The Black Madonna of Częstochowa
Wax and tempera on wood. approx. 300-1000 A.D.(restoration attempts in 1400s prevent precise date)
4’ 0” x 2’ 8” x 0’ 1” (1.22 m x 82 cm x 3 cm)
Jasna Gorna Monastery, Częstochowa, Poland.
The origins, artist, and date of this particular piece are hotly contested, but none can deny its importance. According to legend, this piece was discovered by St. Helena and taken to Constantinople, where it resided from the 3rd to 8th century, after which it was taken away from religious and political turmoil and hidden in the wilds of Poland, where it resides to this day.
It is considered by the Catholic faith to be one of the holiest relics in Europe:
The Polish nation attributes its very existence to the help of the Virgin of Czestochowa. The veneration of the picture of the Madonna is the expression of the Polish nation’s faith and gratitude. …the safety of the shrine of Czestochowa is identified with the very safety and independence of the whole nation.
Although many legends also attribute the Virgin’s darkened skin to smoke from fires of various wars and invasions (the Hussites stormed the monastery in 1430, causing the two slashes to her cheek), there is no evidence that this is the case. The encaustic method used to paint the image resisted any attempts to paint over it. Restoration attempts to paint over the Virgin with lighter skin failed. In subsequent copies, the Virgin’s skin tone is always faithfully replicated.
Reproductions of the Black Madonna have had far-reaching influences in both Voudoun and Santería, and has strong ties with Erzulie. It is said that in 1791, she appeared before devout Haitians and urged them to kill the French, resulting in the Haitian Revolution and independence in 1804.
The Black Madonna (left) and Erzulie (right).
Hanuman by Prateep Kochabua
Citipati, lord of cemetary, nepalese bronze
The goddess of olive eyes,
DID U GUYS ALREADY SEE MY NEW PSYDUCK HAT???? #pokemon #boy #psyduck #myself
Maria Magdalena Campos-Pons 1997
The Roll of Fate by Walter Crane
Artemis (“of the wildland, Mistress of Animals” -Homer, Iliad xxi 470 f.)
Rospigliosi type, marble, Roman artwork of the Imperial Era, 1st–2nd centuries AD. Copy of a Greek original, maybe the bronze group mentioned by Pausanias (I, 25, 2), which represented a gigantomachia.
Ἑβδόμη Φθίνοντος/ Ἑβδόμη μετ’εἰκάδας, XXIV day
From today’s sunset: twenty-fourth day of Maimakterion.
Since for today there are no other religious prescriptions, apart from the daily ones, we honor Hermes in His sacred day.
(The tondo with a bust of Hermes in profile to the left, wearing a pilos secured with a chin-strap and a chlamys over His shoulders fastened with a circular brooch, holding a kerykeion in His right hand, enclosed within two reserved bands. CIRCA 400-380 B.C. from Lucania; Anonymous sale; Christie’s, New York, 4 June 1999, lot 23….)
Night and Sleep.
Evelyn de Morgan, 1878.
An Audience In Athens During Agamemnon By Aeschylus
by Sir William Blake Richmond
A Farewell of Hector to Andromache and Astyanax. 1918. Carl Friedrich Deckler. German.1838-1918. oil /canvas.