In architecture pillars carved to resemble male figures are named after which mythical god?
"Atlantean figures Atlantean figures are carved stone support columns or pillars in the shape of fierce men in Pre-Columbian Mesoamerica. These figures are considered to be ""massive statues of Toltec warriors"". They take their name from the European tradition of similar Atlas or Atalante figures in classical architecture, which was then revived in the Renaissance and especially popular in Baroque architecture. ""Atlantean"" here refers to the figures' supporting posture, alluding to the load-bearing Titan Atlas, not Atlantis. Though the most famous Atlantean figures reside in Tula, the Olmecs were the first to use Atlantean figures on a relief discovered in"
"Phallic architecture Phallic architecture consciously or unconsciously creates a symbolic representation of the phallus. Buildings intentionally or unintentionally resembling the human penis are a source of amusement to locals and tourists in various places around the world. Deliberate phallic imagery is found in ancient cultures and in the links to ancient cultures found in traditional artifacts. The ancient Greeks and Romans celebrated phallic festivals and built a shrine with an erect phallus to honor Hermes, messenger of the gods. Those figures may be related to the ancient Egyptian deity Min who was depicted holding his erect phallus. Figures of women"
"Greeks honored the phallus and celebrated phallic festivals. The Greco-Roman deity Priapus was worshiped as a god of fertility, depicted with a giant phallus in numerous public architectural pieces. The Greeks regularly built a shrine which they called ""Herm"" at the entrance of major public buildings, homes and along roads to honor Hermes, messenger of the gods. The shrines typically ""took the form of a vertical pillar topped by the bearded head of a man and from the surface of the pillar below the head, an erect phallus protruded"". It is believed that they sought their inspiration from the ancient"
"obelisk like structures resembling the human penis were built, often with phallic symbols, representing human fertility and asserting male sexuality and orgasm. Phallic symbolism was prevalent in the architecture of ancient Babylonia, and in Khametian iconography, the obelisk was considered to be symbolic of the phallus of the masculine earth. The obelisks of ancient Egypt themselves had several functions, existing both as a reference to the cultus of the sun and of the phallus, representing fertility and power. Although phallic architecture as individual pieces was not prevalent in ancient Rome as it was in ancient Greece or Egypt, the Romans"
"or Spata, and some . The Greek sphinx, a lion with the face of a human female, was considered as having ferocious strength, and was thought of as a guardian, often flanking the entrances to temples or royal tombs. Though influence from the west is generally accepted, especially the Persian columns of Achaemenid Persia, there are a number of differences between these and the pillars. Persian columns are built in segments whereas Ashokan pillars are monoliths, like some much later Roman columns. Most of the Persian pillars have a fluted shaft while the Mauryan pillars are smooth, and Persian pillars"
"the Temple of Jupiter Capitolinus. Caelus Caelus or Coelus was a primal god of the sky in Roman myth and theology, iconography, and literature (compare ""caelum"", the Latin word for ""sky"" or ""the heavens"", hence English ""celestial""). The deity's name usually appears in masculine grammatical form when he is conceived of as a male generative force, but the neuter form Caelum is also found as a divine personification. The name of Caelus indicates that he was the Roman counterpart of the Greek god Uranus (Οὐρανός, ""Ouranos""), who was of major importance in the theogonies of the Greeks. Varro couples him"
"of temples, near to tombs, outside houses, in the gymnasia, palaestrae, libraries, porticoes, and public places, at the corners of streets, on high roads as sign-posts, with distances inscribed upon them. Before his role as protector of merchants and travelers, Hermes was a phallic god, associated with fertility, luck, roads and borders. His name perhaps comes from the word herma referring to a square or rectangular pillar of stone, terracotta, or bronze; a bust of Hermes' head, usually with a beard, sat on the top of the pillar, and male genitals adorned the base. The surmounting heads were not, however,"
"Term (architecture) In Classical architecture a term or terminal figure (plural: terms or termini) is a human head and bust that continues as a square tapering pillar-like form. The name derives from Terminus, the Roman god of boundaries and boundary markers. If the bust is of Hermes as protector of boundaries in ancient Greek culture, with male genitals interrupting the plain base at the appropriate height, it may be called a herma or herm. The crime of Alcibiades and his drinking-mates, for which Socrates eventually indirectly paid with his life, was the desecration of herm figures through Athens in the"
"thieves and travelers) follows a sculptural tradition begun in ancient Greece, in which a human head was carved on top of a squared pillar or pedestal of proportionate body height. Archaic herms, used as road markers and signs of auspiciousness, usually depicted the god Hermes and frequently included the male genitalia carved directly onto the pillar at the appropriate height. Later the herm became less rigid in its use and served as a template for portraits, a tradition adopted by the Romans. During the Renaissance the herm received a resurgence of popularity as both a decorative and an architectural form."
