Deputy Chief of the Harvard University Police Jack W. Morse told "The Harvard Crimson" in 1984, adding "I've been waiting a long time to use that." As the work's hundredth anniversary approached, "Harvard Lampoon" president Conan O'Brien predicted that "we'll probably stuff it with cottage cheese, maybe also with some chives." "I think it’s creative but I wish students would direct their creative energies elsewhere," a Harvard maintenance official said in 2002. The challenge of creating an idealized representation of John Harvard was discussed by Ellis at the October 1883 meeting of
John Harvard (statue)
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to King [[George V]], who had followed his teachings, in 1911. [[Image:Falk, Benjamin J. (1853-1925) - Eugen Sandow (1867-1925)- 1894-cropped.jpg| thumb |Sandow models the statue "[[The Dying Gaul]]", illustrating his Grecian Ideal.]] Sandow's resemblance to the physiques found on classical [[Ancient Greek sculpture|Greek]] and [[Classical sculpture|Roman sculpture]] was no accident, as he measured the statues in museums and helped to develop "The Grecian Ideal" as a formula for the "perfect physique." Sandow built his physique to the exact proportions of his Grecian Ideal, and is considered the father of modern bodybuilding, as one of the first athletes to intentionally develop
Eugen Sandow
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and muscle definition. This depiction is not a portrait, but a symbol of Khafre's power through using the artistic conventions of Egypt—a flawless body, perfectly un-aged face, and ideal body proportions. The Egyptian idealized portraiture is not meant to record individualized features, but instead proclaim the divine nature of Egyptian kingship. Two stylized lions’ bodies form the throne Khafre sits on, creating a sturdy base. Lotus plants (symbolic of Upper Egypt) and papyrus plants (symbolic of Lower Egypt) grow between the legs of the throne, referring to the unification of Upper and Lower Egypt which ended the Egyptian Pre-Dynastic period.
Khafre Enthroned
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the character was a "breath of fresh air". However, Roby felt that though Lara Croft's proportions have become more realistic, the character's personality was diluted by the developer's actions to appeal to a male audience. LesbianGamers.com's Tracy Whitelaw called the character a dichotomy, stating that though Croft is viewed as "idealized" with an "unattainable body", the character was a great stride for the propagation of female characters as video game protagonists. Lara Croft Lara Croft is a fictional character and the main protagonist of the video game franchise "Tomb Raider". She is presented as a highly intelligent, athletic, and beautiful
Lara Croft
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per recte et retro" or "canon per rectus et inversus" . In a mensuration canon (also known as a prolation canon, or a proportional canon), the follower imitates the leader by some rhythmic proportion. The follower may double the rhythmic values of the leader (augmentation or sloth canon) or it may cut the rhythmic proportions in half (diminution canon). Phasing involves the application of modulating rhythmic proportions according to a sliding scale. The cancrizans, and often the mensuration canon, take exception to the rule that the follower must start later than the leader; that is, in a typical canon, a
Canon (music)
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in the art of one of the ancient civilizations, such as Ancient Japan, Greece and Rome, China, India, Greater Nepal, Mesopotamia and Mesoamerica. Ancient Greek art saw a veneration of the human physical form and the development of equivalent skills to show musculature, poise, beauty and anatomically correct proportions. Ancient Roman art depicted gods as idealized humans, shown with characteristic distinguishing features (e.g., Zeus' thunderbolt). In Byzantine and Gothic art of the Middle Ages, the dominance of the church insisted on the expression of biblical and not material truths. The Renaissance saw the return to valuation of the material world,
Humanities
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nude, having idealized proportions based on mathematical ratios as were the nude male statues. The nudes of Greco-Roman art are conceptually perfected ideal persons, each one a vision of health, youth, geometric clarity, and organic equilibrium. Kenneth Clark considered idealization the hallmark of true nudes, as opposed to more descriptive and less artful figures that he considered merely naked. His emphasis on idealization points up an essential issue: seductive and appealing as nudes in art may be, they are meant to stir the mind as well as the passions. Christian attitudes cast doubt on the value of the human body,
Nude (art)
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figures included zoomorphic motifs. In Nordic and Indian subcontinent, bovine (cow, ox, -*gwdus, -*g'ou) motifs or statues, for example, were common. In Ireland, iconic images included pigs. The Ancient Egyptian religion was polytheistic, with large cult images that were either animals or included animal parts. Ancient Greek civilization preferred human forms, with idealized proportions, for divine representation. The Canaanites of West Asia incorporated a golden calf in their pantheon. The ancient philosophy and practices of the Greeks, thereafter Romans, were imbued with polytheistic idolatry. They debate what is an image and if the use of image is appropriate. To Plato,
Idolatry
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of the Sudeten Germans after the collapse of Austria-Hungary. Opposed to Czechoslovakia, Rutha believed that the solution to the problems facing the Sudeten German community was a "Männerbund", an elite group of "heroic" men who united by charismatic leadership and intense male bonding would provide the necessary leadership to "save" the Sudeten Germans. In 1921, inspired by the "male bonding" notions of the gay German poet Stefan George, he created the "Jungenschaft", his own section within the "Wandervogel". Like George, Rutha saw ancient Greece as a model to emulate, noting that the ancient Greeks had idealized male bonding and beauty.
