A Fragment of an Ivory Statue at the British Museum

1917 ◽  
Vol 37 ◽  
pp. 17-18
Author(s):  
W. R. Lethaby
Keyword(s):  
British Museum ◽  
The Face

About three years ago I sent some slight notes on chryselephantine sculpture to the Journal, but withdrew them again for expansion. In the main they were intended to bring out the value, as evidence of the methods used in working ivory for statues, of a small ivory mask in the British Museum. The article by Signor Carlo Albizzati on an ivory mask in the Vatican, published in the last part of the Journal, offers a new occasion for calling attention to the London fragment. In the ‘Guide to the Second Vase Room’ by Newton and Murray (Part I. 1878) it was described thus: ‘No. 15, Part of a Mask. The forehead, cheeks, chin, and nose cut off with smooth joints; the sockets of the eyes empty: the base of the nose is broad, and the lips full and prominent, as in the Egyptian type; inside the nostrils are the remains of vermilion. The mask has probably been completed with other carvings fitted on at the joints and with eyes in some other material. Height 3½ inches. Bequeathed by Sir Wm. Temple.’ The wording of this suggests that the fragment was supposed to be a part of some ornamental composition, but it will not now be doubted, I believe, that it is a part of a head in the round which was made up of several pieces. Our fragment—the central part of the face—had next to it two side pieces to complete the cheeks and another for the chin.

A Stag-horn Head from Crete

1920 ◽  
Vol 40 (2) ◽  
pp. 174-179 ◽  
Author(s):  
E. J. Forsdyke
Keyword(s):  
British Museum ◽  
Human Face ◽  
Strict Interpretation ◽  
The Face ◽  
Round Base ◽  
Actual Size

The curious head which is illustrated, in actual size, on Plate VI., was bought by my colleague, Captain F. N. Pryce, and me from a well-known Greek dealer at Cairo in December 1918, and is now in the British Museum. It is carved in the beam of a stag's antler, the natural burr or coronet of the horn representing either a crown or curled, upstanding hair, while the longitudinal corrugations imitate hanging tresses. The smooth, round base of the shed antler very aptly resembles the top of a man's head (Fig. 1). All these features are unworked. The rest of the horn is carved in the shape of a human face wearing a full beard and turned-up moustaches. Across the forehead is a heavy ridged moulding, which runs into the edge of the beard on each side of the face. Whether this moulding represents the band of a headdress, or a ceremonial fillet, or the rim of a crown, or is simply a decorative device to help the transition from the projecting hair to the receding face, it is not possible to decide, for its details will not bear strict interpretation. The hair of eyebrows, moustache and beard is marked with close striations.

scholarly journals Art. XII.—Two Edicts of Aššurbanipal

1891 ◽  
Vol 23 (3) ◽  
pp. 457-475
Author(s):  
S. Arthur Strong
Keyword(s):  
British Museum ◽  
The Other ◽  
The Public ◽  
The Face ◽  
Internal Affairs ◽  
Public Worship

The following inscription is engraved (lines 1 to 49) on the back and (lines 50 to 81) on the left side of a stele of reddish stone brought from Babylon by Mr. Rassam, and now in the British Museum. The stele is rounded at the top, and on the face Aššurbanipal is represented in high relief in his tiara and royal robes, supporting on his head with his two hands an object which looks like a basket of woven reeds. The meaning of this attitude has been discussed in a learned paper by Mr. Evetts, and his conclusion is that the king is represented “in his capacity as priest carrying the instruments of sacrifice” (P.S.B.A. 1891). In the inscription the king, after setting forth his glory and titles, goes on to record how that he completed the work of restoration and adornment, which Esarhaddon his father had begun in Êsagila and the other temples of Babylon, that he brought back the image of Marduk, which in the reign of a former king (Sennacherib) had been carried away to Assyria, that he reorganized the public worship and other internal affairs of Babylon, and established his brother Šamaššumukin on the throne.

