Effects of Media on Communication Essay Example | Topics and Well Written Essays - 500 words

Impacts of Media on Communication - Essay Example For instance, Americans can discover virtual companions online from different nations who in the end become their genuine companions. As correspondence with the virtual companions become increasingly visit, correspondence with genuine loved ones take a contrary heading. This is genuine in interpersonal interaction destinations as well as with the impacts of other media too, for example, the TV. While one relative invests his energy in the PC, another is before the TV while still another is talking on the telephone. This makes families be there yet not ‘really being there’ for one another. It could likewise be like a family who may all be before the TV whose correspondences become dangerous too in light of the fact that every one is focusing on what is being appeared on TV. Individuals could talk with one another yet their correspondence isn't too included contrasted with when they don't have anything else to do however convey. This is on the grounds that their considerat ion is isolated. All in all, media influences correspondence from multiple points of view, emphatically and contrarily. Notwithstanding, individuals should remember that the things we use to improve our correspondence don't just improve or obliterate correspondence all alone however it will take individuals to do those. Hence, it is the choice of an individual if media will crush his correspondence or improve it. All things considered, everything that is acceptable consistently have something awful it brings along however it will consistently rely upon the individuals how they will let these things influence them.

Love Song of J. Alfred Prufrock Essay: Time -- Love Song J. Alfred Pr

Time and The Love Song of J. Alfred Prufrockâ â  Pericles once said Be administered by time, the most shrewd advisor of all. This leader of the past probably won't have had the innovation of today, yet he didn't require it to perceive time’s overbearing nature over all humankind. Regardless of what advances man makes, he will always be unable to hinder time nor stop it totally; nor it shows up will he have the option to jump into the past or what's to come. Time is one thing that man can't control, rather it controls man. No sonnet preferable shows this point over T.S. Eliot’s The Love Song of J. Alfred Prufrock. Prufrock is caught by the problem of time in that regardless of what he does, he generally relapses to his beginning stage. His life has been diminished to a diurnal pattern of tedious tasks that appear to be directed by time. Prufrock’s choices and amendments are dull and tedious; one might say, he has no through and through freedom. His absence of discretion can be obviously found in his roundabout journey all through the sonnet: he starts his excursion by complying with time, makes a small endeavor to disturb the constancy of regular daily existence, and gets himself again pitifully limited by time to his ongoing propensities. In this sonnet, time takes on a particular significance. Instead of essentially being an outer item that needs power over man, Eliot raises the importance of this outside article to another level. The time gave to the speaker can be compared with his activities. Ordinary he is given a specific measure of time, and for quite a while he is set up to let out the butt-parts of the bargains 2461) toward the finish of the his insipid day. The dissatisfaction Prufrock develops is brought about by the tedious reiteration of his activities. Moreover, he feels as if he can not esc... ...gle day by day: we can not control time. Regardless of how much innovation humankind acquires, it is improbable that we will ever show up at a point in history where time doesn't restrain us somehow or another. The significance of this reality lies in its acknowledgment by man. When we can understand our control by time, we will have the option to live in concordance with it, utilizing the entirety of this valuable amount which we are conceded.  Works Cited Eliot, T.S.. The Love Song of J. Alfred Prufrock. The Norton Anthology of English Literature. Ed. M.H. Abrams. New York: Norton, 1996. 2459-2463. Pinion, F. B. A T.S. Eliot Companion. Totowa: Barnes and Noble Books, 1986. Sharma, Jitendra Kumar. Time and T.S. Eliot: His Poetry, Plays, and Philosophy. New York: Apt Books, INC. 1985. Spurr, David. Clashes in Consciousness: T.S. Eliot’s Poetry and Criticism. Urbana: U of Illinois P. 1984. Love Song of J. Alfred Prufrock Essay: Time - Love Song J. Alfred Pr Time and The Love Song of J. Alfred Prufrockâ â  Pericles once said Be controlled by time, the savvies guide of all. This leader of the past probably won't have had the innovation of today, yet he didn't require it to perceive time’s overbearing nature over all humanity. Regardless of what advances man makes, he will always be unable to hinder time nor stop it totally; nor it shows up will he have the option to jump into the past or what's to come. Time is one thing that man can't control, rather it controls man. No sonnet preferable shows this point over T.S. Eliot’s The Love Song of J. Alfred Prufrock. Prufrock is caught by the problem of time in that regardless of what he does, he generally relapses to his beginning stage. His life has been decreased to a diurnal pattern of repetitive tasks that appear to be directed by time. Prufrock’s choices and updates are dull and dreary; it could be said, he has no through and through freedom. His absence of restraint can be plainly found in his roundabout journey all through the sonnet: he starts his excursion by fitting in with time, makes a small endeavor to disturb the perpetual quality of regular day to day existence, and gets himself again miserably limited by time to his ongoing propensities. In this sonnet, time takes on a particular significance. As opposed to just being an outer article that needs command over man, Eliot raises the significance of this outside item to another level. The time gave to the speaker can be likened with his activities. Ordinary he is given a specific measure of time, and for a long time he is set up to let out the butt-parts of the bargains 2461) toward the finish of the his flat day. The disappointment Prufrock develops is brought about by the tedious reiteration of his activities. Moreover, he feels as if he can not esc... ...gle every day: we can not control time. Regardless of how much innovation humankind gets, it is improbable that we will ever show up at a point in history where time doesn't restrict us somehow or another. The significance of this reality lies in its acknowledgment by man. When we can fathom our mastery by time, we will have the option to live in congruity with it, utilizing the entirety of this valuable amount which we are conceded.  Works Cited Eliot, T.S.. The Love Song of J. Alfred Prufrock. The Norton Anthology of English Literature. Ed. M.H. Abrams. New York: Norton, 1996. 2459-2463. Pinion, F. B. A T.S. Eliot Companion. Totowa: Barnes and Noble Books, 1986. Sharma, Jitendra Kumar. Time and T.S. Eliot: His Poetry, Plays, and Philosophy. New York: Apt Books, INC. 1985. Spurr, David. Clashes in Consciousness: T.S. Eliot’s Poetry and Criticism. Urbana: U of Illinois P. 1984.

