The Bhagavad Gita Essay - 861 Words

The Bhagavad Gita as translated by Juan Mascaro is a poem based on ancient Sanskrit literature contained in eighteen chapters. The period of time, around which it was written, although it is merely an educated guess, was approximately 500 BCE. â€Å"†¦there are a few archaic words and expressions, some of the greatest scholars have considered it pre-Buddhistic, i.e. about 500 BC,† (Bhagavad Gita, xxiv). This quote is found in the introduction to the book and further explains that the exact time it was written is undeterminable. Although the words and dialogue are very different than that of the English language to which most are accustomed to, the spiritual messages throughout the entire book are very clear and meaningful. There are two main†¦show more content†¦The contents of the eighteen chapters are very basically the acquisition of the correct knowledge to achieve such a conclusion. The piece of spiritual knowledge that carries the most weight throughout the Bhagavad Gita is the responsibility of the individual. Before one can accept the responsibility of one’s self, one must differentiate between the temporary material body and the eternal spirit soul. Everyone must engage in some sort of activity in this material world, however one’s own actions can do one of two things. They may bind you to this material world, or liberate one from it. By living life selflessly and placing full faith and trust in the Supreme Truth, one will be lead to that higher path. The idea of self-responsibility is not merely being accountable for your faults, but living according to the wants and needs of a higher power. Simply, the responsibility of the individual is to submit fully to the Supreme truth, and live one’s life righteously in the quest for that truth. In trying to explain this Supreme Truth as well as other aspects of life, Krishna appeals to Arjuna in several arguments. Just when Arjuna believes he is headed for the great battle, he falls to his knees in despair, â€Å"Fall not into degrading weakness, for this becomes a man who is not a man. Throw off this ignoble discouragement, and arise like a fire that burns all before it† (Bhagavad Gita, 2). Arjuna is a classicShow MoreRelatedThe Symposium And The Bhagavad Gita Essay1725 Words   |  7 PagesPaper Assignment 2 Prompt 1 When it comes to the subject of love and desire, it would seem that The Symposium and The Bhagavad Gita disagree as to whether those qualities are beneficial to achieving spirituality or detrimental. In the Symposium, Plato states that desire is part of the pathway to achieving spirituality. By contrast, the unnamed author of the Bhagavad Gita seems to state that desire is an obstacle in the pathway to achieving divinity. Their perspectives can seen through their textsRead MoreAnalysis Of The Bhagavad Gita 1389 Words   |  6 PagesTHE BHAGAVAD GITA -AN ANALYSIS OF APPROACHING THE ULTIMATE TRUTH AND JHANA YOGA- Abstract In the Bhagavad Gita, the fourth discourse which is composed of forty-two verses, Lord Krishna, the narrator guides Arjuna- a warrior who is finding himself pondering about the simple principles of life while he is fighting the war. In the fourth discourse Arjuna learns from Lord Krishna about faith, wisdom sacrifice, ignorance, doubts of the soul, action and inaction, selfless service, and self-realizationRead MoreThe Texts Of The Bhagavad Gita843 Words   |  4 PagesThe Bhagavad Gita, also know as the divine song, is a small fraction of a very long epic poem called the Mahabharata (Molloy, 2013, p. 86). There are many lessons that the Bhagavad Gita holds, but there are a few that are more important than others: the three modes of material nature, and the path to attain freedom and attain the supreme goal. The three modes of material nature are goodness, passion, and ignorance; these modes control what happens to your soul once you have passed away. The onlyRead MoreBhagavad Gita Essay656 Words   |  3 PagesBhagavad Gita The story of the book begins with Arjuna misunderstanding why it is correct for him to take action in battle. As Prince Arjuna stands in his chariot on the battlefield he recognize his enemies as, his cousins, teachers and friends. Arjuna, who was born a warrior, overcomes with pity and looses interest in battling with the enemy. He looks to Lord Krishna, and questions him how he could battle with men who deserves his own worship. Krishna replies You grieveRead MoreThe Bhagavad Gita On The Song Of God1675 Words   |  7 Pageshappens to be called the Bhagavad Gita or as it translates to English â€Å"The Song of God†. The Bhagavad Gita provides its readers with principles to follow and explanations of what the standards for good Hindus are. The Bhagavad Gita is an exemplary text that gives examples as to what we should do a righteous people and it also shows life lessons that can sometimes shape our thinking to make better decisions. All the teachings and lessons that are presented in the Bhagavad Gita are shown as the main character’sRead MoreComparing The Bhagavad Gita And The Upanishads1805 Words   |  8 Pagesthan