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History of the Tuatha Dé Danann |
The Tuatha Dé Danann are divine beings that came to Ireland by ships and inhabited the country before the native Irish. They came to Ireland to take the land from the Fir Bolgs that had already been residing in the north of Ireland at the time. The Tuatha were immediately perceived as gods for their superior skills: va... |
Verse texts |
Besides independent verses, a number of poems are embedded in prose tales, etc. A number of them are also preserved in the pseudohistorical Lebor Gabála Érenn, Keating, etc. |
Arsaidh sin a eóuin Accla ("Fintan and the Hawk of Aicill") |
Coire Érmai / Coire Goriath ("The Cauldron of Poesy") |
Lore |
Collected lore are not wholly of mythological content, but parts of it are. "The Fitness of Names" (#149–159, etc.) provides interesting explanations on names of Dian Cecht among others. Irish onomastica, the Dindshenchas, also include stories about deities such as Boann (under Inber Colptha), the Dagda (under Fidh nGa... |
Banshenchas ("History of Women") Dobbs 1932 |
Cóir Anmann ("The Fitness of Names"): Stokes 1897 |
Dindsenchas ("Lore of Places") |
Sanas Cormaic ("Cormac's Glossary"): Nes[s] (Nescoit) |
Triads of Ireland: mention of the indeoin Dagdai, ox of Díl, etc. |
Pseudohistory |
Chronicon Scotorum |
Lebor Gabála Érenn |
Folktales |
Glas Gaibhnenn |
Prose tales |
The following prose tales are described in greater depth in the following section. |
Survey of prose tales |
The euhemerised deities arrived in five sets of migrations (see Lebor Gabála Érenn), but none of the individual migrations tales (Irish: tochomlada; sing. tochomlod) survived intact. |
Remnants of the migration tales are the summarised accounts given in the Lebor Gabála Érenn (Book of Invasions). Apart from these are the tale of Tuan mac Cairill, Fintan mac Bóchra colloquy. Tuan and Fintan are ancient beings from the Antediluvian past, who have reincaranted into different creatures, and are referred ... |
Of the battle tales (Irish: catha; sing. cath), the full narratives of the First and Second Battle of Moytura (Battles of Mag Tuired) survive in relatively late (16th century) manuscripts. |
Other important battle tales such as the Cath Tailten (Battle of Tailten) or Orgain Tuir Chonaind ("Massacre of Conan's Tower") are lost, though abstracted in the Lebor Gabála Érenn. |
The late romance of Oidheadh Chloinne Tuireann ("The Fate of the Children of Tuireann") tells how Lugh fines the sons of Tuireann for his father Cian's murder, compelling them to collect a series of magical objects and weapons which will be useful in the second battle of Mag Tuired against the Fomorians. An earlier ver... |
In the Oidheadh Chloinne Lir ("The Fate of the Children of Lir"), the eponymous children are turned into swans by their jealous stepmother, and live in swan form into Christian times, when they are converted, transformed back into human form, and die of extreme old age. |
Tochmarc Étaíne ("The Wooing of Étaín") tells first of the conception of Aengus through the adultery of the Dagda and Boann, and how Aengus won the residence of the Brú na Bóinne from Boann's husband Elcmar. It goes on to tell of the various lives of Étaín, wife of Midir, who is turned into a fly and driven away by Mid... |
There is also a curious account regarding Goídel Glas, the legendary ancestor of the migratory races and eponymous creator of the Gaelic language, and how he was cured by Moses's rod from a snake bite, related to in the Lebor Gabála Érenn, although Macalister is dismissive of it as fiction invented by glossators. |
See also |
List of High Kings of Ireland |
Metrical Dindshenchas |
Celtic astrology |
Footnotes |
References |
Dictionaries |
Bergin, Osborn (1927). "How the Dagda Got his Magic Staff". Medieval Studies in Memory of Gertrude Schoepperle Loomis. New York: Columbia University Press. pp. 399–406. Archived from the original on 27 March 2010. Retrieved 10 March 2010. |
Mackillop, James (1998). Dictionary of Celtic Mythology. New York, NY: Oxford University Press. ISBN 0-19-280120-1. |
Critical studies |