Career Coaches another perk for our Seeples COLUMBIA UNIVERSITY - SIPA Admissions Blog

Career Coaches another perk for our Seeples COLUMBIA UNIVERSITY - SIPA Admissions Blog If you did any research before applying to graduate school, youre probably aware that SIPA has its own career office dedicated to SIPA students.  That means that SIPAs Office of Career Services (OCS) has only one job: to help current SIPA students  enhance their networking skills and job/internship hunt. For me, the key takeaway is that OCS is just here to assist SIPA students. Not Law School students, not Teachers College students, and not Columbia College (undergraduate) students. And thats a big deal. You may recall yesterday years from undergrad when you were fighting for face time with your Office of Career Services. (I know I did!) You had to schedule appointments weeks in advance and they were impossible to reach via phone. Thats not an issue at SIPA. OCS is just here for its Seeples and we wouldnt have it any other way. The offer a variety of services to help current students and alumni find their career paths, such as networking events, on-campus recruitment sessions, career advising, and internship grants. One service that I believe is often overlooked, is SIPA Career Coaching (SIPACC) by experts in the field.  SIPACCs are full-time professionals who volunteer throughout the year to offer industry-specific knowledge to current students who just dont know which direction to go.  Sessions run 30 minutes and current students can sign up for them in SIPAlink, our job and internship database. Typically, you can expect to pay $100 or more for a one-on-one career coaching session, but the wonderful volunteers with SIPACC offer this service for free! In the sessions  theyll: Dispense industry-specific job advice in their field(s). Share their knowledge about various career opportunities related to the advisee’s SIPA concentration or specialization. Establish steps that should be undertaken by the advisee in order to advance in a particular industry. Offer other career advice at their discretion. On another note: this isnt a one-time thing. SIPA students and alumni can sign up for three coaching sessions per semester! So add this to the win column for why SIPA is the place for you. We hope to see you in the fall.

