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629:
31:
181:
326:. Giulio's version seems to show the preparations rather than the feast itself, and only a few of the invited gods have so far arrived. But it is highly atmospheric and its dispersal of the figures across a large setting was to recur in many later depictions. Both frescos showed a good proportion of the participants nude, or almost so, reflecting the practice of recent decades in mythological paintings. The
1144:
168:
is entertained by the river god in a damp grotto, while waiting for the river's raging flood to subside: "He entered the dark building, made of spongy pumice, and rough tuff. The floor was moist with soft moss, and the ceiling banded with freshwater mussel and oyster shells." The subject was painted
700:
held elaborate dinners which might include the attendees dressing as classical gods and re-enacting episodes from mythology. Raphael and Giulio's frescos decorated spaces used for lavish entertaining that might bear comparison with
Olympian hospitality; the previous century
100:, or a generalized feast. While the wedding of Cupid and Psyche is just the happy ending of Psyche's story, the wedding of Peleus and Thetis is part of the grand narrative of Greek mythology. The feast was interrupted by
471:, on canvas, 1593, 246 cm Ă— 419 cm (97 in Ă— 165 in), Peleus and Thetis, with the Judgement of Paris on the hill behind, and Mercury and the goddesses inspecting the golden apple at right
253:, another common way of depicting a wedding; artists were unsure what form an actual Olympian wedding ceremony might have taken. A more sophisticated but similar depiction of a rustic picnic eaten on the ground, is
712:
The later paintings can also be seen in the context of the wider interest in "company scenes" of social occasions in
Netherlandish art at the start of the 17th century, expressed in the new genre subject of the
964:
729:
elements. Both of these figure in many feasts, but the emphasis is on a generous range of nude figures, displaying a variety of complicated poses that display the artist's virtuosity.
385:
725:
and others. The feasts formed a division of the class of small-scale mythological paintings, in which the interest of the figures is very often shared with landscape or
116:. Eris is sometimes shown in the air with the apple, or the apple with the diners, and sometimes the feast forms a background scene to a painting of the Judgement, or
530:
was so large, at 16 7/8 Ă— 33 5/8 in. (43 Ă— 85.4 cm), that it was printed from three different plates. Over 80 figures are shown, placed up in the clouds over a
1139:
Santos, R. de Mambro, "The Beer of
Bacchus. Visual Strategies and Moral Values in Hendrick Goltzius' Representations of Sine Cerere et Libero Friget Venus", in
740:, and are even more common in art. Other subjects that were popular at the same period showed the entertainment of classical gods by humans, in the story of
486:(1615), wood, 60 cm Ă— 93 cm (24 in Ă— 37 in), with the wedding in the background, including Eris overhead with the golden apple
408:
617:
picnicking on the ground in most early versions, or seated at a table in some later ones. It has been suggested that the concentration of images by the
1371:
434:
1379:
1202:
460:, 1606–1609, on copper, 54 cm × 76 cm (21 in × 30 in), Thetis and Peleus, with Eris airborne at top right
314:, often freely adapting the compositions, and inspired a wide range of versions in drawings and media of the decorative arts such as
131:
Generally, despite Thetis being a sea-nymph, depictions of her wedding have the same inland setting as other scenes. A depiction by
823:", which they thought both un-Russian and of no social relevance. Later paintings, particularly in England, sometimes depicted
464:
1307:
1560:
666:
Both the weddings of Cupid and Psyche and that of Peleus and Thetis were common subjects in antiquity, going back to Greek
210:
597:("Without Ceres and Bacchus, Venus freezes", meaning that love needs food and wine to thrive), a proverb derived from the
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1635:
1315:
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is set in a beach-side pavilion, with the sea full of an unruly crowd of marine mythological creatures. The
572:) is also a monumental treatment. Painters who returned to the subject several times include in particular
1403:
1395:
1363:
1355:
537:
Over the next thirty years or so a number of
Netherlandish artists painted the subject, usually in small
677:. However such depictions rarely show the wedding feast, preferring the ceremony or processions to it.