Heinz Rutha
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god with a proud look, conscious of his own beauty and power. Statue B, on the other hand, portrays an older more mature warrior hero with a relaxed pose and a kind and gentle gaze. The Riace bronzes are major additions to the surviving examples of ancient Greek sculpture. They belong to a transitional period from archaic Greek sculpture to the early Classical style, disguising their idealized geometry and impossible anatomy under a distracting and alluring "realistic" surface. They are fine examples of "contrapposto" - their weight is on the back legs, making them much more realistic than with many
Riace bronzes
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and ethnic interpretations. Morton called it "Metatarsus atavicus", considering it an atavism recalling prehuman grasping toes. In statuary and shoe fitting, a more-protuberant second toe has been called the Greek foot (as opposed to the Egyptian foot, where the great toe is longer). It was an idealized form in Greek sculpture, and this persisted as an aesthetic standard through Roman and Renaissance periods and later (the Statue of Liberty has toes of this proportion). There are also associations found within Celtic groups. The French call it commonly "pied grec" (just as the Italians call it "piede greco") but sometimes "pied
Morton's toe
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to throw at the god slipped through his fingers". Poseidon then threw it back at him, thus creating Mt. Athos. In the other version Poseidon throws the mountain at Athos, creating the mountain. Gigantes, not to be confused with the Titans who were even more powerful beings, are the Greek version of Giants. The Gigantes were often depicted as hoplite soldiers, dressed in full armor, or as a type of barbarian with panther skin clothing wielding flaming torches and rocks as weapons. They were also often depicted with serpents as legs. One myth says that the Gigantes were created when
Athos (mythology)
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Its inscription reads: The sculptor of the monument was Franklin Simmons (1839-1913), who was born in Maine, where he became known for his portrait busts. He worked in Rome after 1867, when he received the commission for a statue of Roger Williams for the National Statuary Hall collection. In all, he created four statues and three busts for the United States Capitol. The Peace Monument is an example of his idealized neoclassical sculpture. The Peace Monument, first intended for Annapolis, Maryland, was conceived by Admiral David Dixon Porter, who had commanded fleets of gunboats and troop transports during the war.
Peace Monument
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the statue was placed into the tomb chamber. As an important work of art, the statue appears in many art histories of Ancient Egypt. W. Stevenson Smith sees in the figure an "idealized naturalism", as other works of royal sculpture dating to about the late Twelfth Dynasty show often an elderly face, while that of Hot is idealized young. Ka statue of king Hor The Ka statue of king Hor dates to the Thirteenth Dynasty of Ancient Egypt around 1750 BC. It is now on display in the Egyptian Museum in Cairo and regarded as one of the major works
Ka statue of king Hor
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two legs and between the navel and the groin must all be equal for a figure to (in his opinion) be ideally proportioned. Other such systems of 'ideal proportions' in painting and sculpture include the Polyclitean canon and Vitruvian modules, best known in the Vitruvian Man. Aesthetic canon A canon in the sphere of visual arts and aesthetics, or an aesthetic canon, is a rule for proportions, so as to produce a harmoniously formed figure. By extension, the norms of a certain epoch as to what is or is not considered beautiful may be called a canon of beauty. These
Aesthetic canon
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Kanezane, who became the Fujiwara chieftain in 1186, and thus took over as supervisor of the temple reconstructions. Kanezane paints the artist as a greatly talented and morally sound man, but also as someone who did not refrain from questioning Kanezane's decisions. Kōkei's works are still largely in the Heian mold established by his ancestor, Jōchō. For example, Kōkei's Fukūkenjaku Kannon follows Jōchō's canon of proportions: widely spread legs provide a base for a triangular figure with a square-shaped face. Likewise, the folds of drapery still follow a conventional geometric pattern. However, Kōkei does show signs of the emerging realism
Kōkei (sculptor)
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Praxilla Praxilla of Sicyon (), was a Greek lyric poet of the 5th century BC. A late author puts her "floruit" at about 450 BC. She was from the prosperous and cultured Greek city of Sicyon, on the Gulf of Corinth. She was a contemporary of Telesilla. Antipater of Thessalonica lists her first among his canon of nine "immortal-tongued" women poets. She was highly esteemed in her time; later authors testify that her verses were widely admired. Evidence of this is also shown in that Lysippus, a famous sculptor, made a bronze statue of her. In addition to this statue
Praxilla
