Astrology is the art of predicting events on earth as well as human character and disposition from the movements of the planets and fixed stars. Medieval astrology encompassed both general concepts of celestial influence, and the technical art of making predictions with horoscopes, symbolic maps of the heavens at particular moments and places constructed from astronomical information. The scientific foundations of the art were developed in ancient Greece, largely lost in early medieval Europe and recovered by the Latin West from Arabic sources in the 12th and 13th centuries. Late medieval astrological images were successfully Christianized and were adapted to particular contexts, acquired local meanings and changed over time.
Astrology developed into a scientific branch of learning in ancient Greece, but because of the opposition of the Church Fathers it was transmitted to early medieval Europe in only fragmentary form in technically unsophisticated textbooks and popular divinatory genres. Literary and scientific texts provided more general ideas about the nature and attributes of the planets which were influential on later iconography. The first significant astrological images appear in 11th-century illustrated astronomical texts (e.g. London, BL, Cotton MS. Tiberius BV), which were acquired and produced by monasteries to aid with time-keeping and the construction of the Christian calendar....
Male figure (sometimes known as telamon, and equivalent to the female caryatid) used architecturally since the Classical period to replace a column, and for decorative effect in metalwork and furniture since the 16th century. It is usually represented standing with its hands behind its bowed head, as if supporting a heavy weight on its shoulders, and is probably modelled on the mythical Atlas, who was said to hold up the sky. Unlike caryatids, surviving examples from the Greco-Roman world are scarce. The earliest and most famous, in the huge temple of Zeus Olympios at Akragas (begun c. 480
A support for one or more lights, consisting of a base, usually three-footed, a shaft and a receptacle or tray, which became a highly developed decorative art form in the ancient world.
The Latin word candelabrum derives from the more ancient form of the implement, used by the Etruscans, which held wax or tallow candles or torches by means of vertical or horizontal spikes. In Hellenistic, late Republican and Imperial times the earlier form tended to be replaced by a more luxurious, singly or multiply branched type designed to hold one or more oil lamps. Ancient authors spoke of candelabra made of gems, gold, silver, bronze and wood.
Especially prized were those bronzes with trays from Aigina and shafts from Taras. The most renowned candelabra of the ancient world were undoubtedly the seven-branched candelabrum from the Temple in Jerusalem, taken by the Romans in
Type of delicate, painted Neo-classical decoration, derived mainly from the shapes, motifs and colours of antique vases. It was part of the quest in Europe in the last quarter of the 18th century for a contemporary expression in interior design and the applied arts. The term is applied loosely to various schemes of decoration inspired by Classical sources, involving Renaissance Grotesque ornament, as well as themes inspired by discoveries made at Herculaneum and Pompeii (see Pompeii, §VI) in the 18th century, or frequently a mixture of these sources. This fact serves to underline the complex antecedents of this style, which was originally based on the misidentification of imported Greek vases dug up in southern Italy and thought to have been made by ancient Etruscans (see Etruscan §VIII), a culture promoted in some quarters as having been the original fount for the whole of Classical antiquity. Indeed, the Etruscan style derived little direct artistic influence from that culture as such, except for certain potent historical associations promoted by the controversies concerning cultural debts. Initially represented by ...