120:. This wedding was also used as a political symbol around the time of the marriage of the Dutch leader
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693:
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that can be glimpsed below. The composition borrows from both
Raphael and Giulio Romano's versions.
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718:
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in disgust after the subject set for the annual Gold Medal contest (the
Russian equivalent of the
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1586:
1411:
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Over the same period these same painters, later followed by Rubens, produced many depictions of
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173:, and a later picture attributed to his "school", and Hendrick van Balen collaborating with
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inscribed "for the most beautiful" into the company, provoking the argument that led to the
30:
1625:
1615:
1578:
1553:
1544:
771:
340:) may represent a mythological subject, if not a feast then at least a picnic of the gods.
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61:
as a subject in art showing a group of deities at table has a long history going back into
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1533:
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1048:
939:: Study for Fresco in the Hall of Henri II at Fountainebleau, Francesco Primaticcio,
838:
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such as those of the
Compagnia della Cassuola ("Company of the Shovel") mentioned by
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602:
585:
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272:
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177:. All show much smaller and more decorously behaved groups than the wedding parties.
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49:, 1633, 181 cm Ă— 288 cm (71 in Ă— 113 in), oil on canvas
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328:
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105:
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85:
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1153:, Yale University Press Pelican history of art. New Haven: Yale University Press.
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painted that of Peleus and Thetis in a mythological series in the ballroom of the
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painters, at least partly as an opportunity to show copious amounts of nudity.
46:
801:("Wanderers") group of progressive artists was founded after several left the
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1471:
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888:
798:
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717:, and its "gallant" and "elegant" variations, as well as the continuation of
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74:
1072:
The Mirror of the Gods, How
Renaissance Artists Rediscovered the Pagan Gods
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has a ceiling painting in the
Marmorsaal ("Marble Hall") depicting the
726:
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418:
303:
144:
113:
762:, is a famous example of the subject of Bacchus drinking with humans.
737:
549:
was enormous at over four metres wide, a commission in 1593 from the
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376:
337:
323:
936:
Apple of
Discord Thrown by Eris at the Marriage of Peleus and Thetis
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820:
689:
315:
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267:(to 1529), a large and important painting; both show the story of
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237:
224:
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1143:, ed. E. Canone and L. Spruit, 2012, Olschki Editore, Florence,
84:
Often the occasion shown was specifically either the wedding of
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a number of times, with Rubens producing an early version with
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The revival of interest in the subject some decades later in
16:
Frequent subject of paintings based on Greco-Roman mythology
1229:
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816:
155:
680:
The earlier paintings may owe something to entertainments
793:
extended the range of gods that might be depicted to the
528:
The Feast of the Gods at the Marriage of Cupid and Psyche
1105:
Liedtke, Walter A., "Frans Hals: Style and Substance",
576:, who was known above all for these subjects, and also
96:, but other works show other occasions, especially the
1047:, Ed. Ian Chilvers, 2004, Oxford University Press,
621:reflects the patronage of the powerful brewers of
77:during the 16th century, when it was popular with
1372:Landscape with Psyche Outside the Palace of Cupid
1607:
1141:Emblemi in Olanda e Italia tra XVI e XVII secolo
732:Small groups of non-divine revellers in similar
310:. Both of these became very well-known through
286:showed the wedding banquet of Cupid and Psyche:
1380:Psyche Showing Her Sisters Her Gifts from Cupid
1090:Classical Myths in Italian Renaissance Painting
961:The engraving at the Metropolitan Museum of Art
1163:Woolett, Anne T., van Suchtelen, Ariane, eds,
1196:
976:Bull, 342–343; Slive, 13–14; Vlieghe, 105–106
670:. The latter was perhaps shown in the Roman
827:scenes of a somewhat similar types, such as
647:
632:
367:painted a monumental feast in oil (c. 1550,
69:, it enjoyed a revival in popularity in the
1165:Rubens & Brueghel: A Working Friendship
104:, goddess of discord, who threw the golden
1203:
1189:
1107:Bulletin of the Metropolitan Museum of Art
874:Bull, 343, citing P. Grootkerk's PhD, 1975
371:), nearly two metres across, as well as a
627:
474:
463:
452:
209:
179:
29:
1151:Flemish art and architecture, 1585–1700
1608:
911:
909:
907:
522:, where Spranger was court painter to
249:); this is paired with a panel of the
205:
1184:
721:'s scenes of peasant life by his son
448:
1561:Old Woman Telling the Tale of Psyche
1210:
1092:, 2011, Cambridge University Press,
235:One of the earliest depictions is a
904:
13:
965:at the British Museum, in sections
705:had written a thank-you letter to
688:, where a social confraternity in
594:Sine Cerere et Baccho friget Venus
223:and Titian (1514–1529), also with
14:
1647:
830:The Quarrel of Oberon and Titania
994:Santos, especially p. 21 onwards
709:that made just that comparison.
