Dacians on the Southern Bank of the Danube

1939 ◽  
Vol 29 (1) ◽  
pp. 28-31
Author(s):  
A. Alföldi
Keyword(s):  
National Museum ◽  
Front Side ◽  
Kind Permission ◽  
The Right

A new military diploma, acquired by the Hungarian National Museum (pls. ii, iii, I), furnishes us with fresh evidence of Dacian settlements south of the Danube. We publish this new document with the kind permission of Professor Paulovics, Keeper of Roman Antiquities in that museum. Only the front leaf of the diploma has been discovered; the statement of the dealer, that it was found in the Danube near Nicopol in Bulgaria, is trustworthy. The tablet is slightly damaged on the right top of the front side, but this does not obscure the reading; it measures 94 by 118 millimetres and is 1·5 millimetres thick. It weighs 113·15 grammes.

A Winged Goddess of Wine on an Electrum Plaque

1980 ◽  
Vol 30 ◽  
pp. 169-178 ◽  
Author(s):  
R. D. Barnett
Keyword(s):  
New York ◽  
Art Market ◽  
National Museum ◽  
Kind Permission ◽  
Technical Description ◽  
The Right

In 1968 the Bezalel National Museum of Jerusalem, Israel — now incorporated into the Israel Museum — acquired a small but splendid and significant piece of ancient jewellery. As it came from the art-market in New York, it is thus unfortunately without provenance. I now publish it by kind permission of the Chief Curator of Archaeology, Mrs. Miriam Tadmor, and the Curator of the Department of Neighbouring Cultures, Mrs. Rivka Merhav.Here is, first, the technical description of the piece.A figure representing a goddess, nude, four-winged and facing frontally is holding in each hand a bunch of grapes. She is raised in relief from the background of an almost square electrum plaque, framed by a plaited wire border set between plain wire on each side. The frame is decorated on each of its four sides with large globules, numbering eight in all, surrounded by granulation. The goddess formerly had long hair falling in two locks of coiled wire one each side of her face (one of these — that on the right, which showed signs of being melted, has been lost before the object first appeared on the market, presumably in antiquity (Plates VIII, IXa)).

scholarly journals The Biggest Museum Project in Czech History: The New Permanent Natural History Exhibitions in the National Museum Prague

2018 ◽  
Vol 2 ◽  
pp. e26375
Author(s):  
Ivo Macek
Keyword(s):  
Czech Republic ◽  
Natural History ◽  
Geographical Area ◽  
Modern Technology ◽  
Creative Industries ◽  
Good Time ◽  
National Museum ◽  
Modern Approach ◽  
The Czech Republic ◽  
The Right

In 2018 the National Museum Prague (NMP) is celebrating its 200th anniversary. Today the Museum is facing its most valuable development: brand new permanent exhibitions. Our monumental historic building was constructed in 1891 in the heart of Prague. After more than one hundred years we had to close the building and remove all exhibitions which were older than 40 years. The building has about 8,000m2 and is divided into two parts. One belongs to our Natural History Museum (NHM) collections with Zoology, Palaeontology, Mineralogy, Botany and Mycology exhibitions. Our new natural history galleries will open in autumn 2019. Housed all on one floor, the galleries will be full of animals like invertebrates, fishes, reptiles, birds and mammals. The second floor will focus on palaeontology spanning more than 500 million years of evolution covering the geographical area of the modern Czech Republic. At the beginning we had to ask ourselves a few simple questions. How do we develop permanent exhibitions that will last for decades? Is excluding modern technology the right thing to do? Should we focus on a more informative/education style or should the interpretation be more populist? And what about the display cases? Should we use old repaired ones or modern cases? It would be great to have answers to all these questions but we still have to deal with the vision and constraints of our curators, collections, budget, legislation, technology and construction of the building. The project has no similar equivalent in the history of the Czech Republic so it was an extraordinary challenge to create our own process of developments with ongoing improvements. Through these developments we have formed new cooperation with technological partners and the creative industries. We are defining a new modern approach to the development and preparation of exhibitions in the Czech Republic. Now that we have reached the half way point towards our vision, it is a good time to report on progress.

