Herodias in the context of "Aristobulus IV"

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⭐ Core Definition: Herodias

Herodias (/həˈrdiəs/; Ancient Greek: Ἡρῳδιάς, romanizedHērōidiás; c. 15 BC – after AD 39) was a princess of the Herodian dynasty of Judaea during the time of the Roman Empire. Christian writings connect her with the execution of John the Baptist.

The daughter of Aristobulus IV and his wife Berenice, Herodiaswas a full sister to Herod V (king of Chalkis), Herod Agrippa (king of Judea), Aristobulus Minor, and Mariamne III (wife of Crown Prince Antipater). Following Antipater's execution by Herod the Great, she was possibly the first wife of Herod Archelaus, principal heir of Herod the Great and ethnarch of Judea.

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Herodias in the context of Beheading of John the Baptist

The beheading of John the Baptist, also known as the decollation of Saint John the Baptist or the beheading of the Forerunner, is a biblical event commemorated as a holy day by various Christian churches. According to the New Testament, Herod Antipas, ruler of Galilee under the Roman Empire, had imprisoned John the Baptist because he had publicly reproved Herod for divorcing his first wife and unlawfully taking his sister-in-law (his brother's wife) Herodias as his second wife. He then ordered him to be killed by beheading.

As a non-Biblical source, Jewish historian Josephus also recounts that Herod had John imprisoned and killed due to "the great influence John had over the people", which might persuade John "to raise a rebellion". Josephus also writes that many of the Jews believed that Herod's later military disaster was God's punishment for his treatment of John.

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Herodias in the context of Stregheria

Stregheria (Italian pronunciation: [streɡeˈriːa]) is a neo-pagan tradition similar to Wicca, with Italian and Italian American origins. While most practitioners consider Stregheria to be a distinct tradition from Wicca, some academics consider it to be a form of Wicca or an offshoot. Both have similar beliefs and practices. For example, Stregheria honors a pantheon centered on a Moon Goddess and a Horned God, similar to Wiccan views of divinity.

Author Raven Grimassi has written on the topic. Grimassi taught what he called the Aradian tradition from 1980. He discusses elements of 'Italian witchcraft' adopted by Gardnerian Wicca with ideas inspired by Charles G. Leland's Aradia, or the Gospel of the Witches (1899). The name "Aradia" (a version of Herodias) is due to Leland, who claimed she was venerated by a "witch-cult" in medieval Tuscany.

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Herodias in the context of Herod II

Herod II (c. 27 BC – 33/34 AD) was the son of Herod the Great and Mariamne II, the daughter of Simon Boethus the High Priest, and the first husband of Herodias, daughter of Aristobulus IV and his wife Berenice. For a brief period he was his father's heir apparent, but Herod I removed him from succession in his will. Some writers call him Herod Philip I (not to be confused with Philip the Tetrarch, the son of Cleopatra of Jerusalem, whom some writers call "Herod Philip II"), as the Gospel of Matthew and Gospel of Mark state that Herodias was married to a "Philip". Because he was the grandson of Simon Boethus, he is sometimes also called Herod Boethus, but there is no evidence he was actually thus called during his lifetime.

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Herodias in the context of Salome (Titian, Rome)

Salome, or possibly Judith with the Head of Holofernes, is an oil painting which is an early work by the Venetian painter of the late Renaissance, Titian. It is usually thought to represent Salome with the head of John the Baptist. It is usually dated to around 1515 and is now in the Doria Pamphilj Gallery in Rome. Like other paintings of this subject, it has sometimes been considered to represent Judith with the head of Holofernes, the other biblical incident found in art showing a female and a severed male head. Historically, the main figure has also been called Herodias, the mother of Salome.

Sometimes attributed to Giorgione, the painting is now usually seen as one where Titian's personal style can be seen in development, with a "sense of physical proximity and involvement of the viewer", in which "expert handling of the malleable oil medium enabled the artist to evoke the sensation of softly spun hair upon creamy flesh".

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