543:The Wedding of Peleus and Thetis
433:
407:
384:
1278:(1751, Cassanéa de Mondonville)
1037:
1028:
1015:
1006:
997:
988:
979:
970:
954:
547:Cornelis Cornelisz. van Haarlem
469:Cornelis Cornelisz. van Haarlem
443:, c. 1550, no specific occasion
355:, Rome, and in northern Europe
1316:Psyche Revived by Cupid's Kiss
945:
927:
918:
895:
877:
868:
859:
850:
765:
736:landscape settings are called
349:Wedding of Bacchus and Ariadne
1:
1064:
494:seems to spring from a large
139:) probably of the wedding of
1167:, 2006, Getty Publications,
1045:The Oxford Dictionary of Art
780:Feast of the Gods on Olympus
541:, often on copper, although
7:
643:(the left-hand end is lost)
562:The Golden Apple of Discord
193:, 1490s, with the story of
35:The Golden Apple of Discord
10:
1652:
1428:L'Amour et Psyché, enfants
1351:(16th century, Fiorentino)
941:Metropolitan Museum of Art
856:Bull, 342–343; Woolett, 60
694:Giovanni Francesco Rustici
692:including artists such as
668:black-figure vase painting
661:
18:
1570:
1543:
1525:
1490:
1463:
1446:
1334:
1311:(1st or 2nd century copy)
1293:
1250:
1218:
1127:Dutch Painting, 1600–1800
1025:for the rest of chapter 6
554:Maurice, Prince of Orange
290:'s central panel in the "
263:(1514), later changed by
1636:Food and drink paintings
1348:Bacchus, Venus and Cupid
1145:web text on academia.edu
844:
833:(1849) and its matching
803:Imperial Academy of Arts
719:Pieter Bruegel the Elder
582:Cornelis van Poelenburch
580:, Cornelis van Haarlem,
245:from the 1490s (Louvre,
175:Jan Brueghel the Younger
112:, and ultimately to the
19:Not to be confused with
1587:The Widow from Valencia
1388:Cupid Crowned by Psyche
658:between 1635 and 1640.
