|
|
|
| My Favourite Planet > English > People > Mistress of Animals |
 |
back |
Mistress of Animals |
|
|
| |
Mistress of Animals
Ancient Greek mythology, religion and art
The Terminator 2- Judgment Day -english- Dual Audio 720p Download Torrent -
While the urge to download movies through torrents can be strong, it's essential to weigh the risks against legal and safe alternatives. The digital age has made accessing movies easier and more affordable than ever, with many platforms offering classic films like "The Terminator 2: Judgment Day" for a reasonable fee or subscription.
The Impact of The Terminator 2: Judgment Day on Science Fiction and Pop Culture
The Terminator 2: Judgment Day, released in 1991, is a science fiction action film directed by James Cameron and produced by Carol Baum and David L. Ellison. The film is the second installment in the Terminator franchise and stars Arnold Schwarzenegger, Linda Hamilton, Edward Furlong, and Robert Patrick. The movie's groundbreaking special effects, intense action sequences, and thought-provoking storyline have made it a cult classic and a significant contribution to science fiction and pop culture.
Advancements in Special Effects
The Terminator 2: Judgment Day was a game-changer in terms of special effects. The film's use of computer-generated imagery (CGI) and robotics raised the bar for future sci-fi movies. The liquid-metal T-1000 Terminator, played by Robert Patrick, was a technological marvel at the time, and its seamless integration into the live-action footage was a testament to the innovative work of the visual effects team. The film's success in this area paved the way for future blockbusters, such as Jurassic Park (1993) and The Matrix (1999), which also pushed the boundaries of CGI.
Influence on Action Movies
The Terminator 2: Judgment Day's influence on action movies cannot be overstated. The film's high-octane action sequences, including the iconic motorcycle chase and the final confrontation at the steel mill, have been emulated but never replicated. The movie's use of practical stunts and pyrotechnics added to the visceral experience, making it a benchmark for action films. The film's success also solidified Arnold Schwarzenegger's status as a leading action hero, cementing his place in the pantheon of iconic action stars.
Themes and Social Commentary
Beneath its action-packed surface, The Terminator 2: Judgment Day explores several thought-provoking themes, including the dangers of unchecked technological advancement, the consequences of nuclear war, and the importance of human connection. The film's portrayal of a potential apocalypse, where humanity is on the brink of extinction, served as a warning about the dangers of nuclear proliferation and the importance of disarmament. The movie's focus on the bond between a mother, Sarah Connor (Linda Hamilton), and her son, John (Edward Furlong), also added a humanizing element to the story.
Cultural Significance
The Terminator 2: Judgment Day has become a cultural touchstone, with references to the film appearing in everything from music and television shows to memes and advertisements. The film's influence can be seen in countless other movies and TV shows, including The Matrix, Minority Report (2002), and Westworld (2016). The film's iconic one-liners, such as "I'll be back" and "Hasta la vista, baby," have become ingrained in popular culture.
Conclusion
The Terminator 2: Judgment Day is a landmark film that has had a lasting impact on science fiction and pop culture. Its groundbreaking special effects, intense action sequences, and thought-provoking themes have made it a beloved classic among fans and a significant influence on filmmakers. As a cultural artifact, the film continues to inspire new generations of moviegoers and creators, ensuring its place as one of the most iconic and influential films of all time.
As for downloading the movie, I would recommend using legitimate streaming services or purchasing the movie from authorized retailers to support the creators and rights holders.
Here are some keywords related to The Terminator 2: Judgment Day:
You can also try searching for torrent files using keywords like:
However, I would recommend using caution when downloading from torrent sites, as they may contain malicious software or copyrighted content without permission. Always prioritize legitimate sources to ensure a safe and respectful experience.
Movie Review:
The Terminator 2: Judgment Day is a sci-fi action film directed by James Cameron, released in 1991. The movie takes place 11 years after the events of the first film and follows a more advanced Terminator, the T-1000 (Robert Patrick), sent back in time to kill John Connor, the future leader of the human resistance. A reprogrammed T-800 Terminator (Arnold Schwarzenegger) is also sent back to protect John.
The film features groundbreaking visual effects, including the liquid-metal T-1000 Terminator, which was a game-changer at the time of release. The action sequences are intense and well-choreographed, making it a thrilling ride from start to finish.
The cast delivers solid performances, with Arnold Schwarzenegger reprising his role as the Terminator. Edward Furlong, as John Connor, brings a youthful energy to the film, while Linda Hamilton returns as Sarah Connor, now a more unstable and determined character.
The movie's plot explores the consequences of a nuclear war and the importance of preventing Judgment Day, the day when Skynet, an AI system, becomes self-aware and decides to destroy humanity. The themes of time travel, artificial intelligence, and the dangers of playing with technological fire are well-woven throughout the narrative.
Technical Review:
The 720p dual audio torrent download of The Terminator 2: Judgment Day offers a decent viewing experience. The video quality is clear, with a good balance of colors and a decent bitrate. The dual audio track allows viewers to switch between English and another language of their choice. While the urge to download movies through torrents
However, it's essential to note that downloading copyrighted content via torrent may be against the law in some countries. Make sure to verify the laws in your region before proceeding.
Verdict:
The Terminator 2: Judgment Day is a sci-fi classic that still holds up today, thanks to its engaging storyline, memorable characters, and influential visual effects. If you're a fan of action, adventure, and sci-fi, this movie is a must-watch.
For those looking to download the movie via torrent, ensure you're aware of the potential risks and laws in your region. If you decide to download, make sure to use a reliable torrent client and take necessary precautions to protect your device and data.
Rating: 4.5/5
Recommendation: If you enjoy sci-fi action films with a strong narrative and impressive visual effects, The Terminator 2: Judgment Day is an excellent choice. Fans of Arnold Schwarzenegger, James Cameron, and time travel stories will also appreciate this movie.
The Terminator 2: Judgment Day - A Sci-Fi Action Classic Now Available for Download
The Terminator 2: Judgment Day is a 1991 American science fiction action film directed by James Cameron and produced by Carolco Pictures. The film is the second installment in the Terminator franchise and stars Arnold Schwarzenegger, Linda Hamilton, Edward Furlong, and Robert Patrick. The movie takes place 11 years after the events of the first film and follows a more advanced Terminator, the T-1000, as it hunts down a young John Connor, while a reprogrammed T-800 Terminator is sent back in time to protect him.
