Further Notes on the Sculpture of the Later Temple of Artemis at Ephesus

1914 ◽  
Vol 34 ◽  
pp. 76-88
Author(s):  
W. R. Lethaby
Keyword(s):  
British Museum ◽  
Female Figure ◽  
Left Hand ◽  
Right Hand ◽  
The Subject ◽  
Symmetrical Group ◽  
The Right ◽  
Vertical Joint ◽  
The Given

The Square Pedestals.—In some notes on the sculpture from the Artemision at the British Museum, printed in the last volume of this Journal (p. 87), I suggested that the fragment No. 1201 most probably belonged to a relief representing either Herakles in the Garden of the Hesperides or Herakles and the Hydra. Subsequent examination and the attempt to make a restoration from the given data have made me sure that the former was the subject of the sculpture. Only this would account for the quiet action of the left hand of Herakles and for the closely associated female figure. If this were indeed the subject, how could its normal elements be arranged so as to suit the conditions of the square pedestal having a vertical joint in the centre, and making proper use of the existing fragment of which Fig. 1 is a rough sketch? This question I have tried to answer. The fragment is now fixed in the side of a built-up pedestal close to its left-hand angle, but there is nothing which settles this position and it is a practically impossible one, for there is not room left in which to complete the figure of Herakles. If, however, we shift the piece to the right hand half of the pedestal, and sketch in the completion of the two figures, we at once see how perfectly the tree and serpent would occupy the centre of the composition and leave the left-hand space for the two other watching maidens—the whole making a symmetrical group.

Hector and Andromache on a Red-Figured Vase

1888 ◽  
Vol 9 ◽  
pp. 11-17
Author(s):  
Percy Gardner
Keyword(s):  
British Museum ◽  
The Other ◽  
Left Hand ◽  
Right Hand ◽  
The Subject ◽  
The Right

The vase which is the subject of the present paper is no new find. It has been for many years in the British Museum (Cat. No. 810), and was mentioned by Overbeck in his Heroische Bildwerke in 1851. It has not however hitherto been figured, and it may be well to take advantage of its publication in these pages to make a few observations on the general subject of vase-paintings which are connected with the myths of the Iliad.The present vase is an amphora from Vulci, height nineteen inches. The form and decoration are given in the woodcut. On one side is a warrior standing to the left, clad in a chlamys, and armed with helmet, spear, and shield adorned with serpent. On the other side is a lady to the left, clad in Ionian chiton and overdress, her head enveloped in a kerchief; she raises her right hand; in her left hand is a baby boy, who turns and stretches his hands to the right. The main outlines of the figures are traced in black, but the folds of the Ionian chiton with light red; there are three incised circles on the warrior's shield. Under each figure runs a line of maeander pattern; an anthemion adorns the bottoms of both handles.

Nog een suggestie voor het onderwerp van Rembrandts historiestuk te Leiden: De grootmoedigheid van Alexander

1987 ◽  
Vol 101 (2) ◽  
pp. 89-94
Author(s):  
J. Bruyn
Keyword(s):  
17Th Century ◽  
General Nature ◽  
History Painting ◽  
Emotional Words ◽  
Left Hand ◽  
Right Hand ◽  
Political Allegory ◽  
The Subject ◽  
Background Wave ◽  
The Right

AbstractOf the nine interpretations proposed for Rembraradt's history Painting of 1626 now at Leiden, none is really convincing. Il seems attractive to think of palamedes Condemned by Agamemncm as the subject because of its political significance in the year after the publication of Voredel's tragecty Palamedcs or Innocence Murdered, which denounced the execution of the Remonstrant leader Johan van Oldenbarnevelt in 1619. γet the scene depicted does not fit any episode frorn the Palamedes story. It appears rather to represent three young men appearing before a crowned figure who makes a pronouncement, probably one of magnanimity or clemency. It is conceivable that the subject was taken from Q. Curtius Rufus's Historiae Alexandri Magni Macedonis, ofwhich several editions, including translations into the vernacular, were published in Holland in the first decades of the 17th century. The episode in question was known to the young Rubens, but does not seem to have been illustrated by any other artist. At the beginning of the seventh book it is described how Alexander summoned before. him in the presence of the army two oj three brothers, who had been close friends of Philotas, a former, friend of his who had been executed for plotting against his life. The youngest brother, Poleinon, had panicked and fled but was caught and brought back at the very moment when Alexander had accused the brothers and the eldest, Amyntas, after having been released from his bonds and given a spear which he held in his left hand, had embarked on his szzccess ful defence. The appearance of Polemon infuriated the soldiers, but when he took the blame on himself and prrifessed his brothers' innocence, they were moved to tears. So too was Alexander who, prompted by their cries, absolved the brothers. This anecdote does at least explain some of the features of Rembrandt's scene. The young man standing on the right with his right hand raised as if swearing an oath would be the eloquent Amyntas with a spear in his left hand. Hidden behind him kneels the second brother, Simias, while Polemon, 'a young man just come to maturity and in the first bloom of his youth', has fallen on one knee in the foreground, underlining his emotional words with his right hand bressed to his heart. Alexander raises his sceptre in token of his absolution and some men in the background wave and shout from a socle they have climbed. Interpreted in this way, the scene coralains not a topical political allegory but, as would seem usual with history paintings, a message of a more general nature: the magnanimity of Alexander as an 'exemblum virtutis'.

