Tondo (art) in the context of "Meleager Painter"

Animal sacrifice is the ritual killing and offering of animals, usually as part of a religious ritual or to appease or maintain favour with a deity. Animal sacrifices were common throughout Europe and the Ancient Near East until the spread of Christianity in Late Antiquity, and continue in some cultures or religions today. Human sacrifice, where it existed, was always much rarer.

All or only part of a sacrificial animal may be offered; some cultures, like the Ancient Greeks ate most of the edible parts of the sacrifice in a feast, and burnt the rest as an offering. Others burnt the whole animal offering, called a holocaust. Usually, the best animal or best share of the animal is the one presented for offering.

A sanctuary, in its original meaning, is a sacred place, such as a shrine, protected by ecclesiastical immunity. By the use of such places as a haven, by extension the term has come to be used for any place of safety. This secondary use can be categorized into human sanctuary, a safe place for people, such as a political sanctuary; and non-human sanctuary, such as an animal or plant sanctuary.

Alessandro di Mariano di Vanni Filipepi (c. 1445 – May 17, 1510), better known as Sandro Botticelli (/ˌbɒtɪˈtʃɛli/ BOT-ih-CHEL-ee; Italian: [ˈsandro bottiˈtʃɛlli]) or simply Botticelli, was an Italian painter of the Early Renaissance. Botticelli's posthumous reputation suffered until the late 19th century, when he was rediscovered by the Pre-Raphaelites who stimulated a reappraisal of his work. Since then, his paintings have been seen to represent the linear grace of late Italian Gothic and some Early Renaissance painting, even though they date from the latter half of the Italian Renaissance period.

In addition to the mythological subjects for which he is best known today, Botticelli painted a wide range of religious subjects (including dozens of renditions of the Madonna and Child, many in the round tondo shape) and also some portraits. His best-known works are The Birth of Venus and Primavera, both in the Uffizi in Florence, which holds many of Botticelli's works. Botticelli lived all his life in the same neighbourhood of Florence; his only significant times elsewhere were the months he spent painting in Pisa in 1474 and the Sistine Chapel in Rome in 1481–82.

In the pottery of ancient Greece, a kylix (/ˈkaɪlɪks/ KY-liks, /ˈkɪlɪks/ KIL-iks; Ancient Greek: κύλιξ, pl. κύλικες; also spelled cylix; pl.: kylikes /ˈkaɪlɪkiːz/ KY-lih-keez, /ˈkɪlɪkiːz/ KIL-ih-keez) is the most common type of cup in the period, usually associated with the drinking of wine. The cup often consists of a rounded base and a thin stem under a basin. The cup is accompanied by two handles on opposite sides.

The inner basin is often adorned in the bottom so that as the liquid is consumed an image is revealed; this adornment is usually in a circular frame and called a tondo. There are many variations of the kylikes, other cups available in the era include the skyphos, or the kantharoi. Kylikes were also popular exports, being the most common pottery import from Attica found in Etruscan settlements.

Musaeus of Athens (Greek: Μουσαῖος, Mousaios) was a legendary Greek polymath, philosopher, historian, prophet, seer, priest, poet, and musician, said to have been the founder of priestly poetry in Attica. He composed dedicatory and purificatory hymns and prose treatises, and oracular responses.

In Greek mythology, maenads (/ˈmiːnædz/ ; Ancient Greek: μαινάδες [maiˈnades]) were the female followers of Dionysus and the most significant members of his retinue, the thiasus.Their name, which comes from μαίνομαι (maínomai, "to rave, to be mad; to rage, to be angry"), literally translates as 'raving ones'. Maenads were known as Bassarids, Bacchae /ˈbækiː/, or Bacchantes /ˈbækənts, bəˈkænts, -ˈkɑːnts/ in Roman mythology after the penchant of the equivalent Roman god, Bacchus, to wear a bassaris or fox skin.

Often the maenads were portrayed as inspired by Dionysus into a state of ecstatic frenzy through a combination of dancing and intoxication. During these rites, the maenads would dress in fawn skins and carry a thyrsus, a long stick wrapped in ivy or vine leaves and tipped with a pine cone. They would weave ivy-wreaths around their heads or wear a bull helmet in honor of their god, and often handle or wear snakes.

The dory or doru (/ˈdɒruː/; Greek: δόρυ) was the chief spear of hoplites (heavy infantry) in Ancient Greece. The word doru is first attested in the Homeric epics with the meanings of "wood" and "spear". Homeric heroes hold two dorata (Greek: δόρατα, plural of δόρυ) (Il. 11,43, Od. 1, 256). In classical antiquity, the dory was a symbol of military power, possibly more important than the sword, as can be inferred from expressions like "Troy conquered by dory" (Il. 16,708) and words like "doryktetos" (Greek: δορίκτητος) (spear-won) and "doryalotos" (Greek: δορυάλωτος) (spear-taken).

The spear used by the Persian army under Darius I and Xerxes in their respective campaigns during the Greco-Persian Wars was shorter than that of their Greek opponents. The dory's length enabled multiple ranks of a formation to engage simultaneously during combat.