A Statuette in private Possession

1926 ◽  
Vol 27 ◽  
pp. 149-150
Author(s):  
H. W. Law
Keyword(s):  
Flat Surface ◽  
The Body ◽  
Front Side ◽  
Left Hand ◽  
The Right ◽  
Shoulder Blade ◽  
The Way

The statuette represented in the accompanying photograph is about 37·6 cm. in height. The left leg is broken off above the knee, and supported on a prop which forms part of the base. The right leg is only roughly chiselled at the back, which suggests that the front side alone was visible in the position in which the statuette was originally placed. The nature of the object on the right shoulder is uncertain. The upper portion is like a kind of boss, and the lower front portion resembles an animal's claw. It has been suggested that it represents a pedum; but the angle at which the missing portion (if there has been a fracture, which is not certain) would project puts some difficulty in the way of this hypothesis. If, however, the object on the shoulder was part of an animal's skin extended across the breast, all traces of that have disappeared; though in a spot over the right ribs the marble has been shaved away to a flat surface, against which some object may have rested. There are three similar shaved spots in other parts of the body: behind each shoulder-blade and on the nates, and these may well indicate the places at which the statuette touched a wall. The position of the shaved spots behind the shoulder-blades does not suggest that they were the starting-points of wings. A small portion of lead piping is inserted under the left arm in the back of the mask—apparently a Comic one—carried in the left hand. The marble is of a rough crystalline character, probably Parian or Naxian. In the absence of the head and of all certain attributes it is difficult to say whether the statuette represents an Eros or a Satyr.

scholarly journals XIV.—Ancient Gold Ornaments: described by John Yonge Akerman, Esq. Secretary

Archaeologia ◽  
1853 ◽  
Vol 35 (1) ◽  
pp. 190-193
Author(s):  
John Yonge Akerman
Keyword(s):  
Light Chain ◽  
The Body ◽  
The Other ◽  
Asia Minor ◽  
Plate Viii ◽  
Left Hand ◽  
Small Loop ◽  
The Individual ◽  
The Right ◽  
Of Greece

With the exception of Figs. 1, 2, 3, the Gold Ornaments engraved in Plate VIII. have no reference whatever to each other. The first three were obtained by Viscount Strangford, Director of the Society, from a Greek priest at Milo, in the year 1820. Figs. 1 and 3 appear to have formed the ends of a light chain, and the other (fig. 2) to have been pendent by a small loop on the top of the head. The figure has unfortunately lost the feet and the left hand, but the other parts are perfect. The right hand is raised in an admonitory attitude. The forehead appears as if encircled with a wreath, while the body is crossed by what would seem to be intended for the tendril of a vine. The necklace was formerly in the collection of the late Mr. H. P. Borrell, of Smyrna, but I am informed by his brother, Mr. Maximilian Borrell, who now possesses it, that no record exists of its discovery, and that he cannot learn the name of the individual from whom it was purchased. It was well known that Mr. H. P. Borrell was in the habit of purchasing ancient coins, which were sent to him from all parts of Greece and Asia-Minor, and that many rare and unique specimens fell into his hands, of which he contributed descriptions in various volumes of the Numismatic Chronicle. The necklace may, therefore, have been included in one of these numerous consignments, and we can scarcely indulge the hope that the place of its discovery will ever be made known. As an example of ancient art, it may vie with the most elaborate and beautiful specimens of goldsmiths' work of any age or period. The details are wonderfully minute and delicate, even the backs of the button-like objects at the ends of the pendent cords being elaborately finished.

scholarly journals Realization of Low Profile Leaky Wave Antennas Using the Bending Technique for Frequency Scanning and Sensor Applications

Sensors ◽  
2019 ◽  
Vol 19 (10) ◽  
pp. 2265 ◽  
Author(s):  
Abhishek Kandwal ◽  
Zedong Nie ◽  
Lei Wang ◽  
Louis W. Y. Liu ◽  
Ranjan Das
Keyword(s):  
Transmission Line ◽  
The Body ◽  
Leaky Wave ◽  
Left Hand ◽  
Sensor Applications ◽  
Frequency Scanning ◽  
Right Hand ◽  
Low Profile ◽  
The Right ◽  
Ku Band