A Groundbreaking Film in the Sci-Fi Genre
The Terminator 2: Judgment Day was a critical and commercial success, grossing over $519 million worldwide and becoming one of the highest-grossing films of 1991. The film received widespread critical acclaim for its innovative use of visual effects, action sequences, and storytelling. The movie's success can be attributed to its well-crafted narrative, memorable characters, and groundbreaking special effects.
Innovative Visual Effects
The Terminator 2: Judgment Day was a visual effects milestone, featuring a liquid-metal T-1000 Terminator played by Robert Patrick. The film's visual effects were created by Industrial Light & Magic (ILM), which used a combination of computer-generated imagery (CGI) and practical effects to bring the T-1000 to life. The movie's visual effects hold up surprisingly well even today, making it a must-watch for fans of the sci-fi genre.
A Highly Anticipated Download
For fans of the Terminator franchise, The Terminator 2: Judgment Day is a highly anticipated download. With the rise of torrent technology, it's now possible to download the movie in high-quality 720p resolution with English dual audio. This means that viewers can enjoy the movie with a choice of English audio tracks, making it accessible to a wider audience.
Downloading The Terminator 2: Judgment Day
For those looking to download The Terminator 2: Judgment Day, there are several torrent sites that offer the movie in 720p resolution with English dual audio. However, it's essential to be cautious when downloading copyrighted content from torrent sites, as it may be illegal in some countries. Viewers should ensure that they have the necessary permissions or licenses to download and watch the movie.
English Dual Audio 720p Download Torrent
Several torrent sites offer The Terminator 2: Judgment Day in 720p resolution with English dual audio. Here are a few options:
System Requirements for Downloading and Watching
To download and watch The Terminator 2: Judgment Day in 720p resolution, viewers will need a computer with a stable internet connection and a torrent client. The movie can be downloaded and saved to a computer or external hard drive. To watch the movie, viewers will need a media player that supports 720p resolution, such as VLC or Windows Media Player.
Specifications:
Conclusion
The Terminator 2: Judgment Day is a sci-fi action classic that continues to captivate audiences with its innovative visual effects, action sequences, and storytelling. For fans of the franchise, the movie is now available for download in high-quality 720p resolution with English dual audio. By being cautious when downloading copyrighted content and using reputable torrent sites, viewers can enjoy this iconic movie from the comfort of their own homes. You can also try searching for torrent files
Disclaimer: This article is for informational purposes only and does not promote or endorse piracy or the downloading of copyrighted content without permission. Viewers should ensure that they have the necessary permissions or licenses to download and watch The Terminator 2: Judgment Day.
The quest for the ultimate viewing experience of James Cameron’s 1991 masterpiece often leads fans to a specific search: "The Terminator 2: Judgment Day - English - Dual Audio 720p Download Torrent." While the film remains a cornerstone of science fiction history, finding a high-quality, accessible version involves understanding why this particular format is so highly sought after. Why Terminator 2 Remains a Cinematic Icon
Before diving into the technicalities of file formats, it’s worth noting why T2 continues to dominate watchlists decades later. It wasn't just a sequel; it was a revolution. From the groundbreaking liquid-metal effects of the T-1000 (Robert Patrick) to the emotional core of the relationship between John Connor and the reprogrammed T-800 (Arnold Schwarzenegger), the film redefined what an action blockbuster could be. Breaking Down the Format: Dual Audio & 720p
When users search for a "Dual Audio 720p" version, they are looking for a balance between file size, visual clarity, and linguistic flexibility.
Dual Audio (English + Hindi/Other): This feature allows viewers to switch between the original English dialogue and a dubbed version (often Hindi for international audiences). It makes the film accessible to households where multiple languages are spoken.
720p Resolution: Often referred to as "HD Ready," 720p provides a crisp, clear image that looks excellent on smartphones, tablets, and medium-sized monitors without the massive file size of 4K or 1080p.
The Torrent Factor: Torrents remain a popular peer-to-peer method for sharing large media files, though they come with significant risks and ethical considerations. The Risks of Downloading via Torrents
While searching for a free download might seem convenient, "Terminator 2" torrents often come with hidden costs:
Cybersecurity Threats: Many torrent sites are breeding grounds for malware, ransomware, and phishing attempts disguised as "codec updates."
Legal Implications: Downloading copyrighted material via torrents is illegal in many jurisdictions and can lead to fines or ISP throttling.
Quality Issues: Torrents are often "cams" or poorly encoded files that don't actually deliver the promised 720p HD experience. The Best Way to Experience Judgment Day
If you want to see the T-800 say "Hasta la vista, baby" in stunning high definition without the risks of shady downloads, the best route is through official channels.
Streaming Services: Terminator 2 is frequently available on platforms like Netflix, Amazon Prime Video, and HBO Max, often featuring multiple audio tracks and subtitles.
Digital Purchase: You can own a permanent digital copy in 4K or 1080p through the Apple TV app, Google Play Movies, or Vudu.
Physical Media: For true cinephiles, the 4K Ultra HD Blu-ray remains the gold standard, offering the highest bitrate and the most immersive audio tracks available.
ConclusionThe Terminator 2: Judgment Day is a film that deserves to be seen in the best possible quality. While the "Dual Audio 720p Download" might be a popular search, opting for a legitimate streaming or purchase option ensures you support the creators while protecting your devices from digital "Skynet" threats.
Title: The Terminator 2: Judgment Day - English - Dual Audio 720p Download Torrent
Introduction:
The Terminator 2: Judgment Day is a 1991 science fiction action film directed by James Cameron. The movie is a sequel to the 1984 film The Terminator and stars Arnold Schwarzenegger, Linda Hamilton, Edward Furlong, and Robert Patrick. The film is set 11 years after the events of the first movie and follows a more advanced Terminator, the T-1000, as it hunts down a young John Connor, while a reprogrammed T-800 Terminator protects him.