"embodying ""virtus"" (valour), such as Minerva, Mars, or Hercules, should be Doric and without frills; the Corinthian order is suited for goddesses such as Venus, Flora, Proserpina and the Lymphae; and the Ionic is a middle ground between the two for Juno, Diana, and Father Liber. Thus in theory, though not always in practice, architectural aesthetics had a theological dimension. The word ""aedilis"" (aedile), a public official, is related by etymology; among the duties of the aediles was the overseeing of public works, including the building and maintenance of temples. The temple ""(aedes)"" of Flora, for instance, was built in"
"and Fortuna. The dedication (; ""RIG"" L2-1) is as follows: The pillar provides the only undisputed instance of the divine name ""Cernunnos"" . The Gaulish theonyms are presented as deity names in their own right, and not as epithets for Roman gods (by contrast, see the many Celtic gods syncretized with Mars). Other figures appear on the pillar without legible inscriptions, including the Roman gods Mars and Mercury, who can be identified by their conventional iconography, and other unidentified figures, mainly female. The top tier, of which only the top half remains, depicts Cernunnos, Smertrios, and Castor and Pollux. Cernunnos"
"symbol is similar to a sign like an edged cone found on the gate of a temple in the Hittitic city Bojatzkoi; an inscription names the god ""Apulunas"". He was the ptotector of the gate. Hrozny derives the name from the Babylonian word ""abullu "" which means ""gate "". The Greeks named him Agyieus, as the protector God who draws off evil. Some writers have held that the omphalos of the oracle at Delphi was a modified pillar of Agyieus. When standing before a house, the stone objects would be decorated with offerings of ribbon, or wreaths of myrtle or"
"Adjacent to the temple there was a great pool with a tunnel and a fence that enclosed the sacred woods. The temple was in honour of the god Apollo in his prophetic oracle aspect inspired after the Delphi model to which purification ceremonies were tied. Heracles, the hero made god dear to tyrants, and maybe also Jupiter, whose image we have to imagine on the central wall of the temple were tied to Apollo. By the middle of the 5th century BC, all work on the temple was complete and it began a slow decline while the structures sacred to"
"deities were higher ones that seem to reflect the Indo-European system: Tin or Tinia, the sky, Uni his wife (Juno), and Cel, the earth goddess. In addition, some Greek and Roman gods were taken into the Etruscan system: Aritimi (Artemis), Menrva (Minerva), Pacha (Dionysus). The Greek heroes taken from Homer also appear extensively in art motifs. Relatively little is known about the architecture of the ancient Etruscans. They adapted the native Italic styles with influence from the external appearance of Greek architecture. In turn, Ancient Roman architecture began with Etruscan styles, and then accepted still further Greek influence. Roman temples"
"sons of Apollo. Many temples were dedicated to Apollo in Greece and the Greek colonies. They show the spread of the cult of Apollo and the evolution of the Greek architecture, which was mostly based on the rightness of form and on mathematical relations. Some of the earliest temples, especially in Crete, do not belong to any Greek order. It seems that the first peripteral temples were rectangular wooden structures. The different wooden elements were considered divine, and their forms were preserved in the marble or stone elements of the temples of Doric order. The Greeks used standard types because"
"semi-human figures, half animal, including animals placed in a symmetrical or repetitive fashion. This reminds of the illustrations of contemporary Greek pottery. Humans were characterized by the archaic smile. The human and animal bodies are carved with lack of confidence, compared to the sculptures of the temple of Athena Polias constructed in the Acropolis, half a century later. Hekatompedon temple The Hekatompedon or Hekatompedos (, from , ""hundred"", and πούς, ""foot""), also known as ""Ur-Parthenon"" and ""H–Architektur"", was an ancient Greek temple on the Acropolis of Athens built from limestone in the Archaic period, and was placed in the position"
"a male. Statues and other forms of display made significant notice of their creator's masculine qualities, more specifically pointing out his erect penis. Therefore, to appease their god's preferences women's tombs and coffins displayed male qualities. Examples of male modifications included name combinations, in which women engraved “Osiris” before their own name on their coffins. This demonstrated the collaboration of women and a god who was capable of rebirth, because alone her sex restricted her. These displays of gender transformation are just one of many ways that people of today are able to identify the idea of rebirth after death"
"Hill, where the citadel was located. In the Capitoline Triad, he was the central guardian of the state with Juno and Minerva. His sacred tree was the oak. The Romans regarded Jupiter as the equivalent of the Greek Zeus, and in Latin literature and Roman art, the myths and iconography of Zeus are adapted under the name ""Iuppiter"". In the Greek-influenced tradition, Jupiter was the brother of Neptune and Pluto, the Roman equivalents of Poseidon and Hades respectively. Each presided over one of the three realms of the universe: sky, the waters, and the underworld. The Italic Diespiter was also"
"a critical role in the symbolic architecture of a cult building which was associated with the place of recreation and rebirth. Pylons were often decorated with scenes emphasizing a king's authority since it was the public face of a cult building. On the first pylon of the temple of Isis at Philae, the pharaoh is shown slaying his enemies while Isis, Horus and Hathor look on. Other examples of pylons can be seen in Luxor and Edfu. Rituals to the god Amun who became identified with the sun god Ra were often carried out on the top of temple pylons."
