Handbook of Archaeology: Egyptian-Greek-Etruscan-RomanGeorge Bell, 1878 - 600 pages |
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Page 149
... representation remain the same for thousands of years . All the statues we possess of the Egyptians , in whatever material , and of whatever dimensions they may be , are erect , seated , or on their knees , and all , in whatever ...
... representation remain the same for thousands of years . All the statues we possess of the Egyptians , in whatever material , and of whatever dimensions they may be , are erect , seated , or on their knees , and all , in whatever ...
Page 151
... representation of their kings in a colossal form . The two most famous colossi are the seated figures 10177 in the plain of Thebes . One is re- cognised to be the vocal Memnon ( Amunoph III . ) , mentioned by Stra- bo . They are 47 feet ...
... representation of their kings in a colossal form . The two most famous colossi are the seated figures 10177 in the plain of Thebes . One is re- cognised to be the vocal Memnon ( Amunoph III . ) , mentioned by Stra- bo . They are 47 feet ...
Page 152
... representation a freedom of hand , a choice and variety of forms , a truthfulness , and even what deserves to be ... representations of 152 HANDBOOK OF ARCHEOLOGY .
... representation a freedom of hand , a choice and variety of forms , a truthfulness , and even what deserves to be ... representations of 152 HANDBOOK OF ARCHEOLOGY .
Page 154
... representation of the animal form we have the Chimæra at Florence , and the she - wolf in the Capitoline Museum . Though not strictly belonging to the art of sculpture , we cannot omit mentioning the other works of bronze of the ...
... representation of the animal form we have the Chimæra at Florence , and the she - wolf in the Capitoline Museum . Though not strictly belonging to the art of sculpture , we cannot omit mentioning the other works of bronze of the ...
Page 155
... representation of the human figure , for similar and almost iden- tical rude representations are attempted in the early stages of SCULPTURE . 155.
... representation of the human figure , for similar and almost iden- tical rude representations are attempted in the early stages of SCULPTURE . 155.
Autres éditions - Tout afficher
Handbook of Archaeology. Egyptian, Greek, Etruscan, Roman Hodder Michael Westropp Affichage du livre entier - 1867 |
Handbook of Archaeology: Egyptian-Greek-Etruscan-Roman Hodder Michael Westropp Affichage du livre entier - 1878 |
Expressions et termes fréquents
according alphabet ancient antiquity Apollo appears arch architecture artists Athens Augustus bas-reliefs baths bearing beauty born British Museum bronze building built Bust Cæsar called camei cameo celebrated cella character collection colour columns Corinth Corinthian decastyle deceased deities Doric drapery dynasty earliest Egypt Egyptian emperor engraved stones erected Etruria Etruscan example executed exhibit feet figures flourish frequently front gems glyptic art goddess gods Grecian Greece Greek Hadrian head height Hercules Hexastyle hieroglyphics imitation inscriptions intagli intaglio Ionic Italy Julius Cæsar Jupiter kind king later period Lysippus marble monuments obelisks origin ornaments oval painted vases painter Parthenon peripteral Phidias placed Pliny Pompeii portico Praxiteles pyramid Rameses Rameses II reign remarkable representation represented rings Roman Rome round Sard sardonyx scarabæi sculpture seated sepulchral Severus side signet sometimes statuary statues style subjects supposed tablet Tarquinii temple theatre Thebes tion tomb Trajan usually Vatican Venus Vitruvius vixit walls wife
Fréquemment cités
Page 489 - Enos Lases iuvate Neve lue rue Marmar sins incurrere in pleores Satur fu fere Mars limen sali sta berber Semunis Alternis advocapit conctos Enos Marmor iuvato Triumpe. The first five lines were repeated thrice, and Triumpe five times.3 Quintilian tells us that " the hymns of the Salii were hardly intelligible to the priests themselves...
Page 532 - Petronia, a priest's wife, the type of modesty. — In this place I lay my bones ; spare your tears, dear husband and daughters, and believe that it is forbidden to weep for one who lives in God.
Page 516 - DESCRIPTVM ET RECOGNITVM EX TABVLA AENEA QVAE FIXA EST ROMAE IN CAPITOLIO AD ARA (sic) GENTIS IVLIAE LATERE DEXTRO Ora al Museo di Sassari, vedi tav.
Page 149 - They are, under the point of view of religion and philosophy, wholly rotten, and from the sole of the foot to the crown of the head there is no soundness in them.
Page 226 - ... these are the marks, in very manifold gradations, however, of the figures which were called satyrs in the genuine language of Greek poetry and art, from which the Roman poets first ventured to depart, who identified them with the Boman fauni, who are described as half men, half goats, and with horns.
Page 88 - ... were introduced into Rome in the year 390, in order to appease the wrath of the gods for a pestilence then devastating the city, and that ludiones were sent for from Etruria, who acted to the sound of the pipe, in the Etruscan fashion.
Page 298 - All these were discovered in the sepulchres of the ancients, but the circumstances under which they were found differ according to locality. In Greece, the graves are generally small, being designed for single corpses, which accounts for the comparatively small size of the vases discovered in that country. At Athens, the earlier graves are sunk deepest in the soil, and those at Corinth, especially such as contain the early Corinthian vases, are found by boring to a depth of several feet beneath the...
Page 122 - ... have said, could not be inserted without special permission from the emperor. Those whose means or interest were insufficient to obtain a private pipe, were obliged to fetch water from the public fountains. It is calculated by M. Rendelet that the nine aqueducts described by Frontinus furnished Rome with a supply of water equal to that carried down by a river thirty feet broad, by six deep, flowing at the rate of thirty inches a second.
Page 137 - The whole structure, 140 feet in height, was crowned by a chariot group in white marble, in which, probably, stood Mausolos himself, represented after his translation to the world of demigods and heroes.
Page 444 - The hieroglyphic figures were arranged in vertical columns or horizontal lines, and grouped together as circumstances required, so as to leave no spaces unnecessarily vacant. They were written from right to left, or from left to' right. The order in which the characters were to be read, was shown by the direction in which the figures are placed, as their heads are invariably turned towards the reader. A single line of...