Torrent Download Report:
Torrent Information:
Content Availability and Legality:
The Terminator 2: Judgment Day is a copyrighted movie, and downloading it through a torrent may be considered copyright infringement in many countries. It's essential to note that downloading copyrighted content without permission is illegal and can result in penalties.
Alternatives:
Instead of downloading the movie through a torrent, there are alternative options available:
Conclusion:
While I can provide information on the movie and torrent, I must emphasize the importance of respecting intellectual property rights and choosing legitimate options to access copyrighted content. Downloading copyrighted movies through torrents without permission can have serious consequences.
If you're interested in watching The Terminator 2: Judgment Day, consider using streaming services or purchasing the movie through legitimate channels. However, I would recommend using caution when downloading
The Terminator 2: Judgment Day was a critical and commercial success. It was praised for its action sequences, visual effects, and the introduction of the liquid-metal T-1000 Terminator, played by Robert Patrick. The film's groundbreaking use of computer-generated imagery (CGI) for the T-1000 and a more complex T-800 endoskeleton significantly influenced the action genre and special effects in films.
Plot Summary:
Nearly 10 years have passed since Sarah Connor was targeted for termination by a cyborg from the future. Now her son, John, the future leader of the resistance, is the target for a newer, more deadly terminator. Once again, the resistance has managed to send a protector back to attempt to save John and his mother.
For fans looking to experience "The Terminator 2: Judgment Day" in its full glory, dual audio and high-quality downloads, such as 720p, offer an enhanced viewing experience. Dual audio allows viewers to choose between two language tracks, which can be particularly useful for those who prefer watching movies in their native language or for language learners. High-definition downloads ensure that the movie's visuals and audio are enjoyed with clarity and precision, making the experience more immersive.
(Usually, this section contains preview images of the video quality. Since I cannot generate images, please insert 3-4 scene screenshots here to show video quality.)
At the time of its release, "Terminator 2" was a technological marvel. The film introduced groundbreaking visual effects, including the use of a liquid-metal T-1000 Terminator, which was a significant achievement in CGI. The movie's success can also be attributed to its well-crafted storyline, which explores themes of fate, protection, and the potential dangers of creating autonomous killing machines.
Introduction
The Terminator 2: Judgment Day (1991), directed by James Cameron, is widely recognized as a landmark in science fiction and action cinema. Building on the grim premise of 1984’s The Terminator, T2 expands the scope from a taut time‑travel thriller into a thematically rich blockbuster that blends spectacle, character development, and moral inquiry. The film’s sustained cultural impact derives from its technical innovations, compelling performances, and provocative examination of fate, technology, and humanity.
Historical and Production Context
After the surprise success of The Terminator (1984), James Cameron returned with a larger budget and greater studio confidence. Riding the era’s growing appetite for effects-driven cinema, Cameron collaborated with Stan Winston’s practical effects team and Industrial Light & Magic (ILM) to realize the liquid‑metal T‑1000 — an achievement that advanced digital effects toward mainstream acceptance. The production was marked by ambitious set pieces, intricate stunt work, and a moral seriousness that distinguished T2 from many contemporaneous action films.
Plot Overview
T2 follows Sarah Connor (Linda Hamilton), her son John (Edward Furlong), and two androids sent from the future: the reprogrammed T‑800 (Arnold Schwarzenegger) assigned to protect John, and the T‑1000 (Robert Patrick), a shape‑shifting assassin composed of a mimicry‑capable liquid metal. The central conflict reframes the franchise’s premise: rather than merely preventing a single assassination, the protagonists attempt to stop a future apocalypse — “Judgment Day” — by destroying the technology and people (notably, Cyberdyne Systems and its chief scientist Dr. Miles Dyson) that would create Skynet. The narrative intertwines action with ethical dilemmas about destiny, agency, and the possibility of change.
Themes
Characterization and Performances
Linda Hamilton delivers a physically and emotionally intense performance as Sarah Connor, imbuing the character with distinctive resolve and vulnerability. Edward Furlong’s John balances streetwise innocence with emerging responsibility. Arnold Schwarzenegger, initially cast for his imposing screen presence, achieves subtlety as the T‑800, learning to mimic human behavior while ultimately displaying an authentic attachment. Robert Patrick’s cold, precise T‑1000 embodies relentless technological menace; his performance is notable for its economy and chilling stillness.
Visual Effects and Technical Innovation
T2 is historically significant for integrating landmark digital visual effects with traditional practical techniques. ILM’s pioneering morphing and CGI for the T‑1000 pushed the boundaries of what digital effects could achieve on a feature film scale. Equally important were Stan Winston’s practical creature effects and animatronics that grounded the film’s violence in tactile reality. The film’s action choreography — freeway chase sequences, explosive set pieces, and close‑quarters combat — was executed with precision, aided by state‑of‑the‑art stunt coordination and editing.
Cameron’s direction emphasizes clarity and momentum. William Wisher’s and James Cameron’s screenplay balances philosophical beats with propulsive set pieces. Brad Fiedel’s iconic, synthesized score provides a militaristic and emotional undercurrent that complements both human drama and mechanical menace.
Cultural Impact and Legacy
T2 redefined expectations for sequels — showing that a franchise entry could expand thematically while escalating spectacle. Its technical breakthroughs accelerated Hollywood’s embrace of digital effects, influencing films throughout the 1990s and beyond. The film’s imagery (the T‑800 sunglasses and leather, the melting steel imagery, and the “Hasta la vista, baby” line) became part of pop culture. T2 also stimulated public debate about artificial intelligence and autonomous weapons at a time when AI was largely conceptual rather than ubiquitous.
Criticism and Counterpoints
While widely acclaimed, T2 is not without critique. Some argue the film’s action escalation overshadows the intimate horror of the original; others contend that certain plot conveniences simplify ethical complexities. The depiction of technological determinism being “preventable” through violent sabotage raises moral ambiguities about means and ends. Additionally, later franchise installments diluted the thematic potency established in T2.
Conclusion
Terminator 2: Judgment Day remains a towering achievement that fuses blockbuster spectacle with substantive thematic inquiry. Its exploration of fate, humanity, and the moral dimensions of technology—combined with breakthrough visual effects and memorable performances—ensures its status as both entertainment and a culturally resonant meditation on machines and human choice. The film endures because it entertains while prompting audiences to consider how present actions shape possible futures.
