Medieval Paintings from Castle Acre Priory

1937 ◽  
Vol 17 (2) ◽  
pp. 115-121
Author(s):  
Tancred Borenius
Keyword(s):  
Fourteenth Century ◽  
Twelfth Century ◽  
The West ◽  
West Wall ◽  
The North ◽  
Dwelling House ◽  
Formed Part ◽  
North Wall ◽  
Do So

There is no need for me here to stress the extraordinary scarcity of surviving panel pictures of undoubted English origin dating from the fourteenth century, in spite of the fact that at the time they must have been produced in enormous quantities. All the greater is, in consequence, the importance which attaches to the notable examples which I have the honour of exhibiting and commenting upon to-night; and that I am able to do so is due, in the first instance, to the privilege extended to me by the owner of the panels, the Earl of Leicester, G.C.V.O., C.M.G., and H.M. Office of Works; while I owe a further and special debt of gratitude to Mr. F. J. E. Raby, C.B., F.S.A., through whose initiative my attention was first drawn to these panels.The pictures in question (pl. xxix) have come down to us in very fragmentary condition, and are painted on thick boards, three in number, two of which join up satisfactorily enough for us to deduce that they originally formed part of one and the same composition, while the remaining panel, though evidently a unit belonging to the identical scheme, does not link up with the others. All three boards come from Castle Acre Priory, and were discovered there in recent years, though not all at the same time: the panel on the left of the two belonging together on 19th November 1930, and the two other boards on 25th August 1932. The room in which they were found was the outer parlour, underneath the prior's chapel, in the western range of the buildings: they were used as part of the panelling of the wall when this portion of the buildings was occupied as a dwelling-house. The painted side, in each case, was uppermost, clearly indicating that they had been discarded as decorative panels and re-used for structural purposes. The panel found in 1930 was built into the twelfth-century door in the west wall, and the two other boards into the window-head in the north wall.

Hatshepsut’s Punt Reliefs: Their Structure and Function

2019 ◽  
Vol 55 ◽  
pp. 189-203
Author(s):  
Filip Taterka
Keyword(s):  
Structure And Function ◽  
The South ◽  
The West ◽  
West Wall ◽  
The North ◽  
South Wall ◽  
New Interpretation ◽  
North Wall ◽  
And Function ◽  
Female Counterpart

The article examines the layout of Hatshepsut’s Punt reliefs, proposing a new interpretation of their internal structure and ideological function within the decorative programme of the Deir el-Bahari temple. The author argues that the reliefs form a cycle of subsequent scenes, starting at the southernmost end of the west wall, continuing through the south wall up to the northern part of the west wall. As for the scenes represented on the northernmost end of the west wall and on the north wall, it is argued that they should be viewed as forming a single ideological entity, which at the same time corresponds to the long historical inscription placed on the easternmost end of the south wall. That way the reliefs reflect both aspects of Egyptian eternity: the linear (in the cycle of subsequent episodes) and the circular one (in the ideological link between the southern- and northernmost extremities of the Punt Portico). As for the function of the reliefs, it is argued that they were supposed to magically repeat Hatshepsut’s Punt expedition and thus provide her divine father Amun-Ra with all exotic products necessary in his cult. The author also tries to demonstrate, how Hatshepsut was gradually identified with the goddess Hathor in her aspect of the Lady of Punt and the female counterpart of Amun-Ra throughout the Punt reliefs.

Casa del Fabbro (I 10,7)

2007 ◽  
Author(s):  
Penelope M. Allison
Keyword(s):  
Small Ring ◽  
East Side ◽  
The South ◽  
The West ◽  
Partition Wall ◽  
West Side ◽  
North West ◽  
West Wall ◽  
The North ◽  
North Wall

The doorposts and the walls of the entranceway to this house were coarsely plastered and the pavement was of lavapesta. The walls have been much restored since excavation, prohibiting the identification of any breaches that might provide evidence for disturbance. Outside the entrance, on the west side, is a low, plastered, masonry bench (1.57 m × 0.38 m × 0.42 m), which Elia identified as a seat for waiting clients. Within the entranceway, a few centimetres above the pavement, a number of finds were made. These were all of iron—a large lock, two hooks, a handle, two keys, at least one door latch and numerous studs and nails—and no doubt mainly the fittings for the house door. One of the keys was large and probably a door key. Its discovery here suggests that the occupants were still in residence, or at least had not had the time or inclination to lock up their house, before fleeing from the eruption. A small ring was also found in this entranceway, and was probably a lost finger-ring. This room is closed to the street but almost completely open along its east side onto the entranceway. The walls had a high, pink-plastered socle, to 1.6 m above the pavement, with white plaster above, and the pavement was of tiles and mortar. There are breaches in the west and south walls, possibly the result of post-eruption disturbance. A stairway ran along the north wall, rising from east to west. Underneath was a low partition wall jutting out at right angles from the west wall, to partition off a latrine in the north-west corner. This partition wall post-dates the plaster on the west wall. A line of roof tiles, set into the floor and running from this partition wall to the south jamb on the east wall, is assumed to have been for flushing the latrine. A truncated amphora, with visible organic contents, was set into the pavement in the south-east corner. Other finds from this room, but with no precise provenances, include: two relatively small bronze strap hinges, possibly from furniture; a bronze casseruola; two ceramic jugs; a hoe, probably for gardening; an axehead, probably a woodman’s; and a bronze brooch.

