DOCSLIB.ORG

Birds, "Meniskoi," and Head Attributes in Archaic Greece Brunilde S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Birds, Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Classical and Near Eastern Archaeology Faculty Classical and Near Eastern Archaeology Research and Scholarship 1990 Birds, "Meniskoi," and Head Attributes in Archaic Greece Brunilde S. Ridgway Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/arch_pubs Part of the Classical Archaeology and Art History Commons, and the History of Art, Architecture, and Archaeology Commons Custom Citation Ridgway, Brunilde S. 1990. Birds, "Meniskoi," and Head Attributes in Archaic Greece. American Journal of Archaeology 94:583-612. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/arch_pubs/22 For more information, please contact [email protected]. Birds, "Meniskoi,"and Head Attributesin Archaic Greece BRUNILDE SISMONDORIDGWAY To G. Roger Edwards Abstract beings and scenes of everyday life. This situation is Research on metal attachments in Archaic sculpture proportionately more acute the earlier the artistic leads to the conclusion that the "meniskoi"mentioned by phase and the more "primitive" or abstract the ren- as the birds be a Aristophanes protectionagainst may pun dering. Thus, on vases of the Geometric period, some or allusion,the meaning of which escapesus today.Spikes and attachment holes on the heads of kouroi and korai scholars have wanted to identify Homeric heroes and should rather be seen in the light of some examples on specific legends, for example, Paris abducting Helen marblesphinxes, where traces of paint and other devices or Theseus departing with Ariadne, whereas others indicate for the metal bars. It is specificmeanings argued have read the same figures as an eighth-century ship that what has been taken as in the usually simplification captain taking leave of his wife. A shipwreck with rendering of Archaichair should often be read as a head sailors surrounded fish has been as one cover; in particular,Antenor's Kore, Akr. 681, is consid- by interpreted ered an Athena wearinga helmet, in imitationof an earlier of Odysseus' adventures, but also as one of the perils image. Elaborate Archaic headdresses may have their of contemporary Greek trade expanding overseas.' in roots prehistoricor Easternpractices, and in turn lead Even apparently standard decorative motifs such as to the fashions of complicated fifth-centurytemple stat- animals and ornaments have been ues, like the Athena Parthenos and the Rhamnousian filling alternatively taken as divine or as elements of life Nemesis. Identificationmust be made on a case-by-case symbols daily basis, but it seems plausible to suggest that most kouroi having practical purposes, some more easily intelligi- and korai represented divine beings, whose distinctive ble than others, especially in their meaningful juxta- headdressesserved as identifiersfor the ancientviewers.* position. In particular, an important article by John Boardman has tried to make sense of the seemingly It is a well-known fact of Greek iconography that generic horses and fish decorating Argive Geometric the modern viewer, without the help of specific clues vases in terms of the natural habitat of the vase paint- such as written labels or distinctive attributes, cannot ers, who could see around them horses at pasture in always distinguish representations of mythological fig- areas ringed by marshes and sea. A more recent pub- ures and epic events from those of common human lication has instead returned full circle to earlier re- * This article is dedicated to G. Roger Edwards,without Boardman, J. Boardman, GreekSculpture: The Ar- whom it would not have been written. Not only did he put Archaic Period chaic Period (London 1978). at my disposal his most extensive file on meniskoiand rep- Richter, G.M.A Richter, The Archaic Gravestones resentations of the moon crescent and astral signs (from AGA of Attica(London 1961). which most of my references are taken), but he gave me Richter, G.M.A. Richter, Korai, Archaic Greek access to many of his own ideas and, with his intensive Korai Maidens (London 1968). attempts to visualize the Aristophanic meniskosand other Richter, G.M.A. Richter, Kouroi, Archaic Greek head ornaments, forced me to come to grips with the issue. Kouroi Youths (London 1960). His scholarly generosity is here most gratefully acknowl- Ridgway, B.S. Ridgway, The Archaic Style in Greek edged. I am also grateful to Jane B. Carter and especially