Some Inscriptions from Lepcis Magna

1951 ◽  
Vol 19 ◽  
pp. 118-121
Author(s):  
J. M. Reynolds
Keyword(s):  
British Museum ◽  
Latin Text ◽  
Public Building ◽  
The Face ◽  
The Temple

In 1816 the Bey of Tripoli presented to the Prince Regent a cargo of antiquities from Lepcis Magna. They were brought to England in 1817, and, after a sojourn in the courtyard of the British Museum, went to Virginia Water with material from other sources, to be disposed in a sham ruin. One inscribed stone was subsequently returned to the British Museum. Its findspot is certain, for it was seen c. 1806 at Lepcis Magna by J. D. Delaporte, among the remains of a building since identified as, possibly, the Temple of Jupiter Dolichenus.It is a block of the grey limestone typical of public building at Lepcis in the first and early second centuries A.D., part of an entablature, with mouldings above and below, a socket for a roofbeam at the back, and a monumental inscription on the face. Previous publications of the text are incomplete. There are two lines of Latin, followed by one in neo-Punic. The Latin text reads:… VESPASIAN]I F DOM[ITIAN… (erased)…] AVG SVFE[…

A Portrait of Ptolemy III Euergetes

1933 ◽  
Vol 53 (2) ◽  
pp. 300-300
Author(s):  
R. P. Hinks
Keyword(s):  
British Museum ◽  
Flat Background ◽  
Middlesex Hospital ◽  
The Face ◽  
Straight Hair ◽  
Bright Blue

A small glazed earthenware portrait-head of a man, found accidentally on the site of the Middlesex Hospital, has been acquired by the Department of Greek and Roman Antiquities at the British Museum, as a gift from Mr. C. E. Grunspan. It is 32 millimetres (1 3/16 inches) in height; and is made of buff clay, covered all over with a vitreous glaze which varies in colour from brownish-green to bright blue. The neck is broken off from the nape to the base of the chin. The back of the head is cut off obliquely, but evenly, as though for attachment to a flat background; the oblique cut gives the face a quarter turn to the left. The head is hollowed out behind, and even this cavity is blue-glazed.The man represented has a fleshy jowl, rather projecting lips, prominent eyes, and a somewhat retreating forehead, over which the straight hair is combed forward in a roll, held in position by a plain rounded diadem.

A Four-horse Chariot Relief of the Fifth Century B.C.

1967 ◽  
Vol 62 ◽  
pp. 19-26
Author(s):  
Geoffrey B. Waywell
Keyword(s):  
British Museum ◽  
Fifth Century ◽  
The Other ◽  
Calcareous Deposit ◽  
British School ◽  
The Face ◽  
The Right ◽  
Votive Offerings

Two fragments of relief, one in the British Museum, the other in the British School at Athens, have been found to adjoin.The first piece is British Museum 814 (Plate 1). Museum Marbles ix (1842) 172 f., pl. 38. 2; A. H. Smith, BMC Sculpt, i (1892) 373; Furtwängler, Sammlung Sabouroff, text to pl. XXVI; Reisch, Griechische Weihgeschenke 50; Rouse, Greek Votive Offerings 177; W. H. Hyde, Olympic Victor Monuments (1921) 268; Rizzo, Bolletino d'Arte viii (1938) 348, fig. 25; C. C. Vermeule III, JHS lxxv (1955) 105, fig. 5.Provenance, Athens. H. 0·70 m., W. 0·82 m., Th. 0·08 m., Depth of relief 0·03 m. Broken left and below. Above and to the right is a narrow frame of peculiar type, which comprises a flat fillet with chamfered inner margin, forming a mitred joint in the upper right corner. The marble is of fine and even crystal with a definite golden-brown patina, and is therefore likely to be Pentelic. The surface is generally very worn, and some higher features, such as the horses' heads, the face of the charioteer, and the nearside of the Nike above, are completely obliterated. Besides this, a calcareous deposit, mentioned in Museum Marbles as having damaged the stone, has at some time been lightly chiselled away. Hence the coarse appearance of, for example, the upper right corner of the frame, the background to the right of the charioteer, and the area in front of Nike's head.The scene shows a four-horse chariot travelling at speed to the left, driven by a charioteer dressed in the usual long, sleeveless chiton, which swirls back in the wind.

