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61 Cards in this Set
- Front
- Back
The Medici
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-dominant Florentine banking family
-de facto rulers of Florence -leading supporters of humanism -wanted to reconcile Christianity with Platonic philosophy |
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Florence Cathedral
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-to last until 1436
-died before the latern was completed -his design -learned by example -Pantheon -Roman building techniques not utilized -used vertical ribs: 24 -octogonal drum -not perfectly heispherical |
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Hospital of Innocents
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-Brunelleschi
-Florence c. 1419 to shelter orphans and foundlings financed by Giovanni di Becci de Medici divided into bays derived from Greek and Roman temple architecture -based on unified system of cubes and squares |
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Santa Spirito
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-rejection of Gothic architecture
-planned in 1434 -simplicity -proportion -symmetry -plan a basic Latin cross -arches supported by Corinthian columns |
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Meeting of Solomon and Sheba
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Ghiberti’s East Doors
-has political implications -Christian implications East and West -related to efforts to unite eastern and western branches of the church door divided into 2 sets of five old testament scenes -molded in wax -cast in bronze -faced with gold -nicknamed "Gates of Paradise" -one-point perspective -diminishing size of figures -put in self-portrait -lower right corner of Jacob and Esau -c. 1424-1452 |
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Linear Perspective
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-created by Brunelleschi
-based on the observed fact that distant objects seem smaller than closer objects -'window' -edges of roof and walls extended along imaginary lines(orthogonal) -coverage at single point(vanishing point) |
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Flagellation
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-Piero della Francesca
-c. 1460 -Tempera on panel -Docal Palace, Urbino |
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Adoration of Magi
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-Leonardo da Vinci
-rare look at artists working plan -permitted pen: painters to fulfill idea of creating illusion of nature on flat surface |
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Dead Christ
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-Andrea Mantegna
-c. 1500 -tempera on canvas -super-imported orthogonals -vanishing point above the picture plane |
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Antonio Pisano
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-casting bronze medals
-ruler on the obverse(front) -an emblematic image on reverse(back) -leading medalist -painter -widely praised as a humanist -known as Pisanello |
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Tommaso de Ser Govanni do Mone
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Masaccio
-most thoroughly assimilated innovations with Giotto |
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The Holy Trinity
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Masaccio
-c. 1425 -fresco -Santa Maria Novella, Florence -shows perspective -skeleton lies on sarcophagus -inscription laid above -"I was once what you are. And I am to what you will be." -momento mori ("reminder of death") -Father, Son, Holy Spirit -occupy higher space -God on foreshortened ledge -faces observer -out stretched hands -dove representing the Holy Spirit -commissioned by the Lenzi family -base of the figural pyramid -to be buried in front of painting |
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The Brancacci Chapel
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Masaccio
-major commission in Florence -fresco style -Church of santa Maria del Carmine -illustrates life of St. Peter -chiaro: light -scuro: dark -natural use of life and shade |
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Expulsion from Eden
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Masaccio
-2 most powerful painted nudes since antiquity -Eve's pose: Venus -Adam: hunched and covering face -leave gateway of paradise behind them -uses both linear and aerial perspective in Brancacci Chapel frescoes |
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Gentile da Fabrino
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-1370-1427
-first documented in Venice in 1408 -established himself as a leading painter of the International Gothic style in Northern Italy |
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Adoration of the Magi
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-Gentile da Fabrino
-c. 1423 -tempera on wood panel |
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St. Mark
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-Donatello
-c. 1411-1415 -marble -illustrates the revolutionary method of rendering organic form and drapery -reminiscent of the Spear Bearer by Polykleitos |
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The Bronze David
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-Donatello
-c. 1430-1440 -bronze -commissioned by the Medici family -1st largest naturalistic nude sculpture known since antiquity -pose influenced by Classical statues -complacent facial expression -enigmatic character -complex meaning -polished bronze adds elegance |
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Leon Battista Alberti
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-1404-1472
-wrote treatise On Painting -1440s forward worked on architecture -influential treatise De re Aedificatioin (On Architecture) -based on Roman architectural treatise of Vitruvius |
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The Ruccellai palace
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-Leon Battista Alberti
-c. 1446-1450 -belonged to Giovanni Ruccellai (wealthy merchant) -facade symmetrical and composed -illustrates Alberti's interest in harmonious surface design -Iconic on 2nd -Corinthian on 3rd |
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The Tempio Malatesta
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-Alberti's most intriguing commission
