Clare Gibson

Clare Gibson

mrssymbols.blogspot.com
London, UK / Symbols enthusiast, writer and editor. Author of books on symbols, and on other subjects. http://twitter.com/MrsSymbols, http://on.fb.me/MrsSymbols and http://w
Clare Gibson
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The Heneage Jewel, c.1595, painted by Nicholas Hilliard, incorporates a Tudor rose, symbol of the Tudor dynasty. (Victoria & Albert Museum)

The Heneage Jewel, c.1595, painted by Nicholas Hilliard, incorporates a Tudor rose, symbol of the Tudor dynasty. (Victoria & Albert Museum)

The Heneage Jewel, c.1595, incorporates 'a boat sailing peacefully on stormy seas which is intended to represent the Church of England, steered by Elizabeth [I], weathering religious turmoil'. (Victoria & Albert Museum)

The Heneage Jewel, c.1595, incorporates 'a boat sailing peacefully on stormy seas which is intended to represent the Church of England, steered by Elizabeth [I], weathering religious turmoil'. (Victoria & Albert Museum)

The Heneage Jewel, c.1595, painted by Nicholas Hilliard, incorporates a Tudor rose, symbol of the Tudor dynasty. (Victoria & Albert Museum)

The Heneage Jewel, c.1595, painted by Nicholas Hilliard, incorporates a Tudor rose, symbol of the Tudor dynasty. (Victoria & Albert Museum)

Justitia, 1544, Battista Dossi; The personification of Justice is depicted with fasces (symbolising ancient Roman magistrates' legal authority and power) and the scales of justice, which weigh up the pros and cons of a case; the spilled silver and gold indicate indifference to bribes or financial considerations. (Staatliche Kunstsammlungen Dresden)

Justitia, 1544, Battista Dossi; The personification of Justice is depicted with fasces (symbolising ancient Roman magistrates' legal authority and power) and the scales of justice, which weigh up the pros and cons of a case; the spilled silver and gold indicate indifference to bribes or financial considerations. (Staatliche Kunstsammlungen Dresden)

Portrait of a Man, c.1510–20, Quentin Massys; the man holds a rosebud, symbol of love, as well as the transient of beauty and life; later addition include the cross and halo, symbols of Christianity and sanctity. (National Galleries Scotland)

Portrait of a Man, c.1510–20, Quentin Massys; the man holds a rosebud, symbol of love, as well as the transient of beauty and life; later addition include the cross and halo, symbols of Christianity and sanctity. (National Galleries Scotland)

Portrait of a Man, c.1510–20, Quentin Massys; the man holds a rosebud, symbol of love, as well as the transient of beauty and life; later addition include the cross and halo, symbols of Christianity and sanctity. (National Galleries Scotland)

Portrait of a Man, c.1510–20, Quentin Massys; the man holds a rosebud, symbol of love, as well as the transient of beauty and life; later addition include the cross and halo, symbols of Christianity and sanctity. (National Galleries Scotland)

Portrait of a Man, c.1510–20, Quentin Massys; the man holds a rosebud, symbol of love, as well as the transient of beauty and life; later addition include the cross and halo, symbols of Christianity and sanctity. (National Galleries Scotland)

Portrait of a Man, c.1510–20, Quentin Massys; the man holds a rosebud, symbol of love, as well as the transient of beauty and life; later addition include the cross and halo, symbols of Christianity and sanctity. (National Galleries Scotland)

The Good Harvest of 1854, 1854, Charles Allston Collins; its symbolic elements include the wheat sheaf that the girl is holding, which symbolises bread, an additional significant detail perhaps being the ivy on the wall, which may allude to wine, so that together, wheat and ivy may symbolise the bread and wine of the Christian Eucharist. (Victoria & Albert Museum)

Pre Raphaelite Art: The Good Harvest of 1854 - Charles Allston Collins

La Catrina, symbol of Mexico's de Día Los Muertos, created by José Guadelupe Posada in the early 1900s.

La Catrina, symbol of Mexico's de Día Los Muertos, created by José Guadelupe Posada in the early 1900s.

A fourth-century Byzantine gold ring, enclosing a blue nicolo intaglio engraved with the figure of Nike, the ancient Greek goddess of victory. She is identifiable as such by the victory wreath that she is holding (one of her symbolic attributes), and by her wings. (Walters Art Museum)

ancientpeoples: “ Ring with an intaglio of Nike (Victory) held up by leopards. This ring was most likely a reward given by an emperor to a successful military leader.