Suggested further angles to explore (brief)
Related search suggestions
(Invoking related search terms tool...)
I’m unable to provide a blog post that promotes or facilitates downloading copyrighted content like Terminator 2: Judgment Day via torrent, as that would violate copyright laws and potentially help spread unauthorized material.
However, I’d be glad to help you write a legal, informative blog post about the film instead — for example:
Let me know which direction you’d like, and I’ll write the full post for you.
If you decide to use torrents, be aware of the risks:
To do so more safely: |
An ivory plaque with a depiction of
the "Mistress of Animals" in the
Peloponnesian tradition. 700-650 BC.
The figure, with sickle-shaped wings,
stands between a sitting bull or cow
and a standing goat.
Found in a tomb in Syracuse, Sicily.
Paolo Orsi Archaeological Museum,
Syracuse, Sicily. |
| |
The "Mistress of Animals" on the neck of a
relief pithos made in a Cycladic workshop.
7th century BC. See below.
National Archaeological Museum,
Athens. Inv. No. 355. |
| |
| |
Minoan sheet gold pendant showing a Cretan nature god,
known as "the Master of Animals". Circa 1850-1550 BC.
The figure, wearing a tall headdress, Minoan kilt, earrings and bracelets, stands
in the attitude of the Master of Animals, holding two birds (geese or swans) by
their necks. The curved, ridged elements on either side of the birds are thought
to derive from stylized bulls' horns. Egyptian influence can be seen in the three
lotus flowers among which the figure stands.
From the "Aegina Treasure", a collection of Minoan jewellery
said to have been found in a tomb on the island of Aegina in 1891.
Height 6 cm, width 6.3 cm, weight 138 grains.
British Museum. Inv. No. GR 1892.5-20.8 (Jewellery 762). Purchased in 1892. |
| |
Replicas of two reconstructed faience figurines of Minoan "snake goddesses"
from the "Temple Repositories" in Knossos, Crete, 1650-1600 BC. Height 34.3 cm.
Casts made by Halvor Bagge (1866-1939?), a Danish artist who worked at Knossos
1902-1905. The original figurines, discovered in 1903 and reconstructed by
Arthur Evans, are in the Heraklion Archaeological Museum, Crete.
Ashmolean Museum, Oxford. Inv. No. AE. 1106, 1106 a. |
| |
A fragment of a clay tablet inscribed in Linear B script, mentioning "Potnia" (po-ti-ni-ja; Πότνια).
13th century BC. From the archives of the Mycenaean palace of Thebes, Boeotia, central Greece.
One of a number of such fragments of tablets recording the dispatch of wool to female weavers
and embroiderers working in the service of deities such as Hera, Potnia and Hermes.
Thebes Archaeological Museum. |
| |
 |
|
 |
The "snake goddess plaque" discovered in the Athens Agora.
A painted terracotta votive plaque, dated to the mid 7th century BC,
with a depiction of a female figure standing between two snakes.
Height 24.8 cm, width (top) 13.3 cm, (bottom) 12.5 cm, thickness 1.1 cm.
Agora Museum, Athens. Inv. No. T 175.
|
|
The plaque was excavated in March 1932 in a deposit containing several other fragments of Proto-Attic ceramic objects, 1.9 metres west of the north-south wall of the Agora. The objects may have been brought from other locations outside the Agora, and used as fill material for the foundation of a path or road during the 7th century BC.
The painting is in deep red over a white slip, with some details in yellow and blue. There are holes in the upper corners, indicating that it was nailed to the wall of a building.
The figure, wearing a long, voluminous chiton, stands with both arms raised and with spread fingers; her thumbs are extended inwards, her palms facing forwards. Her head and neck are in relief, with the facial features modelled three dimensionally. Her painted hair has a curled fringe along the top of the forehead, with four wavy locks on each side of the head falling to her shoulders. The oval face has wide open, blue-green eyes, lined in red, with red-painted brows which meet above her nose and closed mouth.
Either side of the figure is a long snake with a wavy body taking up most of the height of the plaque, ending with a head just below the head of the goddess. The snake on the left, painted red, has a forked tongue, and is separated from the goddess by a painted frame from which plant-like forms extend horizontally into the spaces formed by the inner curves of the snake's body. The snake on the right is blue with a red outline; the spaces of the inner curves of the body have been filled with orientalizing dotted floral motifs.
It is thought that the scene represents an epiphany (ἐπιφάνεια), the goddess revealing or manifesting herself to her worshippers. According to a recent theory, the figure may depict the goddess Demeter, one of the Greek female deities associated with snakes. |
|
|
| |
The "Mistress of Animals" on the neck of a relief pithos made in a workshop
in the Cycladic islands, 7th century BC. She stands in a frontal position with
her head facing forwards, her arms raised in a gesture of epiphany (as in
the "snake goddess plaque"above). She wears a crown, and from either
side of her head spread antler-like or branches covered in flowers. She is
flanked by two confronting, rearing lions (or lionesses), although they do
not touch her hands. She is embraced by two women worshippers, shown
at a smaller scale, who hold on to each side of her long garment.
From Thebes. 675-650 BC.
The vessel has been restored from several fragments. On the front
of the body is a relief of a row of does walking to the right, and on
the register below a row of stags grazing and walking to the left.
There appears to have been no relief decoration on the back.
National Archaeological Museum, Athens. Inv. No. 355.
It is thought that such relief pithoi (πίθος, storage jar; plural, pithoi, πίθοι),
large ceramic storage vessels decorated with a variety of figurative and
abstract designs, were produced in the 7th century BC in several places
around the Aegean (probably centred around Tenos), including the
Cyclades, Crete and Rhodes. They have also been found on Naxos, Melos,
Thera, Delos and Mykonos, as well as in Athens, Eretria and Boeotia.
See, for example:
The "Mykonos Vase", a large pithos made on Tenos around 675-650 BC, with
reliefs depicting the Trojan Horse (the Wooden Horse of Troy) and the sack of Troy.
