They also had another part of the house specifically made for men. They called it Andron (from Greek: ἀνδρών, andrōn), and it is usually where a symposium (drinking party) would take place.
0/0
Of truth we know nothing, for truth is in a well. — Democritus
الحقيقةُ غائبةٌ عنّا، كأنّها في بئرٍ عميق.
0/0
الحقيقةُ غائبةٌ عنّا، كأنّها في بئرٍ عميق.
Naked Truth, coming out of the well
By Édouard Debat-Ponsan
By Édouard Debat-Ponsan
0/0
By Jean-Léon Gérôme
French: La Vérité sortant du puits armée de son martinet pour châtier l'humanité.
English: Truth coming from the well armed with her whip to chastise humanity.
English: Truth coming from the well armed with her whip to chastise humanity.
0/0
Naked Truth, coming out of the well By Édouard Debat-Ponsan
تصويرهم للحقيقة بشكل امرأة عارية اجة من التعبير الشائع (The naked truth).
0/0
By Paul Sieffert
He was a student of Jean-Léon Gérôme. You can guess that by their mutual love of nude art.
0/0
Photo
William Hazlitt wrote: "The anatomist is delighted with a coloured plate, coveying the exact appearance of the progress of certain diseases, or of the internal parts and dissections of the human body. We have known a Jennerian professor as much enraptured with a delineation of the different stages of vaccination, as a florist with a bed of tulips, or an auctioneer with a collection of Indian shells..... The learned amateur is struck with the beauty of the coats of the stomach laid bare, or contemplates with eager curiosity the transverse section of the brain... and overcomes the sense of pain and repugnance, which is the only feeling that the sight of a dead and mangled body presents to ordinary men. It is the same in art as in science."
But how should we understand this tension between ‘the beauty of the coats of the stomach’ and 'the sight of a dead and mangled body'?..... Should we practise what Hazlitt's admirer, the medical-student-turned poet John Keats, called negative capability—the capacity to be ‘in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason’?
But how should we understand this tension between ‘the beauty of the coats of the stomach’ and 'the sight of a dead and mangled body'?..... Should we practise what Hazlitt's admirer, the medical-student-turned poet John Keats, called negative capability—the capacity to be ‘in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason’?