Arbois de Jubainville, Marie Henri de (1884). Le cycle mythologique irlandais et la mythologie celtique [The Irish mythological cycle and Celtic mythology]. Paris, FR: Ernest Thorin – via Google Books. |
Arbois de Jubainville, Marie Henri de; Best, Richard Irvine (1903). The Irish mythological cycle and Celtic mythology (google) (translation ed.). Dublin, IE: O'Donoghue. |
O'Curry, Eugene (1878). Lectures on the manuscript materials of ancient Irish history. Dublin: William A. Hinch / Patrick Traynor – via Google Books. |
Primary sources |
Dobbs, Margaret E. (1929). "Altrom Tighi da Meadar" [The Fosterage of the House of Two Goblets] (snippet). Zeitschrift für celtische Philologie. 18: 187–230 – via Google Books. (ed. & tr.) (CLC, English) |
Dobbs, Margaret E. (1932). "The Ban-Shenchus". Revue Celtique. 47: 283–339 – via Google Books., RC 48 (1931), 163–234 (snippet); (index), RC 49 (1932), 407–489 (snippet)(CLC, English) |
Dobbs, Margaret E. (1937). "Tochomlad mac Miledh a hEspain i nErind: no Cath Tailten?" (snippet). Études Celtiques. 2. Paris: Librairie E. Droz: 187–230 – via Google Books. (ed. & tr.) (CLC, English) |
Fraser, J. (1915). "The First Battle of Moytura". Ériu. 8: 1–63. (auth. = tr. & ed.) |
Macalister, Robert Alexander Stewart (1938). Lebor Gabála Érenn [The Book of the Taking of Ireland]. Vol. 1. Dublin: Irish Texts Society – via Internet Archive. |
Macalister, Robert Alexander Stewart (1939). Lebor Gabála Érenn [The Book of the Taking of Ireland] (snippet). Vol. 2. ISBN 1-870166-35-3 – via Google Books. |
Macalister, Robert Alexander Stewart (1940). Lebor Gabála Érenn [The Book of the Taking of Ireland]. Vol. 3 – via Internet Archive. |
Macalister, Robert Alexander Stewart (1941). Lebor Gabála Érenn [The Book of the Taking of Ireland]. Vol. 4 – via Internet Archive. |
Macalister, Robert Alexander Stewart (1956). Lebor Gabála Érenn [The Book of the Taking of Ireland]. Vol. 5 – via Internet Archive. |
Stokes, Whitley (1897). "Cóir Anmann" [The Fitness of Names]. Irische Texte. 3, part 2. Leipzig, DE: Verlag vons S. Hirzel: 285–444 – via Google Books. (auth. = tr. & ed.) |
Hull, Vernam (1933). "De Gabáil in t-Sída" [Concerning the Seizure of the Fairy Mound]. Zeitschrift für celtische Philologie. 19: 53–58. (auth. = tr. & ed.) cf. The Taking of the Síd-mound @ Paddy Brown's site. |
Hull, Vernam (1935). "The Invasion of Nemed". Modern Philology. 33 (2): 119–123. doi:10.1086/388185. S2CID 161087706. available via "Thesaurus Linguae Hibernicae" (published texts). |
Hyde, Douglas (June 1915). "Eachtra Léithín" [The Adventures of Léithín]. The Celtic Review. 10 (38): 116–143. doi:10.2307/30070332. JSTOR 30070332 – via Internet Archive. (auth. = tr. & ed.) |
External links |
Wright, Charles D. "The Irish Mythological Cycle and Pseudo-History". Archived from the original on 17 December 2012. — (Professor @ U. Illinois Urbana-Champaign) |
"Book of Invasions". Timeless Myths. |
"Episodes 1–29: Irish Mythological Cycle stories re-told". Celtic Myth Podshow. |
"Celtic Literature Collective" (in Irish). Archived from the original on 10 September 2009. |
Portrait painting is a genre in painting, where the intent is to represent a specific human subject. The term 'portrait painting' can also describe the actual painted portrait. Portraitists may create their work by commission, for public and private persons, or they may be inspired by admiration or affection for the s... |
Historically, portrait paintings have primarily memorialized the rich and powerful. Over time, however, it became more common for middle-class patrons to commission portraits of their families and colleagues. Today, portrait paintings are still commissioned by governments, corporations, groups, clubs, and individuals. ... |
It may seem obvious today that a painted portrait is intended to achieve a likeness of the sitter that is recognisable to those who have seen them, and ideally is a very good record of their appearance. In fact this concept has been slow to grow, and it took centuries for artists in different traditions to acquire the... |
Technique and practice |