Some Roman Stucco Reliefs from Pozzuoli now in the British Museum

1966 ◽  
Vol 34 ◽  
pp. 24-33
Author(s):  
Roger Ling
Keyword(s):  
British Museum ◽  
Second Century ◽  
Interior Decoration ◽  
Female Figure ◽  
Left Hand ◽  
South Italy ◽  
Right Hand ◽  
Sea Monster ◽  
Victoria And Albert Museum

In 1956 the British Museum acquired on loan from the Victoria and Albert Museum a series of eighteen stucco reliefs of the kind used by the Romans in the interior decoration of walls and vaults: these were bought in 1078, together with a terracotta relief, and were all ascribed to a ‘Greek tomb of the second century B.C. lately discovered in South Italy.’ They appear as follows in the British Museum Register of Antiquities:1. In relief foreparts of Griffin facing right, ending in short twisted tail. Background painted red. 35 × 39·5 cm.2. In relief foreparts of panther facing left, ending in short twisted tail. Background painted red. 35 × 38·8 cm.3. In relief ‘putto’ moving left holding a patera (?) in his right hand and tambourine in left hand. Overhead hanging swags. 47·7 × 35 cm.4. ‘Putto’ flying to right holding a lyre in right hand. Overhead hanging swags. 49·6 × 35·6 cm.5. In relief a winged Victory moving lightly to right. 48·3 × 34·4 cm.6. In relief ‘putto’ running to right, over his left arm a small piece of drapery. Overhead hanging swags. 48·3 × 39·5 cm.7. Concave and framed with leaf-tongue moulding. In relief ‘putto’ riding a sea-horse. 30·5 × 39·5 cm.8. Concave and framed by leaf-tongue moulding. In relief ‘putto’ riding sea-monster. 31·2 × 43·9 cm.9. In relief half-reclining semi-nude female figure, probably Venus. 30·5 × 37·6 cm.10. Concave, framed by leaf-moulding. In relief ‘putto’ on back of panther prancing to left. 31·8 × 34·4 cm.11. In relief, griffin prancing to left. 28 × 33·1 cm.

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.

Some Fragments of a Vase presumably by Euphronios

1888 ◽  
Vol 9 ◽  
pp. 143-146
Author(s):  
Jane E. Harrison
Keyword(s):  
Interior Design ◽  
Detailed Examination ◽  
The South ◽  
Female Figure ◽  
Left Hand ◽  
Complete Restoration ◽  
South Wall ◽  
The Subject ◽  
The Right

The fragments collected on Plate VI. were found in 1888 in the excavations on the Acropolis—near to the south wall beyond the stratum of poros débris. (). I am not able to offer a complete restoration of the design, nor to explain with certainty all details, but the extant fragments are of such great artistic and archaeological importance that it seems desirable to publish them at once, without waiting either for such explanation or for a detailed examination of the mythography involved.I owe to the courtesy of M. Kabbadias permission to make the publication. The drawing is by M. Gilliéron, kindly supervised by Dr. Wolters, after I left Athens. To him is therefore due the present restored position of the fragments.The vase was obviously a cylix, the designs of both interior and exterior being painted on a white ground. The necklet and bracelet of the female figure, the head-bands of both, and other portions in slight relief and now coloured red, once bore gilding. The subject and main outline of the—most important—interior design are happily clear. Orpheus (ΟΡΦΕϒ) to the right sinks on one knee to the ground; his left hand no doubt supported him.

scholarly journals Solving Equations in the lambda-Calculus using Syntactic Encapsulation

1995 ◽  
Vol 2 (49) ◽  
Author(s):  
Mayer Goldberg
Keyword(s):  
Normal Form ◽  
Lambda Calculus ◽  
Systems Of Equations ◽  
Left Hand ◽  
Right Hand ◽  
Solving Equations ◽  
The Right ◽  
The Given ◽  
Programming Calculi

<p>Syntactic encapsulation is a relation between an expression and one of<br />its sub-expressions, that constraints how the given sub-expression can<br />be used throughout the reduction of the expression. In this paper, we<br />present a class of systems of equations, in which the right-hand side of<br />each equation is syntactically encapsulated in the left-hand side. This<br />class is general enough to allow equations to contain self-application,<br />and to allow unknowns to appear on both sides of the equation. Yet<br />such a system is simple enough to be solvable, and for a solution<br />(though of course not its normal form) to be obtainable in constant<br />time.</p><p><br />Keywords: lambda-calculus, programming calculi.</p>