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Ancient Greek art Ancient Greek art stands out among that of other ancient cultures for its development of naturalistic but idealized depictions of the human body, in which largely nude male figures were generally the focus of innovation. The rate of stylistic development between about 750 and 300 BC was remarkable by ancient standards, and in surviving works is best seen in sculpture. There were important innovations in painting, which have to be essentially reconstructed due to the lack of original survivals of quality, other than the distinct field of painted pottery. Greek architecture, technically very simple, established a harmonious
Ancient Greek art
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technique also led to systemetized proportions of body parts and simple surface details, as these sped the creation of the constituent parts and the formation of the finished piece. Art historians often cite this new canon of proportions as evidence of Jōchō's genius. He based the measurements on a unit equal to the distance between the sculpted figure's chin and hairline. The distance between each knee is equal to the distance from the bottoms of the legs to the hair. The widely spaced and level knees thus form the base of a triangular design, conveying a feeling of stability and
Jōchō
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object reaches extreme proportions because the gift is actually a piece of the giver's body. Reciprocity tends to be discouraged in contemporary organ gifting, thus creating an irresoluble sense of debt in the receiver. This separation of the donor from the object being given was not always implemented, and in earlier cases of organ transplantation the receiver could obtain information from the donor and even meet. As Holtkamp (2002) has argued, this arrangement created a feeling of debt in the receiver (and close kin) and led to the creation of obligations. The discouragement of reciprocal relationships between giver and receiver
Organ gifting
19136312
rendering was specific. The signs of age were used as indicators of wisdom and authority. The body remains idealized due to Greek influence. In Greek sculpture there is a concept of heroic nudity. It is used to indicate that a sculpture's apparently mortal human subject is in fact a hero or semi-divine being. The Pseudo-athlete of Delos is a life-size nude male portrait that was found in the House of the Diadoumenos on the Greek island of Delos. It belonged to a Roman business man and dates back to 100 BCE. Stylistic traits of Greek sculpture, such as the contrapposto
Pseudo-athlete
330028
Hesiod does not say why hope ("elpis") remained in the jar. and closes with the moral (105): "Thus it is not possible to escape the mind of Zeus." Hesiod also outlines how the end of man's Golden Age (an all-male society of immortals who were reverent to the gods, worked hard, and ate from abundant groves of fruit) was brought on by Prometheus. When he stole Fire from Mt. Olympus and gave it to mortal man, Zeus punished the technologically advanced society by creating woman. Thus, Pandora was created as the first woman and given the jar (mistranslated as 'box')
Pandora
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fragment in question is not of the "Knidia", but of a different statue. As well as more or less faithful copies, the Aphrodite of Knidos also inspired various variations, which include: Aphrodite of Knidos The Aphrodite of Knidos (or Cnidus) was an Ancient Greek sculpture of the goddess Aphrodite created by Praxiteles of Athens around the 4th century BCE. It is one of the first life-sized representations of the nude female form in Greek history, displaying an alternative idea to male heroic nudity. Praxiteles' Aphrodite is shown nude, reaching for a bath towel while covering her pubis, which, in turn
Aphrodite of Knidos
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by the contrasting positions of the arms. Michelangelo's "David" has become one of the most recognized works of Renaissance sculpture, a symbol of strength and youthful beauty. Just the colossal size of the statue impressed Michelangelo's contemporaries. Vasari described it as "certainly a miracle that of Michelangelo, to restore to life one who was dead," and then listed all of the largest and most grand of the ancient statues that he had ever seen, concluding that Michelangelo's work surpassed "all ancient and modern statues, whether Greek or Latin, that have ever existed." The proportions of the "David" are atypical of
David (Michelangelo)
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attractions. Ancient Greece became a positive reference point by which homosexual men of a certain class and education could engage in discourse that might otherwise be taboo. In the early Modern period, a disjuncture was carefully maintained between idealized male eros in the classical tradition, which was treated with reverence, and sodomy, which was a term of contempt. In his classic study "Greek Homosexuality", Kenneth Dover points out that the English nouns "a homosexual" and "a heterosexual" have no equivalent in the ancient Greek language. There was no concept in ancient Greece equivalent to the modern conception of "sexual preference";
Greek love
