They were symbols of the highest ranking.<span>Certain colored feathers were attributed more value than others. Since red was associated with gods and chiefs, red feathers were reserved for religious objects and garments worn by high-ranking members of society. In Hawaii, where the red-feathered </span>i’iwi<span> and </span>apapane<span> birds are small but plentiful, feathered capes made for the elite actually came to be known as </span>‘ahu ‘ula<span>, meaning “red garment.” The name did not change even after Hawaiian artists began including yellow feathers alongside the red. Rarer than red feathers in Hawaii, the golden feathers of the </span>‘o’o<span> and </span>mamo<span>were highly prized.</span>
David stands out amongst other depictions because of the simple fact that it is... well.. David. Normally, David was depicted after his fight with Goliath, triumphant of defeating such an opponent, yet Michelangelo decided to show David’s triumph BEFORE fighting Goliath. This was because Michelangelo found that real triumph comes from accepting a challenge against all odds. Michelangelo’s “David” also represents Michelangelo’s home of Florence standing up against superpowers at the time, while being much smaller.
Answer:
Both the viola da gamba and the violone are the ancestors of the double bass. It is generally believed that the double bass is an instrument with roots in the gamba and viol families. Today, you find a variety of double bass models that are descendants of these two significant ancestries.
Explanation:
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The drawing surface would be delineated using gridded guidelines, snapped onto the wall using string coated in red pigment dust (very much like chalk lines used by modern carpenters). This grid helped the artists properly proportion the figures and lay out the scenes. Scene elements were drafted out using red paint, corrections noted in black paint, and then the painting was executed one color at a time. Even on carved relief, many elements in a scene would be executed only in paint and not cut into the surface. The drawing surface would be delineated using gridded guidelines, snapped onto the wall using string coated in red pigment dust (very much like chalk lines used by modern carpenters). This grid helped the artists properly proportion the figures and lay out the scenes. Scene elements were drafted out using red paint, corrections noted in black paint, and then the painting was executed one color at a time. Even on carved relief, many elements in a scene would be executed only in paint and not cut into the surface.