Four Roman portraits in the Piraeus Museum

1959 ◽  
Vol 53 ◽  
pp. 285-291
Author(s):  
J. M. C. Toynbee
Keyword(s):  
Head And Neck ◽  
Full Length ◽  
The Other ◽  
Kind Permission ◽  
Total Height ◽  
Hollow Interior ◽  
The Right ◽  
Considerable Damage

Among the local finds displayed in the Museum of Antiquities at the Piraeus are six Roman portraits, all of Pentelic marble and all unrestored. Two of them, a colossal head of Trajan (no. 270) and a colossal statue of Balbinus (no. 278), have already been fully edited. But according to the Director of the Piraeus Museum, Dr. Threpsiades, and to the best of the present writer's knowledge, of the other portraits two are still unpublished, two described without any illustration; and it is with Dr. Threpsiades' kind permission that all four are published here.I. No. E 4. Head of Claudius(Plate 67a–b)Total height: 48 cm.Height from crown of head to bottom of chin: 26 cm.Width across at greatest extent: 20 cm.Width from back to front at greatest extent: 24 cm.The sculpture depicts the head and neck, slightly over life-size, of an elderly man, in whom we can immediately recognize the Emperor Claudius. At the base of the neck is a rounded ‘tenon’, designed for insertion into a cavity between the shoulders of the now vanished body of a full-length statue. Claudius' face has sustained considerable damage. The nose has practically gone, only part of the side, and the hollow interior, of the right nostril remaining. The chin, lips, and right ear are bruised, the brow is marred by several abrasures, and the left ear is lost.

scholarly journals Caeneus and the Centaurs: A Vase at Harrow

1897 ◽  
Vol 17 ◽  
pp. 294-305
Author(s):  
Ernest Gardner
Keyword(s):  
Kind Permission ◽  
History Of ◽  
The Right

The vase that is here published, by the kind permission of the authorities of the Harrow School Museum, is the gem of the collection of antiquities presented to that Museum by Sir Gardner Wilkinson; it is described by Mr. Cecil Torr as No. 50 in his catalogue. It had been repainted and restored in such a way as to suggest that it had been through the hands of an Italian dealer; and this conjecture as to its provenance is confirmed by the fact that a tracing of the design exists in the apparat of the German Institute at Rome; the vase comes from Vitorchiano and had been seen in the possession of Depoletti: the tracing was communicated by Gerhard. Dr. Wernicke describes the vase from this tracing in the Archaeologische Zeitung, 1885, p. 262; but it is clear that the tracing was not accurate enough to give him any adequate notion of the beauty and character of the drawing; though he notices the extraordinary foreshortening of the Centaur on the right, he suggests that the design is a variant derived from a vase signed by Polygnotus at Brussels, a suggestion that could not have been made by any one who had seen the vase or a good drawing of it; the style, as we shall see, points unmistakably to an earlier and finer stage in the history of vasepainting.

Seven New Inscriptions from Tripolitania

1960 ◽  
Vol 28 (1) ◽  
pp. 51-54 ◽  
Author(s):  
Olwen Brogan ◽  
Joyce Reynolds
Keyword(s):  
Kind Permission ◽  
Road Map ◽  
The Face ◽  
The Right ◽  
Made In

The seven inscriptions described below were recorded by O. Brogan during journeys made in the Tripolitanian hinterland in 1958, 1959 and 1960, and are published here with the kind permission of Dr. E. Vergara-Caffarelli of the Department of Antiquities in Tripoli.Brown limestone block, broken away at the right side (0·94 × 0·56 × 0·17) inscribed on one face within a moulded border (panel, 0·88 × 0·47); as a result of re-use the face is badly damaged and in part obscured by mortar which it has proved impossible to remove without danger to the surface. Found in 1958, south of the Jefren-Zintan road (map 1/100,000, sheet Giado, 1672, U788719) midway up the hillside above the wells; now in Tripoli Museum.

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 An Attic Grave Lekythos

1906 ◽  
Vol 26 ◽  
pp. 229-234 ◽  
Author(s):  
Silvia M. Welsh
Keyword(s):  
Subject Matter ◽  
Good Deal ◽  
The Body ◽  
Left Bank ◽  
National Museum ◽  
Kind Permission ◽  
Total Height

Pentelic marble. Total height, 113 cm. Height of body, 96 cm. Of figured space, 47 cm. Circumference round the bottom of figured space, 116·5 cm.The upper part of the neck and the whole of the handle are missing.This beautiful marble grave lekythos, which I have received kind permission to publish from Dr. Kastriotis and M. Stais, is now in the National Museum of Athens (No. 2584). It was discovered in the year 1904 in the house of Spiliotis near the σφαγεῖα on the left bank of the Ilisos.The vase itself is considerably broken, and the surface of the marble is unfortunately a good deal damaged, but in spite of this, at the first glance, one is struck by the beauty of the whole composition of the relief which covers more than half of the body of the lekythos. This relief is interesting also for its subject matter, which, as far as I am aware, has no exact parallel; a somewhat unusual fact, for on the whole there is not very much variation in the scenes and motives represented on the Greek grave reliefs.

scholarly journals Świat zwierząt Daniela Schultza

Porta Aurea ◽  
2018 ◽  
pp. 33-61
Author(s):  
Anna Sobecka
Keyword(s):  
Fine Arts ◽  
Art Market ◽  
National Museum ◽  
Still Life ◽  
Auction House ◽  
Private Collection ◽  
The Subject ◽  
Characteristic Features ◽  
The Right ◽  
Animal World