361:Palace of Fontainebleau
343:Around the mid-century
1420:Psyche Looking at Love
1021:Vlieghe, 105–106, and
747:The Triumph of Bacchus
648:
644:
633:
518:had brought back from
487:
472:
461:
243:Bartolomeo di Giovanni
232:
202:
201:at bottom right corner
191:Bartolomeo di Giovanni
171:Jan Brueghel the Elder
50:
1507:The Robber Bridegroom
772:New Palace at Potsdam
631:
508:Bartholomeus Spranger
480:The Judgment of Paris
478:
467:
456:
357:Francesco Primaticcio
302:'s wall panel in the
256:The Feast of the Gods
216:The Feast of the Gods
213:
183:
164:, who describes how
33:
23:by the Dutch painter
1545:Story within a story
1149:Vlieghe, H. (1998),
815:) was "The Feast of
791:Romantic Nationalism
784:Neoclassical painter
601:, which showed just
556:for his palace, and
373:Feast of the Seagods
282:from the end of the
251:Procession of Thetis
126:Charlotte of Bourbon
1327:(1807, Thorvaldsen)
1303:(c. 1st century AD)
1275:Les fĂŞtes de Paphos
1074:, Oxford UP, 2005,
742:Baucis and Philemon
650:Le Festin des Dieux
635:Le Festin des Dieux
231:, also bottom right
206:Italian Renaissance
71:Italian Renaissance
67:Greco-Roman deities
59:Banquet of the Gods
21:Le Festin des Dieux
1515:Till We Have Faces
1436:The Bath of Psyche
1431:(1890, Bouguereau)
1356:The Feast of Venus
707:Lorenzo de' Medici
645:
619:Haarlem Mannerists
574:Hendrick van Balen
492:Northern Mannerism
488:
473:
462:
449:Northern Mannerism
402:, Cupid and Psyche
294:of Psyche" at the
233:
203:
122:William the Silent
110:Judgement of Paris
79:Northern Mannerist
73:, and then in the
51:
37:at the wedding of
1603:
1602:
1594:The Green Serpent
1383:(1753, Fragonard)
1342:Feast of the Gods
1055:, 9780198604761,
839:Joseph Noel Paton
744:and other tales.
586:Abraham Bloemaert
539:cabinet paintings
458:Hendrik de Clerck
398:of Psyche at the
351:in fresco in the
133:Hans Rottenhammer
55:Feast of the Gods
1643:
1439:(1890, Leighton)
1404:Cupid and Psyche
1396:Psyche Abandoned
1367:(1640, van Dyck)
1364:Cupid and Psyche
1324:Cupid and Psyche
1308:Cupid and Psyche
1212:Cupid and Psyche
1205:
1198:
1191:
1182:
1181:
1129:, Yale UP, 1995,
1088:Freedman, Luba,
1059:
1041:
1035:
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807:Saint Petersburg
698:Andrea del Sarto
653:
638:
516:Karel van Mander
506:of a drawing by
500:Hendrik Goltzius
437:
427:Cupid and Psyche
411:
394:'s panel in the
388:
284:High Renaissance
261:Giovanni Bellini
221:Giovanni Bellini
154:is derived from
137:Hermitage Museum
106:Apple of Discord
98:Feast of Bacchus
86:Cupid and Psyche
1651:
1650:
1646:
1645:
1644:
1642:
1641:
1640:
1606:
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1599:
1566:
1539:
1521:
1486:
1480:Eros and Psyche
1459:
1442:
1412:Love and Psyche
1375:(1664, Lorrain)
1330:
1301:Marlborough gem
1289:
1286:(1800, Abeille)
1283:Amor und Psyche
1246:
1214:
1209:
1070:Bull, Malcolm,
1067:
1062:
1043:"Wanderers" in
1042:
1038:
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1029:
1020:
1016:
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975:
971:
967:; Bull, 342–343
959:
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928:
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914:
905:
901:Woollett, 60-63
900:
896:
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873:
869:
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860:
855:
851:
847:
797:. In 1863 the
768:
760:Museo del Prado
756:Diego Velázquez
703:Marsilio Ficino
664:
656:Jan van Bijlert
654:was painted by
641:Jan van Bijlert
578:Joachim Wtewael
564:(1633, from an
532:world landscape
484:Joachim Wtewael
451:
444:
438:
429:
412:
403:
400:Villa Farnesina
389:
296:Villa Farnesina
208:
28:
25:Jan van Bijlert
17:
12:
11:
5:
1649:
1639:
1638:
1633:
1628:
1623:
1621:Dutch painting
1618:
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1499:The Golden Ass