temporary satisfaction from the worldly pleasures. In order to transmit the idea to other people and guide them through it, they came up with different writings to illustrate this. The Bhagavad Gita and the Upanishads are popular writings that exemplify the beliefs and thoughts o f Hinduism. The Bhagavad Gita addresses the question about how a person can be one with Brahman, the universal soul or god, while living in this world. This document is set as a dialogue between the warrior Arjuna andRead Morebhagavad gita vs. Socrates Essay1695 Words   |  7 Pagesï » ¿ The Dialogues of Self Self: Oh wise Socrates what an honor it is to meet you. I hope you have the time to converse with me. I have read the Bhagavad-Gita and the Dialogues of Plato concerning your trial and death, and have several questions concerning your belief in the immortality of the soul. Socrates: Of course my friend. That is the reason I am here. Self: Excellent. You speak of it being a noble risk to believe in the immortality of the soul. That on a basic level I understandRead MoreBhagavad Gita By Stephen Mitchell956 Words   |  4 Pages Bhagavad Gita The author Stephen Mitchell reflects on a scripture titled â€Å"Bhagavad Gita†. This scripture is a new translation based on ancient Hinduism. Throughout the scripture, it explains the teachings that can be used in an everyday life situation. Its diverse audience can learn how to face different dilemmas, and how to live in this world with happiness and peace by doings ones’ duties. It also helps the audience understand the true purpose of life. For those who go through the encountersRead MoreResearch Paper : Hinduism ( Bhagavad Gita )1075 Words   |  5 PagesRikin Patel Brian Donohue World Civilization 111 29 October 2014 Research Paper – Hinduism (Bhagavad Gita) Arjuna faces the tough decision of facing his own blood in war as he has to fight against his relatives. As a result we get the distinction of duty and consequences, or deontology and consequentialism. Deontology is the idea that believes that actions are right or wrong in themselves, regardless of their consequence. On the other hand, consequentialism is defined as the position that an actionRead MoreIndividuality And Morality In The Bhagavad Gita And The Bible1614 Words   |  7 Pagesvirtues robs humans of their ability to forge their own destiny instead of letting a deity hold all the cards. Even though there are harsh punishments for defying the Gods within the Bhagavad Gita and The Hebrew Bible, humans maintain their individuality and morality by defying these Gods. Within The Bhagavad Gita and The Hebrew Bible Krishna and the Abrahamic God both use the humans they have chosen as prophets to spread their message of submission and casting away their individual self to further

review the article What is strategy by Michael .E. Porter

Michael Eugene Porter is a Professor at The Institute for Strategy and Competitiveness, based at the Harvard Business School. He is generally recognized as the father of the modern strategy field. One of his great writing is â€Å"What is strategy?† published in 1996. The beginning of the article raises a mistake of Operational Effectiveness for Strategy that many companies had suffered for almost two decades. In the article, Operational Effectiveness means performing similar activities better than rivals perform them. To achieve this objective, companies based on its strength using their best available technologies, skill, management, human resource, eliminated wasted effort, motivated employees†¦ As the result of this, they could offer†¦show more content†¦A university lab room is just used for teaching or checking models in simple cases. It can not be used to do business in complex case like the lab room in industry. Finally; it comes from limit on internal coordination and control. Continental lost a lot of money when imitating Southwest to add a new service for point-to-point flight. However, in practice, trade-off is not easy. It’s not sure to choose what to remain and what to give up. In psychology, managers always want to make their company grow. When seeing the competitors who are successful and get a lot of profit, it’s hard to ignore without jump into that business. Therefore, trade-off requires thoughtful decision and sensitive impression. Furthermore, Porter argues that to gain competitive and sustainability every thing has to be â€Å"Fit†. That is the way activities relate to another. They are combined to fit and reinforce another. Activities can be performed separately but the give effect on each other. Since competitors are facing an entire ecosystem, with elements that allow and strengthen each other existence, they need to be very persistent, capitalize, or creative to be able to replicate or break the company’s strategy. To break a single chopstick is easy but it’s impossible to do the same with a bundle. Samsung’s success is achieved by a combination many aspects. Their products are well designed by excellent designers who are often visit world’s wonders, museum, and learnShow MoreRelatedHow Competitive Forces Shape Strategy856 