87448
circulating in Rome, at the beginning of the 16th century, probably during the studies of Vitruvius' text conducted and shared by Peruzzi, Raphael and Sangallo. Ever since, the definition of the "canon" has been a collective endeavor that involved several generations of European architects, from Renaissance and Baroque periods, basing their theories both on the study of Vitruvius' writings and the observation of Roman ruins (the Greek ruins became available only after Greek Independence, 1821–23). What was added were rules for the use of the Architectural Orders, and the exact proportions of them down to the most minute detail. Commentary
Classical order
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in general terms drawing from stylistic development in other artistic media. This assumption has been increasingly challenged in recent decades, and some scholars now see it as a secondary medium, largely representing cheap copies of now lost metalwork, and much of it made, not for ordinary use, but to deposit in burials. Ancient Greek art Ancient Greek art stands out among that of other ancient cultures for its development of naturalistic but idealized depictions of the human body, in which largely nude male figures were generally the focus of innovation. The rate of stylistic development between about 750 and 300
Ancient Greek art
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chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean canon. In 46 BC, the statue of Venus
Venus Genetrix (sculpture)
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Zimbabwe (CHISZ). Springvale School was founded by Rev. Canon Robert Grinham and Maurice Carver, the founders of Ruzawi School, in 1952, as a second Anglican junior boys' school in Marondera. The school was born of the desire to cater for the large number of children on Ruzawi's waiting list which grew to 'epic proportions' in 1945. Canon Grinham fought against the proposal to expand Ruzawi's intake as he felt it would hurt the ethos of the school, thus pushing forward the idea of establishing another preparatory school. In 1949, the Ruzawi Board bought 1000 acres of land for £2 an
Springvale House
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the niche to the right of the altar because this place offered the best angle to view the composition. He thought that the statue of Elijah was most likely intended for one of the two niches by the entrance. After 1552 the two statues were supposedly placed on the two sides of the entrance. The present arrangement was created by Bernini who placed the statues of Habakkuk and Daniel diagonally facing each other creating a coherent composition. The statue of "Jonah and the whale", a prophet who prefigured the Resurrection, was carved by Lorenzetto (1520). The statue of Elijah, who
Chigi Chapel
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Spirit of Justice Spirit of Justice is a cast aluminum statue depicting Lady Justice that stands on display along with its male counterpart "Majesty of Justice" in the Great Hall of the Robert F. Kennedy Department of Justice Building in Washington, D.C., the headquarters of the U.S. Department of Justice. The statue is of a woman wearing a toga-like dress with one breast revealed and arms raised and measures 12.5 feet (3.8 meters). The statue was commissioned in 1933 at a cost of $7,275 (), and was created by C. Paul Jennewein, who created a total of 57 sculptural elements
Spirit of Justice
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their art. Often representing impressionist features, academism, realism, genre painting, upper-middle-class portraiture, still life, and landscape painting inspired by revolutionary as well as the country’s geography and history. A key member in the introduction of surrealism was an artist, poet, and essayist Nikos Engonopoulos. He created art that was inspired by Greek subjects, colors, and symbols. Some of his most notable pieces include “Civil War” and “Hermes Waiting.” Yannis Tsarouchis, a Greek artist who was a part of the “Armos” art group along with Engonopoulos, produced abstract, idealized art. His most notable pieces include “The Four Seasons” and “The Forgotten
Generation of the '30s
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in Florentine society without expressing Donatello's personal tendencies. However, during the time of the Renaissance, when the statue was created, sodomy was illegal, and over 14,000 people had been tried in Florence for this crime. So this homosexual implication was very risky and dangerous. A third interpretation is that "David" represents Donatello's effort to create a unique version of the male nude, to exercise artistic license rather than copy the classical models that had thus far been the sources for the depiction of the male nude in Renaissance art. The traditional identification of the figure was first questioned in 1939
David (Donatello)
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Astrid Noack Astrid Noack (30 January 1888 – 26 December 1954) was a Danish sculptor who specialized in the human figure, creating works such as the statue of Anna Ancher in Skagen, and her "Standing Woman" which was included in the Danish Culture Canon. Born in Ribe, in 1902 Noack went to Copenhagen where she earned a living painting porcelain at the Aluminia faience factory. She then attended Vallekilde Folk High School, specializing in sculpture and qualifying as an apprentice in 1910. She continued her studies there under Ivar Bentsen who exerted a considerable influence on her, together with other