A relief of Perseus and Medusa on a Cycladic pithos found in Thebes. |
| |
A bronze horse blinker from north Syria with a depiction of the "Master of Animals"
holding a lion by its tail in each hand.
9th century BC. Discovered in 1973 at the temple of Apollo Daphnephoros, Etertia,
Euboea, during excavations by the Swiss School of Archaeology in Greece.
Eretria Archaeological Museum. Inv. No. ME 7007.
|
A matching blinker, now in the National Archaeological Museum, Athens (Inv. No. X 15070), had been found earlier in Eretria, during excavations led by the Greek archaeologist Konstantinos Kourouniotis (Κωνσταντίνος Κουρουνιώτης, 1872-1945). His find was first published in 1933. The Aramaic inscription on the fragmentary blinker is now incomplete and difficult to read due to corrosion. However, an identical, more legible inscription was discovered on a decorated bronze frontlet, an ornament for a horse's forehead, with a very similar iconography, found more recently at the Heraion on Samos. The Samian inscription provided the key to that on the Eretrian blinker, which has been translated as:
"That which Hadad gave our lord Hazael from 'Umqi in the year that our lord crossed the river."
"Lord Hazael" is taken to be the king of Aram at Damascus (reigned circa 844-800 BC), mentioned in the Old Testament of the Bible (Book of Kings). The river may be the Euphrates. These are among a number of Hazael’s "booty inscriptions", found at ancient sites from the Aegean to Mesopotamia, which boast his military victories. Like many objects from distant lands dedicated at Greek sanctuaries, it is not certain how or when these blinkers ended up in Eretria. It is thought that the bronze frontlet was brought to Samos as a gift to Hera in the 7th century BC, perhaps as a souvenir obtained by Greek or foreign travellers (see, for example, an ivory lion from Egypt found at the Samian Heraion). |
|
|
| |
Archaic ivory statuette of a male figure in the
"Master of Animals" pose from Delphi, Greece.
Second half of the 7th century BC.
Height 22.5 cm, maximum width 6 cm.
Delphi Archaeological Museum. Inv. No. 9912.
|
Discovered in 1939 during the excavation of two deposition pits on the Sacred Way at Delphi, in which several votive objects, from the late 8th - 5th centuries BC, had been carefully buried after being damaged by a fire around 420 BC.
The back of the figure is flat, suggesting that it was an attachment for a box or piece of furniture. The figure may represent a hero or deity, perhaps Apollo, taming a wild animal as a symbol of nature itself. He holds a spear in his right hand, and his left hand rests on the head of a lion, shown at a smaller scale, standing on its hind paws in a pose reminiscent of heraldic iconography. He stands on a base decorated with a meander.
Thought to be a work of a Greek artist from East Greece (western Anatolia and eastern Aegean islands), with oriental influence. It is the only figure of this type found in Greece, and it has been suggested that it may have been made in Phrygia, Anatolia. It has even been suggested that it could be part of the throne dedicated to the Delphic Oracle by the Phrygian King Midas, mentioned by Herodotus (Histories, Book 1, chapter 14) [3]. |
|
|
| |
Gold plaque pendant with a depiction of the Mistress of Animals
in the Daedalic style. From Kamiros, Rhodes, 720-650 BC.
As in the plaque below, the figure thought by some scholars
to depict Artemis, wears a long chiton, has sickle-shaped
wings and holds in each hand a lion by a rear leg or tail. [4]
Ashmolean Museum, Oxford. Inv. No. AN 1896-1908 G.441. |
| |
Electrum plaque with a depiction of the Mistress of Animals.
From Kamiros, Rhodes, 720-600 BC.
On either side of the figure is an object, which
appears to be a flask on a shelf, and a head.
Ashmolean Museum, Oxford.
One of a group of objects, Inv. Nos. AN 1896-1908 G.439 - G.442. |
| |
Neck of a Cycladic amphora with a depiction
of the Mistress of Animals holding two lions.
Made in Paros or Naxos around 700-675 BC. Found in the
"Purification Pit" on Rheneia (Ρήνεια) island, west of Delos.
Mykonos Archaeological Museum. Inv. No. IA 401.
|
Delos was first "purified" around 543 BC by the Athenian tyrant Peisistratos, who ordered the removal of graves within sight of the sanctuary of Apollo. A second purification was commanded by the Athenian democracy in 426/425 BC. The contents of all graves on the island were removed to the neighbouring island of Rheneia (Ρήνεια), and it was forbidden for anybody to give birth or die on Delos (Thucydides, History of the Peloponnesian War, Book 3, chapter 104).
The "Purification Pit" was discovered on Rheneia in 1898 during excavations by Dimitrios Stavropoulos, Ephor of Antiquities for the Cyclades. The 20 square metre pit in a 500 square metre paved enclosure is thought to be where the contents of the graves from Delos were deposited. It contained a large number of bones and thousands of funerary offerings, mostly vases, dating from the Geometric period (9th - 8th centuries BC) to the years just before the second purification. The oldest vase discovered was a small 12th century alabastron. The Mykonos Archaeological Museum was built by the Greek Ministry of Education and the Archaeological Society of Athens in 1902 especially to house finds from Rheneia.
Most of the pottery of the late 8th and 7th century was from Paros and Naxos, reflecting the competition between the two powerful island states for control over sacred Delos. In many cases it is uncertain which of these islands produced particular vases. |
|
The Cycladic amphora from Rheneia.
On the reconstructed body are two
horses walking towards each other. |
|
| |
The body of a large Cycladic krater with a painting depicting Apollo (left) returning
to Delos from the land of the Hyperboreans, greeted by Artemis (right) holding
a deer by its antlers (see detail below).
Made in a Parian workshop, circa 640 BC.
Apollo, holding a kithara, stands in a chariot drawn by four winged horses, with two
female figures, perhaps Hyperborean maidens (or Artemis and Leto). Artemis holds
the deer with her right hand, and has an arrow in her left hand. Above the scene is
a continuous frieze of walking water birds. The neck of the krater shows two heroes,
perhaps Achilles and Memnon, engaged in Homeric combat (see Homer part 2).
National Archaeological Museum, Athens. Inv. No. 911. |
| |
Artemis holding a deer by its antlers on the body of the Cycladic krater above. |
| |
Drawing of the painting of Apollo and Artemis on the body of the Cycladic krater above.