Archaic Style Sculpture (Princeton 1977). Jody Maxmin,for helpful discussion,references, and obser- Paris and Helen or Theseus and Ariadne: see, e.g., vations. I warmlythank Kevin Glowackifor bibliographical W.R. Biers, The Archaeology of Greece: An Introduction (Ith- help and comments, and Kenneth Shapiro and MarinaBe- aca and London 1980) 119 and fig. 5.20; cf. also p. 106. lozerskaya,who in the Spring of 1989 checkedthe headdress Shipwreckas Odyssean adventure or contemporaryoccur- of Antenor'sKore for me. The followingabbreviations have rence:J. Boardman,Pre-Classical (London 1967) 63 and fig. been used: 32; cf. also the vase from Pithekoussai,most recently dis- cussed by D. Ridgway, "The PithekoussaiShipwreck," in AMA Die archaische Marmorbildwerke der Ak- Studies in Honor of T.B.L. Webster 2 (Bristol 1988) 97-107, ropolis (Frankfurt 1939). Korai pub- with mention of possible interpretationsand previous bibli- lished by E. Langlotz,other sculptures ography.For a generaldiscussion on the iconographicmean- in the round and reliefs by W.-H. ing of Geometricrepresentations, see A.M. Snodgrass,An Schuchhardt, architecturalsculpture Archaeologyof Greece(Sather Classical Lectures 53, Berkeley by H. Schrader. 1987) 147-69. 583 AmericanJournal of Archaeology94 (1990) 584 BRUNILDE SISMONDO RIDGWAY [AJA 94 ligious interpretations, explaining the patterns as on all four is seen to be a more complex combination reminiscent of a Bronze Age Leader of Horses de- of garments including a diagonal mantle and perhaps rived from Oriental iconography and connected with a veil tucked in at the waist, unexpectedly early for ritual fish sacrifice.2 Greek art and worn in a manner now convincingly This ambiguous situation could have improved connected with earlier Near Eastern practices. A sim- during the Archaic period, especially with the spread ple coiffure of angular masses framing the face is now of writing to provide labels for painted scenes and explained as a veil draped under a polos and almost dedicatory inscriptions for monuments. Yet the am- entirely covering the hair, again of Oriental deriva- bivalence remains, not only for representations on tion. The iconography of the goddess standing on a black- and red-figure vases, but also for extant sculp- lion had always been interpreted in terms of Eastern tures, whether large or small, in terracotta, bronze, influence, and this earliest among Greek stone sculp- or stone. It is with the last that I am particularly tures therefore confirms ties with more remote peri- concerned here, although examples and evidence ods and lands.3 from the other categories will occasionally be intro- Attributes, often added in metal or carved together duced to support my arguments. To be sure, our with separately inserted limbs, had the potential to interpretation of surviving statuary is hampered by transform a generic human form into a divinity. Thus various factors, of which a few may bear examination the well-known "Nikandre" from Delos could repre- and exemplification here. sent the Naxian woman who dedicated the marble Paint, for instance, was an integral element of all statue, but the metal attributes once held by the figure ancient carving, yet today it is mostly lost and can only in both hands, combined with the epithets of Artemis be recovered, if at all, through technical means not mentioned in the votive inscription, make it virtually accessible to the general viewer. By means of color, certain that it is a representation of the goddess her- sculptors introduced significant details too difficult to self, holding a bow and an arrow. A more or less render plastically, gave liveliness and distinction to standard kouros type provided with a belt and gold facial features, and created visible differentiation pendants to the hair turns into an Apollo.4 Wings at from garment to garment and even from statue to the booted feet of a generic traveler indicate Hermes. apparently similar statue. A startling demonstration Thus the anthropomorphism of Greek gods is at the of the importance of paint has been given by the same time a help and a hindrance-a help to the recent publication of the Isthmia perirrhanterion, ancient sculptor who could use a standard model and, showing the supporting female figures as differently by judiciously adding different attributes, adapt it for clothed and made up. What looked like a plain tunic various purposes or depictions; a hindrance for the 2 J. Boardman,"Symbol and Story in GeometricArt," in 419-30; a Syro-Palestinianconnection for the iconography W.G. Moon ed., Ancient GreekArt and Iconography (Madison is postulatedon p. 425, where the waterbasin as cult equip- 1983) 15-36. For connection of the Argive motif with My- ment is said to reachback to EarlyBronze Age Mesopotamia. cenaean pictorial vases from Ugarit in North Syria, see S. In the same volume, see M. Waelkens,P. de Paepe, and L. Langdon,"The Returnof the Horse-Leader,"AJA 93 (1989) Moens, "Quarriesand the MarbleTrade in Antiquity,"11- 185-201. 