Astrid Noack
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The monument of Aemilius Paulus at Delphi shows two Roman infantrymen wearing mail shirts alongside three who wear muscle cuirasses. They were worn mostly by officers, and may have been molded leather as well as metal, with fringed leather "(Pteryges)" at the armholes and lower edge. The muscle cuirass is one of the elements that distinguished a senior officer's "uniform". The sculptural replicating of the human body in the muscle cuirass may be inspired by the concept of heroic nudity, and the development of the muscle cuirass has been linked to the idealized portraiture of the male body in Greek
Muscle cuirass
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of proportions that had been established by Lysippos in the early fourth century BCE. The muscles on the sculpture are exaggerated and the head is proportionally smaller when compared to the rest of the body. The Forum Boarium statue is one of the two surviving full-sized Greek statues from ancient Greece. The second Hercules statue was discovered near the Theatre of Pompey. The Hercules of the Theatre of Pompey had been carefully buried under protective tiles and uncised FCS (Fulgor Conditum Summanium) because it was constantly hit by lightning. The Hercules of the Theatre of Pompey depicts him leaning on
Hercules of the Forum Boarium
3656058
story of their discovery were featured in the first episode of the 2005 BBC television documentary series "How Art Made the World", which included an interview with Stefano Mariottini. The most popular theory is that two separate Greek artists created the bronzes about 30 years apart around the 5th century BC. “Statue A” was probably created between the years 460 and 450 BC, and “Statue B” between 430 and 420 BC. Some believe that “Statue A” was the work of Myron, and that a pupil of Phidias, called Alkamenes, created “Statue B”. Statue A portrays a young warrior hero or
Riace bronzes
985934
the orthodox belief in an immanent God who intervenes in the lives of people and produces miracles. Indeed, Hogarth was a Deist, a believer in a God who created the universe but takes no direct hand in the lives of his creations. Thus, as a "comic history painter", he often poked fun at the old-fashioned, "beaten" subjects of religious art in his paintings and prints. Hogarth also rejected Lord Shaftesbury's then-current ideal of the classical Greek male in favour of the living, breathing female. He said, "Who but a bigot, even to the antiques, will say that he has not
William Hogarth
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Zenobia are the idealized portraits of her found on her coins. Palmyrene sculptures were normally impersonal, unlike Greek and Roman ones: a statue of Zenobia would have given an idea of her general style in dress and jewelry but would not have revealed her true appearance. British scholar William Wright visited Palmyra toward the end of the nineteenth century in a vain search for a sculpture of the queen. In addition to archaeological evidence, Zenobia's life was recorded in different ancient sources but many are flawed or fabricated; the "Augustan History", a late-Roman collection of biographies, is the most notable
Zenobia
4074466
housing the Telephus frieze also had an encircling portico. There were possibly additional statues between the columns. This theory is supported by 30-odd sculptures of women among the finds; they may have personified the cities of the Pergamene kingdom. It is assumed that there were no statues or other decorations on the actual fire altar, but a canopy was possibly installed there in Roman times. At many places in the Gigantomachy frieze, other Greek works of art can be recognized as having served as models. For example, Apollo with his idealized stance and good looks recalls a classical statue by
Pergamon Altar
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page size are of same proportions, and the height of the text area equals the page width. This canon was popularized by Jan Tschichold in his book "The Form of the Book". Robert Bringhurst, in his "The Elements of Typographic Style", asserts that the proportions that are useful for the shapes of pages are equally useful in shaping and positioning the textblock. This was often the case in medieval books, although later on in the Renaissance, typographers preferred to apply a more polyphonic page in which the proportions of page and textblock would differ. Tschichold's "golden canon of page construction"
Canons of page construction
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come together. Noack exhibited frequently, not just in Denmark but in Paris, Budapest, Helsinki and Rome. In 1955, Kunstforeningen arranged a large retrospective exhibition, as did Holstebro Art Museum in 1988. Noack was awarded the Eckersberg Medal in 1940 and the Thorvaldsen Medal in 1954. Astrid Noack Astrid Noack (30 January 1888 – 26 December 1954) was a Danish sculptor who specialized in the human figure, creating works such as the statue of Anna Ancher in Skagen, and her "Standing Woman" which was included in the Danish Culture Canon. Born in Ribe, in 1902 Noack went to Copenhagen where she