Daniel Schultz (1615–1683) was one of the most important painters of his time, highly regarded among the Polish nobility and patricians of his native city of Gdańsk. Schultz’s game and animal pieces resemble works of Flemish artists. His earliest animal picture Trophies in the Pantry is perhaps most Southern Netherlandish in character. Fred G. Meijer attributed to Schultz a painting on the subject of hunting, bearing the monogram “DS” and dated 1649. Schultz also executed a smaller painting, which is a depiction of a fox (or rather a dog) head shown in profile and a bunch of grapes, with some killed birds. Furthermore, two other animal paintings by Schultz are known from the National Museum in Gdańsk. In 2014, a pair of pendant paintings of dead birds appeared on the art market. Their similarity to the Medicean Trophies led the experts of the Artcurial auction house to ascribe them to Schultz. As one compares them with some other works by the Gdańsk artist, the resemblance is even more pronounced. Both paintings are now in a Polish private collection. In the Museum of Fine Arts in Gent there are two other paintings attributed to Frans Snyders and Jan Fyt which could have been painted by Daniel Schultz. The focus on perfectly studied animals, framing of the composition, and a summary treatment of the background are characteristic of him. The ‘Ds 16__’ monogram bears the painting from the Kuscovo Palace (Moscow), which depicts A Heron, a Bittern and a Rabbit. Schultz was the first artist in the territories associated with the Polish-Lithuanian Commonwealth to create independent animal and still life paintings. Possibly a pupil of Elias Vonck, the Amsterdam master active in Prussia, Schultz was also influenced by Antwerp masters such as Frans Snyders and Johannes Spruyt. Schultz’s interest for animal themes and still life may have been connected with characteristic features of the culture of Gdańsk, such as, for instance, a penchant for hunting, viewed both as a pastime and a subject for art. Gdańsk citizens enjoyed the right to hunt as of 1588, earlier than any other European bourgeoisie. Most signed works by Schultz are his depictions of animals. Tis could be an indirect suggestion about the identity of the recipients of Schultz’s depictions of the animal world. As stated above, the Gdańsk citizens had a predilection for hunting pieces; they also cared more than courtiers about the fact that such representations were authored by a Gdańsk artist.

scholarly journals Sources of the National Museum of Lithuania

1970 ◽  
pp. 193
Author(s):  
Zygintas Bucys
Keyword(s):  
19Th Century ◽  
Past History ◽  
National Museum ◽  
The Past ◽  
True Meaning ◽  
The Right

”Not all yet understand the true meaning of the Museum, thinking that it is something like Valhala, where morality and genius must be exalted. Not all yet understand that Archæology, trying to avoid empty inducements, today’s passions, is not obliged to flatter a nation’s pride. By collecting monuments of all that was alive and interesting in the past, history is given the right to evaluate, praise or condemn. In the faces of ancestors it is not looking for beauty, but likeness”. The first museum in Lithuania – the Vilnius Museum of Antiquities – was established almost a hundred and fifty years ago (1855) according to this statement of belief by of one of the most famous researchers of Lithuanian culture in mid-19th century, Adam Kirkor. 

scholarly journals Goalpost Detection Using Omnidirectional Cameras on ERSOW Soccer Robots

Jurnal INFORM ◽  
2020 ◽  
Vol 5 (2) ◽  
pp. 86-91
Author(s):  
Mochamad Mobed Bachtiar ◽  
Iwan Kurnianto Wibowo ◽  
Rakasiwi Bangun Hamarsudi
Keyword(s):  
Goal Area ◽  
Front Side ◽  
Soccer Robot ◽  
Omnidirectional Camera ◽  
Goal Detection ◽  
The Right ◽  
Robot Position ◽  
Soccer Robots

The ERSOW robot is a soccer robot developed by Politeknik Elektronika Negeri Surabaya, Indonesia. One important ability of a soccer robot is the ability to find the goal in the field. Goal Post is often used as a sign by soccer robots in a match. The mark is a reference robot in the field to be used in determining the strategy. By knowing the location of the goal in a field, the soccer robot can make the decision to maneuver in the match to get the right goal kick. There are various methods of detecting goal. One of them is to detect goal post using vision. In this study the radial search lines method is used to detect the goalposts as markers. Image input is generated from an omnidirectional camera. The goal area that is detected is the front side of the goal area. With experiments from 10 robot position points in the field, only 1 position point cannot detect the goal. The robot cannot detect the goal because what is seen from the camera is the side of the goal, so the front side of the goal area is not visible.Keywords— omnidirectional camera, vision, radial search lines, goal detection, ersow soccer robot

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