U.s Propaganda On Vietnam War - 1355 Words

U.S propaganda in Vietnam War In the need of human resources, the U.S government in the 3rd quarter of the 20th century has started mobilizing young men into navy and military troops. This mobilization was preceded with heavy amount of propaganda that used big variety of different motives to recruit as many people as possible and to stop the deserters that tried to flee to the country. The motives used in propaganda ranged from hateful to nationalistic. When thinking of power, most people think of United States whether it be financial power or military power. But when looking into how United States got this power and maintains it, you have to look at the ins and outs of its ploys. One thing that plays a key role in this militaristic power is the use of propaganda. The use of propaganda has helped United States out in many ways and has become a tactic to win wars. For example, during World War 2 the United States used posters and newspapers to get the public riled up about the war. This eventually helped the country out and helped them win the war. The use of media propaganda can help out in many ways such as encouraging soldiers to fight, implant a strong dislike for the nemesis, or just get support from back home. These little things have helped United States win wars in the past when done correctly. But when the technique of propaganda is used wrong, it can be the key factor of losing a war and that is exactly what happened in the Vietnam War. As the government slowlyShow MoreRelatedVietnam Propaganda; Planting a Seed in the Mind of American Soldiers785 Words   |  4 Pages Vietnam in 1954 was a country that had nationalism flowing in their veins after the decades of being under French and for a short time the Japanese rule. All the Vietnamese wanted was to be its own country. The North started fighting back the French and did whatever they could to take back their homeland. The French were beginning to feel this under the numerous attacks the Vietnamese started against them. A number of nations met to determine how the French could peacefully withdraw. The GenevaRead MoreThe Influence of Television on American Society and Politics1709 Words   |  7 Pages For millions of years, messengers (or now days reporters) have told the events of a war to people on the home-front, but in all of that time, never once did it change the war’s result. Not until the introduction of newspapers, televisions and the intern et, has any media had enough of an impact to alter the conclusion of a war. As the industry of newspapers and posters started to boom during the Second World War, reporters and media companies began exaggerating the story or even exacerbating theRead MoreVietnam War Outcome Influenced by the Media1510 Words   |  7 PagesTerm 3 Paper: The Media and Vietnam War The Vietnam War was a war of mass destruction, leaving Vietnam to become bitterly divided and claiming the many lives of Vietnamese civilians as well as American soldiers. Out of all the wars in American history, the Vietnam War was the first war to be broadly televised and covered by the media. It came to be known as the first â€Å"Television War†. Journalists began to pour into Vietnam from all over the nation, to cover the lives of the American Soldiers asRead MoreThe War Of The Vietnam War1686 Words   |  7 PagesThe Vietnam War, or also known as the American War to the Vietnamese people, is a catastrophic battle that has left both nations reeling with the casualties and the irreversible emotional, physical, and mental destruction for civilians and soldiers alike. Spanning over two decades, the war has taken away not only the lives of its soldiers, but also the souls of its survivors. 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The Threats Of Business Information Resources And...

This paper will address some of the threats to business’ information resources and corrective actions on how these businesses can protect themselves in the modern age of technology. While technology has rapidly expanded a corporation’s abilities to deploy digital communication and data sharing, it has also ushered in a wave of cyber criminals and illegal data mining of proprietary information. This paper contains information on the tools that can be used to protect businesses and private users from unwanted attacks from hackers and malicious software. These tools are useful in protecting business’ and users from threats but are not always effective. The human element in protecting data and how to make smart decisions on how and where†¦show more content†¦We have witnessed that the Internet has made users‘ lives easier and has begun to link together varied segregated services (e.g., tele/communications, banking, investing, pharmacy, social interacti on, education, entertainment) and devices (e.g., computers, servers, smart phones, even electronic chips in individual household air conditioning). The integration of such diverse technological applications coupled with the rapid growth of online users make fraudulent activities likely to rise further, if no intervention is proposed and implemented. (Wang Huang, 2011, p. 2) Businesses and private individuals need to confront the issue of cyber-crime head on and implement technology and procedures to aid the deterrence of information technology breaches. Introduction Sub-section 2 Inconvenience, damage to public image, and lost time are only a few of the negative aspects of cyber-crime for the companies and individuals that to have to deal with it, there is often a considerable cost associated with whatever damage is done by these individuals. â€Å"Hackers, computer criminals, and cyber-criminals, both domestic and international, could cost the U.S. economy over $100 billion and 500,000 jobs per year, according to a 2013 report by the Center for Strategic and International Studies (CSIS), a Washington D.C. think tank.† (Bidgoli, 2014, p. 85) These costs can be incurred due to downtime, loss of

To what extent can Lady Macbeth be seen as a female gothic protagonist at the start of the play Free Essays

