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Diana was not just a huntress, but most importantly a goddess of interstices; for example, a stairwell, or a battle-field -- the space between two opposing armies being as dangerous a passage as the one through a forest or birth canal. This skeleton-key figure suggests uncertainty and inchoateness, a shadow slipping by between the hours of dawn or dusk.

Diana was not just a huntress, but most importantly a goddess of interstices; for example, a stairwell, or a battle-field -- the space between two opposing armies being as dangerous a passage as the one through a forest or birth canal. This skeleton-key figure suggests uncertainty and inchoateness, a shadow slipping by between the hours of dawn or dusk.

Victor Hugo called Durer's forest  a hideous monster. Nothing is really dead or alive in this forest, he explained, covered either with dead skin, or alive crust. The over-decorated Renaissance armor has also been recently compared to tattooed skin, a dead skin in its own right.

Victor Hugo called Durer's forest a hideous monster. Nothing is really dead or alive in this forest, he explained, covered either with dead skin, or alive crust. The over-decorated Renaissance armor has also been recently compared to tattooed skin, a dead skin in its own right.

Anacalepsis, the ritual of veiling or unveiling of  a goddess, of a dancer, of a bride, of an unmarried woman, and then of a married woman, did the tradition originate in India, Mesopotamia, or Egypt? This pottery piece is from Greece.

Anacalepsis, the ritual of veiling or unveiling of a goddess, of a dancer, of a bride, of an unmarried woman, and then of a married woman, did the tradition originate in India, Mesopotamia, or Egypt? This pottery piece is from Greece.

The perspective in Roman painting has no common vanishing point; but it is in the absence of graphical unity where we discover the aesthetic one: a discordant assembly of volumes represents the absence of architectural unity in the city of Rome.

The perspective in Roman painting has no common vanishing point; but it is in the absence of graphical unity where we discover the aesthetic one: a discordant assembly of volumes represents the absence of architectural unity in the city of Rome.

Octavian, the Augustus Caesar, had a personal cult of Mars, which inevitably spilled into public sphere; later on the adulterous relationship of the God of War with the Goddess of Love presented a political problem, for as the head of state, the Emperor could not condone such a behavior.

Octavian, the Augustus Caesar, had a personal cult of Mars, which inevitably spilled into public sphere; later on the adulterous relationship of the God of War with the Goddess of Love presented a political problem, for as the head of state, the Emperor could not condone such a behavior.

An acephalic human figure called "A Step" by Gustave Rodin also chose to follow me; it seems like a perfectly spontaneous decision -- no reflection, no intention -- pure impulse, and maybe even trust and I must add a certain anti-intellectualism, for as far as its aesthetic commitments, they appear to be pure: it's like "I like it" -- click, or "I don't like it"  -- click. It looks like it likes me. It follows. That's all that really matters.

An acephalic human figure called "A Step" by Gustave Rodin also chose to follow me; it seems like a perfectly spontaneous decision -- no reflection, no intention -- pure impulse, and maybe even trust and I must add a certain anti-intellectualism, for as far as its aesthetic commitments, they appear to be pure: it's like "I like it" -- click, or "I don't like it" -- click. It looks like it likes me. It follows. That's all that really matters.

The moment St.George slays the dragon is somehow at variance with exotic birds and blooming flowers. The medieval aesthetics abounds in excesses. After all, they say that the dragon has become like a dog to St. George, right before getting lanced. Attached like a dog and then killed? We observe a double victory over the forces of evil; otherwise, it is not clear why dispatch the domesticated beast. When logic escapes us, we should see it as aesthetics.

The moment St.George slays the dragon is somehow at variance with exotic birds and blooming flowers. The medieval aesthetics abounds in excesses. After all, they say that the dragon has become like a dog to St. George, right before getting lanced. Attached like a dog and then killed? We observe a double victory over the forces of evil; otherwise, it is not clear why dispatch the domesticated beast. When logic escapes us, we should see it as aesthetics.

Here is one of the most poetic examples of the Egyptian funeral art -- stele where the sun rays on their way to a defunct priestess are transforming themselves into flowers.

Here is one of the most poetic examples of the Egyptian funeral art -- stele where the sun rays on their way to a defunct priestess are transforming themselves into flowers.

A devise, a heraldic symbol, any sign of belonging, showing personal devotion, attachment, service, sometimes as discrete as a color scheme - a choice of ribbons, or ostentatiously paraded in spectacular jewelry and designer weapons, particularly in specially conceived costumes for unique or rare occasions, suggest a reference to the history of feudalism, which is already an aging, even archaic institution, and an attempt to transform this nostalgia, anxiety and madness into a new fashion.

A devise, a heraldic symbol, any sign of belonging, showing personal devotion, attachment, service, sometimes as discrete as a color scheme - a choice of ribbons, or ostentatiously paraded in spectacular jewelry and designer weapons, particularly in specially conceived costumes for unique or rare occasions, suggest a reference to the history of feudalism, which is already an aging, even archaic institution, and an attempt to transform this nostalgia, anxiety and madness into a new fashion.

All formal features; for example, the beginning, the middle and the end, are the indices of naivete. The formal elements may be displayed in the frontal reciprocity of the figures: the stab of the hero is exchanged for the bite of the dragon - the idea of justice is represented by perfect symmetry, first you deal me a blow, then I will reciprocate.

All formal features; for example, the beginning, the middle and the end, are the indices of naivete. The formal elements may be displayed in the frontal reciprocity of the figures: the stab of the hero is exchanged for the bite of the dragon - the idea of justice is represented by perfect symmetry, first you deal me a blow, then I will reciprocate.

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