Astrid Noack
14683711
if they wished to deny that Marcion's list was the true one, it was incumbent on them to define what the true one "was." The expansion phase of the "New Testament canon" thus could have begun in response to Marcion's proposed "limited canon". The Muratorian fragment is the earliest known example of a defined list of mostly New Testament books. It survives, damaged and thus incomplete, as a bad Latin translation of an original, no longer extant, Greek text that is usually dated in the late 2nd century, although a few scholars have preferred a 4th-century date. This is an
Development of the New Testament canon
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Particularly in Roman examples like the Tivoli General or Delos "Pseudo-Athlete", this could lead to an odd juxtaposition of a hyper-realistic portrait bust in the Roman style (warts-and-all for the men, or with an elaborate hairstyle for the women) with an idealized god-like body in the Greek style. Male genitalia explicitly were not depicted as overly well-endowed to separate a noble and modest facade from the connotation in Greek culture that larger endowments belonged to more primal and barbaric characteristics. As a concept, it has been modified since its inception, with other types of nudity now recognized in classical sculpture—e.g.,
Heroic nudity
8616859
a construction equivalent to van de Graaf's or Rosarivo's with a 2:3 page ratio as "the Golden Canon of book page construction as it was used during late Gothic times by the finest of scribes." For the canon with the arc construction, which yields a text area ratio closer to the golden ratio, he says "I abstracted from manuscripts that are older yet. While beautiful, it would hardly be useful today." Of the different page proportions that such a canon can be applied to, he says "Book pages come in many proportions, i.e., relationships between width and height. Everybody knows,
Canons of page construction
15361588
Peloponnese These statues share a connection with the fundamentals of what a Kouros statue is, meaning that they are free-standing figures that depict the male youth that are depicted in symmetry and pattern. The earliest depiction of Kouros statues can be found in Egyptian culture, where the style of the sculpture shows stability, by being depicted by a single viewpoint in the front. Here, the two sculptures can be seen with a foot movement, to imply movement, with idealized features, from the oval eyes to the fist clenched on each side of their torsos. However, these two statues do seem
Kleobis and Biton
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time, Fuzuli's artistic image was created by Azerbaijani sculptor Fuad Abdurahmanov. Thus, when the facade of the building of the Azerbaijan Literature Museum named after Nizami Ganjavi was being developed, one of the facades decorates was intended to be a statue of Fuzuli. Fuad Abdurrahmanov's project won the competition declared for the statue of the poet. The image of Fuzuli, created by Fuad Abdurahmanov for the museum building in 1939, was officially recognized as a portrait of the poet. While preparing statue of Fuzuli sculptors were loyal to the general image created by F.Abdurrahmanov. Statue of Fuzûlî (Baku) A statue
Statue of Fuzûlî (Baku)
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Biblical canon A biblical canon or canon of scripture is a set of texts (or "books") which a particular religious community regards as authoritative scripture. The English word "canon" comes from the Greek κανών, meaning "rule" or "measuring stick". Christians became the first to use the term in reference to scripture, but Eugene Ulrich regards the idea as Jewish. Most of the canons listed below are considered by adherents "closed" (i.e., books cannot be added or removed), reflecting a belief that public revelation has ended and thus some person or persons can gather approved inspired texts into a complete and
Biblical canon
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ground bass a separate variation, one scholar finds that Pachelbel's canon is constructed of just 12 variations, mostly four bars in length, and describes them as follows: Pachelbel's Canon thus merges a strict polyphonic form (the canon) and a variation form (the chaconne, which itself is a mixture of ground bass composition and variations). Pachelbel skillfully constructs the variations to make them both pleasing and subtly undetectable. Several months after the Paillard recording was released, two groups released successful singles with a backing track based on Pachelbel's Canon: Greek band Aphrodite's Child with "Rain and Tears" and Spanish group Pop-Tops
Pachelbel's Canon
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between the destroyed Argive city of Asine and the territory of Epidaurs may have been a twisted olive tree midway up the mountain. According to Tatian, Telesilla was commemorated by a statue in the Theatre of Pompey, a work of Niceratus. Telesilla Telesilla (; fl. 510 BC) was an ancient Greek poet, native of Argos. She was a distinguished woman who was especially renowned for her poetry and for her leadership of Argos through a political and military crisis and subsequent re-building. Antipater of Thessalonica included her in his canon of nine female poets. Only a few lines of Telesilla's