Source: H. L. Lorrimer, Homer and the monuments, Plate XXXI, 2. MacMillan & Co.,
London, 1950. (The krater is described as a "Melian amphora".) |
| |
Neck of a Corinthian oinochoe (wine jug) with a depiction of the Mistress of Animals.
By the Palermo Painter, early 6th century BC. From Tomb 2,
Galera-Bagliazzo Necropolis, Selinous (Selinunte), Sicily.
Antonino Salinas Regional Archaeological Museum, Palermo, Sicily. |
| |
A relief of the Master of Animals on a bronze quiver cover
from Mesopotamia or western Iran.
Circa 9th - 8th century BC. Height 13.49 cm, width 54 cm.
Metropolitan Museum of Art, New York. Inv. No. 1989.281.28 (not on display).
From the Norbert Schimmel Collection (1974, No. 138).
Gift of the Norbert Schimmel Trust, 1989.
|
The reliefs on the quiver cover are similar in design to those on "Luristan bronzes" of around the same period, from the Lorestan Province in the Zagros Mountains of western Iran.
Five vertically arranged panels with reliefs depicting mythical scenes are separated by horizontal bands. From the top:
1. a god standing in a winged solar disc, holding a ring in his right hand, flanked by two horned and bearded deities;
2 and 4. rectangular landscape areas (gardens or pools?) surrounded by plants and mountains;
3. a winged male holding in each hand a lion by a rear paw (photo above);
5. a male figure (a hero, king or god) killing a lion with a spear.
Photo source: Public domain photo at
metmuseum.org/art/collection/search/327417.
See also: Jürgen Settgast (Editor), Von Troja bis Amarna: The Norbert Schimmel Collection, New York, Cat. No. 162, "Beschlag eines Köchers". Verlag Philipp von Zabern, Mainz, 1978. |
|
The bronze quiver cover in
the Metropolitan Museum. |
|
| |
An embossed relief of the Mistress of Animals on a bronze sheet
from the Sanctuary of Olympia, Greece.
Around 600 BC. Height 88 cm, width 36 cm, depth 4 cm.
National Archaeological Museum, Athens. Inv. No. 6444.
|
The trapezoidal bronze sheet, possibly made in a Samian workshop, is thought to have been a decorative cover for an object in the sanctuary. Like the Iranian/Mesopotamian bronze quiver plaque above, the vertically arranged panels with reliefs of mythical figures are separated by horizontal bands. From the top:
1. three eagles;
2. two confronted griffins;
3. Herakles shooting an arrow at a Centaur at the battle with the Centaurs on Mount Pholoe;
4. the Mistress of Animals holding in each hand a lion by a rear leg. |
|
The bronze sheet from
the Sanctuary of Olympia. |
|
| |
 |
|
 |
A standing female figure, probably the Mistress of Animals,
on a fragmentary bronze handle attachment with a lion foot.
"A typical work of early Laconian (Spartan) bronze sculpture", end of the
7th century BC. Excavated at the Sanctuary of Zeus, Olympia, Greece.
Olympia Archaeological Museum. |
|
| |
Ceramic plate showing a winged goddess with the head of a Gorgon,
wearing a split skirt, and holding in each hand a water bird by its neck.
Made on Kos about 600 BC. Excavated during the 1950s at Kamiros, western
Rhodes by Auguste Salzmann (1824-1872) and Sir Alfred Biliotti (1833-1915),
who sold it to the British Museum in 1860 along with other finds. Height 2.5 cm,
diameter 32 cm, weight: 1.19 kg.
The goddess is thought to be the Mistress of Animals, associated with or
identified as Artemis by some scholars. It is not known why the figure on
this plate has a Gorgon's head, or to put it another way, why a Gorgon was
depicted as the Mistress of Animals. See further discussion in Medusa part 3.
British Museum. Inv. No. GR 1860.4-4.2 (Vase G13/6). |
| |
Restored fragmented ceramic plate (pinax type) showing
a winged female figure standing between two geese.
6th century BC. From Bayrakli, Smyrna (Izmir, Turkey).
Department of Ceramics, Izmir Museum of History and Art. |
| |
 |
|
 |
Boeotian alabastron (bottle for oil or perfume) with a Mistress of Animals holding
a water bird in each hand. The other side shows the upper part of a horse.
Around 550 BC. The name vase of the Horse-bird Group. Said to be from Corinth.
British Museum. Inv. No. GR 1894.10-31.1. |
|
| |
Detail of a marble grave stele with a relief of a winged goddess
holding a lion by a front paw. Around 525 BC.
Found in 1893 in Dorylaeum (Δορύλαιον, Dorylaion),
Phrygia, northwestern Anatolia (today Eskişehir, Turkey).
Istanbul Archaeological Museum. Inv. No. 680. Cat. Mendel 526.
|
The top of the two-sided stele, now broken, was decorated on both sides with reliefs of palmettes, similar to the akroteria (roof decoration) of buildings. One side has the relief of the goddess, while on the other side are badly damaged reliefs in two registers: the upper register depicts a youth in profile riding a horse to the right, accompanied by a walking male figure and a dog; the lower register shows two-horse chariot driven to the right by a male figure (perhaps representing Death).
The figure of the goddess, walking to right, is almost complete apart from the missing feet. She has sickle-shaped wings which emanate from behind her waist. On her head is a polos decorated with triangular rays. A thick swathe of hair falls in neat rows from the back of her head to behind her shoulders. She wears a peplos over a chiton, fastened by three buttons at her right shoulder. Her right breast and lower right leg are bare. In her right hand she apears to be holding an object, possibly a flower or plant tendril, in her left hand she grasps the left forepaw of a lion which hangs vertically with its head facing downwards.
The best known Archaic grave markers in the form of tall steles (or stelai) with reliefs were made in Athens and Attica in the 6th and early 5th century BC (see, for example the grave stele of Aristion by Aristokles), after which they ceased to be made there. However, the production of Attic type grave steles continued beyond the Early Classical period (mid 5th century BC) in other places in Greece, for example in northern Greece, where double sided reliefs have been found. Steles from other places in the Greek world often feature very different types of iconography.
