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Updated: June 3, 2025
For Julius were painted the "Miracle of Bolsena" and the "Expulsion of Heliodorus from the Temple," scenes containing courtly compliments for the old Pope. No such compliments had been paid by Michael Angelo. Like his great parallel in music, Beethoven, he displayed an almost arrogant contempt for the conventionalities whereby an artist wins the favour of his patrons and the world.
He poisoned his master in the hope of becoming king, as Seleucus's son was a hostage at Rome, that is, he had been given as a pledge that the tribute should be paid; but Seleucus's brother, Antiochus, who was on his way home from captivity at Rome, flattered the adjoining kings into helping him, drove Heliodorus away, and became king in 178.
From the celestial horseman and bounding avenging angels of Raphael's Heliodorus, to the St.
For there appeared to them a horse with a terrible rider upon him, adorned with a very rich covering: and he ran fiercely and struck Heliodorus with his fore-feet, and he that sat upon him seemed to have armor of gold.
Our artist was now twenty years of age; his friends knew his abilities better than himself, and they compelled him to enter on the task. The subject proposed was, "Heliodorus Driven out of the Temple."
This is not Tasso's only obligation to the Greek romances, as we have already seen that he was indebted to Heliodorus for the hint of his story of Clorinda.
The prefect had already instituted the necessary inquiries and the private secretaries, Phlegon, Heliodorus and Celer, were now charged with the duty of addressing documents to the injured parties in which they were invited, in the name of Caesar, to declare the truth as to the amount of the loss they had suffered.
But if the "Dispute on the Sacrament" and the so-called "School of Athens," both prior to the paintings of the Sixtine Chapel, seemed to him to be Raffaelle's masterpieces, he felt that in the "Burning of the Borgo," and particularly in the "Expulsion of Heliodorus from the Temple," and "Pope St.
It is no part of our business to survey, in any detail, the not very numerous but distinctly interesting compositions which range in point of authorship from Longus and Heliodorus, probably at the meeting of the fourth and fifth centuries, to Eustathius in the twelfth.
An epigram is still extant, attributed to the Emperor Leo, the philosopher, in which it is landed as an example of chaste and faithful love: and it was esteemed as a model of romantic composition from the elegance of its style and diction, in which Heretius ranks the author above Heliodorus, though he at the same time severely criticizes him for want of originality, accusing him of having borrowed all the interesting passages in his work from the Ethiopics.
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