-his 1st church -Sigismondo Malatesta -humanist ruler of Rimini -hired Alberti to advise on reconstruction of the Church of San Francesco -wanted church converted to a pagan temple -condemned to hell by Pope Pius II -1462 -perversion, rape, murder, and heresy -financial setback -Tempio's completion prevented |
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Sant' Andrea in Mantua
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-Alberti
-1470-1493 - commissioned by Lodovico Gonzaga -Marquis of Mantua -achieves the solution left unfinished by the Tempio -completed 21 years after his death -Classical temple portico -Roman triumphal arch -barrel-vaulted space -reminiscent of ancient Roman basillicas and baths -main concern= symmetry |
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Youthful David
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-Andrea del Castagno
-c. 1450 -tempera on leather mounted on wood (shield) -carried in civic processions -statuesque style -depicted in vigorous movement |
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David
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-Andrea del Verrocchio
-early 1470s -bronze -commissioned by Lorenzo de Medici -known as Il Magnifico -sinewy angular adolescent -expresses different facet of adolescent arrogance -Goliath's head at feet -gazes out into space -slightly gawky, outgoing, energetic boy |
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Famous Men and Women
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-Andrea del Catagno
-c. 1450 -Villa Carducci @ Legnaia -frescoes transferred to plaster -consists of nine figures -3 Florentine soldiers -3 Poets -Dante Petrach Boccacio -3 women -Queen Esther ( Old Testament) Tomyris the Tartar queen the Cumaen Sibyl -humanist character -reflect humanist interest in freedom and primacy of intellect -soldiers: heroic fighters -Esther and Tomyris: defended the liberty of their people -Sibyl: wisdom -Dante: wrote the Divine Comedy |
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John Hawkwood
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-Paolo Uccelo
-c. 1436 -fresco transferred to canvas |
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Niccolo do Tolentino
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Andrea de Castagno
-Florence Cathedral -c. 1455-1456 |
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Gattamelata
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Donatello
-c. 1445-145 -bronze -in Padua -compare to Marcus Aurelius |
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Collene
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Verrachio
-c. 1481-1496 -bronze -reveals aggressive character - impression of a formidable warrior -frown lines -powerful torso |
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Battista Sfoza and Fredrico da Montefeltro
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-Piero della Francesca
-post 1475 -oil and tempera on anel -iconography inspired by ancient Rome -particularly by profile busts on ancient coins |
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Piero della Francesca
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-interested in mathematical and geometric possibilities of painting
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Annunciation
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Piero della Francesca
-c. 1450 -fresco -several allusions to miraculous impregnation |
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Annunciation
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Fra Angelico
-c. 144 -fresco -thin and delicate figures -vanishing point/orthogonals -utilizes light to convey a sense of spirituality |
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Madonna and Child withe scenes from the Life of St. Anne
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Filippo Lipi
-c. 1450 -shows his taste for Masacciesque blonde figure types and weighty forms -Jesus eats a pomegranite =>allusion to the Ressurection -monumental forms -delicate, curvilinear draperies -transparent halos that filter light through gold and rich textures -this appealed to Medici |
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Church of San Francesco
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Piero della Francesca
-Bacci of Arezzo commissions Piero -complete fresco cycle in family chapel -Legend of the True Cross -depicted in 10 scenes symetrically arranged -both formal and iconographic |
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Andrea Mantegna's Illusionism
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Andrea Mantegna(1430-1506)
-worked for Lodovico Gonaga -decorated audience chamber of the Ducal Palace -new perspective -create illusionistic enviorment -2 walls frescoes of the Gonzaga family -fictive oculos -most dramatic use of illusionism |
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Mantegna and the Studiolo of Isabella d'Este
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-worked for Isabella d'Este for last decade of his life
Isabella -commissioned 7 large paintings and 2 small ones |
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Parnassus
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Mantegna
-c. 1497 -tempera on canvas -Mars and Venus -calm, triumph of love(triumph implied in arch) -makes fun of Vulcan -agitated, frantic gesture |
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Mars and Venus
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Sandro Botticelli
-c. 1475 -tempera on panel -Venus: sits upright, awake and clothed -Mars: nearly nude, reclines in sleep -dangers of men who fall in love with women -butt of satyrs' joke |
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Birth of Venus
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Sandro Botticelli
-c. 1480 -tempera on canvas -made for member of the Medici family -derived from Medici's Venus -conveys the impression that she is just waking -Venus on scallopshell -Zephyr gently blows Venus to shore -blue drapery -suggests cool breeze -embraced by a female wind -female ashore -personification of spring -rushes to cover Venus in a pink floral cloak |
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Mary Magdelene
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-Donatello
-c. 1455 -painted wood -devoid of classical illusions -despair -hollowed cheeks -sunken eyes -use of long hair as clothes -sign of penance |
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Mystical Nativity
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-Sandro Botticelli