Words   |  4 PagesMichael E. Porter, associate professor published the article titled â€Å"How Competitive Forces shape Strategy† in Harva rd Business Review in 1979. This article is retitled as â€Å"The Five Competitive Forces That Shape Strategy† and published in Harvard Business Review in 2008. Michael E. Porter developed the model of Five Competitive Forces which is defined as â€Å"Competitive Strategy – Techniques for Analyzing Industries and Competitors†. It has become a main device for analyzing an organizations structureRead MoreHilti cut or Fasten?1339 Words   |  6 Pagesï » ¿Contents Table of Contents Hilti: Cut Costs or Hold Fast? Overview This case review was executed about a case study that was discussed in class on the operations of Hilti and its surroundings – Hilti is a global corporation based in Lichtenstein that is a market leader in drills, saws and fastening products. The analysis looks at the development of Hilti ever since it was founded, and the different strategies which have been implemented to get them to where they are now. For a company that hasRead MoreThe Five Competitive Forces That Shape Strategy1108 Words   |  5 Pagesgoing the review the Article The Five Competitive Forces That Shape Strategy written by Micheal E. Porter. This article was published in Harvard business Review in year 2008. This article has started revolutionary thinking about what are the different forces in addition to direct competitors that affect competitive strategy of an organization and how better understanding of industry structure and these forces, also known as Porter s Five Forces, derive organization s strategy to achieveRead MorePest Analysis : Pest And Porter s Five Forces1314 Words   |  6 PagesAccording to Mind tools (n.d.). PEST Analysis, PEST and Porter s five Forces each analyze different aspects of a business. PEST (Political, Economic, Socio-cultural and Technical) factors are often considered to gauge the expected impact of business decisions, and the likelihood that the trend set will continue in a particular direction. PEST analysis allows a company to determine if the resources and capabilities used by the company support the company s opportunities, or diminish existing threatsRead MorePorters Five Forces1090 Words   |  5 Pages| A Review of Almarai’s Competitiveness in the light of Porter’s Five Forces | by | | Hassaan Jamshed HND in Business Studies (2012-13) | 7 Oct 2012 | | Contents Introduction Porters Five Forces Threat of New Entrants Bargaining Power of Customers Bargaining Power of Suppliers Rivalry among Existing Firms Threat from Substitute Products Conclusion Introduction In 1977, HH Prince Sultan Bin Mohammed Bin Saudi Al Kabeer saw that the domestic market was growingRead MoreLiterature Review on What Is Strategy1840 Words   |  8 PagesIntroduction: Strategy and management is one of the prominent and most discussed topic in the organization and business studies. Organizations today are challenged by many factors both internal and external and need to effectively address such, which makes only possible by the organization effective leader and their strategic view to overcome and take their company into profitable, competitive, innovative and change. Further, the shift of organization from being local onto global and so the factorsRead MoreIkea Marketing Strategy1365 Words   |  6 PagesIKEA’s Marketing Strategy IKEA is a privately held, international home products company that designs and sells ready-to-assemble furniture. The company is the world’s largest furniture retailer. It was founded in 1943 by 17-year-old Ingvar Kamprad in Southern Sweden. As of October 2011, IKEA has 326 furniture stores, operates in 38 countries and engages 1,500 suppliers of 12.000 products. 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Notes on Art History Free Essays

Note: This statue of an Ancient Egyptian woman clearly shows the way of dressing in Ancient Egypt. This statue belongs to the New Kingdome period. Body: The woman is wearing a kalasiris, a typical ancient Egyptian dress. We will write a custom essay sample on Notes on Art History or any similar topic only for you Order Now The length of the dress tells us that this woman probably belonged to the upper class, as working woman mostly wore a kalasiris in a shorter variant. The dress is made of linen, which was perfect for Egypt’s hot climate. The dress is undecorated, but does have a lot of pleats going in various directions, which must have been very labour intensive. Head: The woman is wearing a wig, made of human hair or date palm fibres. The hair is curled and was kept together by wax. The wigs were only worn by wealthy people. Accessories: Jewellery was very popular in Ancient Egypt, no matter what you social status was. They were known for wearing lots of jewellery in turquoise metals like gold and silver and small beads. This woman is wearing a gorgerine, which was a typical Egyptian necklace, existing of metal discs, worn on the chest. Minoan Snake Goddess figurine, 1600 BC, Herraklion Archaeological Museum Note: This is one of a series of figurines, showing