Telesilla
2114605
so in 1297 three new peerages were created, the County of Artois, the County of Anjou and the Duchy of Brittany, to compensate for the three peerages that had disappeared. Thus, beginning in 1297 the practice started of creating new peerages by letters patent, specifying the fief to which the peerage was attached, and the conditions under which the fief could be transmitted (e.g. only male heirs) for princes of the blood who held an apanage. By 1328 all apanagists would be peers. The number of lay peerages increased over time from 7 in 1297 to 26 in 1400, 21
Peerage of France
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that era. The Sanctuary of Zeus in Olympia housed a statue in ivory and gold of Zeus that had been sculpted by Phidias circa 445 BC. This statue was one of the ancient Seven Wonders of the World. By the time of the Classical Greek culture, in the fifth and fourth centuries BC, the games were restricted to male participants. The historian Ephorus, who lived in the fourth century BC, is one potential candidate for establishing the use of Olympiads to count years, although credit for codifying this particular epoch usually falls to Hippias of Elis, to Eratosthenes, or even
Ancient Olympic Games
5846139
Alexandrian critics admitted the author to the epic canon. From an epigram (20) of Theocritus we learn that a statue was erected in honor of Peisander by his countrymen. He is to be distinguished from Peisander of Laranda in Lycia, who lived during the reign of Alexander Severus and wrote a poem on the mixed marriages of gods and mortals, after the manner of the Hesiodic "Catalogue of Women". Peisander Peisander (; ) of Camirus in Rhodes, Ancient Greek epic poet, supposed to have flourished about 640 BC. Peisander was the author of a "Heracleia (Ἡράκλεια)", in which he introduced
Peisander
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6/4, and 9/4 respectively (in modern notation). Thus, the second voice, in 3/2, sings the same tune as the first voice, in 2/2, but half again as slowly, so the voices gradually pull apart. The same occurs between the second pair of voices, in 6/4 and 9/4 respectively. In the score, only one voice was written out for each canon, with the mensuration marks (approximately equivalent to a modern time signature) given alongside, so the singers would understand that they are to sing in those proportions, and thus at different speeds; in addition, the intervals between the voices are given
Missa prolationum
641174
Venus de Milo The Aphrodite of Milos (, "Aphroditi tis Milou"), better but mistakenly known as the Venus de Milo, is an ancient Greek statue and one of the most famous works of ancient Greek sculpture. Initially it was attributed to the sculptor Praxiteles, however from an inscription that was on its plinth, the statue is thought to be the work of Alexandros of Antioch. Created sometime between 130 and 100 BC, the statue is believed to depict Aphrodite, the Greek goddess of love and beauty; however, some scholars claim it is the sea-goddess Amphitrite, venerated on Milos. It is
Venus de Milo
9152347
Bouncer (Fox Feature Syndicate) The Bouncer is a fictional character who appeared in comic books published by Fox Feature Syndicate. A superhero created by writer Robert Kanigher and artist Louis Ferstadt, he first appeared in "The Bouncer" (no number, September 1944). His final appearance was in "The Bouncer #14" (January 1945). He is the first comic book character created by Kanigher. The Bouncer had no secret identity, but was in reality a statue of the Greek mythological figure Antaeus (spelled Anteas in the comics). The statue had been sculpted by Adam Anteas, Jr., a descendant of the very same legendary
Bouncer (Fox Feature Syndicate)
19323579
sculptors were, reportedly, Pausanias from Apollonia (who created Apollo and Kallisto), Samolas from Arcadia (who created Triphylus and Azan), Antiphanes from Argos (who created Ephasus, Elatus and Apheidas) and Daedalus from Sicyon (who created Nike and Arkas). At that spot were discovered several stelae with inscriptions on behalf of the Arcadians, set up by various Greek cities. Three more votive offerings stood there (one bearing the statue of the Achaean general Philopoemen) and decorated the facade of a portico (measuring 22.23x6.27) dated to the 4th century B.C., possibly also built by Arcadians. The portico had a stylobate made of limestone
Ex voto of the Arcadians
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reflects scenes from daily life, some more sexual than others. Carved phalli can be seen in places of worship such as the temple of Dionysus on Delos, while a common household item and protective charm was the herm, a statue consisting of a head on a square plinth with a prominent phallus on the front. The Greek male ideal had a small penis, an aesthetic the Romans later adopted. The Greeks also created the first well-known instance of lesbian eroticism in the West, with Sappho's "Hymn to Aphrodite" and other homoerotic works. There are numerous sexually explicit paintings and sculptures