This paper proposes an efficient transmission line modulation by using the bending technique to realize low profile leaky wave antennas in the Ku-band for frequency scanning and sensor applications. The paper focuses mainly on the bending effects of the transmission line in terms of the sharpness of edges. The right-hand/left-hand transmission line can be designed in the form of zig-zag pattern with sharp corners and only the right-hand transmission line in the form of sinusoidal patterns with smooth corners. In this presentation, we demonstrate that transmission lines of this kind can be used to realize highly efficient leaky wave antennas with broadband impedance matching and high gain characteristics in the Ku-band. Dispersion analysis and ladder network analysis have been performed for investigating the performance of the proposed designs. The sharpness of the bends periodically distributed along the body of the antenna has been used to our advantage for frequency scanning in the left-hand and right-hand quadrants at different frequencies. The proposed bending technique has been proven to be instrumental in achieving the desired characteristics of low profile leaky wave antennas.

scholarly journals tDCS Modulation of Visually Induced Analgesia

2012 ◽  
Vol 24 (12) ◽  
pp. 2419-2427 ◽  
Author(s):  
Flavia Mancini ◽  
Nadia Bolognini ◽  
Patrick Haggard ◽  
Giuseppe Vallar
Keyword(s):  
Visual Cortex ◽  
Pain Perception ◽  
Occipital Cortex ◽  
Body Representation ◽  
The Body ◽  
Left Hand ◽  
Analgesic Effects ◽  
Extrastriate Visual Cortex ◽  
Multisensory Interactions ◽  
The Right

Multisensory interactions can produce analgesic effects. In particular, viewing one's own body reduces pain levels, perhaps because of changes in connectivity between visual areas specialized for body representation, and sensory areas underlying pain perception. We tested the causal role of the extrastriate visual cortex in triggering visually induced analgesia by modulating the excitability of this region with transcranial direct current stimulation (tDCS). Anodal, cathodal, or sham tDCS (2 mA, 10 min) was administered to 24 healthy participants over the right occipital or over the centro-parietal areas thought to be involved in the sensory processing of pain. Participants were required to rate the intensity of painful electrical stimuli while viewing either their left hand or an object occluding the left hand, both before and immediately after tDCS. We found that the analgesic effect of viewing the body was enhanced selectively by anodal stimulation of the occipital cortex. The effect was specific for the polarity and the site of stimulation. The present results indicate that visually induced analgesia may depend on neural signals from the extrastriate visual cortex.

scholarly journals The Importance of Body Language in Costume Shows

2019 ◽  
Vol 3 (3) ◽  
pp. 220
Author(s):  
Jingran Qi
Keyword(s):  
Performing Arts ◽  
Body Language ◽  
Emotion Expression ◽  
The Body ◽  
The Core ◽  
Art Form ◽  
The Times ◽  
The Right ◽  
The Way

<p align="justify">With the development of the times, costume show has become a common art form. As the core of the fashion show, the fashion model not only shows the characteristics of the clothing itself, but also represents the fashion trend. There are also many categories of clothing models, depending on the style of clothing. As an art show, clothing models need to present the intrinsic qualities and perfect external image. Beautiful appearance is not enough just for models. If models don't have the right body language to show the unique temperament vividly, the clothing models will not have new attainments in clothing for the performing arts. In view of this situation, this paper fully discusses the necessity of the body language of the fashion model in the fashion show and the way of personalized emotion expression.</p>

scholarly journals Studi Ergonomi tentang Keluhan-keluhan Fisik yang Dialami Karyawan di Unit Perpustakaan Fakultas Kedokteran Universitas Gadjah Mada Yogyakarta

2015 ◽  
Vol 10 (1) ◽  
pp. 22
Author(s):  
Heru Wibowo
Keyword(s):  
Quantitative Research ◽  
Mechanical Vibration ◽  
Left Knee ◽  
The Body ◽  
Upper Body ◽  
Left Shoulder ◽  
Research Approach ◽  
Left Hand ◽  
Left Elbow ◽  
The Right