scholarly journals Wall painting of Late Antique tombs in Sirmium and its Vicinity

Starinar ◽  
2011 ◽  
pp. 223-249
Author(s):  
Ivana Popovic
Keyword(s):  
Wall Painting ◽  
Late Antique ◽  
The West ◽  
North West ◽  
West Wall ◽  
The North ◽  
North Wall ◽  
The Village

In the east and northwest necropoles of Sirmium were discovered painted tombs which were not published until now. Painting in them is from the 4th century. The grave next to the north-west wall of basilica of St. Iraeneus (east necropolis) was painted with tied garlands and stem, and partly saved frescoes from the tomb around the basilica of St. Sineros (north-west necropolis) point to the conclusion that this is a funeral procession, the scene which is represented in its entirety in the tomb in neighboring Beska. These three tombs belong to the pagan population of Sirmium and its vicinity. On the west wall of the tomb in Mike Antica Street (periphery of the east necropolis) is represented the motif of scales with fillings, while on its south and north wall are represented the episodes from Jonah?s cycle. Painting in the tomb shows that the buried person was a Christian. Of Christian character is also the burial in the tomb from the village Calma, not far from Sirmium. On its longitudinal walls is schematically represented the railing, made of parts between which there were the columns carrying the herms, and which has the symbolical meaning of the ?railing of Paradise?.

The Villa Item and a Bride's Ordeal

1929 ◽  
Vol 19 (1) ◽  
pp. 67-87 ◽  
Author(s):  
Jocelyn Toynbee
Keyword(s):  
The South ◽  
Important Paper ◽  
The North ◽  
Dwelling House ◽  
South Wall ◽  
The Subject ◽  
The One ◽  
The Individual ◽  
North Wall ◽  
The Right

The paintings in the triclinium of the Villa Item, a dwelling-house excavated in 1909 outside the Porta Ercolanese at Pompeii, have not only often been published and discussed by foreign scholars, but they have also formed the subject of an important paper in this Journal. The artistic qualities of the paintings have been ably set forth: it has been established beyond all doubt that the subject they depict is some form of Dionysiac initiation: and, of the detailed interpretations of the first seven of the individual scenes, those originally put forward by de Petra and accepted, modified or developed by Mrs. Tillyard appear, so far as they go, to be unquestionably on the right lines. A fresh study of the Villa Item frescoes would seem, however, to be justified by the fact that the majority of previous writers have confined their attention almost entirely to the first seven scenes—the three to the east of the entrance on the north wall (fig. 3), the three on the east wall and the one to the east of the window on the south wall, to which the last figure on the east wall, the winged figure with the whip, undoubtedly belongs.

House I 10,1

2007 ◽  
Author(s):  
Penelope M. Allison
Keyword(s):  
The South ◽  
The West ◽  
Glass Vessel ◽  
Unknown Type ◽  
West Wall ◽  
North East ◽  
The North ◽  
Volcanic Deposit

In November 1926 the excavators recorded moving lapilli from in front of this house and from the entrance but no finds were reported in these areas. On 8 July 1932 they recorded removing disturbed volcanic deposit from the middle levels in the northeast area of this insula. A breach (min. h.: 2 m), now patched, in the south end of the west wall of room 2 and 1.05 m above the floor, presumably penetrated into this space and documents disturbance after ad 79. Elia observed that the room had been covered and had been divided for all or part of its length by a ‘tramezzo ligneo’ which Ling interprets as a wooden partition to screen the stairway. In the north-east corner, are three masonry steps from a stairway which Ling argued ascended along the east wall. Ling argues that the installation of this stairway would have put out of commission the recess and lararium painting (dimensions: 0.55 m × 0.4 m) behind it. The remains of a late Third Style decoration are found on the walls. The loose finds from near the north entrance of this space and from near the entrance to room 3 were predominantly door-fittings, with the possible exception of a small marble base. A small key reported in the latter location may originally have been from storage furniture but was unlikely to have been in use as no other remains of such furnishings were recorded. The only other find in this area was a glass vessel of unknown type. Elia called this room an ‘atrium’. The finds are not particularly diagnostic but, even if this area was disturbed, they hint that it had been relatively unencumbered with furnishings, probably serving predominantly as a reception and access area for the rest of the house. The breach in the south end of the west wall of this room implies that it may have been disturbed after ad 79. The walls had a simple painted decoration but this room had no evident fixtures. According to Elia it was an ‘oecus’. The limited ceramic finds (a jug, a terra sigillata dish, and a lamp) are associated with lighting and probably with the serving or storage of foodstuffs.

