Greco-Roman mythology in the context of "Apulu"

In Greco-Roman mythology, Aeneas (/ɪˈniːəs/ in-EE-əs; Classical Latin: [ae̯ˈneːaːs]; from Ancient Greek: Αἰνείας, romanized: Aineías) was a Trojan hero, the son of the Trojan prince Anchises and the Greek goddess Aphrodite (equivalent to the Roman Venus). His father was a first cousin of King Priam of Troy (both being grandsons of Ilus, founder of Troy), making Aeneas a second cousin to Priam's children (such as Hector and Paris). He is a minor character in Greek mythology and is mentioned in Homer's Iliad. Aeneas receives full treatment in Roman mythology, most extensively in Virgil's Aeneid, where he is cast as an ancestor of Romulus and Remus. He became the first true hero of Rome. Snorri Sturluson identifies him with the Norse god Víðarr of the Æsir.

Prima [et Secunda] pars Promptuarii iconum insigniorum à seculo hominum, subiectis eorum vitis, per compendium ex probatissimis autoribus desumptis. (transl. 'The First [and Second] Part of the Storehouse of Images of the More Notable Men from the Beginning of Time, with Their Biographies Subjoined, Taken in Abbreviated Form from the Most Approved Authors.') is a compilation of woodcut portraits published in 1553 by Guillaume Rouillé, a French bookseller-publisher active in the early modern book trade of Lyon. Originally issued in Latin, French, and Italian editions, the book presents the portraits in a medallion format, largely arranged in a supposed chronological order. The subjects range from figures of the Old Testament and Greco-Roman mythology to contemporary individuals of the mid-16th century. Many of the portraits are imaginative rather than historically grounded, shaped by Rouillé's interest in physiognomy—the study that sought to relate facial features to character and personality—and by the engraver's artistic license. Although the engraver is unnamed in the text, the 19th-century bibliographer Henri-Louis Baudrier attributed the work to Georges Reverdy [fr].

The book is divided into two sections: Prima pars ('First Part'), covering figures predating Christ, and Pars secunda ('Second Part'), documenting individuals from the Christian era onward. Typically bound as a single volume, these sections maintain separate pagination systems. The earliest editions contained 828 portraits each, with accompanying biographical summaries; the authorship of these biographies remains debated. The book's commercial success led to subsequent editions in multiple languages, which included a Spanish edition in 1561. The 1577 French edition expanded the collection with approximately 100 additional engravings and placed greater emphasis on Renaissance humanist scholars. The portraits mimic the style of ancient coinage but lack the numismatic precision required for scholarly reference. Rouillé simplified complex histories through standardized imagery and concise narratives so that the past would be more accessible to a general readership. His compilation influenced how individuals were depicted in European iconographic collections from the late 16th century into the 17th.

A dying-and-rising god, life–death–rebirth deity, or resurrection deity is a religious motif in which a god or goddess dies and is resurrected. Examples of gods who die and later return to life are most often cited from the religions of the ancient Near East. The traditions influenced by them include the Greco-Roman mythology.The concept of a dying-and-rising god was first proposed in comparative mythology by James Frazer's seminal The Golden Bough (1890). Frazer associated the motif with fertility rites surrounding the yearly cycle of vegetation. Frazer cited the examples of Osiris, Tammuz, Adonis and Attis, Zagreus, Dionysus, and Jesus.

Frazer's interpretation of the category has been critically discussed in 20th-century scholarship, to the conclusion that many examples from the world's mythologies included by Frazer under "dying and rising" should only be considered "dying" but not "rising", and that the genuine dying-and-rising god is a characteristic feature of ancient Near Eastern mythologies and the derived mystery cults of late antiquity. "Death or departure of the gods" is motif A192 in Stith Thompson's Motif-Index of Folk-Literature (1932), and "resurrection of gods" is motif A193.

Aquila is a constellation on the celestial equator. Its name is Latin for 'eagle' and it represents the bird that carried Zeus/Jupiter's thunderbolts in Greek-Roman mythology.

Its brightest star, Altair, is one vertex of the Summer Triangle asterism. The constellation is best seen in the northern summer, as it is located along the Milky Way. Because of this location, many clusters and nebulae are found within its borders, but they are dim and galaxies are few.

Prima [et Secunda] pars Promptuarii iconum insigniorum à seculo hominum, subiectis eorum vitis, per compendium ex probatissimis autoribus desumptis. (transl. 'The First [and Second] Part of the Storehouse of Images of the More Notable Men from the Beginning of Time, with Their Biographies Subjoined, Taken in Abbreviated Form from the Most Approved Authors.') is a compilation of woodcut portraits published in 1553 by Guillaume Rouillé, a French bookseller-publisher active in the early modern book trade of Lyon. Originally issued in Latin, French, and Italian editions, the book presents the portraits in a medallion format, largely arranged in a supposed chronological order. The subjects range from figures of the Old Testament and Greco-Roman mythology to contemporary individuals of the mid-16th century. Many of the portraits are imaginative rather than historically grounded, shaped by Rouillé's interest in physiognomy—the study that sought to relate facial features to character and personality—and by the engraver's artistic license. Although the engraver is unnamed in the text, the 19th-century bibliographer Henri-Louis Baudrier attributed the work to Georges Reverdy (fr).

The book is divided into two sections: Prima pars ('First Part'), covering figures predating Christ, and Pars secunda ('Second Part'), documenting individuals from the Christian era onward. Typically bound as a single volume, these sections maintain separate pagination systems. The earliest editions contained 828 portraits each, with accompanying biographical summaries; the authorship of these biographies remains debated. The book's commercial success led to subsequent editions in multiple languages, which included a Spanish edition in 1561. The 1577 French edition expanded the collection with approximately 100 additional engravings and placed greater emphasis on Renaissance humanist scholars. The portraits mimic the style of ancient coinage but lack the numismatic precision required for scholarly reference. Rouillé simplified complex histories through standardized imagery and concise narratives so that the past would be more accessible to a general readership. His compilation influenced how individuals were depicted in European iconographic collections from the late 16th century into the 17th.