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| Hendrik Hondius the Elder after Hans Vredeman de Vries Perspective - Architectural Elements 1605 engraving (book illustration) Herzog August Bibliothek, Wulfenbüttel |
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| Hendrik Hondius the Elder after Hans Vredeman de Vries Perspective - Tuscan Order - Pillars and Arches 1605 engraving (book illustration) Herzog August Bibliothek, Wulfenbüttel |
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| Lorenz Stör Perspective - Geometric Solids and Architectural Elements 1567 woodcut (book illustration) Herzog August Bibliothek, Wulfenbüttel |
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| Lorenz Stör Perspective - Geometric Solids and Architectural Elements 1567 woodcut (book illustration) Herzog August Bibliothek, Wulfenbüttel |
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| Jost Amman after Wenzel Jamnitzer Perspective - Faceted Cones 1568 etching (book illustration) Herzog August Bibliothek, Wulfenbüttel |
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| Jost Amman after Wenzel Jamnitzer Perspective - Subdivided Spheres 1568 etching (book illustration) Herzog August Bibliothek, Wulfenbüttel |
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| Nicoletto da Modena St John the Baptist among Ruins (heralding Christ's destruction of the pagan world) ca. 1500-1505 engraving Graphische Sammlung, ETH Zürich |
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| Jean-François Gilibert Ingres visiting the new Academy of Design at Montauban (gallery of classical casts) 1826 oil on canvas Musée Ingres Bourdelle, Montauban |
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| Anonymous Italian Artist after Donato Bramante Architectural Capriccio as Perspective Study ca. 1490 engraving Graphische Sammlung, ETH Zürich |
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| Luigi Rossini The Roman Pantheon - View of Portico 1820 etching Hamburger Kunsthalle |
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| Antoon Goubau Artists studying Roman Antiquities ca. 1650 oil on canvas Royal Museum of Fine Arts, Antwerp |
| Bernardo Bellotto Venetian Capriccio with Chiesa di Santa Maria dei Miracoli ca. 1740 oil on canvas Landesmuseum Hannover |
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| Leo von Klenze Camposanto in Pisa 1858 oil on canvas Neue Pinakothek, Munich |
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| Alf Lundeby View of Piazza di Spagna from the Terrace of the Scandinavian Association, Rome 1938 oil on canvas Lillehammer Kunstmuseum, Norway |
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| Georg Lichtensteger Widow mourning at Tomb ca. 1780 etching Herzog August Bibliothek, Wulfenbüttel |
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| Girolamo Saraceni View of Villa Farnesina, Rome 1647 etching Graphische Sammlung, ETH Zürich |
Chorus of Furies [To Apollo]: On your account, Zeus sets a higher value on the death of a father. Yet he himself imprisoned his old father, Cronus. Isn't your statement in contradiction with that? [To the judges] I call you to witness that you have heard these words.
Chorus: Well then, look how you're pleading for this man to help him establish a defence! Having spilt on the ground his mother's blood, which is the same as his own, is he then going to enter into the inheritance of his father in Argos? What altars will he use – public ones, that is? What phratry* will admit him to its lustral waters?
Apollo: I will tell you that too – and mark how rightly I argue. The so-called "mother" is not a parent of the child, only the nurse of the newly-begotten embryo. The parent is he who mounts; the female keeps the offspring safe, like a stranger on behalf of a stranger, for those in whose case this is not prevented by god.** I shall give you powerful proof of this statement. A father can procreate without a mother: a witness to this is here close by us [indicating Athena], the daughter of Olympian Zeus, who was not even nurtured in the darkness of a womb, but is such an offspring as no female divinity could ever bring forth.
– Aeschylus, from Eumenides (458 BC), translated by Alan H. Sommerstein (2008)
*A phratry was a group of families forming a religious guild. Although phratry membership was not, at least in Athens, a formal prerequisite for citizenship, the normal expectation was that every citizen would belong to a phratry.
**This theory of reproduction is ascribed by Aristotle to Anaxagoras; we do not know whether Aeschylus himself believed it, or whether his audience would have found it convincing.


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