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The Areopagus or Areios Pagos is the 'Rock of Ares', north-west of the Acropolis, which in classical times functioned as the high Court of Appeal for criminal and civil cases in Athens. Ares was supposed to have been tried here by the gods for the murder of Poseidon's son Alirrothios (a typical example of an aetiological myth).

The origin of its name is not clear. In Greek pagos means big piece of rock. Areios could have come from Ares or from the Erinyes, as on its foot was erected a temple dedicated to the Erinyes where murderers used to find shelter so as not to face the consequences of their actions. Later, the Romans referred to the rocky hill as "Mars Hill," after Mars, the Roman God of War. Near the Areopagus was also constructed the basilica of Dionysius Areopagites.

In pre-classical times (before the 5th century BC), the Areopagus was the council of elders of the city, similar to the Roman Senate. Like the Senate, its membership was restricted to those who had held high public office, in this case that of Archon. In 594 BC, the Areopagus agreed to hand over its functions to Solon for reform. He instituted democratic reforms, reconstituted its membership and returned control to the organization.

In 462 BC, Ephialtes put through reforms which deprived the Areopagus of almost all its functions except that of a murder tribunal in favor of Heliaia.

In The Eumenides of Aeschylus (458 BC), the Areopagus is the site of the trial of Orestes for killing his mother (Clytemnestra) and her lover (Aegisthus).

Phryne, the hetaera from 4th century BC Greece and famed for her beauty, appeared before the Areopagus accused of profaning the Eleusinian mysteries. Legend has it that she let her cloak drop, so impressing the judges with her approximately divine form that she was summarily acquitted.

In an unusual development, the Areopagus acquired a new function in the 4th century BC, investigating corruption, although conviction powers remained with the Ecclesia.
The term "Areopagus" also refers to the judicial body of aristocratic origin that subsequently formed the higher court of modern Greece.

Little or no historical proof has been unearthed from the Middle Ages to support the idea that it ever in fact existed. It is also sometimes spelled droit du seigneur, "right of the lord", but native French prefer the terms droit de jamb age ("right of the doorpost") or droit de cuissage ("right of cuissage"), where cuissage (from cuisse, "thigh") refers to the exercise of this right.

The linked term jus primae noctis is Latin for "law of the first night". Droit de seigneur is often interpreted today as a synonym for its primae noctis, although it originally referred to a number of other rights as well, including hunting, taxation, and undeveloped.

The survival of a "right of the first night" in the Middle Ages was first uncertain in the 19th century. Although most historians today would be of the same opinion that there was no authentic custom in the Middle Ages, disagreement continues about the origin, the meaning, and the development of the widespread popular belief in this alleged right and the actual prevalence of figurative gestures referring to this right.

The origin of this popular belief is not easy to trace, though readers of Herodotus were made to understand that such a tradition had obtained among the tribe of the "Adyrmachidae" in distant ancient Libya, where Herodotus thought it unique: "They are also the only tribe with whom the custom obtains of bringing all women about to become brides before the king, that he may decide such as are pleasurable to him."

Indian painting is a form of Indian art. The earliest Indian paintings were the rock paintings of pre-historic times, the petro glyphs as found in places like Bhimbetka, and some of them are older than 5500 BC. Such works continued and after several millennia, in the 7th century, carved pillars of Ellora, Maharashtra state present a fine example of Indian paintings, and the colors, mostly various shades of red and orange, were derived from minerals.

Thereafter, frescoes of Ajanta and Ellora Caves appeared. India's Buddhist literature is replete with examples of texts which describe that palaces of kings and aristocratic class were overstated with paintings, but they have largely not survived. But, it is believed that some form of art painting was practiced during that time.
Indian paintings provide an aesthetic range that extends from the early civilization to the present day.

From being in actual fact religious in purpose in the beginning, Indian painting has evolved over the years to become a fusion of various cultures and traditions. The Indian painting was exposed to Greco-Roman as well as Iranian and Chinese influences. Cave paintings in different parts of India bear testimony to these influences and a continuous evolution of new idioms is evident.