a woman holding a snake in each hand. It was found during excavation of Minoan archaeological sites in Crete. It represents a goddess. Little is known about their identity, but it tells us a lot of the way the Minoan women dressed themselves. Body: The goddess is wearing a tight bodice, which leaves the breasts bare. She also wears a long skirt which is comprised of seven overlapping flounces, which are strips of cloth, gathered and sewed on by its upper edge only. The flounces appear to be thick and were probably made of wool, a popular fabric used by the Minoan. Over the hips, she wears a double-apron, which is bordered with stripes and patterned with a simple diagonal grid of lines The skirt and apron are secured by a belt , which emphasizes the figure’s wasp-waist and accentuates the curve of the hips. Head: The headpiece , the goddess is wearing shows a series of three dark-painted, raised medallions. Accessories: The goddess is wearing a tiny bracelet on her right wrist. The Minoan were famous for their beautiful jewellery production. Note: This female Minoan figure is dressed in traditional Minoan clothing. The Minoans were known to have a more advance and complexed culture, which is shown in the artistically designed and skilfully made clothing they wore. The figure of the Minoan woman, with large breasts and hips and a tiny waist, as very similar to that of the late 1800 woman, who wore tight corsets to make their waist small and hoops under their skirts to increase the size of their bottom. Body: The woman is wearing a colourful blouse and skirt that shape the body well. The skirt is tight at the waist and flares out towards the bottom in a bell shape. The skirt consists of several strips of fabric, sewn together. The layers of fabric have a pointed shape in the centre, facing towards the floor. The blouse is close fitted to the body and has a low cut in the front to expose the breasts. Head: The woman has long dark hair, which hangs loose on her shoulders. Accessories: She wears ring shaped earrings and a belt, which was very common in the Minoan culture. Because a tiny waist was prized, some historians believe that Minoans would wear a heavy metal belt since their early childhood, forcing the waist to stop growing. Scene of Sacrifice, c. 540 B. C. Pitsa, National Archaeological Museum, Athens, Greese, painting, wood. Note: This painting shows an animal sacrifice in Corinth. It is one of the 4 painted wood slabs of Pitsa that were found in 1934 near Sicyon in a cave above the village of Pitsa in Corinth. Body: The woman are wearing a blue peplos that is decorated with a pattern. It is a rectangular woollen fabric that is folded at the top, so that the top part falls over the body. The peplos is fastened at the shoulders with pins. Over the peplos, the woman are wearing a red cape, a chlaina. It is made up of a rectangular piece of fabric which is draped around the body. The young men in the painting are wearing a blue, short chiton which reaches their knees and is fastened at their left shouder with pins. Head: The woman have their long hair tied back in a ponytail, while the men have short cut hair. Accesoires: The figures are all wearing a wreath, a headpiece made of goldon leaves. Briseis and Phoenix Painting on a cup, Brygos, ca 490 B. C. , Vulci, Louvre Museum, Paris, France Note: This attic red-figure cup shows Phoenix and Briseis. It is an ancient Greek art work from the Classical period. Body: The woman is wearing a long chiton with many folds and pleats. The chiton is made of linen, a light fabric, suitable to the cimate and which makes it easier to form pleats with. The tunic is wrapped around her body and pinned along at the shoulders and arms, forming two loose fitted sleeves. The man is wearing a chiton as well, which reaches his feet. On top of the chiton he wears a himation, large piece of fabric, draped arount the body and used as a mantel. Both chitons are decorated with a playfull motif at the bottom. Head: The woman has her hair tight back into a bun, with some strings of hair falling loosy besides her face. The man has a long beard and his hair cut short. You can clearly see that he is old, due to his undyed white hair colour. Accesoires: Both man and woman wear a hairband. Statue of august, national museum of rome, 100 AC Note: This Ancient Roman statue shows Augustus. A Roman emperor who ruled the Roman Empire from 27 BC until his death in 14 AD. In that era, all men wore the same type of cloth, but the fabric and way it was worn, marked important social differences. Agustus, being an emperor is therefore a clear example of how people of higher social status would wear their clothes. Body: Augustus is wearing a tunica, an essential garment in the warderobe of the ancient Roman man. It consists of two pieces of rectangular fabric, one set on top of the other. It was sewn together at the sides and the top wit holes left for the head and arms. This tunica has long and wide sleeves. On top of the tunica, Augustus wears a toga. A long cloak which is draped around the body. Head: Augustus has short cut