"of male and female sexual characteristics and the frequent association with potsherds and the bones of animals and, at Oberdorla, of humans. They may originate in a phallus cult, although there are few indications of such a cult in Germanic paganism. Alternatively, since the veneration of pillars extends beyond the Germanic cultural area, they may originate in the belief in the world pillar (as seen in the Saxon Irminsul and the Old Norse Yggdrasill) and thus derive from an archaic tree cult. Heiko Steuer has suggested that in the case of the male and female Wittemoor figures, which stood on"
"with the invention of stone architecture. Two thousand years after his death, Imhotep's status had risen to that of a god of medicine and healing. He was eventually equated with Thoth, the god of architecture, mathematics and medicine, and patron of scribes: Imhotep's cult had merged with that of his former tutelary god. He was revered in the region of Thebes as the ""brother"" of Amenhotep, son of Hapu, another deified architect, in the temples dedicated to Thoth. Imhotep was also linked to Asklepios by the Greeks. According to myth, Imhotep's mother was a mortal named Kheredu-ankh, she too being"
"Minotaur In Greek mythology, the Minotaur (, ; , , Etruscan: ""Θevrumineś"") is a mythical creature portrayed in Classical times with the head and tail of a bull and the body of a man or, as described by Roman poet Ovid, a being ""part man and part bull"". It dwelt at the center of the Labyrinth, which was an elaborate maze-like construction designed by the architect Daedalus and his son Icarus, on the command of King Minos of Crete. The Minotaur was eventually killed by the Athenian hero Theseus. The term Minotaur derives from the Ancient Greek , a compound"
"Flegetonte (""river of blood""), to continue through the seventh Circle. Minotaur In Greek mythology, the Minotaur (, ; , , Etruscan: ""Θevrumineś"") is a mythical creature portrayed in Classical times with the head and tail of a bull and the body of a man or, as described by Roman poet Ovid, a being ""part man and part bull"". It dwelt at the center of the Labyrinth, which was an elaborate maze-like construction designed by the architect Daedalus and his son Icarus, on the command of King Minos of Crete. The Minotaur was eventually killed by the Athenian hero Theseus. The"
"a Greek fashion and in a reign of an Arabian emperor. The Nabataeans used to represent their gods as featureless pillars or blocks. Their most common monuments to the gods, commonly known as ""god blocks"", involved cutting away the whole top of a hill or cliff face so as to leave only a block behind. However, the Nabataeans became so influenced by other cultures such as those of Greece and Rome that their gods eventually became anthropomorphic and were represented with human features. The Nabataeans spoke a form of Arabic, however for their inscriptions, they used Aramaic under heavy influence"
"the entrance to the temple proper, depictions of the Winged sun disk of the sky god Horus represent the sky. This motif is repeated by the vultures depicted on the ceiling of the entrance porch. On the outer walls, Emperor Augustus is depicted as a pharaoh making offerings to the deities Isis, Osiris, and their son Horus. The subject is repeated in the first room of the temple, where Augustus is shown praying and making offerings. Augustus is identified as ""Caesar"" (actually, ""Qysrs"", which is based on ""Kaisaros"", the Greek version of Caesar). He is also called ""Autotrator"", an alteration"
"Antinous Mondragone The Antinous Mondragone is a unique colossal 0.95 m high marble example of the iconographic type of the deified Antinous, of c. 130 AD. It can be identified as him from the striated eyebrows, full lips, sombre expression and the head's twist down and to the right (reminiscent of that of the Lemnian Athena), whilst its smooth skin and elaborate, centre-parted hair mirror those of Hellenistic images of Dionysus and Apollo. It formed part of a colossal acrolithic cult statue for the worship of Antinous as a god. 31 holes in 3 different sizes have been drilled for"