Raj put painting, also known as Rajasthan Painting, is a style of Indian painting, evolved and flourished during the 18th century in the royal courts of Rasputin, India, flowing from the style of Mughal painting, itself derived from the Persian miniature. Each Raj put kingdom evolved a distinct style, but with certain common features. Raj put paintings depict a number of themes, events of epics like the Ramayana and the Mahabharata, Krishna’s life, beautiful landscapes, and humans. Miniatures in manuscripts or single sheets to be kept in albums were the preferred medium of Raj put painting, but many paintings were done on the walls of palaces, inner chambers of the forts, havelis, particularly, the havelis of Shekhawati, the forts and palaces built by Shekhawat Raj puts.

The colors extracted from certain minerals, plant sources, conch shells, and were even derived by processing precious stones. Gold and silver were used. The preparation of desired colors was a lengthy process, sometimes taking weeks. Brushes used be very fine.

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Even though high level of stylization, mystical appeal, and surreal elegance were often preferred over realism, beginning with the medieval Song Dynasty there were many Chinese painters then and afterwards who depicted scenes of nature that were brightly real.

Later Ming Dynasty artists would take after this Song Dynasty emphasis for complicated detail and realism on objects in nature, especially in depictions of animals (such as ducks, swans, sparrows, tigers, etc.) amongst patches of brightly-colored flowers and thickets of brush and wood.

There were many well-known Ming Dynasty artists; Qiu Ying is an excellent example of a paramount Ming era painter (famous even in his own day), utilizing in his artwork domestic scenes, bustling palatial scenes, and nature scenes of river valleys and steeped mountains shrouded in mist and swirling clouds. During the Ming Dynasty there were also different and rivaling schools of art associated with painting, such as the Wu School and the Zhen School.

Classical Chinese painting continued on into the early modern Qing Dynasty, with highly realistic portrait paintings like seen in the late Ming Dynasty of the early 17th century. The portraits of Kangxi Emperor, Yongzheng Emperor, and Qianlong Emperor are excellent examples of realistic Chinese portrait painting. During the Qianlong reign period and the continuing 19th century;

European Baroque styles of painting had noticeable influence on Chinese portrait paintings, especially with painted visual effects of lighting and shading. Likewise, East Asian paintings and other works of art were highly prized in Europe since initial contact in the 16th century.

In pre-Romanesque Germany, the current style was what has come to be known as Ottonian art. With Ottonian architecture, it is a key component of the Ottonian Renaissance (circa 951 – 1024) named for the emperors Otto I, Otto II, and Otto III. The style persisted past the Ottonian emperors, however, and into the reigns of the early Salinas.

After the decline of the Carolingian Empire, the Holy Roman Empire was re-established under the Saxon Ottonian dynasty. From this emerged a rehabilitated faith in the idea of Empire and a reformed Church, creating a period of heightened cultural and artistic passion. It was in this atmosphere that masterpieces were created that fused the traditions from which Ottonian artists derived their inspiration: models of Late Antique, Carolingian, and Byzantine origin.

Ottonian monasteries produced some of the most magnificent medieval illuminated manuscripts. They were a major art form of the time, and monasteries received direct sponsorship from emperors and bishops, having the best in equipment and talent available.

Among the greatest talents was the so-called Master of the Regis rum Gregory, or Gregory Master, who worked chiefly in Trier in the 970s and 980s. He was responsible for several miniatures in the influential Codex Egbert, a gospel dictionary made for Archbishop Egbert of Trier, probably in the 980s.

However, the majority of the 51 images in this book, which represent the first extensive cycle of images depicting the events of Christ's life in a western European manuscript, were made by two monks from the island monastery of Reichenau in Lake Constance. Subsequently, the Reichenau scriptorium specialized in Gospel illustration in liturgical books, many of them, such as the Munich Gospels of Otto III and the Periscope Book of Henry II imperial commissions.

Other important monastic scriptoria that flourished during the Ottonian age include those at Convey, Hildesheim, Regensburg, Echternach, and Cologne. In addition, much very fine small-scale sculpture in metals--usually embroidered with gems, enamels, crystals, and cameos--and ivory were made during the Ottonian period.