24, for the theory that the Greeks learned their quarrying For 3 a recent general treatment of paint on Archaic methods from Anatolia.This point is further elaboratedby sculpture see, e.g., E. Walter-Karydi,"Prinzipien der ar- M. Waelkens, "The Quarrying Techniques of the Greek chaischen Farbgebung," in Studien zur klassischen Archiiolo- World," in Marble: Art Historical and Scientific Perspectives gie (FestschriftF. Hiller, Saarbriicken1986) 23-41. Isthmia on AncientSculpture (Malibu, Getty Symposiumheld 28-30 perirrhanterion:M.C.
Load more

Recommended publications
  • Princeton/Stanford Working Papers in Classics
    Princeton/Stanford Working Papers in Classics The eighth-century revolution Version 1.0 December 2005 Ian Morris Stanford University Abstract: Through most of the 20th century classicists saw the 8th century BC as a period of major changes, which they characterized as “revolutionary,” but in the 1990s critics proposed more gradualist interpretations. In this paper I argue that while 30 years of fieldwork and new analyses inevitably require us to modify the framework established by Snodgrass in the 1970s (a profound social and economic depression in the Aegean c. 1100-800 BC; major population growth in the 8th century; social and cultural transformations that established the parameters of classical society), it nevertheless remains the most convincing interpretation of the evidence, and that the idea of an 8th-century revolution remains useful © Ian Morris. [email protected] 1 THE EIGHTH-CENTURY REVOLUTION Ian Morris Introduction In the eighth century BC the communities of central Aegean Greece (see figure 1) and their colonies overseas laid the foundations of the economic, social, and cultural framework that constrained and enabled Greek achievements for the next five hundred years. Rapid population growth promoted warfare, trade, and political centralization all around the Mediterranean. In most regions, the outcome was a concentration of power in the hands of kings, but Aegean Greeks created a new form of identity, the equal male citizen, living freely within a small polis. This vision of the good society was intensely contested throughout the late eighth century, but by the end of the archaic period it had defeated all rival models in the central Aegean, and was spreading through other Greek communities.
    [Show full text]
  • A Kouros Head in Kansas City
    A KOUROS HEAD IN KANSAS CITY (PLATES 96-100) SINCE my first published article on Greek sculpture, written forty years ago, dealt largely with Archaic material, and since that article was written at the request of Oscar Broneer, it seems appropriate to present him with this new'foray in the field of Archaic sculpture in honor of his eightieth birthday. An excellent marble head of the Kouros type in the William Rockhill Nelson Gallery of Art in Kansas City has thus far eluded the notice to which' it is entitled 2 (Pls. 96-99). Of island marble, it measures seven and one-half inches in height and is in remarkably good condition despite losses to the chin, the tip of the nose, and a section of the hair above the right forehead. In determining the development of later Archaic sculpture, three features are of particular importance: the hair, the eyes and the mouth. The Kansas City head defines each of these in an unusual way and combines them in a manner that is quite unique. The hair over the forehead is represented in two rows of tight formal curls, carefully chiseled, but still retaining traces of the square outlines from which they were formed. The curls briefly feed back to a narrow fillet, either in a single ridge from each spiral in the lower row or in paired ridges from each of the upper (P1. 98, a). On top of the head, and behind the fillet, these ridges are patterned uniquely. They begin with a small loop over the center of the forehead and, in concentric arcs, extend across the crown from side to side, winding up over the base of the skull in a broadly oval line (Pls.