-c. 1500 or 1501 -oil on canvas -has agitated quality -proportions longer and thinner -increase in formal movement -radical shift in style and iconography |
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Robert Campin
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-Master of Flemalle
-tempera and oil on wood -center panel of the annuciation -left panel: 2 donors kneel near the open door -right panel: Joseph makes mousetraps -each panel has a different view point -takes place in a bougeois home -secular objects endowed with Christian meanings |
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Jan van Eyck
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1390-1441
-combines Netherlandish interest in natural detail and tacticle sensibility with Christian symbolism |
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The Ghent Alterpiece
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Jan van Eyck
Alterpiece of the Lamb by All Saints -completed 1432 -oil on panel -polyotych: many paneled paintings -24 panels: 12 inside, 12 outside -refined medieval technique of oil painting -glow of light and color took a symbolic meaning -fons vitae -washing away sins -upper register contains: -God the Father -Christ of the last Judgement -Deecis -the Virgin -John the Baptist |
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Man in a Red Turban
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Jan van Eyck
-c. 1433 -tempera and oil on wood -widely believed to represent -turban fashionable contemporary headdress -shows artist delight in angular folds -features meticulously defined |
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Arnolfini Portraits
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Jan van Eyck
-c. 1434 -oil on wood -about basic elements of painting -several referances to pregnancy -drapery of dress -fruit = natural abundance -St. Margaret: patron of women in childbirth -dog = fidelity//erotic associations -bridal candle |
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Van der Wegden
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1399-1463
-official painter of Brussels -trained in the Tourani workshop of Robert Campain |
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Descent from the Cross
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Van der Wegden
-c. 1434-1438 -oil on wood -illustrates theme imbued with emotional content -10 harshly illuminated figures -Virgin -Mary Magdalen -Joseph of Arimethea -St. John |
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St. Luke depicting the Virgin
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Van der Wegden
-c. 1435-1440 -oil and tempera on panel |
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Tommaso Portinari
Maria Baroncelli |
Hans Memling
-c. 1470 -oil on wood -commissioned on occasion of their wedding -3/4 view against dark background -emphasises surface texture |
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The Portinari Altarpiece
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HUgo van der Goes
-c. 1470s -oil on wood -central panel represents Mary, Joseph, shepards, and angels adoring the newborn Jesus -deep, rich colors |
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Adoration of the Shepherds
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Domencio Ghirlandio
-c. 1485 -panel -clearly related to the Adoration done by Hugo van der Goes -shepards do not show signs of agitation like Hugo's -relaxed -natrualistic -goldfinch=symbol of Jesus' eartly mission to die on the cross |
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The High Renaissance in Italy
Architecture |
-The Ideal of the Circle and Centrally Planned Churches
important architechtual idea that preoccuied many artist and writers -the centrally planned church building -based on notion that the ideal shape was a circle -Plato considered circle the perfect geometric form -belief in the divine property of the circle was reflected in churches an mosque -domed ceilings represented heaven -based on the Greek cross are centralized 15th centaury circular ideal was in an aspect of the humanist synthesis. -related to new interest in the direct observation of nature |
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Leonardo Da Vinci
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followed Alberti’s principles when devising his own projects for churches
Vitruvius Man |
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Entombment
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Pontorma
1525-1528 oil on panel -Church of Santa Felicita in Florence gray areas denote pallor of death Michelangelo’s influence seen in carved appearance of drapery ambiguous space fleshy forms pink-and-blue palette Mary and jesus removed from the frenzy -sky darkened |
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Self-portrait in a Convex Mirror
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Parmigianino
-c. 1524 -oil on wood |
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Madonna and Child with Angels
aka: Madonna with a Long Neck |
Parmigianino
-1535 -oil on panel other figures have short upper bodies Madonna: spatial twist of the the torso and legs -cool metallic colors -back old testament prophet in distance visual juxtiposition of Mary’s neck to the column behind her figura serpentinata: mannerist |
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Venus, Cupid, Folly, and Time
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Agnolo Bronzino
- c. 1545 oil on wood allegory erotic overtones and enigmatic imagery playful image attention paid to details as well as coloration consistent with Bronzino’s courtly style commissioned by Cosimo I de’ Medici -gift for Francis I of France Venus and Cupid on foreground bathed in white light skin has porcelain texture three on the foreground twist in a Mannerist serpintinata pose only putto’s pose consistent with his actions |
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Elenora of Toledo and Her Son Don Giovanni
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Agnolo Bronzino
-figures highly attired -carefully ordered velvet and brocade along with her curved tiara and double strand of pearls -elitist pose -sophistication of the court -aloof |
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saltcellar of Francis I
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Cellini
c. 1543 gold and enamel illustrates the iconographic complexity and taste for mythological subject matter two nude figures represent Jupiter and the Earth goddess |