At first meeting, Lady Macbeth appears to us as a ruthless predator, an emancipated woman driven by an all-consuming passion and displaying perfectly, the antithesis of womanhood. She has, it seems, acquired all the necessary requirements to fill the role of a female gothic protagonist. Whether or not she utilises these factors to the full extent and can really be called the protagonist will be discussed in further detail. We will write a custom essay sample on To what extent can Lady Macbeth be seen as a female gothic protagonist at the start of the play? or any similar topic only for you Order Now Her character is not unveiled until Act I Scene V where, with the use of three speeches, she exposes the workings of her mind and lay it out for the audience. Her second speech displays perfectly the idea of Lady Macbeth as a ruthless predator. She calls on the supernatural to ‘unsex me here, And fill me from the crown to the toe top-full Of direst cruelty!’ She asks them to ‘Stop up the access and passage to remorse’ and to ‘make thick’ her blood. Here she displays a woman incapable of any feelings of love or amity, but it is important to think of her before she makes this request. If it is necessary for her to ask for the remittal of her remorse, then she must have had the ability to feel such feelings beforehand. We are given no background information on this woman and it is therefore difficult to say if she was always like this or whether it was Macbeth’s letter that changed her; this appeal she makes is one of few insights into her p ossible mind-set as Lady Macbeth before the play. Her status as a woman who displays the antithesis of womanhood can hardly be doubted, but Lady Macbeth would not have publicised these feelings. We know this from her relation with Duncan who refers to her as ‘our honoured hostess.’ The King of Scotland would hardly encourage a woman to act the way Lady Macbeth does on the audience’s initial meeting with her. Indeed, Lady Macbeth is a woman changed entirely when in the presence of people of such high status. She appears to be a domesticated woman, one happy to be at home while her husband goes out to war to serve as a loyal citizen. And yet, we know otherwise. In her second speech, she refers to her home as ‘my battlements.’ This presumption of hers, this idea that she should own her home and not her husband would have been a farcical one. The most menacing speeches uttered by Lady Macbeth occur not just when she summons iniquity, but when she does so with a language that refutes and distorts her maternal nature. In her second speech, she speaks to these ‘spirits’ and asks that they ‘come to my woman’s breasts, And take my milk for gall†¦Ã¢â‚¬â„¢ This line turns this universally natural feature of womanhood into something dark and troubling. Adding to this, the suggestion of changing a mother’s milk, what she feeds her children on, to poison, is a disgusting one. Further on in the play, Shakespeare manipulates this perversion of motherhood again when Lady Macbeth conveys a fantasy of infanticide: ‘I would, while it was smiling in my face, Have pluck’d my nipple from his boneless gums, And dash’d the brains out†¦Ã¢â‚¬â„¢ This horrific image is so against the searing love a mother feels for her child, that it is impossible for the reader to accept that Lady Macbeth fully comprehends firstly, what she is saying and secondly, that maternal love despite her previous statement of ‘I know how tender ‘tis to love the babe that milks me†¦Ã¢â‚¬â„¢ However, Shakespeare has allowed the reader room for doubt. While we are certain that Lady Macbeth is a woman depraved of all the typical qualities of a homemaker, we do see a potential insight into the Macbeth’s sexual relations and Lady Macbeth’s ‘duty’ as a wife. Here, it appears she abides but it does become apparent that it is her who leads the way. Our insight into this idea is in her first speech where she talks of ‘pour[ing] my spirits in thine ear; And chastis[ing] with the valour of my tongue.’ The suggestion here that Lady Macbeth can impress things on her husband through the use of sex, would have been a shocking one. So while these sexual insinuations suggest the ‘wife’ side of Lady Macbeth, the knowledge that she can manipulate him as such, is once again the perfect display of the antithesis of womanhood. The gothic impact of Lady Macbeth’s indiscretion has less to do with her demonic entreaties, but rather more so with the reversals of her female nature, which show how willing she is to contemplate and fulfil her ambition for power. While certain aspects of her speech allow the reader to imagine her, for a second, as a woman happy to live and serve as a reclaimed wife, her ability to twist and distort words and ideas disallow the audience to hold these thoughts for long. This amalgamation of supernatural desires and her willingness to abandon her sex create, for the reader, a potent force of evil and the perfect female, gothic protagonist. disparagingly of her husband’s ‘human kindness’ but she summons demonic powers with her invocation: ‘Come, you spirits, / That tend on mortal thoughts, unsex me here, / And fill me from the crown to the toe top-full / Of direst cruelty’ (1.5.38-41). She continues in similar vein: ‘Come to my woman’s breasts, / And take my milk for gall’ (1.5.45-46). Her communing with the forces of darkness is expressed in terms that seek to remove the ‘compunctious visitings’ of her female nature. Later, in one of the play’s most disturbing images, Lady Macbeth expresses a fantasy of infanticide: I have given suck, and know How tender ‘tis to love the babe that milks me. I would, while it was smiling in my face, Have pluck’d my nipple from his boneless gums And dashed the brains out However, when it comes to her manipulation of Macbeth, she adopts the powerful weapon of sexual taunting: Art thou afeard To be the same in thine own act and valour As thou art in desire? When you durst do it, then you were a man. Lady Macbeth’s evil allows her at one and the same time to deny her maternal nature and to control her husband by invoking her sexuality. It is this capacity to distort her female identity to gain her political ends that makes Lady Macbeth at once a potent force for evil and a transgressive figure of the female gothic. How to cite To what extent can Lady Macbeth be seen as a female gothic protagonist at the start of the play?, Papers