    [Show full text]
  • A Preliminary Study of the Inner Coffin and Mummy Cover Of
    A PRELIMINARY STUDY OF THE INNER COFFIN AND MUMMY COVER OF NESYTANEBETTAWY FROM BAB EL-GUSUS (A.9) IN THE NATIONAL MUSEUM OF NATURAL HISTORY, SMITHSONIAN INSTITUTION, WASHINGTON, D.C. by Alec J. Noah A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts Major: Art History The University of Memphis May 2013 Copyright © 2013 Alec Noah All rights reserved ii For my parents iii ACKNOWLEDGMENTS First and foremost, I must thank the National Museum of Natural History, particularly the assistant collection managers, David Hunt and David Rosenthal. I would also like to thank my advisor, Dr. Nigel Strudwick, for his guidance, suggestions, and willingness to help at every step of this project, and my thesis committee, Dr. Lorelei H. Corcoran and Dr. Patricia V. Podzorski, for their detailed comments which improved the final draft of this thesis. I would like to thank Grace Lahneman for introducing me to the coffin of Nesytanebettawy and for her support throughout this entire process. I am also grateful for the Lahneman family for graciously hosting me in Maryland on multiple occasions while I examined the coffin. Most importantly, I would like to thank my parents. Without their support, none of this would have been possible. iv ABSTRACT Noah, Alec. M.A. The University of Memphis. May 2013. A Preliminary Study of the Inner Coffin and Mummy Cover of Nesytanebettawy from Bab el-Gusus (A.9) in the National Museum of Natural History, Smithsonian Institution, Washington, D.C. Major Professor: Nigel Strudwick, Ph.D. The coffin of Nesytanebettawy (A.9) was retrieved from the second Deir el Bahari cache in the Bab el-Gusus tomb and was presented to the National Museum of Natural History in 1893.
    [Show full text]
  • Urban Planning in the Greek Colonies in Sicily and Magna Graecia
    Urban Planning in the Greek Colonies in Sicily and Magna Graecia (8th – 6th centuries BCE) An honors thesis for the Department of Classics Olivia E. Hayden Tufts University, 2013 Abstract: Although ancient Greeks were traversing the western Mediterranean as early as the Mycenaean Period, the end of the “Dark Age” saw a surge of Greek colonial activity throughout the Mediterranean. Contemporary cities of the Greek homeland were in the process of growing from small, irregularly planned settlements into organized urban spaces. By contrast, the colonies founded overseas in the 8th and 6th centuries BCE lacked any pre-existing structures or spatial organization, allowing the inhabitants to closely approximate their conceptual ideals. For this reason the Greek colonies in Sicily and Magna Graecia, known for their extensive use of gridded urban planning, exemplified the overarching trajectory of urban planning in this period. Over the course of the 8th to 6th centuries BCE the Greek cities in Sicily and Magna Graecia developed many common features, including the zoning of domestic, religious, and political space and the implementation of a gridded street plan in the domestic sector. Each city, however, had its own peculiarities and experimental design elements. I will argue that the interplay between standardization and idiosyncrasy in each city developed as a result of vying for recognition within this tight-knit network of affluent Sicilian and South Italian cities. This competition both stimulated the widespread adoption of popular ideas and encouraged the continuous initiation of new trends. ii Table of Contents: Abstract. …………………….………………………………………………………………….... ii Table of Contents …………………………………….………………………………….…….... iii 1. Introduction …………………………………………………………………………..……….. 1 2.