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1407:(1798, GĂ©rard)
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1391:(1790, Greuze)
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1359:(1636, Rubens)
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1123:Slive, Seymour
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835:Reconciliation
787:Amédée van Loo
782:(1769) by the
767:
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663:
660:
558:Jacob Jordaens
450:
447:
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404:
390:
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345:Taddeo Zuccari
329:FĂŞte champĂŞtre
320:Limoges enamel
312:print versions
207:
204:
47:Jacob Jordaens
15:
9:
6:
4:
3:
2:
1648:
1637:
1634:
1632:
1631:Visual motifs
1629:
1627:
1624:
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1614:
1613:
1611:
1596:
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1579:Metamorphoses
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1534:Sex 'n' Money
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1472:Ode to Psyche
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1423:(1885, Rodin)
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1415:(1817, David)
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1399:(1795, David)
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1012:Liedke, 13–15
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1554:The Visitors
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1057:google books
1044:
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1034:Woollett, 60
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1626:Flemish art
1616:Iconography
1456:(1671 play)
951:Woolett, 60
934:Drawing of
892:VIII, 547ff
766:Later works
754:, 1628) by
682:alla antica
672:cameo glass
551:Stadtholder
512:Rijksmuseum
498:of 1587 by
247:illustrated
88:or that of
65:. Showing
1610:Categories
1219:Characters
1173:0892368489
1159:0300070381
1135:0300074514
1115:1588394247
1098:1107001196
1080:0141912626
1065:References
1053:0198604769
795:Norse gods
738:bacchanals
727:still life
566:oil sketch
419:Palazzo Te
318:, painted
304:Palazzo Te
278:Two major
241:panel by
145:Amphitrite
118:vice versa
114:Trojan War
1335:Paintings
1294:Sculpture
915:Bull, 342
865:Bull, 343
837:, by Sir
758:, in the
524:Rudolf II
496:engraving
377:Stockholm
338:Giorgione
324:pastiglia
189:panel by
149:Feast of
128:in 1575.
63:antiquity
1536:" (2006)
1109:, 2011,
821:Valhalla
734:arcadian
690:Florence
347:did the
316:majolica
151:Achelous
1571:Related
662:Context
623:Haarlem
607:Bacchus
514:) that
504:Haarlem
392:Raphael
375:(1561,
369:Antwerp
288:Raphael
280:frescos
269:Priapus
238:cassone
225:Priapus
195:Priapus
186:Cassone
166:Theseus
158:in his
141:Neptune
135:(1600,
1582:(play)
1518:(1956)
1510:(1942)
1502:(1650)
1491:Novels
1483:(1885)
1475:(1819)
1464:Poetry
1454:Psyché
1267:Psyché
1259:Psyche
1242:Psyche
1235:Erotes
1171:
1157:
1133:
1113:
1096:
1078:
1051:
1023:passim
776:Berlin
686:Vasari
584:, and
570:Rubens
520:Prague
423:Mantua
396:Loggia
334:Titian
308:Mantua
292:Loggia
265:Titian
94:Thetis
90:Peleus
43:Thetis
39:Peleus
1526:Music
1447:Stage
1251:Opera
1226:Cupid
845:Notes
825:fairy
615:Cupid
611:Venus
603:Ceres
510:(now
273:Lotis
229:Lotis
199:Lotis
1230:Eros
1169:ISBN
1155:ISBN
1131:ISBN
1111:ISBN
1094:ISBN
1076:ISBN
1049:ISBN
884:Ovid
817:Odin
770:The
696:and
613:and
336:(or
322:and
271:and
227:and
197:and
156:Ovid
143:and
102:Eris
92:and
53:The
41:and
819:in
805:in
774:in
723:Jan
639:by
568:by
545:by
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502:in
482:by
379:).
332:of
306:in
259:by
124:to
57:or
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1197:t
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