In carrying out the activities at the library needed a comfort, safety and job security in order to create a condition that is in line with expectations and make history in enjoying what will be done. To create an environment and atmosphare is influenced by temperature, humidity, air circulation, lighting, mechanical vibration, color, ordor, and a number of tools used to support the activities of the library includes tables, ahairs, shelves, cabinets, atc. Furniture or equipment use in the library must also be designed so that a safe and compfortable when used. This study aims to determine the grievances suffered by employees (librarian. This study is a quantitative research approach to ergonomics so that the methods used include: (1) observation by direct observation, (2) interview were conducted using a questionnaire sheet Nordi Body Map and (3) documentation. The results obtained from this study: (1) in the upper body 70% complained of pain in the shoulders and neck, 50 % left shoulder , right shoulder 55 % , and 45 % on the left arm. (2) the body of the middle 60 % complained of back pain , 50 % in the upper right arm , 60 % pain in the waist , 20 % on the buttocks , 15 % on the buttocks , the left elbow 25 % , 20 % right elbow , 30 % below the left arm , forearm 25 % right, 35 % left wrist , right wrist 45 % , 30 % and 40 % left hand right hand. (3) in the lower body as much as 20 % complained of pain in the left thigh , right thigh 20 % , 30 % left knee , right knee 25 % , 35 % left calf , calf 35 % right, 20 % left ankle , 30 % on the right ankle , 20 % of the left leg and 25 % pain in the right foot . It can be concluded that most of the employees (librarians) complained of pain in the right side of the body member .

Herakles Crowning Himself: New Greek Statuary Types and Their Place in Hellenistic and Roman Art

1957 ◽  
Vol 77 (2) ◽  
pp. 283-299 ◽  
Author(s):  
C. C. Vermeule
Keyword(s):  
General Problem ◽  
Apple Tree ◽  
The Body ◽  
Roman Art ◽  
Left Hand ◽  
Central Figure ◽  
Marcus Aurelius ◽  
The Moment ◽  
The Right ◽  
Made In

In the course of examining Roman imperial medallions and coins in connexion with a study of Roman cult images, representations of Herakles Crowning Himself, a figure which appears on the reverses of medallions of Marcus Aurelius, Lucius Verus (Plate I, 2), and Commodus (Plate I, 3), merit further comment. These reverses, whether with or without legend, exhibit identical compositions. In the centre a young, beardless Herakles stands facing, his right hand raised in the act of placing a crown on his head; his left hand, close to his left hip, holds the club upwards in the crook of the elbow. Between club and elbow, the lion's skin hangs down over the forearm to a point midway along the left leg. The head, both forepaws, and tail are clearly visible dangling below. On all the medallions the die designer has made very clear the, important point that Herakles rests his weight on the left foot, with left hip thrown out and the right foot slightly back and out, giving a pronounced bow curve to the right side of the body from foot to shoulder. To Herakles' right and slightly behind him appears an apple tree on one branch of which hang the hero's quiver and bow; to his left rear is seen a square altar, festooned with garlands and with an offering burning on the top, and in her comprehensive monograph on Roman medallions J. M. C. Toynbee suggests that ‘the picture as a whole had been inspired by some bas-relief or painting now lost to us’. The question of relating the central figure to the whole composition will be taken up in Part II, in reappraising the general problem of famous statue types in medallion compositions. For the moment we may see what further progress may be made in identifying the statue type of the young Herakles Crowning Himself.

Redemption of Security Interests under Israel Law

1975 ◽  
Vol 10 (1) ◽  
pp. 81-101 ◽  
Author(s):  
Joshua Weisman
Keyword(s):  
Supreme Court ◽  
The Body ◽  
Supreme Court Justice ◽  
Secured Transactions ◽  
English Law ◽  
The Law ◽  
The Right ◽  
The Way

The English “Equity of Redemption” was applied by the courts in Israel long before the enactment of the Security Interests Law, 1967. The courts did not hesitate to transplant this doctrine of English law into the body of Ottoman law which was then applicable in Israel in the field of secured transactions. Yet, the extent to which this symbiosis succeeded had still to be examined, and many questions relating to the right of redemption were still unanswered when the decision was taken to prepare the new Security Interests Law. In the new Law the right of redemption was expressly recognized. The influence of English law on this subject was so marked that on one occasion a Supreme Court Justice characterized the right of redemption provided by sec. 13(a) of the Law, as “actually only legislating the equity of redemption of English law”. It is the purpose of this article to examine the way in which Israel law formulated its “equity of redemption”, to analyze it, to point out its main features and expose its shortcomings.