    [Show full text]
  • Beauty on Display Plato and the Concept of the Kalon
    BEAUTY ON DISPLAY PLATO AND THE CONCEPT OF THE KALON JONATHAN FINE Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Jonathan Fine All rights reserved ABSTRACT BEAUTY ON DISPLAY: PLATO AND THE CONCEPT OF THE KALON JONATHAN FINE A central concept for Plato is the kalon – often translated as the beautiful, fine, admirable, or noble. This dissertation shows that only by prioritizing dimensions of beauty in the concept can we understand the nature, use, and insights of the kalon in Plato. The concept of the kalon organizes aspirations to appear and be admired as beautiful for one’s virtue. We may consider beauty superficial and concern for it vain – but what if it were also indispensable to living well? By analyzing how Plato uses the concept of the kalon to contest cultural practices of shame and honour regulated by ideals of beauty, we come to see not only the tensions within the concept but also how attractions to beauty steer, but can subvert, our attempts to live well. TABLE OF CONTENTS Acknowledgements ii 1 Coordinating the Kalon: A Critical Introduction 1 1 The Kalon and the Dominant Approach 2 2 A Conceptual Problem 10 3 Overview 24 2 Beauty, Shame, and the Appearance of Virtue 29 1 Our Ancient Contemporaries 29 2 The Cultural Imagination 34 3 Spirit and the Social Dimension of the Kalon 55 4 Before the Eyes of Others 82 3 Glory, Grief, and the Problem of Achilles 100 1 A Tragic Worldview 103 2 The Heroic Ideal 110 3 Disgracing Achilles 125 4 Putting Poikilia in its Place 135 1 Some Ambivalences 135 2 The Aesthetics of Poikilia 138 3 The Taste of Democracy 148 4 Lovers of Sights and Sounds 173 5 The Possibility of Wonder 182 5 The Guise of the Beautiful 188 1 A Psychological Distinction 190 2 From Disinterested Admiration to Agency 202 3 The Opacity of Love 212 4 Looking Good? 218 Bibliography 234 i ACKNOWLEDGEMENTS “To do philosophy is to explore one’s own temperament,” Iris Murdoch suggested at the outset of “Of ‘God’ and ‘Good’”.
    [Show full text]
  • The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts
    THE NATURE OF HELLENISTIC DOMESTIC SCULPTURE IN ITS CULTURAL AND SPATIAL CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Craig I. Hardiman, B.Comm., B.A., M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Dr. Mark D. Fullerton, Advisor Dr. Timothy J. McNiven _______________________________ Advisor Dr. Stephen V. Tracy Graduate Program in the History of Art Copyright by Craig I. Hardiman 2005 ABSTRACT This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans.
    [Show full text]
  • About a Type of Islamic Incense Burner 29
    ABOUT A TYPE OF ISLAMIC INCENSE BURNER MEHMET AGA-OGLU NCENSE burners were no novel vessels produced to usheredinto a chamberand served a meal, after which the meet the specific needs of Islamic social life. The ori- incense burnerswere brought so that the guests could per- gin of thurification with various aromatic substances fume themselves before entering the caliph's presence.5 for magical, religious, or social occasions,and the devising The amount of aromatic substances,particularly aloes and of special vessels for the purpose,go far back to the histori- certain varieties of sandalwoods, used for thurification in cal beginnings of the Near Eastern peoples.1 Islam, al- the households of caliphs and dignitaries, must have been though in principle opposed to luxurious ways of life, did enormous. We are informed by al-Tabari, for example, not prevent the use of incense and perfumes. The popu- that Amr ibn al-Laith, the founder of the Saffarid dynasty larity of perfumes during the first centuries is best illus- of Eastern Iran, sent to Caliphal-Mu'tamid in the year 268 trated by the lengthy legistic opinions expressed in the (881/82) 200 minas of aloes wood which he had confis- Hadith literature,2and, among others, by a chapter in the cated from a grandson of Abu Dulaf.6 Among the proper- manual for elegant manners "of a man of polite education," ties left after his death in 301 (913), by Abu'l-Husayn written by Abu'l-Tayyib Muhammad ibn Ishaq al-Wash- Ali ibn Ahmad al-Rasibi, the 'Abbasid governor of Khu- sha.' zistan and neighboring territories,were great numbers of Historicalsources are extremely generous with accounts gold and silver vessels, perfumes, and other valuables, as on the subject.' A few examples can be cited here, and well as 4,420 mithkals of aloes wood for thurification.7 others will be presentedelsewhere.