"of intentional phallic architecture in the world. The site, which measures roughly , is now ""crammed with carved"" wooden circumcised penis statues, which are said to possess special cosmic powers and endow good fortune and fertility on anybody coming into contact with them. The size of the penis statues, which number well over 100, is said to range ""[from] the size of a cream doughnut to the size of a canoe""; some are huge, some are humorous and painted pink to closely resemble a human phallus. The shrine is named after Chao Mae Tuptim, a pre-Buddhist Southeast Asian tree spirit,"
"in the Vatican Palace, there was in that building a statue considered by the museum's curator to be that of Hermes Enagonius, dated to the time of Lysippos, although other critics have variously believed the statue to depict Heracles, Theseus or Meleager. ""Agonius"" was also the original name of the Quirinal Hill in Rome. Agonius Agonius (Ancient Greek: Ἀγώνιος) or Enagonius was an epithet of several gods in Greek mythology (or a distinct deity). Aeschylus and Sophocles use it of Apollo and Zeus, and apparently in the sense of helpers in struggles and contests, or possibly as the protectors of"
"of ""Areias"" is unknown, it does resemble the name of the god of war. ""Eleuthia"" is associated with ""Eileithuia"", the Homeric goddess of child-birth. Representations of the ""Minoan Genius"" are widely found in the continental Mycenaean Greece. There were some sites of importance for cults, such as Lerna, typically in the form of house sanctuaries since the free-standing temple containing a cult image in its cella with an open-air altar before it was a later development. Certain buildings found in citadels having a central room, the ""megaron"", of oblong shape surrounded by small rooms may have served as places of"
"Atlas (architecture) In European architectural sculpture, an atlas (also known as an atlant, or atlante or atlantid; plural atlantes) is a support sculpted in the form of a man, which may take the place of a column, a pier or a pilaster. The Roman term for such a sculptural support is a telamon (plural telamones or telamons). The term ""atlantes"" is the Greek plural of the name Atlas—the Titan who was forced to hold the sky on his shoulders for eternity. The alternative term, ""telamones"", also is derived from a later mythological hero, Telamon, one of the Argonauts, who was"
"mosaic, in two parts, contains images of Roman gods, goddesses, Medusa, and scenes depicting farming and the sea. The cockerel-headed man is a unique feature of the mosaics. The mosaic shows the cockerel-headed man beside a building approached by steps, with two griffins beyond. One older opinion is that he represents the gnostic deity known as Abraxas; however Abraxas is usually depicted with a serpent's tail as well as a cockerel's head, which makes this interpretation seem unlikely. An alternative view is that the figure lampoons a gladiator (or ""venator"") called ""Gallus"" since the name means ""cockerel"" in Latin. It"
"the Saalburg. According to the historian Greg Woolf, the pillars depict the victory of Jupiter Optimus Maximus over the forces of Chaos, the god himself being raised high above the other gods and humankind, but closely linked with them. Woolf sees most such monuments as dedications by individuals. Jupiter Column A Jupiter Column ( or ) is an archaeological monument belonging to a type widespread in Roman Germania. Such pillars express the religious beliefs of their time. They were erected in the 2nd and 3rd centuries AD, mostly near Roman settlements or villas in the Germanic provinces. Some examples also"
"in 204 BC. Another conical meteorite was enshrined in the Elagabalium to personify the Syrian deity Elagabalus. In some cases an attempt was made to give a more regular form to the original shapeless stone: thus Apollo Agyieus was represented by a conical pillar with a pointed end, Zeus Meilichius in the form of a pyramid. Other famous baetylic idols were those in the temples of Zeus Casius at Seleucia Pieria, and of Zeus Teleios at Tegea. Even in the declining years of paganism, these idols still retained their significance, as is shown by the attacks upon them by ecclesiastical"