V.—Notes on the ‘Prison of Saint Catharine’ at Salamis in Cyprus

Archaeologia ◽  
1915 ◽  
Vol 66 ◽  
pp. 179-194 ◽  
Author(s):  
John L. Myres
Keyword(s):  
East Coast ◽  
Ground Level ◽  
West Wall ◽  
Outer Chamber ◽  
The North ◽  
Gable Roof ◽  
Single Block ◽  
North Wall ◽  
Ancient Monument ◽  
North And South

The ‘Prison of Saint Catharine’ is an ancient monument on the outskirts of the ruins of Salamis, on the east coast of Cyprus. It consists of two chambers, of which the inner, rectangular with gable roof east-to-west and door at one end, is cut out of a single block of limestone, and roofed with another, which projects slightly above the modern surface of the ground. The junction of the two blocks is about half-way up the gable roof. The outer chamber is much larger and lies transversely to the inner, with its long axis north and south, and the inner chamber door in the middle of its west wall. Nearly opposite in the east wall is the outer entrance, approached from ground-level by a descent of rough steps, between walls of large squared masonry, now much damaged. The walls of the outer chamber consist of enormous upright slabs, crowned by a massive cornice, of a wide cavetto between two fillets, of which the upper projects considerably beyond the lower. On this cornice rests a semicircular vault of very large stones, the largest of which are set on end and occupy as much as a third of the vault. Within, they are carefully dressed, like the wall surfaces, but outside they were left rough, and have suffered further damage from exposure. They were not, however, intended to be seen, for there are remains of an outer casing of massive squared masonry, consisting of a cornice below, of the same profile as that of the vaulted chamber; and over this a plinth of three courses, the upper and lower plain, the middle bearing a simple cyma moulding, convex above. One course of the wall face is traceable still above the plinth, about half-way up the vault. The ends of the vault above the cornice are filled with rough walling, mostly recent, but including a number of stones from the plinth. A breach in the north wall serves as an entrance now, with a modern flight of steps. The building is now buried up to the level of the cornice and the great roof-slab, in a low mound; but the natural ground-level is only about a metre lower.

Part VI. Three Geometric Tombs

1955 ◽  
Vol 50 ◽  
pp. 239-247
Author(s):  
V. R. d'A. Desborough
Keyword(s):  
General Situation ◽  
The West ◽  
West Wall ◽  
The North ◽  
The One ◽  
North Western

During the excavations at Mycenae in 1953, a Protogeometric cist burial was discovered in the House of Shields, sunk into the floor of its west room. This burial, numbered Tomb PG 601, was published, with other burials, in BSA XLIX 258 ff. In the summer of 1954 Professor Wace uncovered three further burials in the House of Shields. These, at his most kind invitation, I publish here.General situation (Fig. 1). Whereas tomb PG 601 was found at the southern end of the west room of the House of Shields, these three, here numbered 602, 603, and 604, appeared in the north-western corner of this same room. Only a few feet separate the one from the others, as will be clear from the plan, and 602 and 603 seem to have been placed under the shelter of the west wall. The area had been to a certain extent disturbed, but whether there may have been further burials between 601 and this group of three I cannot tell. None was found in the excavation.

South America II: The Southern Cone

Horse Nations ◽  
2015 ◽  
Author(s):  
Peter Mitchell
Keyword(s):  
Native Americans ◽  
Southern Cone ◽  
The South ◽  
The West ◽  
The North ◽  
Andean Cordillera ◽  
South Central ◽  
Southern Patagonia ◽  
Desert Steppes ◽  
Formed Part