A Group of Plastic Vases

1938 ◽  
Vol 58 (1) ◽  
pp. 41-50 ◽  
Author(s):  
Martin Robertson
Keyword(s):  
Smooth Surface ◽  
British Museum ◽  
The Face ◽  
Brownish Black ◽  
The Right

Pl. V, 1 and 2 shows a plastic vase in the British Museum, in the form of an antelope's head, cut off flat at the base of the neck and with the orifice in the right ear. The clay is light reddish-brown with a very smooth surface, the glaze brownish-black. The horns, ears, eyelids, pupils, muzzle and outlines of jaws are black, the face is covered with fine black dots, the neck and throat and the burr of the horns with short black strokes; there are white dots on the muzzle, red in the interior of ears and nostrils, and an incised line round the pupils. Under the base is a black rosette with a white dot on each petal (Pl. V, 2). Horns and ears are broken off, but are preserved complete on a replica in Berlin (Fig. 1, a and Pl. V, 3). Mlle. Maximova pointed out the connexion of the two vases, though she wrongly stated that the London vase had no orifice. She mentioned two others with the orifice in the ear—a bull's head in Berlin and a ram's head in Florence, both also cut off flat at the neck. The bull's head has no other resemblance to the antelopes', but the ram's appears from the description to be of similar style. The main peculiarity of the painting of the antelopes' heads—the covering of some areas with fine dots and others with short dashes—recurs on a number of other vases.

Time for a change

2017 ◽  
Author(s):  
Henry A. McGhie
Keyword(s):  
Natural History ◽  
British Museum ◽  
American School ◽  
Origin Of Species ◽  
Left Behind ◽  
Alfred Russel Wallace ◽  
Great Debate ◽  
The Face ◽  
Naming Practices

This chapter reveals how ornithology had become divided into factions, with Dresser occupying a distinctive position as one of the last independent naturalists. The British Ornithologists Union had its 50th anniversary in 1909; this showed how the BOU had become rather left behind in the face of competition from the American school of ornithology. Bird and egg collecting were the source of a great debate that ran for some time in the Times. Dresser took part in the commemorations of Darwin’s birth and the publication of On the Origin of Species through his friendship with Alfred Russel Wallace. He was again accused of theft by the British Museum (Natural History). Dresser took part in one last book project, to standardise the names of the birds that had occurred in Britain in line with more modern naming practices.

He alo ā he alo / kanohi ki te kanohi / face-to-face: curatorial bodies, encounters and relations

Curatopia ◽  
2019 ◽  
pp. 296-316
Author(s):  
Noelle M.K.Y. Kahanu ◽  
Moana Nepia ◽  
Philipp Schorch
Keyword(s):  
Deep Level ◽  
British Museum ◽  
Face To Face ◽  
The Pacific ◽  
Curatorial Practice ◽  
The World ◽  
The Face ◽  
Physical Intimacy ◽  
University Of Hawai'i ◽  
The University

Throughout the Pacific, interpersonal encounters are characterized by a deep level of physical intimacy and engagement - from the honi/hongi, the face-to-face greeting, to the ha‘a/haka wero, acts of challenge that also serve as a celebratory acknowledgement of ancestral presences. In these physical exchanges, relationships are built, tended, and tested through an embodied confirmation of values, practices, and ethics. For museums holding Pacific collections, the importance of relationships, and their physicality, persists. The increasing acknowledgment of, and interaction with, communities of origin, whose works reside in museums throughout the world, is thereby not a new practice but the current stage of a continuum of relations that have ebbed and flowed over centuries. This chapter involves the interdisciplinary work of three scholars whose research, interests and collaborations coalesce around concepts of indigenous curatorial practice. Kahanu focusses on Bishop Museum’s E Kū Ana Ka Paia exhibition (2010), which featured important Hawaiian temple images loaned from the British Museum and the Peabody Essex Museum, as well as the Nā Hulu Ali‘i exhibition which gathered Hawaiian featherwork from around the world (2015/2016). She highlights how the Hawaiian practice of he alo a he alo in cross-cultural contexts facilitated these exhibitions, thereby ultimately enabling extensive community engagement. Nepia discusses two recent programs at the University of Hawai‘i, ARTspeak and the Binding and Looping: Transfer of Presence in Contemporary Pacific Art exhibition, as a means of examining how Pacific Island artists articulate contemporary creative practice, particularly as it relates to physical and bodily encounters. Schorch concludes the volume with a coda which historicises Curatopia and its underpinning relations and engagements He Alo A He Alo / Kanohi Ki Te Kanohi / Face to Face.