Study of Dosso Dossis Jupiter free essay sample

Study of Dosso Dossi’s Jupiter, Mercury and Virtue Dosso Dossi (c. 1486-1542) was a Renaissance painter from the city of Ferrara in Northern Italy. Collaborating with his brother Battista, Dosso created some of the most groundbreaking yet baffling works for the dukes of Ferrara. Dosso’s paintings, however, remained largely unheard of apart from occasional appearances in academic journals, until a series of traveling exhibitions in 1999 brought the artist back in attention. Heavily influenced by High Renaissance masters Leonardo and Michelangelo, as well as by Venetian painters, Dosso adopted a rich yet still subtle colour palette. What set him apart from his peers, on the other hand, were his atmospheric and â€Å"impressionistic† landscape and imaginative treatment of mythological subjects. In 1523, commissioned by Duke Alfonso I d’Este, Dosso painted Jupiter, Mercury, and Virtue, a profound rendition on canvas of extraordinary scale (44 1/8 x 59 inches). The painting is an illustrious demonstration of Dosso’s skills and visions during of his mid-career. We will write a custom essay sample on Study of Dosso Dossis Jupiter or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page To show this, this paper includes a visual analysis of the painting as well as a description of major iconographic aspects in context with the artistic and social developments in High Renaissance Ferrara. In Jupiter, Mercury, and Virtue, from a visual perspective, a trio of figures occupies the surreal stage-like setting; the leftmost is Jupiter, the king of gods in Roman mythology. Sitting with his legs crossed next to his thunderbolt, Jupiter is calmly painting butterflies on a blue canvas, a delicate extension of the hazy sky in the background. With his back turned to his father Jupiter, Mercury is seated in the centre with his winged hat and green drapery blowing fiercely in the gusty winds. He puts his fingers to his lips to shush a pleading female figure in a lavish golden dress and luxurious jewelry, identified as an allegory of Virtue (Creighton 1999, 1). Jupiter, Mercury and Virtue, in comparison to Titian and Giorgione’s paintings and Venetian art in general, not only has the trademark serene and radiating colours, but also a significant chromatic depth and subtle variation. Through mixing and layering pigments and oil, Dosso achieved astonishing levels of detail and texture in both shadow and highlight, which transform accordingly to the unified light source. The light source, meanwhile, is accentuated by an overall chiaroscuro applied to the entire canvas. Following Leonardo’s tendency to use complementary colours to accomplish compositional unity, Dosso stressed the issue by juxtaposing Jupiter’s red drapery with Mercury’s green one. Meanwhile, large portions of gold blend harmoniously with vast areas of blue in the background. Dosso’s realistic depiction of gestures and facial expressions is also reminiscent of Leonardo’s works. This is most evident from Mercury and Virtue’s exchanging gazes and hand gestures, which intensify the drama and emotion in the scene in addition to the already authentic portrayal of human body. In terms of dealing with human body, Dosso’s achievement is akin to that of Michelangelo. Over and above the clinically precise anatomy, the figures embody exceptionally relaxed and elegant postures. To hint interaction among the figures, Dosso placed each of them at an angled position with their shoulders twisted and legs crossed, much like the contrapposto poses found in Michelangelo’s sculptures. Small patches of localized chiaroscuro replicate the idealized yet soft muscles to create a sense of weight and plasticity, particularly on Mercury’s exposed arms and feet. Regardless of numerous signs of influence from works of High Renaissance masters such as Leonardo and Michelangelo, as well as Venetian paintings, Dosso’s Jupiter, Mercury and Virtue demonstrates a great many aspects of originality in its visual presentation alone. At its immense size, the painting seeks to convey a large amount of information with its intricate details, as often seen in Northern paintings. Despite the fact that the trio appears in the same plane, Dosso still managed to imply a vibrant three-dimensional space on canvas: as a perspective grid is difficult to apply without a complex architectural setting, Dosso used extensive chiaroscuro and foreshortening to make the figures more convincing. The effect is particularly striking on Virtue’s shortened right arm, which alludes to the space beyond the principal plane. Above all, the most distinctive feature in Dosso’s painting is its imaginative treatment of mythological subjects. As indicated by a good number