Classical tradition in the context of "Venus (mythology)"

A classic is an outstanding example of a particular style; something of lasting worth or with a timeless quality; of the first or highest quality, class, or rank – something that exemplifies its class. The word can be an adjective (a classic car) or a noun (a classic of English literature). It denotes a particular quality in art, architecture, literature, design, technology, or other cultural artifacts. In commerce, products are named 'classic' to denote a long-standing popular version or model, to distinguish it from a newer variety. Classic is used to describe many major, long-standing sporting events. Colloquially, an everyday occurrence (e.g. a joke or mishap) may be described in some dialects of English as 'an absolute classic'.

"Classic" should not be confused with classical, which refers specifically to certain cultural styles, especially in music and architecture: styles generally taking inspiration from the Classical tradition, hence classicism.

Hercules (/ˈhɜːrkjʊˌliːz/, US: /-kjə-/) is the Roman equivalent of the Greek divine hero Heracles, son of Jupiter and the mortal Alcmena. In classical mythology, Hercules is famous for his strength and for his numerous far-ranging adventures.

The Romans adapted the Greek hero's iconography and myths for their literature and art under the name Hercules. In later Western art and literature and in popular culture, Hercules is more commonly used than Heracles as the name of the hero. Hercules is a multifaceted figure with contradictory characteristics, which enabled later artists and writers to pick and choose how to represent him. This article provides an introduction to representations of Hercules in the later tradition.

Greco-Roman religion refers to the religious systems, cults, and theological ideas that characterized the cultures of the ancient Greco-Roman world. The traditions of Greek religion and Roman religion developed independently and became interleaved through cultural exchange, conquest, and philosophical synthesis, especially during the Hellenistic period and the height of the Roman Empire.

In both Greek and Roman contexts, religion was deeply embedded in public life, involving practices such as sacrifice, divination, and temple ritual. Gods and goddesses were venerated as powers active in the cosmos and the city, often associated with natural forces, civic virtues, and mythic narratives. The Greek pantheon and Roman pantheon overlapped significantly, with Roman deities often interpreted through the lens of interpretatio graeca—the identification of Roman gods with their Greek counterparts.

Philhellenism ("the love of Greek culture") was an intellectual movement prominent mostly at the turn of the 19th century. It contributed to the sentiments that led Europeans such as Lord Byron, Charles Nicolas Fabvier and Richard Church to advocate for Greek independence from the Ottoman Empire.

The later 19th-century European philhellenism was largely to be found among the Classicists. The study of it falls under Classical Reception Studies and is a continuation of the Classical tradition.

Cupid and Psyche is a story originally from Metamorphoses (also called The Golden Ass), written in the 2nd century AD by Lucius Apuleius Madaurensis (or Platonicus). The tale concerns the overcoming of obstacles to the love between Psyche (/ˈsaɪkiː/; Ancient Greek: Ψυχή, lit. 'Soul' or 'Breath of Life', Ancient Greek pronunciation: [psyːkʰɛ̌ː]) and Cupid (Latin: Cupido, lit. 'Desire', Latin pronunciation: [kʊˈpiːd̪oː]) or Amor (lit. 'Love', Greek Eros, Ἔρως), and their ultimate union in a sacred marriage. Although the only extended narrative from antiquity is that of Apuleius from the 2nd century AD, Eros and Psyche appear in Greek art as early as the 4th century BC. The story's Neoplatonic elements and allusions to mystery religions accommodate multiple interpretations, and it has been analyzed as an allegory and in light of folktale, Märchen or fairy tale, and myth.

The story of Cupid and Psyche was known to Boccaccio in c. 1370. The first printed version dates to 1469. Ever since, the reception of Cupid and Psyche in the classical tradition has been extensive. The story has been retold in poetry, drama, and opera, and depicted widely in painting, sculpture, and even wallpaper.

The Venus de' Medici or Medici Venus is a 1.53 m (5 ft 0 in) tall Hellenistic marble sculpture depicting the Greek goddess of love Aphrodite. It is a 1st-century BC marble copy, perhaps made in Athens, of a bronze original Greek sculpture, following the type of the Aphrodite of Knidos, which would have been made by a sculptor in the immediate Praxitelean tradition, perhaps at the end of the 4th century BC. It has become one of the navigation points by which the progress of the Western classical tradition is traced; the references to it outline the changes of taste and the process of classical scholarship. It is housed in the Uffizi Gallery, Florence, Italy.

In classical mythology, Cupid /ˈkjuːpɪd/ (Latin: Cupīdō [kʊˈpiːdoː], meaning "passionate desire") is the god of desire, erotic love, attraction and affection. He is often portrayed as the son of the love goddess Venus and the god of war Mars. He is also known as Amor /ˈɑːmɔːr/ (Latin: Amor, "love"). His Greek counterpart is Eros.Although Eros is generally portrayed as a slender winged youth in Classical Greek art, during the Hellenistic period, he was increasingly portrayed as a chubby boy. During this time, his iconography acquired the bow and arrow that represent his source of power: a person, or even a deity, who is shot by Cupid's arrow is filled with uncontrollable desire. In myths, Cupid is a minor character who serves mostly to set the plot in motion. He is a main character only in the tale of Cupid and Psyche, in which he is wounded by his own weapons and experiences the ordeal of love. Although other extended stories are not told about him, his tradition is rich in poetic themes and visual scenarios, such as "Love conquers all" and the retaliatory punishment or torture of Cupid.

In art, Cupid often appears in multiples as the Amores /əˈmɔːriːz/ (in the later terminology of art history, Italian amorini), the equivalent of the Greek Erotes. Cupids are a frequent motif of both Roman art and later Western art of the classical tradition. In the 15th century, the iconography of Cupid starts to become indistinguishable from the putto.

Drone music (also known as drone-based music, or simply drone) is a minimalist genre of music that emphasizes the use of sustained sounds, notes, or tone clusters called drones. It is typically characterized by lengthy compositions featuring relatively slight harmonic variations. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism." Music containing drones can be found in many regional traditions across Asia, Australia, and Europe, but the genre label is generally reserved for music originating with the Western classical tradition. Elements of drone music have been incorporated in diverse genres such as rock, ambient, and electronic music.