    [Show full text]
  • The Dancing God and the Mind of Zeus in Nonnos' Dionysiaca
    Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Οὐδε γέρων Ἀστραῖος ἀναίνετο: The Dancing God and the Mind of Zeus in Nonnos’ Dionysiaca Doron Simcha Tauber Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Classical Literature and Philology Commons, and the Indo-European Linguistics and Philology Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Tauber, Doron Simcha, "Οὐδε γέρων Ἀστραῖος ἀναίνετο: The Dancing God and the Mind of Zeus in Nonnos’ Dionysiaca" (2017). Senior Projects Spring 2017. 130. https://digitalcommons.bard.edu/senproj_s2017/130 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Οὐδε γέρων Ἀστραῖος ἀναίνετο The Dancing God and the Mind of Zeus in Nonnos’ Dionysiaca Senior Project submitted to The Division of Languages and Literature of Bard College by Doron Simcha Tauber Annandale-on-Hudson, New York May 2017 For James, my Hymenaios Acknowledgements: Bill Mullen has been the captain of my errant ship, always strong on the rudder to keep my course on line.
    [Show full text]
  • Archaic Eretria
    ARCHAIC ERETRIA This book presents for the first time a history of Eretria during the Archaic Era, the city’s most notable period of political importance. Keith Walker examines all the major elements of the city’s success. One of the key factors explored is Eretria’s role as a pioneer coloniser in both the Levant and the West— its early Aegean ‘island empire’ anticipates that of Athens by more than a century, and Eretrian shipping and trade was similarly widespread. We are shown how the strength of the navy conferred thalassocratic status on the city between 506 and 490 BC, and that the importance of its rowers (Eretria means ‘the rowing city’) probably explains the appearance of its democratic constitution. Walker dates this to the last decade of the sixth century; given the presence of Athenian political exiles there, this may well have provided a model for the later reforms of Kleisthenes in Athens. Eretria’s major, indeed dominant, role in the events of central Greece in the last half of the sixth century, and in the events of the Ionian Revolt to 490, is clearly demonstrated, and the tyranny of Diagoras (c. 538–509), perhaps the golden age of the city, is fully examined. Full documentation of literary, epigraphic and archaeological sources (most of which have previously been inaccessible to an English-speaking audience) is provided, creating a fascinating history and a valuable resource for the Greek historian. Keith Walker is a Research Associate in the Department of Classics, History and Religion at the University of New England, Armidale, Australia.
    [Show full text]
  • Boston Common and the Public Garden
    WalkBoston and the Public Realm N 3 minute walk T MBTA Station As Massachusetts’ leading advocate for safe and 9 enjoyable walking environments, WalkBoston works w with local and state agencies to accommodate walkers | in all parts of the public realm: sidewalks, streets, bridges, shopping areas, plazas, trails and parks. By B a o working to make an increasingly safe and more s attractive pedestrian network, WalkBoston creates t l o more transportation choices and healthier, greener, n k more vibrant communities. Please volunteer and/or C join online at www.walkboston.org. o B The center of Boston’s public realm is Boston m Common and the Public Garden, where the pedestrian m o network is easily accessible on foot for more than o 300,000 Downtown, Beacon Hill and Back Bay workers, n & shoppers, visitors and residents. These walkways s are used by commuters, tourists, readers, thinkers, t h talkers, strollers and others during lunch, commutes, t e and on weekends. They are wonderful places to walk o P — you can find a new route every day. Sample walks: u b Boston Common Loops n l i • Perimeter/25 minute walk – Park St., Beacon St., c MacArthur, Boylston St. and Lafayette Malls. G • Central/15 minute walk – Lafayette, Railroad, a MacArthur Malls and Mayor’s Walk. r d • Bandstand/15 minute walk – Parade Ground Path, e Beacon St. Mall and Long Path. n Public Garden Loops • Perimeter/15 minute walk – Boylston, Charles, Beacon and Arlington Paths. • Swans and Ducklings/8 minute walk – Lagoon Paths. Public Garden & Boston Common • Mid-park/10 minute walk – Mayor’s, Haffenreffer Walks.