The Statues from Cerigotto

1903 ◽  
Vol 23 ◽  
pp. 217-236
Author(s):  
K. T. Frost
Keyword(s):  
Human Nature ◽  
The Body ◽  
Forward Motion ◽  
Left Hand ◽  
The Face ◽  
The Right ◽  
The City

I. The bronze Hermes recovered from the wreck off Cerigotto is one of those works which must be judged from internal evidence alone: no reference to it has as yet been found in the ancient authors, we have no hint as to the city from which it originally came, no inscription to give us a clue to the name of the artist.It is at once apparent that the style shows no trace of severity, much less of archaism. It is therefore by some considered to be a work of the 4th century. The figure is rather above life size; it represents a young man, nude, resting the main weight of the body on the left leg while his right is slightly bent: there is however no forward motion suggested, the Hermes is standing with a somewhat languid grace. The right arm is raised and is extended half outwards, half sideways, while the head is also turned a little towards the right, thus displaying the muscles of the neck (see J.H.S. vol. XXIII. Pl. IX.) The left hand may have held a caduceus, which would dispel any doubt as to identification, but apart from such an attribute the whole character and treatment of the face seem to suggest a God and not a human athlete. The indications of a violent and passionate nature which Scopas used with such effect are smoothed over or fined away, while in the features and expression the intellectual rather than the animal side of human nature is emphasised.

scholarly journals Integration of Proprioceptive and Visual Position-Information: An Experimentally Supported Model

1999 ◽  
Vol 81 (3) ◽  
pp. 1355-1364 ◽  
Author(s):  
Robert J. van Beers ◽  
Anne C. Sittig ◽  
Jan J. Denier van der Gon
Keyword(s):  
Visual Information ◽  
The Body ◽  
The Other ◽  
Proprioceptive Information ◽  
Position Information ◽  
Left Hand ◽  
The Mean ◽  
The Right ◽  
Variable Errors ◽  
Available Information

Integration of proprioceptive and visual position-information: an experimentally supported model. To localize one’s hand, i.e., to find out its position with respect to the body, humans may use proprioceptive information or visual information or both. It is still not known how the CNS combines simultaneous proprioceptive and visual information. In this study, we investigate in what position in a horizontal plane a hand is localized on the basis of simultaneous proprioceptive and visual information and compare this to the positions in which it is localized on the basis of proprioception only and vision only. Seated at a table, subjects matched target positions on the table top with their unseen left hand under the table. The experiment consisted of three series. In each of these series, the target positions were presented in three conditions: by vision only, by proprioception only, or by both vision and proprioception. In one of the three series, the visual information was veridical. In the other two, it was modified by prisms that displaced the visual field to the left and to the right, respectively. The results show that the mean of the positions indicated in the condition with both vision and proprioception generally lies off the straight line through the means of the other two conditions. In most cases the mean lies on the side predicted by a model describing the integration of multisensory information. According to this model, the visual information and the proprioceptive information are weighted with direction-dependent weights, the weights being related to the direction-dependent precision of the information in such a way that the available information is used very efficiently. Because the proposed model also can explain the unexpectedly small sizes of the variable errors in the localization of a seen hand that were reported earlier, there is strong evidence to support this model. The results imply that the CNS has knowledge about the direction-dependent precision of the proprioceptive and visual information.

scholarly journals A Statue of the Youthful Asklepios

1883 ◽  
Vol 4 ◽  
pp. 46-52
Author(s):  
Warwick Wroth
Keyword(s):  
British Museum ◽  
The Body ◽  
Lower Half ◽  
Left Shoulder ◽  
Hellenic Journal ◽  
Left Hand ◽  
Marble Statue ◽  
History Of ◽  
The Subject ◽  
The Right

The marble statue of a youthful male figure holding in his left hand a snake-encircled staff, which is reproduced in the accompanying plate, was found by Smith and Porcher at Cyrene, and is now in the collection of the British Museum. By its original discoverers this figure was named Aristaeus: an attribution which has been adopted, though with some hesitation, in the Museum Guide to the Graeco-Roman Sculptures. As, however, this attribution seems more than doubtful, it may be well to lay before the readers of the Hellenic Journal some additional remarks upon the subject, and to direct special attention to a statue which is not among those photographed in the History of Discoveries at Cyrene, and which has not, hitherto, been figured elsewhere.The statue now to be described is four feet five and a half inches in height, and represents a young and beardless male figure standing facing. His right hand rests upon his hip, and under his left arm is a staff round which is coiled a serpent. The lower half of the body is wrapt in a himation, the end of which falls over the left shoulder, leaving the chest and the right arm uncovered. The hair is wavy and carefully composed, but does not fall lower than the neck: around the head is a plain band, above which has been some kind of crown or upright headdress: the top of the head has been worked flat. On the feet are sandals, and at the side of the left foot is a conical object which has been called a rude representation of the omphalos, but which is, in all probability, a mere support.

Sign in / Sign up

Export Citation Format

Share Document