hair and his toga is draped around his head to form a hood. Court of Emperor Justinian with Macimian and court officialsand Praetorian Guards, Basilica of San Vitale in Ravenna, Italy, 547 AC, Mosaik Note: A clear example of clothing from the Byzantium era. Body: Justinian, in the centre, is wearing an imperial chlamys with a large lozenge shaped goldon panel (tablion) and an opulent brooch. Underneath that he wears a white silk tunic with tight sleeves (Divistion), which is decorated with god stripes and circular roundles and gold embroidered rd shoes. The Dignitaries wear a white chlamys with a purple tablion an an embroidered tunic. The archbishop Maximianus wears a goldon chasuble and a white dalmatic with very wide sleeves and purple stripes. Head: The figures have slightly long hair at the back. Maximianus is somewhat bold and has a little beard and mustache, just like some other men portrayed. Accesoires: Justinian wears a two-tired gemstone encrusted crown on his head and an opulent brooch that is fastened at his rght shoulder. Maximianus wears a pallium around his neck, a white wool strip which is decorated with a cross. The bikini girls, mosaic, 4th century AD, Roman Villa of Casale, Italy. Note: This piece of art, dating from the Diocletian period (186-305 AD) is evidence that the Romans were one of the first to wear a bikini. Although the woman depicted are wearing a bikini as sportswear and not as swimwear. Body: The female atheltes are wearing a two-piece swimsuit that resembles the bikini as we know it today. The top part covers the breasts and has no elastic bands tied around the arms, but is probably kept in place at the back. The bottom part, looks like it is a piece of fabric that is folded around the womans lower body. Head: The woman have different hairstyles. Most of them have their hair tied back, which is more comfortable when playing sports. Others have long hair that falls on their shoulders. Accessories: One of the woman in the centre is wearing a headpiece made of flowers, she is probably wearing it because she won the competition. The consular diptych of Manlius Boetius, who was consul in 487 AD, Santa Giulia Museum, Brescia, Italy. Note: This artwork resembles the type of clothing worn by the Barberians and Nomads. Their clothing style was more practical than that of the Romans and consisted of loose and simple garments. Body: Boetius wears an embroidered woollen toga which reaches the ankles. The toga has long sleeves, is draped around the body and wrapped around the right hip. Head/ Accesoires. : It looks like Boetius is wearing a diadem of goldon leaves on his head. This is a picture of Charlemagne is an example of how the fine linen and silk togas of the Romans disappeared and were replaced by the clothing of the less civilized people, the Romans had called Barbarians and Goths. Charlemagne always wore the traditional costume of the Frankish people. Body: He is wearing a blue silk cloak which is trimmed with bands of decoration. His legs are covered by a hose and he wears shoes at his feet. On top of his cloak he wears a red/brownish mantel that is loosly draped around his shoulders and fastened with a brooche at his right shoulder. The mantel is deorated at the neckline. Head/ Accesoires: On his head he wears a golden crown, embellished ith jewels. This template from the Middle-Ages shows what the knights would wear. The knits are wering under clthes that consists of a linen under-shirt and linen under pants. These would prevent the armor from chafing the Knights skin. They woul also wear a padded garment, known as a Doublet, that consisted of a quilted coat which was either sewn or stuffed with linen . It served as padding for additional armour worn over the top. Woollen stockings cover their legs and over their armour they wear a robe which is fastenedaround the waist, known as a Surcoat. The surcoat is emblazoned with the cote of arms or device of the Knight in order to identify the knight in the battle. On their head they were a helmetwhich is slightly pointed at the back. Nicephorus III and Officers, c. 1074-1081, Bibliotheque nationale de France Manuscript Coislin. This painting of the Byzantine Emperor Nicephorus iII, is a good example of Byzantine Imperial costume. The emperor is magnificently attired in Byzantine silk. Over his blue and goldon tunic he wears a darker bue cloak, fastened by a gold-and-ruby brooch and decorated with a large tablion, woven of gold thread. On his head he wears a bejewelled crown and around his neck a superhumeral, which is a imperial decorative collar. The Arnolfini Portrait, Jan van Eyck, 1434, Oil on oak, National Gallery, London. This painting is believed to be a portrait of the Italian merchant Giovanni di Nicolao Arnofili and his wife. It is a very realistic painting and therefore a good example of Late Medieval costume. The two figures are richly dressed. The man’s tabard, a short sleeveless cape, and woman’s dress are both lined with fur, judging from this we can say that they are both wearing their outerwear. The woman’s dress has elaborate dagging (cloth