Following this stele's discovery in 1893, several scholars speculated over the identity of the goddess, with theories summarized in 1895 by the German classical philologist Alfred Körte [5]. The relief figures were compared to Attic works and reliefs from the column bases of the Temple of Artemis in Ephesus. The white, crystalline marble was considered to be from an Aegean island, and the sculptor from Ionia (East Greece).
It was suggested that the stele was made for a Phrygian or Persian client (Phrygia had become part of the Persian Achaemenid Empire during the 540s BC, following Cyrus the Great's conquest of Lydia). The client may have identified the deity as the Persian goddess Anahita ("the Persian Artemis", a theory which Körte refuted) or the Phrygian mother goddesss Kybele. However, according to Körte, in the artist's mind she was Potnia Theron as Artemis.
It has also been suggested that the deity was believed to be the protector of the dead, in this case presumably the deceased horseman shown on the other side of the stele.
Height of surviving fragment of the stele 72.5 cm,
width 37.5 - 39 cm, depth 12 - 13 cm. |
Drawing of the Dorylaeum stele
from Gustave Mendel's catalogue
of sculptures in the Istanbul
Archaeological Museum [6]. |
| |
The other side of the Dorylaeum stele. |
| |
| |
A terracotta antefix (decorated end of a roof tile) with a
winged figure of Artemis holding two lions by their front paws.
Made in Campania (southern Italy) around 500-480 BC.
From Capua. The figure combines Greek and Etruscan styles.
British Museum. Inv. No. GR 1877.8-2.13 (Terracotta B 588).
Donated by Alessandro Castellani. |
| |
A fragment of a terracotta antefix (end of a roof tile, see Medusa part 4)
thought to depict a Maenad (see Dionysus) between two "panthers",
only one of which has survived. The now headless figure grasps a
forepaw of each of the cats in the manner of the Mistress of Animals.
4th - 3rd century BC. From a Samnite sanctuary at Pietrabbondante,
Isernia province, Molise region, south-central Italy. [7] |
| |
A relief of the "Mistress of Animals" on the front small marble altar.
The figure stands frontally, with long hair, parted in the middle and
flowing over her shoulders, wearing a polos and a peplos. In each
hand she holds a forepaw of a lion, shown at smaller scale, which
hangs vertically with its head facing outwards. The other three
sides of the the altar are not decorated. On top is a relief of
a wreath, its centre forming the space for the sacrifice.
Roman period. From Rhodes.
Rhodes Archaeological Museum. Inv. No. 13643. |
| |
A small Egyptian stele with a relief of the head
of Bes over a standing figure of the god Horus
as a child in the pose of the Master of Animals.
National Archaeological Museum, Naples. Egyptian Collection.
|
| One of several similar surviving depictions of the child Horus (known as Hor-sched), which were set up as protective talismen in private homes, although some have also been found in graves. Above him is the head of the god Bes as the protector of the home and family, particularly the women and children. Horus stands frontally with each foot on a crocodile, holding in each hand two serpents and a scorpion. He also holds with his left hand a lion by the tail, and with the right hand an oryx (gazelle) by the horns. From the Hellenistic period the worship of the young Horus as Harpocrates (Ἁρποκράτης) was developed by the Greeks in Ptolemaic Alexandria. |
|
|
| |
Small gold plaque showing the Mistress of Animals standing
between two lions. From Smyrna (Izmir, Turkey), 200-1 BC.
Ashmolean Museum, Oxford. Inv. No. AN1912.65. |
| |
A relief in Ephesus depicting Apollo's tripod
with a plaque showing the Mistress of Animals.
|
One of the two matching, almost identical marble pedestals (bases for statues or pillars?) facing each other on either side of the of the bottom of the "Clivus Sacer" (Sacred Way) in Ephesus. This is the pedestal on the north side of the street (on the left as you go up the street, see Ephesus gallery page 12). On the side of the bowl of the tripod, above the central leg, is a plaque with a figure with sickle-shaped wings, holding an animal in each outstretched hand (see larger photo below).
The small image is badly worn on both pedestals, and it is not possible to tell whether the figure is male of female, or what animals he/she is holding. However, it is sufficiently similar to other depictions of the "Mistress of Animals" to safely assume that it is the same figure as, for example, on the Archaic gold plaques from Rhodes (see photos above). The figure in this case may be Artemis, the patron deity of Ephesus.
Between the lion-claw feet of the tripod is the omphalos, indicating that it belongs to the Delphic oracle of Apollo, the twin brother of Artemis. The pedestals may have been associated with a nearby sanctuary of the healing god Asklepios, Apollo's son. Alternatively, there may be a connection with the adjacent Prytaneion, or the Upper Agora. On the left (west) side of this pedestal is a relief of Hermes leading a male goat, and on the right side of the other pedestal Hermes walks with a ram.
The pedestals have been dated to somewhere between the 1st and 4th centuries AD (according to one source circa 3rd century AD), which is rather vague, and little seems to have been published about them. On one hand it is wonderful to see them on the street of Ephesus, but strange that they have been left here and not sheltered in the museum. |
|
|
| |
Detail of the relief on the pedestal on the north side of the street
in Ephesus, with the plaque showing the Mistress of Animals. |
| |
Statue of the goddess Artemis, known as the "Beautiful Artemis Ephesia".
Roman Imperial period, 125-175 AD. Discovered in 1956 in the Prytaneion
(town hall) of Ephesus. Thought to be a copy of a much more ancient cult
statue, perhaps of cedar wood, which stood in the Great Temple of Artemis
at Ephesus. Height 174.5 cm.
The goddess stands stiffly between two deer, her favoured animals,
and the figure is covered with reliefs, many of animals, including lions,
panthers, winged bulls, griffins, deer and bees.
Ephesus Archaeological Museum, Selçuk, Turkey. Inv. No. 718. |
| |
A rough relief of Artemis Ephesia, appearing more like graffiti, on the side
of a pilaster near the entrance to the Varius Baths, Ephesus. Roman period?. |
| |
 |
|
 |
Two limestone statuettes of the god Herakles-Melqart
holding lions in the manner of the Master of Beasts. From Cyprus.
