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Memento mori (Latin for "remember (that you have) to die") [2] is an artistic or symbolic trope acting as a reminder of the inevitability of death. [2] The concept has its roots in the philosophers of classical antiquity and Christianity , and appeared in funerary art and architecture from the medieval period onwards.
The Severan Tondo, c. 199 AD tondo of the Severan family, with portraits of Septimius Severus, Julia Domna, and their sons Caracalla and Geta.The face of one of Severus' and Julia's sons has been erased; it may be Geta's, as a result of the damnatio memoriae ordered by his brother Caracalla after Geta's death.
An example is the composition Memento Mori (At Van Ham Kunstauktionen on 17 May 2013 in Cologne, lot 478). [10] This composition contains the typical symbolism of vanitas paintings: a skull, soap bubbles, a candle, an hourglass, a watch and a book (symbolising the futility of mankind's higher aspirations).
Danemunro.com Archived 2017-06-30 at the Wayback Machine, an article on memento mori and ars moriendi appearing in the publication of Dane Munro, Memento Mori, a companion to the most beautiful floor in the world (Malta, 2005) ISBN 9789993290117, 2 vols. The ars moriendi eulogies of the Knights of the Order of St John. Ars moriendi. Germany, c ...
Death and the Miser belongs to the tradition of memento mori, a term that describes works of art that remind the viewer of the inevitability of death.The painting shows the influence of popular 15th-century handbooks (including text and woodcuts) on the "Art of Dying Well" (Ars moriendi), intended to help Christians choose Christ over earthly and sinful pleasures.
A simple explanation is that "memento mori" was de Dinteville's motto, [10] while another possibility is that this painting represents three levels: the heavens as portrayed by the astrolabe and other objects on the upper shelf, the living world as evidenced by books and a musical instrument on the lower shelf, and death signified by the skull.
They included one law that the general must have killed at least 5,000 of the enemy in a single battle, and another that he must swear an oath that his account was the truth. No evidence has survived for either of these laws, or any other laws relating to triumphs.
First law: When a distinguished but elderly scientist states that something is possible, he is almost certainly right. When he states that something is impossible, he is very probably wrong. Second law: The only way of discovering the limits of the possible is to venture a little way past them into the impossible.