of art historians, Virtue, here personified as a goddess, turns out to have been mistreated and abused by Fortune and her companions. Virtue’s friends, who were unable to protect her and thus fled, left her to be â€Å"beaten, stripped bare, and dragged through the mud† (Fiorenza, 152) by Fortune and her fellow bullies. Immediately following Virtue’s mistreatment is the scene depicted on canvas: Virtue comes to Jupiter to inform him of Fortune’s crime, when she is given the trivial excuse that the gods are busy aking sure that the butterflies have beautifully painted wings. Amusingly, this brief background story is practically the only part that the art historians agreed upon. Early interpretations include a complicated love story between Mercury and Virtue, as well as the possible allusion that Jupiter is in fact a portrait of Duke Alfonso I d’Este, the commissioner of the painting. (Fiorenza, 29) Some even suggested t he painting was created to celebrate the artist’s fortieth birthday. Fiorenza, 24) Virtue’s identity has also been questioned frequently, as she had never been portrayed as such in previous paintings. Based on the luxurious clothing and elegant attire, some have even suggested the female is in fact Flora, the goddess of flowers and the season of spring, as depicted in Sandro Botticelli’s Primavera. (Fiorenza, 152-159) Subsequent to the 1999 exhibitions, deeper readings into the painting have emerged. Jupiter, Mercury, and Virtue has become the universal title since the exhibitions and remains the official name at its current location of Wawel Castle in Krakow, Poland. According to Giancarlo Fiorenza, the silencing gesture by Mercury is evocative of his counterpart in Greek mythology, Hermes, the god of eloquence. During the Renaissance, scholars including Boccaccio claimed Mercury as a wind god, which justifies the gusty winds around him that sends his green cloak mid-air. In contrast to the dynamism of Mercury and Virtue, Jupiter, the ruler of the gods, appears to be painting butterflies, a reference to his control over nature, in his own tranquil world. Even the immaculate and ethereal background is meaningful to the narrative. The impressionistic landscape, transforming from a spring rainstorm to a misty summer day from the right to the left, is highlighted by a dazzling rainbow directly above Jupiter’s painting. The landscape not only serves as a backdrop to fill in the void, but also evokes the narrative aspect of the painting, along with the brilliantly positioned figures: the kneeling Virtue, whose ornamental flowers are no longer in blossom, begs Mercury to extend the season of spring. A messenger of Jupiter, Mercury silences her mercilessly. Jupiter’s butterflies, meanwhile, resemble the transition to summer, a common time for butterflies to hatch. Mercury’s contrapposto seating posture, in this scenario, serves as a compositional device, as well as a connection between the sequence of events, by sitting toward summer and turning back at spring, linking the two with astounding elegance. At the time of Dosso’s creation of Jupiter, Mercury, and Virtue, the Duchy of Ferrara had ended its war against the nearby Venice, and the city’s art scene, along with the its economy and magnificence, were booming. The dukes’ interest in art started with Ercole I, who appointed architect Biagio Rossetti to re-plan and design the city in 1484, around the time Dosso was born. The stunning new town of Ferrara introduced the humanist concept of the â€Å"ideal city† and marked the beginning of modern town planning. It remains standing today and has become a UNESCO World Heritage Site in recent years. Ercole, together with his son Alfonso, by financing musicians and painters to work in Ferrara, became some of the most significant patrons of art during Italian Renaissance after the Medicis of Florence. With the father and son’s support, the fine art of painting thrived in and around Ferrara and later became known as the School of Ferrara, whose members include Dosso Dossi. By 1523, the year Dosso began with Jupiter, Mercury, and Virtue, he had already visited Venice and Florence and no doubt had he studied the numerous paintings in the two cities. Stylistically, Dosso’s piece was clearly influenced by Venetian and Florentine art. Even though the slightly exaggerated and elongated torsos suggest hints of Mannerism, which was just developing around Florence at the time, the idea of natural harmony appears to be more predominant in Dosso’s painting. In terms of subject matter, however, Dosso’s choice was a rare one: while most artists focused on religious subjects and portraitures for their patrons, Dosso opted for an allegorical scene from Roman mythology, showing his homage to antiquity.