Edipo

La iglesia es consorte de cristo

tellus - ara pacis augustae

roma and the famous representation of tellus/pax, the peace giving earth mother. she is holding playing children in her arms, fruit is lying in her lap, and an ox and a sheep are peacefully resting on the ground. air and water are depicted allegorically; in fact the entire relief is an allegory to the peace granted by augustus, which provided growth, prosperity and peaceful co-existence to the people.

scarab

Scarabs were popular amulets in ancient Egypt. According to ancient Egyptian myths, the sun (Ra) rolls across the sky each day and transforms bodies and souls. Modeled upon the Scarabaeidae family dung beetle, which rolls dung into a ball for the purposes of eating and laying eggs that are later transformed into larva, the scarab was seen as an earthly symbol of this heavenly cycle.

The Eye of Horus

an ancient Egyptian symbol of protection.

Horus was the ancient Egyptian sky god who was usually depicted as a falcon. His right eye was associated with the sun Ra. The sun was an eye of Horus (the other eye, semi-blind, was the moon), "when he opens his eyes, he fills the universe with light, and when he closes them, darkness is created".

In one myth, when Set and Horus were fighting for the throne after Osiris's death, Set gouged out Horus' left eye. The eye was restored by either Hathor or Thoth.

In the Ancient Egyptian measurement system, the Eye Of Horus defined Old Kingdom number one (1) = 1/2 + 1/4 + 1/8 + 1/16 + 1/32 + 1/64, by throwing away 1/64 for any rational number. Eye of Horus numbers created six-term rounded-off numbers.

ankh

a.k.a. key of life, the key of the Nile or crux ansata, was the ancient Egyptian hieroglyphic character that read "eternal life".

book of coming forth by day

http://en.wikipedia.org/wiki/Book_of_the_Dead

Anubis, the god of the dead, assisted the deceased at the judgement where the latter's heart was weighed against a feather.  After the deceased has passed the test he was considered "justified" and "transfigured" which gave him access to the fields od Aaru. The alternative was to be devoured by Ammit "devoured of the dead", a monster part crocodile, part big cat and part hippopotamus. 

nefertiti

Epitome of Egyptian and timeless beauty.

a theological power position

Hymn to the Sun

Thy dawning is beautiful,
In the horizon of the sky,
O living Aton, Beginning of life.
When thou risest in the eastern horizon,
Thou fillest every land,
With thy beauty.
Thou art beautiful,
Great,
Glittering,
High above every land,
Thy rays,
They encompass the land,
Even all that thou hast made.

Thou art Re,
and thou carriest them all away captive;
Thou bindest them by thy love.

Though thou art far away,
Thy rays are upon earth;
Though thou art on high,
thy footprints are the day.

(...)

the Kanon of Polykleitos

His aesthetic theories of the mathematical bases of artistic perfection.
The aim of the Canon, was not simply to explain a statue but also to achieve to kallos, "the beautiful” and to eu (the perfect or the good) in it. The secret of achieving to kallos and to eu lay in the mastery of symmetria, the perfect "commensurability" of all parts of the statue to one another and to the whole.

A Reconstructed Outline of the Kanon of Polykleitos
From the quotations, paraphrases, and comments on the Canon extant from antiquity, an outline of the Canon treatise can be reasonably inferred as follows:

1. Perfection comes about little by little through many numbers (Philo of Byzantium, Belopoeica 4.1).
2. The numbers must all come to a congruence through some system of commensurability and harmony, for ugliness is immediately ready to come into being if only one chance element is omitted or inserted out of place (Plutarch, Moralia 45C).
3. Perfection is the exact Mean in each particular case —human, horse, ox, lion, and so on (Galen, de Temperamentis 1.9; Ars medica 14; de Optima nostri corporis constitutione 4).
4. So the perfect human body should be neither too tall nor too short, nor too stout or too thin, but exactly well proportioned (Galen, Ars medica; Lucian, de Saltatione 75).
5. Such perfection in proportion comes about via an exact commensurability of all the body’s parts to one another: of finger to finger and of these to the hand and wrist, of these to the forearm, of the forearm to the upper arm; of the equivalent parts of the leg; and of everything to everything else (Galen, de Temperamentis 1.9; Ars medica 14; de Placitis Hippocratis et Platonis; de Usu partium 17.1; de Optima nostri corporis constitutione 4).
6. This perfection requires scrupulous attention to replicating the body’s anatomy; not a single error can be tolerated (Galen, de Usu partium 17.1).
7. In bronze work, such precision is most difficult when the clay is on/at the nail (Plutarch, Moralia 86A and 636B-C; cf. Galen, de Usu partium 17.1).

Polyclitus's idea of symmetria and the pursuit of the to kallos and to eu was influenced by exposure to the ideas of Pythagoras of Samos.
Aristotle, Metaphysics, I.5.986a22: “Members of this school [the Pythagoreans] say there are ten principles, which they arrange into two columns of cognates, thus:

limited and unlimited
odd and even
one and plurality
right and left
male and female
rest and movement
straight and curved
light and darkness
good and bad
square and oblong

Zeus

circa 432 BC on the site where it was erected in the Temple of Zeus, Olympia, Greece. It was one of the Seven Wonders of the Ancient World.

According to Pausanias, in Zeus' right hand there was a small statue of crowned Nike, goddess of victory, and in his left hand, a sceptre inlaid with gold, on which an eagle perched.

Plutarch, when he beheld the statue, “was moved to his soul, as if he had seen the god in person,” while the 1st century AD Greek orator Dio Chrysostom declared that a single glimpse of the statue would make a man forget all his earthly troubles.