A well-executed portrait is expected to show the inner essence of the subject (from the artist's point of view) or a flattering representation, not just a literal likeness. As Aristotle stated, "The aim of Art is to present not the outward appearance of things, but their inner significance; for this, not the external ... |
In most cases, this results in a serious, closed lip stare, with anything beyond a slight smile being rather rare historically. Or as Charles Dickens put it, "there are only two styles of portrait painting: the serious and the smirk." Even given these limitations, a full range of subtle emotions is possible from quiet... |
Portrait painting can depict the subject "full-length" (the whole body), "half-length" (from head to waist or hips), "head and shoulders" (bust), or just the head. The subject's head may turn from "full face" (front view) to profile view (side view); a "three-quarter view" ("two-thirds view") is somewhere in between, r... |
Among the other possible variables, the subject can be clothed or nude; indoors or out; standing, seated, reclining; even horse-mounted. Portrait paintings can be of individuals, couples, parents and children, families, or collegial groups. They can be created in various media including oils, watercolor, pen and ink, ... |
Sometimes, the overall size of the portrait is an important consideration. Chuck Close's enormous portraits created for museum display differ greatly from most portraits designed to fit in the home or to travel easily with the client. Frequently, an artist takes into account where the final portrait will hang and the ... |
Creating a portrait can take considerable time, usually requiring several sittings. Cézanne, on one extreme, insisted on over 100 sittings from his subject. Goya on the other hand, preferred one long day's sitting. The average is about four. Portraitists sometimes present their sitters with a portfolio of drawings or ... |
Managing the sitter's expectations and mood is a serious concern for the portrait artist. As to the faithfulness of the portrait to the sitter's appearance, portraitists are generally consistent in their approach. Clients who sought out Sir Joshua Reynolds knew that they would receive a flattering result, while sitte... |
After putting the sitter at ease and encouraging a natural pose, the artist studies his subject, looking for the one facial expression, out of many possibilities, that satisfies his concept of the sitter's essence. The posture of the subject is also carefully considered to reveal the emotional and physical state of the... |
Central to the successful execution of the portrait is a mastery of human anatomy. Human faces are asymmetrical and skillful portrait artists reproduce this with subtle left-right differences. Artists need to be knowledgeable about the underlying bone and tissue structure to make a convincing portrait. |
For complex compositions, the artist may first do a complete pencil, ink, charcoal, or oil sketch which is particularly useful if the sitter's available time is limited. Otherwise, the general form then a rough likeness is sketched out on the canvas in pencil, charcoal, or thin oil. In many cases, the face is complete... |
Self-portraits are usually produced with the help of a mirror, and the finished result is a mirror-image portrait, a reversal of what occurs in a normal portrait when sitter and artist are opposite each other. In a self-portrait, a righted handed artist would appear to be holding a brush in the left hand, unless the ar... |
Occasionally, the client or the client's family is unhappy with the resulting portrait and the artist is obliged to re-touch it or do it over or withdraw from the commission without being paid, suffering the humiliation of failure. Jacques-Louis David celebrated Portrait of Madame Récamier, wildly popular in exhibition... |
A successful portrait, however, can gain the lifelong gratitude of a client. Count Balthazar was so pleased with the portrait Raphael had created of his wife that he told the artist, "Your image…alone can lighten my cares. That image is my delight; I direct my smiles to it, it is my joy." |
History |
Ancient world |
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