Left: This statuette has been dated to the Archaic period, 600-475 BC. The figure has
a beard but no moustache, wears a lionskin over the back of his head and a short,
girdled tunic with a pleated killt. In his clenched left hand he holds two lions by their
tails. the right arm is now missing. Provenance unknown.
Bank of Cyprus Cultural Foundation.
Right: the beardless figure is about half the size of the other statuette and less
detailed. Classical period, around 450-350 BC. He wears a lionskin on his head and a
knee-length, girdled tunic with half-length sleeves. In his clenched left hand he holds
a lion by its tail, and in his raised right hand he holds a club. Provenance unknown.
Cyprus Archaeological Museum, Nicosia.
Statuettes exhibited in the exhibition Cyprus - Eiland in beweging (Cyprus - a dynamic island), Rijksmuseum van Oudheden, Leiden, 11 October 2019 - 15 March 2020. |
|
| |
Mistress
of Animals |
Notes, references and links |
 |
|
1. Asian antecedents of Master/Mistress of Animals type images
A Hittite rock-face relief known as the "Schwertgott" (Sword-God) in Yazilikay, central Anatolia, dated 1250-1220 BC, shows a male figure standing frontally with his head in profile facing left, holding in each hand a lion by one of its rear paws. The relief is still in situ; there is a plaster cast in the Staatliche Museen, Berlin.
See:
Ekrem Akurgal and Max Hirmer, Die Kunst der Hethiter, plates 82 and 83. Hirmer Verlag, Munich, 1976 (Sonderausgabe).
2. The eddies of Lethaios
The Lethaios river (Ληθαῖος), one of three rivers of that name, has its sources in Mount Pactyes in Caria, and runs south to become a tributary of the Maeander just southeast of Magnesia on the Maeander.
3. Delphi statuette from the throne of Midas?
The claim was made by Keith DeVries, a professor and curator at the University of Pennsylvania Museum, on 5th January 2002, at the 103rd Annual Meeting of the Archaeological Institute of America in Philadelphia, subsquently reported in the popular press and debated in academic articles.
See: Oscar White Muscarella, An Ivory Statuette from Delphi - Not from King Midas’s Throne. Source: Notes in History of Art, Volume 35, No. 1/2 (Fall 2015/Winter 2016), pages 182-193. At the University of Chicago Press Journals. |
|
|
4. Precious metal goddess plaques
A similar small metal plaque from a late 7th century BC grave near Kamiros, Rhodes has a repoussé relief of a frontally standing winged female holding in each hand what appears to be a large plant (the plants are described by the museum labelling as "rosettes") rather than a lion, and with a sun symbol with eight rays either side of her legs (see photo right). |
|
A silver plaque with a repoussé relief of
a "winged goddess holding rosettes".
From a pithos burial of an infant,
Kechraki T 210 (16). 625-600 BC.
Found during excavations in the
Archaic cemetery at Kechraki,
near the ancient city of Kamiros,
western Rhodes.
Rhodes Archaeological Museum. |
|
| |
5. Alfred Körte on the Dorylaeum relief
Alfred Koerte (1866-1946), Kleinasiatische Studien I: Eine archaische Stele aus Dorylaion, in Mitteilungen des Deutschen Archaeologischen Instituts, Athenische Abteilung, Band XX, 1895, pages 1-13, plates I and II. Verlag von Karl Wilberg, Athens, 1895.
6. The Dorylaeum relief in Mendel's catalogue
Gustave Mendel, Catalogue des sculptures Grecques Romaines et Byzantines, Tome Second, No. 526, pages 230-234. Musées Impériaux Ottoman, Constantinople, 1914. |
|
Drawing of the other side
of the Dorylaeum stele
in Mendel's catalogue. |
|
7. Maenad antefix from Pietrabbondante
The Samnites were an ancient Italic people who lived in Samnium in south-central Italy. Although often at war with the Greeks in Magna Gracia (southern Italy), they adopted several aspects of Greek culture, including the cult of Dionysus, and imported Greek goods such as Apulian ceramics.
Pietrabbondante is thought by some historians to be the location of ancient Bovianum, the meeting place of the assemblies of the confederation of the four Samnite tribes, the Caraceni, Caudini, Hirpini and Pentri. The site of the sanctuary there, first excavated in the 1840s, includes a theatre and a temple.
The antefix was exhibited as part of the temporary exhibition The gift of Dionysos in the Thessaloniki Archaeological Museum, 13 July 2011 - 30 September 2012. So far I have been unable to discover further details of the exhibits on loan from the Molise region of south-central Italy.
See further details on the Dionysus page. |
|
|
| |
Photos on this page were taken during
visits to the following museums:
Greece
Athens, Agora Museum
Athens, National Archaeological Museum
Delos Archaeological Museum
Delphi Archaeological Museum
Eretria Archaeological Museum
Mykonos Archaeological Museum
Olympia Archaeological Museum
Rhodes Archaeological Museum
Thebes Archaeological Museum
Thessaloniki Archaeological Museum
Italy
Naples, National Archaeological Museum
Italy - Sicily
Palermo, Antonino Salinas Regional Archaeological Museum
Syracuse, Paolo Orsi Archaeological Museum
Netherlands
Leiden, Rijksmuseum van Oudheden
Turkey
Ephesus archaeological site
Istanbul Archaeological Museum
Izmir Museum of History and Art
Selçuk, Ephesus Archaeological Museum
United Kingdom
London, British Museum
Oxford, Ashmolean Museum
Many thanks to the staff of these museums. |
|
| Photos and articles © David John, except where otherwise specified. |
 |
Visit the My Favourite Planet Group on Facebook.
Join the group, write a message or comment,
post photos and videos, start a discussion... |
|
|
| |
|
|
| |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
George Alvanos
rooms in
Kavala's historic Panagia District
Anthemiou 35,
Kavala, Greece
kavalarooms.gr
|
| |
Olive Garden Restaurant
Kastellorizo,
Greece
+30 22460 49 109
kastellorizo.de
|
| |
Papoutsis
Travel Agency
Kastellorizo,
Greece
+30 22460 49 286
greeklodgings.gr
|
| |
|
