The Master of the Eucharides-Stamnos in Copenhagen

1912 ◽  
Vol 18 ◽  
pp. 217-233
Author(s):  
J. D. Beazley

The only extant vase with the love-name Eucharides is a red-figured stamnos of severe style in the National Museum at Copenhagen. Twenty-three vases must be assigned to the painter of the Eucharides-stamnos, among them such well-known pieces as the Danae-stamnos in St. Petersburg, the Tityos-vase in the British Museum, and the krater with Sarpedon or Memnon in the Louvre. His work, though not of the highest quality, is interesting in many ways; so I propose to make a list of his remaining vases, to describe the more prominent characteristics of his style, and to indicate very briefly the place he occupies in the history of Attic vase-painting.

2019 ◽  
Vol 188 (1) ◽  
pp. 95-146
Author(s):  
Martin Bohatý ◽  
Dalibor Velebil

Adalbert Wraný (*1836, †1902) was a doctor of medicine, with his primary specialization in pediatric pathology, and was also one of the founders of microscopic and chemical diagnostics. He was interested in natural sciences, chemistry, botany, paleontology and above all mineralogy. He wrote two books, one on the development of mineralogical research in Bohemia (1896), and the other on the history of industrial chemistry in Bohemia (1902). Wraný also assembled several natural science collections. During his lifetime, he gave to the National Museum large collections of rocks, a collection of cut precious stones and his library. He donated a collection of fossils to the Geological Institute of the Czech University (now Charles University). He was an inspector of the mineralogical collection of the National Museum. After his death, he bequeathed to the National Museum his collection of minerals and the rest of the gemstone collection. He donated paintings to the Prague City Museum, and other property to the Klar Institute of the Blind in Prague. The National Museum’s collection currently contains 4 325 samples of minerals, as well as 21 meteorites and several hundred cut precious stones from Wraný’s collection.


Author(s):  
Brian Fagan

Ever since Roman tourists scratched graffiti on the pyramids and temples of Egypt over two thousand years ago, people have traveled far and wide seeking the great wonders of antiquity. In From Stonehenge to Samarkand, noted archaeologist and popular writer Brian Fagan offers an engaging historical account of our enduring love of ancient architecture--the irresistible impulse to visit strange lands in search of lost cities and forgotten monuments. Here is a marvelous history of archaeological tourism, with generous excerpts from the writings of the tourists themselves. Readers will find Herodotus describing the construction of Babylon; Edward Gibbon receiving inspiration for his seminal work while wandering through the ruins of the Forum in Rome; Gustave Flaubert watching the sunrise from atop the Pyramid of Cheops. We visit Easter Island with Pierre Loti, Machu Picchu with Hiram Bingham, Central Africa with David Livingstone. Fagan describes the early antiquarians, consumed with a passionate and omnivorous curiosity, pondering the mysteries of Stonehenge, but he also considers some of the less reputable figures, such as the Earl of Elgin, who sold large parts of the Parthenon to the British Museum. Finally, he discusses the changing nature of archaeological tourism, from the early romantic wanderings of the solitary figure, communing with the departed spirits of Druids or Mayans, to the cruise-ship excursions of modern times, where masses of tourists are hustled through ruins, barely aware of their surroundings. From the Holy Land to the Silk Road, the Yucatán to Angkor Wat, Fagan follows in the footsteps of the great archaeological travelers to retrieve their first written impressions in a book that will delight anyone fascinated with the landmarks of ancient civilization.


2003 ◽  
Vol 28 (1) ◽  
pp. 10-14 ◽  
Author(s):  
Christian David ◽  
Catherine Granger ◽  
Nicole Picot

The French national museum libraries service comprises 21 libraries specialising in the history of western art and archaeology. The central library, which is at the head of the network, was automated first and has completed its retrospective conversion. At first this library catalogued the material acquired for all the others; then a number of them were able in their turn to computerise and thus contribute directly to the union catalogue of the national museum libraries. This can now be consulted on the internet site of the Ministry of Culture.


MRS Bulletin ◽  
1992 ◽  
Vol 17 (1) ◽  
pp. 39-44 ◽  
Author(s):  
Mary Becker ◽  
Noreen Tuross

Friable natural products are often used in articles of personal adornment, and the perishable nature of these materials presents a unique challenge to museums. At the Smithsonian's National Museum of American History, a collection of gowns worn by the First Ladies of the United States is a popular display of historical and sentimental import. Opened to the public on February 1, 1914, fifteen gowns were displayed as part of a “Period Costumes“ exhibit in the U.S. National Museum (now known as the Arts and Industries Building). Within just a few years, the exhibit was recognized as “one of the most interesting and popular in the Museum.” A First Ladies' Hall was created in the mid-1950s to exhibit the gown collection in period room settings. This design theme continued when the Hall moved to the Museum of American History and Technology (now the National Museum of American History) in 1964. The First Ladies' Hall was closed for renovation in 1987, allowing the curatorial staff to reassess the collection's use and conservators to perform long overdue examinations and treatments. Reinstallation of the exhibit is scheduled for spring 1992.The First Ladies' conservation project includes a history of each gown's use and exhibition as related to its physical condition and also includes stabilization treatments to meet the demands of future display. The current conservation project provided an unusual opportunity for extensive research into fabric deterioration of a popular and important collection. The goals of the research are twofold: first, to determine each object's state of preservation by studying the effectivenss of several analytical approaches with minimal destructive sampling and, second, to begin investigating the mechanisms involved in the degradation of silk, the material predominant in this collection.


The Geologist ◽  
1861 ◽  
Vol 4 (11) ◽  
pp. 465-467

Old bones, that would be worthless to anybody else, become valuable to the geologist. There may be nothing picturesque or strikingly singular in their appearance. They may be too rotten or too fragile for the manufacturer; too sapless for the agriculturist; nay, too few or too far between to be of any commercial value at all. And yet bits of bones may be inscriptions of much value to the palæontologist. As every letter in the few lines incised on the famous Rosetta stone was a key to some passage in a forgotten language of the past, so every new bit of bone may be the key to some passage in that greater history of a greater past which geology unrolls. Many years ago—how time flies past—I met with a little patch of mammaliferous drift at Folkestone; I gathered every fragment of bone, every tooth, every shell, which the workmen's picks and spades exhumed, and most of what I could not determine myself at that time, Professor Owen, and my then living and active friend, Mr. Turner, looked over and named.Amongst the bones I then collected were two of form to me before unknown, and which I often since brought back to mind. Two—both fragments of horns—flat at the basal part, perfectly round towards the tip; no goat, nor antelope, nor deer, that I knew, had horns like them; and so those fragments were laid aside (not carelessly) for future thought and comparison. Shortly since in walking through the gallery of the British Museum, I visited the cases containing deers' remains, and there, at once I saw, not the counterparts, but what seemed to me the fac-similes of my bits of horns.


Author(s):  
Redactie KITLV

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