Il Convegno AICA del 1984. La Presidenza Hăulică e la questione dei Marmi del Partenone

2020 ◽  
Vol 65 (1) ◽  
pp. 157-173
Author(s):  
Alexandros Diamantis
Keyword(s):  
Contemporary Art ◽  
International Association ◽  
British Museum ◽  
The Other ◽  
Xxth Century ◽  
The Face ◽  
Complex Relationships ◽  
The One ◽  
Greek World ◽  
Art Critics

"The 1984 Conference of the International Association of Art Critics. The Presidency of Dan Hăulică and the Issue of the Parthenon Sculptures. In 1984, the Conference of the International Association of Art Critics (AICA), chaired by the Romanian Dan Hăulică (1932-2014), was organized for the first time in Greece; the event offered an opportunity for historians and art critics of various nationalities to meet. The theme of the conference, „Contemporary art and the Greek world. The XXth century in the face of the civilizations that have followed one another in the Greek space”, on the one hand honored the host country and on the other, placing the accent on the relationship between XXth century art and the Western artistic tradition, was part of the international discussion on the end of the avant-gardes. The complex relationships between the ancient and the contemporary were discussed in terms of influences, continuity and discontinuity. Particular attention was paid to the concept of myth and the mythical dimension of contemporary art. On the other hand, the generic definition of „Greek world"", intentionally chosen by the Greek section of the AICA, re-proposed the national narrative of an essentially unitary historical-artistic development. The Conference also had a dimension of international political significance connected to the fact that the previous year the AICA, an organization affiliated with UNESCO, had approved a motion for the return to Greece of the Parthenon marbles kept at the British Museum. In Athens, the confirmation of solidarity with the Greek cause was also a matter of electoral campaign for the renewal of the Presidency of the AICA. Keywords: AICA Congress, art discourse, contemporary art, Parthenon marbles, classical heritage, myth "

scholarly journals IV.—The Site, Fauna, and Industry of La Cotte de St. Brelade, Jersey

Archaeologia ◽  
1916 ◽  
Vol 67 ◽  
pp. 75-118 ◽  
Author(s):  
R.R. Marett
Keyword(s):  
Natural History ◽  
Royal College ◽  
British Museum ◽  
Public Institutions ◽  
Treasure Trove ◽  
Considerable Cost ◽  
The Face ◽  
The Many

The communication which I now have the honour to lay before the Society of Antiquaries presupposes a knowledge of the contents of my two papers concerning Jersey antiquities already published in Archaeologia. I beg to thank the Society for enabling these successive reports on the excavations of La Cotte de St. Brelade to be printed and illustrated on so generous a scale. I would here take the opportunity of likewise acknowledging my debt to many other helpers: first, to Mr. G. F. B. de Gruchy, Seigneur of Noirmont, and owner of the cave, who has not only made over the whole of the treasure-trove to public institutions, providing funds into the bargain in order as it were to exploit him-self, but has throughout been my constant adjutant and co-worker; then to my Oxford friends and pupils who have at considerable cost to themselves taken part in the work for weeks and months together, Captain A. H. Coltart and Mrs. Coltart, Mr. T. B. Kittredge, Mr. B. de Chrustchoff, Miss Bayly, Mr. R. de J. Fleming Struthers, the Rev. E. O. James, Mrs. Jenkinson, Mr. P. H. Brodie; next, to Jersey residents innumerable, most of them ardent members of the Societe Jersiaise, such as, to mention but a few, Mr. E. T. Nicolle, Mr. J. Sinel, the late Dr. A. Dunlop, Mr. H. J. Baal, Mrs. Briard, Mrs. Symons, Mr. G. Le Bas, Mr. A. H. Barreau, Mr. E. F. Guiton, the two last-mentioned gentlemen having as draughtsman and photographer respectively helped largely to make our results intelligible by way of the eye; and, finally, to the many experts who have in various ways assisted in the interpretation of what we brought to light, among them being Sir Hercules Read and Mr. Reginald A. Smith of the British Museum; Dr. A. Smith Woodward and Dr. C. Andrews of the British Museum of Natural History; Dr. A. Keith of the Royal College of Surgeons; and Professor W. J. Sollas and Mr. H. Balfour of Oxford. Let me add, in order to save the face of my kind allies and advisers, that I am in the last resort responsible for every statement of fact or opinion that appears here.

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