    [Show full text]
  • Geographical List of Public Sculpture-1
    GEOGRAPHICAL LIST OF SELECTED PERMANENTLY DISPLAYED MAJOR WORKS BY DANIEL CHESTER FRENCH ♦ The following works have been included: Publicly accessible sculpture in parks, public gardens, squares, cemeteries Sculpture that is part of a building’s architecture, or is featured on the exterior of a building, or on the accessible grounds of a building State City Specific Location Title of Work Date CALIFORNIA San Francisco Golden Gate Park, Intersection of John F. THOMAS STARR KING, bronze statue 1888-92 Kennedy and Music Concourse Drives DC Washington Gallaudet College, Kendall Green THOMAS GALLAUDET MEMORIAL; bronze 1885-89 group DC Washington President’s Park, (“The Ellipse”), Executive *FRANCIS DAVIS MILLET AND MAJOR 1912-13 Avenue and Ellipse Drive, at northwest ARCHIBALD BUTT MEMORIAL, marble junction fountain reliefs DC Washington Dupont Circle *ADMIRAL SAMUEL FRANCIS DUPONT 1917-21 MEMORIAL (SEA, WIND and SKY), marble fountain reliefs DC Washington Lincoln Memorial, Lincoln Memorial Circle *ABRAHAM LINCOLN, marble statue 1911-22 NW DC Washington President’s Park South *FIRST DIVISION MEMORIAL (VICTORY), 1921-24 bronze statue GEORGIA Atlanta Norfolk Southern Corporation Plaza, 1200 *SAMUEL SPENCER, bronze statue 1909-10 Peachtree Street NE GEORGIA Savannah Chippewa Square GOVERNOR JAMES EDWARD 1907-10 OGLETHORPE, bronze statue ILLINOIS Chicago Garfield Park Conservatory INDIAN CORN (WOMAN AND BULL), bronze 1893? group !1 State City Specific Location Title of Work Date ILLINOIS Chicago Washington Park, 51st Street and Dr. GENERAL GEORGE WASHINGTON, bronze 1903-04 Martin Luther King Jr. Drive, equestrian replica ILLINOIS Chicago Jackson Park THE REPUBLIC, gilded bronze statue 1915-18 ILLINOIS Chicago East Erie Street Victory (First Division Memorial); bronze 1921-24 reproduction ILLINOIS Danville In front of Federal Courthouse on Vermilion DANVILLE, ILLINOIS FOUNTAIN, by Paul 1913-15 Street Manship designed by D.C.
    [Show full text]
  • The Origins of the Kouros
    THE ORIGINS OF THE KOUROS By REBECCA ANN DUNHAM A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Rebecca Ann Dunham This document is dedicated to my mom. TABLE OF CONTENTS page LIST OF FIGURES ........................................................................................................... vi ABSTRACT.........................................................................................................................x CHAPTER 1 DEFINITION OF THE KOUROS TYPE ....................................................................1 Pose...............................................................................................................................2 Size and material...........................................................................................................2 Nudity ...........................................................................................................................3 Body Shape and Treatment of Musculature .................................................................3 Execution ......................................................................................................................4 Function ........................................................................................................................5 Provenances ..................................................................................................................7
    [Show full text]