History of erotic depictions
11174654
here in holding Gaston back, to let the audience hook into him, before allowing his gradual slide." Deja also exaggerated Gaston's proportions to help audiences believe that the character could actually physically face the beast head-on. In terms of research, Deja sought inspiration from male Los Angeles residents who constantly adore themselves, observing them as they fix their hair and admire themselves in mirrors, explaining, "It was fun to observe them and bring some of that attitude to Gaston." Creating the character's chest hair, which he exposes during his performance of "Gaston", was a fiercely debated subject among animators. Deja
Gaston (Beauty and the Beast)
3906360
Canon (priest) A canon (from the Latin "canonicus", itself derived from the Greek , "kanonikós", "relating to a rule", "regular") is a member of certain bodies subject to an ecclesiastical rule. Originally, a canon was a cleric living with others in a clergy house or, later, in one of the houses within the precinct of or close to a cathedral and conducting his life according to the orders or rules of the church. This way of life grew common (and is first documented) in the eighth century. In the eleventh century, some churches required clergy thus living together to adopt
Canon (priest)
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and papyrus and mechanical book reproduction, thus, being comprehended in a "canon" ensured a book's preservation as the best way to retain information about a civilization. Contemporarily, the Western canon defines the best of Western culture. In the ancient world, at the Alexandrian Library, scholars coined the Greek term "Hoi enkrithentes" ("the admitted", "the included") to identify the writers in the canon. With regard to books, what makes a book "classic" has concerned various authors, from Mark Twain to Italo Calvino, and questions such as "Why Read the Classics?", and "What Is a Classic?" have been considered by others, including
Western canon
136515
of floret number "n" are those at "n" ± "F"("j") for some index "j", which depends on "r", the distance from the center. It is often said that sunflowers and similar arrangements have 55 spirals in one direction and 89 in the other (or some other pair of adjacent Fibonacci numbers), but this is true only of one range of radii, typically the outermost and thus most conspicuous. Fibonacci numbers also appear in the pedigrees of idealized honeybees, according to the following rules: Thus, a male bee always has one parent, and a female bee has two. If one traces
Fibonacci number
19504163
was removed. In 1918, the Skobelev monument was replaced by the Constitution obelisk. The high, three-edged built in honour of the Soviet constitution, was erected in front of the Mossovet. In June 1919, the obelisk was joined by a Statue of Liberty. It was created by the sculptor, Nikolay Andreyevich Andreyev. Vera Alekseyeva, the niece of Konstantin Stanislavski, might have posed for this statue. Another possible model was the actress at МХАТ, Eugenie Khovanskaya, who was famous for her beauty. The sculptor was inspired by the dynamic forms of classical Greek statues such as Nike of Samothrace. The Constitution obelisk
Statue of Yuriy Dolgorukiy, Moscow
50850
standard for male beauty in western civilization. During the Gothic era, the classical aesthetical canon of beauty was rejected as sinful. Later, Renaissance and Humanist thinkers rejected this view, and considered beauty to be the product of rational order and harmonious proportions. Renaissance artists and architects (such as Giorgio Vasari in his "Lives of Artists") criticised the Gothic period as irrational and barbarian. This point of view of Gothic art lasted until Romanticism, in the 19th century. In the Middle Ages, Catholic philosophers like Thomas Aquinas included beauty among the transcendental attributes of being. In his Summa Theologica, Aquinas described
Beauty
155048
to the constitution only state-run universities operate on the land. However, in the recent years many foreign private universities have established branches in Greece, offering Bachelor's level degrees, thus creating a legal contradiction between the Greek constitution and the EU laws allowing foreign companies to operate anywhere in the Union. Additionally, every year, tens of thousands of Greek students are not accepted to the state-run University system and become "educational immigrants" to other countries' Higher Education institutions, where they move to study. This has created a chronic problem for Greece, in terms of loss of capital as well as human
Politics of Greece
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Your Boat" and "Frère Jacques" are popular examples. An accompanied canon is a canon accompanied by one or more additional independent parts that do not imitate the melody. During the Middle Ages, Renaissance, and Baroque—that is, through the early 18th century—any kind of imitative musical counterpoints were called fugues, with the strict imitation now known as canon qualified as "fuga ligata", meaning "fettered fugue" (; ; ). Only in the 16th century did the word "canon" begin to be used to describe the strict, imitative texture created by such a procedure . The word is derived from the Greek "κανών",
Canon (music)