folded and sewn together, then cut and frayed decoratively) on the sleeves and a long train. Underneath her green dress, she wears a blue underdress which is trimmed with white fur and has long tight sleeves. The man’s tabard is made from purple silk and has long full sleeves which are tight at the wrists. Head: The man wears a hat of plaited straw, dyed black, as often worn in the summer all the time. The woman wears a white cotton wimple on her head. Accesoires: The woman wears a brown leather belt around her waist. The only other jewelry visible are the woman’s plain gold necklace and rings. Rogier van der Weyden, Portrait of a Lady, c. 1460, National Gallery of Art, Washington, D. C. Van der Weyden portrayed this woman in high fashionable clothing. The woman wears an elegant low-cut black dress with dark bands of fur at the neck and wrists. This type of clothing resembles the then-fashionable Burgundian style, which emphasises on the tall and thin aesthetic of the Gothic ideal. The dress is buckled with a bright red sash below her breasts. The buckle is gold. Head: On her head she wears a buff-coloured hennin headdress that is draped with a large transparent veil, which spills over her shoulders, reaching her upper arms. The veil forms a diamond shape and matches the transparent vest worn under her dress. Her hair is pulled backwards in a tight knot. Accessories: The woman wears a gold necklace and 2 rings around her fingers. Sant’Orsola e le compagne, miniatura, 1380 , Parigi, Biblioteca Nazionale Body: The women are wearing dresses with a low round neckline. The top of the dresses fit closely to the body while the skirt hangs loose and has several pleats. The sleeves are long and wide at the cuffs. The underdress is of a different colour and visible at the wrists and its sleeves fit tightly around the arms. Some dresses have a simple print. Head: The woman wear a hat that consists of a frame of wirework, covered with embroidery or other trimmings. Titian, Portrait of Philip II of Spain (1527-1598), 16th century, oil on canvas. Body: Philip II is wearing a silk doublet in a gold/brown colour with a decorative print. The pants, breeches, he is wearing, falls just above the knees and is of the same fabric as the doublet. Under the breeches he wears a white hose. Philip also wears a mandilion on top of his outfit, a loose hip-length coat that is decorated with a pattern. Head: Phillip has his hair cut very short and a tiny beard and pointed moustache. Accessories: Accessories were very important in the 16th century as they represented wealth. Phillip wears several bracelets and rings and a necklace. Shoes: Philip wears simple white silk flat shoes. Marcus Gheerraerts the Younger, Portrait of Elisabeth I, c. 592, National Portrait Gallery, London. Body: Elisabeth I wears a crimson gown that is barley visible on either side of her waist. The gown has a white satin lining that matches the petticoat, bodice and hanging sleeves. Her petticoat is pinned to a cartwheel farthingale. The bodice has a broad, low, square neckline and ends in a V-shape at the front of the waist. The shoulders are very wide and puffed. Head/ Accessories: Elisabeth I wears gloves and a van in her hands. Her jewellery consists of several necklaces of pearls reaching the waist, a flower shaped necklace and some beads in her hair. She also has a high standing ruff around her neck of a transparent fabric and a crown on the back of her head. Giovanni Battista Moroni, An Italian Tailor, c. 1570, National Gallery London. Body: The Italian Tailor wears a light pink, tight fitted doublet over a heavily padded red hose. The doublet is fastened by a row of pearl buttons at the centre front. His white blouse, worn underneath the doublet, has some small ruffles at the cuffs and the neckline. Head: His hair is cut short and he has a small beard and moustache. Accessories: The man only wears a brown leather belt around his waist. Manteau, ca. 1685-90, Contemporary fashion plate by Bonnard Body: The woman wears a mantua. Instead of a bodice and skirt cut separately, the mantua hung from the shoulders to the floor. This mantua is looped and draped over a contrasting petticoat. The dress has a low squared neckline and short puffed sleeves that reach just below the elbows. The petticoat is fastened at the centre front with decorative buckles. Both petticoat and mantua are embellished with a print. Head: The woman’s curly hair is worn swept up into a high pile. She also wears a scarf in her hair. Accessories: She has some bracelets around her left wrist and wears a cross formed necklace. Portrait, c. 1660, France Body: The man wears a large simple dark coat that is embroidered on the left shoulder. Underneath this he wears a long-sleeved ruffled white shirt, which can only be seen at the wrists. A small falling collar with round edges, made of lace, hangs around his neck. Head: The man doesn’t wear a wig and shoes his natural long dark fuzzy hair. He has little facial hair around his lips. Fashion plate, Jean de St Jean, 1688, France Body: How to cite Notes on Art History, Essay examples