Two Greek School-Tablets

1909 ◽  
Vol 29 (1) ◽  
pp. 29-40 ◽  
Author(s):  
F. G. Kenyon
Keyword(s):  
British Museum ◽  
Left Hand ◽  
Right Hand ◽  
Roman Egypt ◽  
Interesting Class ◽  
The Right ◽  
School Books

Mr. Milne's article in the last volume of the Journal (xxviii. 121 ff.) calls attention to an interesting class of documents, the tablets or ostraka which served as school-books in Graeco-Roman Egypt. The British Museum has recently acquired two unusually good and complete specimens of this class. As they are, to the best of my belief, the most perfect that have yet come to light, it seems worth while to publish them in extenso.The first (now Brit. Mus. Add. MS. 37516) is a single wooden tablet, 1 ft. 4½ in. in length, 5¼ in. high at the left-hand end, and 4¾ in. at the right-hand end. Projecting from the left-hand end is a small knob, nearly an inch in diameter, through which a hole is bored, by which means the tablet could be suspended from a nail in the wall of the school, as in the well-known kylix of Douris at Berlin. The corners at both ends are rounded.

Kalligeneia and Hieros Arotos

1946 ◽  
Vol 66 ◽  
pp. 8-10 ◽  
Author(s):  
Bernard Ashmole
Keyword(s):  
British Museum ◽  
The Other ◽  
Black Stripe ◽  
Left Hand ◽  
Front End ◽  
Right Hand ◽  
To Come ◽  
The Right ◽  
Horizontal Band

An Attic cup of Siana shape, said to come from excavations in Rhodes, was presented to the British Museum in 1906 by Sir Henry Howorth (Pl. II). The lip is decorated with a wreath—interrupted above the handles—of alternate purple and black ivy-leaves set in two rows, one point-upwards, the other point-downwards, on a central horizontal stem. The reserved band on which the figures and handles are set comes immediately below the lip, save for a narrow black stripe; the rest of the bowl is black, but divided by a horizontal band of tongue-pattern; the tongues, pointing upwards, are alternately black and purple, except in two places where two blacks accidentally come together. Black underlies the purple and the white everywhere, except under the purple tongues, but the white, used only for women's flesh, has almost entirely disappeared. The interior is plain black. The date will be before 560 B.C.Let us look at the two scenes which appear one on each side of the cup: they are roughly drawn, but vigorous and interesting: begin with that which, as I hope to show, comes first in time (Pl IIIa). On the left, a woman is seated to right on a stool: she is dressed in purple; her hair is loose and she holds her left hand to her head in an attitude of grief, with which the gesture of the open right hand well consorts. On the right of the scene, another woman stands to left beside a naming altar (Pl IIIe). Her dress is a black peplos. She wears a broad belt, the upper band of which consists of a repeating Ѕ pattern; her hair is gathered into a small knot on the nape of the neck, and in her hands she holds out by its handles a liknoh, from the front end of which three corn-stalks project. Within are shown other objects; the scale is so small and the drawing so poor that it is not possible to identify them all: some are probably fruits, the central one almost certainly a phallus.

Vacuna

1916 ◽  
Vol 6 ◽  
pp. 202-204
Author(s):  
A. W. Van Buren
Keyword(s):  
Special Interest ◽  
Individual Subject ◽  
Female Figure ◽  
Left Hand ◽  
Right Hand ◽  
Probable Site ◽  
The Right ◽  
The Town

Probably no individual subject in the whole field of the topography of ancient Italy has attracted the attention of scholars to a greater degree than the quest for Horace's Sabine farm. The appeal which any contribution to the discussion of this question is sure to make to the historical and the literary student alike, and the special interest which the recent excavations at the probable site of the villa have aroused, encourage me to publish a monument, hitherto, I believe, unnoticed, which appears to deserve serious consideration in this connexion. This monument (fig. 14) is a bas-relief of a good quality of limestone, height 1 ft. 10¾ ins. (0·58 m.), width I ft. (0·30 m.), built into the wall of the palace of the Marchese di Roccagiovine at the town of that name, not far from the well-known inscription (fig. 15) commemorating the restoration by Vespasian of a temple of Victoria. The relief represents a female figure, clad in chiton and himation, facing to front; the head is much worn; the right hand clasps the forelegs of a deer; the left hand is badly damaged, so that its action is no longer intelligible.

Editorial Note

1946 ◽  
Vol 11 (1) ◽  
pp. 2-2
Keyword(s):  
Editorial Note ◽  
Speech Sounds ◽  
Left Hand ◽  
Hand Column ◽  
Right Hand ◽  
Infant Speech ◽  
The Right

In the article “Infant Speech Sounds and Intelligence” by Orvis C. Irwin and Han Piao Chen, in the December 1945 issue of the Journal, the paragraph which begins at the bottom of the left hand column on page 295 should have been placed immediately below the first paragraph at the top of the right hand column on page 296. To the authors we express our sincere apologies.

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