Taking in the Andean cordillera, the Pampas grasslands of Argentina and Uruguay, the desert steppes of southern Patagonia, and the temperate lowlands of south-central Chile (Araucanía), this chapter explores the horse’s arrival and impact in South America’s Southern Cone. Convention divides the Cone along the spine of the mountains between Chile and Argentina. To their east it contrasts the Pampas in the north with Patagonia in the south. I follow most recent scholarship in stressing the historical connections that such boundaries obscure. Similarly, I emphasize not only the acquisition of horses, but also the significance of hunting, taking, and trading feral livestock and the adoption of elements of food production. Both developments formed part of the inclusion of ‘free’ Native Americans within broader international political and commercial systems. At the same time, the work of anthropologists and the comments of contemporary European observers make the Southern Cone one of the most richly documented regions of all for studying the emergence of Horse Nations post-1492. The Southern Cone is environmentally far more complex than a simple tripartite classification into Araucanía, Patagonia, and Pampas suggests. In the north the Pampas reach to the Paraná and Salado drainages, to the south as far as the Río Colorado and its tributaries. They extend east to include Uruguay and the Brazilian state of Rio Grande do Sul and in the west reach the Andean foothills. A basic division follows the 500 mm isohyet: to its west the Dry Pampa is increasingly water-deficient, while to the east the Humid Pampa ultimately benefits from as much as 800 mm of rain a year (Plate 23). The Uruguayan Savannah forms a third ecological subdivision that includes areas with palms and some forest enclaves. Generally, the Pampas comprise a gently sloping plain covered by extensive grasslands, but drier-adapted shrub occurs in the west and a wedge of forest penetrates their centre from the north. The Sierra de Tandilia and Sierra de la Ventana south of Buenos Aires are rare areas of higher relief. Climate is temperate, but surface water is often scarce, stone for tool-making rare, game dispersed.

I 10, 10-11: Casa Degli Amanti

1997 ◽  
Author(s):  
Roger Ling ◽  
Paul Arthur ◽  
Georgia Clarke ◽  
Estelle Lazer ◽  
Lesley A. Ling ◽  
...  
Keyword(s):  
The Other ◽  
Central Axis ◽  
The South ◽  
The West ◽  
The North ◽  
Small Window ◽  
South West ◽  
Dining Room ◽  
North Wall ◽  
North And South

The casa degli amanti (house of the lovers), at the south-west corner of the insula, falls into two fairly distinct halves: the atrium complex, oriented on the street to the west, and the peristyle with its surrounding rooms, oriented on the street to the south and on the property boundary to the east. In the atrium complex, the atrium is misplaced to the south of the central axis, allowing space for two large rooms to the north, one of which was possibly a shop or workshop (5.50 m. × 4.70 m.), with a separate entry from the street (I 10, 10), while the other (5.80 m. × 4.50 m.), decorated with mythological wallpaintings and provided with a wide opening on to the peristyle, must have been a dining-room or oecus (room 8). Each of these had a segmental vault rising from a height of about 3.50 m. at the spring to slightly over 4 m. at the crown. In the first the vault is missing, but the holes for some of its timbers are visible in the east wall and a groove along the north wall marks the seating for the planking attached to them; at a higher level, in the north and south walls, are the remains of beam-holes for the joists of the upper floor or attic (see below). The arrangements in room 8 are now obscured by the modern vault constructed to provide a surface for the reassembled fragments of the ceiling-paintings; but the shape of the vault is confirmed by the surviving plaster of the lunettes, while a beam-hole for the lowest of the vault-timbers is visible above the corner of the western lunette in an early photograph (Superintendency neg. C 1944). The shop I 10, 10 had a small window high in the street wall to the south of Its entrance; whether there were any additional windows above the entrance, it is impossible to say, since this part of the wall is a modern reconstruction. Room 8 was lit by a splayed window cut in the angle of the vault and the eastern lunette, opening into the upper storey of the peristyle.

A Wall-painting at Idsworth, Hants, and a Liturgical Graffito

1945 ◽  
Vol 25 (1-2) ◽  
pp. 43-47 ◽  
Author(s):  
F. Wormald
Keyword(s):  
Fourteenth Century ◽  
Wall Painting ◽  
Left Hand ◽  
The North ◽  
Right Hand ◽  
Wild Man ◽  
North Wall ◽  
Full Consideration

On the north wall of the chancel of the small chapel at Idsworth, on the borders of Hampshire and Sussex, is a fine fourteenth-century wall-painting executed in distemper in red and yellow on a white ground. The composition is divided into two broad horizontal bands by a narrow zigzag band. In the top half is a scene with huntsmen, dogs, and a wild man, and what appears to be the arrest of St. John Baptist. In the lower part is St. John Baptist put in prison and a long scene showing Salome dancing a sword-dance before Herod and Herodias (pl. I). The scene of the huntsmen and the wild man requires rather closer examination, because it is commonly and wrongly described as showing a scene from the life of St. Hubert.On the extreme left of the picture are the remains of horsemen and dogs, then there is a figure of a crowned man winding a horn with his left hand and holding in his right hand a long bow which he rests on the ground. Behind him are two men. At his feet are dogs, and in front of him to his left are three men who bend down towards an old man covered with long hair who is emerging from some bushes on all fours. The attribution of this scene to the legend of St. Hubert requires full consideration, because an examination of the lives of that saint printed in the Acta Sanctorum yields no indication of any legend bearing the remotest resemblance to this scene. There seems, moreover, to be every indication that the whole painting represents something quite different.

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