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The Coinage of Akragas C
ACTA UNIVERSITATIS UPSALIENSIS Studia Numismatica Upsaliensia 6:1 STUDIA NUMISMATICA UPSALIENSIA 6:1 The Coinage of Akragas c. 510–406 BC Text and Plates ULLA WESTERMARK I STUDIA NUMISMATICA UPSALIENSIA Editors: Harald Nilsson, Hendrik Mäkeler and Ragnar Hedlund 1. Uppsala University Coin Cabinet. Anglo-Saxon and later British Coins. By Elsa Lindberger. 2006. 2. Münzkabinett der Universität Uppsala. Deutsche Münzen der Wikingerzeit sowie des hohen und späten Mittelalters. By Peter Berghaus and Hendrik Mäkeler. 2006. 3. Uppsala universitets myntkabinett. Svenska vikingatida och medeltida mynt präglade på fastlandet. By Jonas Rundberg and Kjell Holmberg. 2008. 4. Opus mixtum. Uppsatser kring Uppsala universitets myntkabinett. 2009. 5. ”…achieved nothing worthy of memory”. Coinage and authority in the Roman empire c. AD 260–295. By Ragnar Hedlund. 2008. 6:1–2. The Coinage of Akragas c. 510–406 BC. By Ulla Westermark. 2018 7. Musik på medaljer, mynt och jetonger i Nils Uno Fornanders samling. By Eva Wiséhn. 2015. 8. Erik Wallers samling av medicinhistoriska medaljer. By Harald Nilsson. 2013. © Ulla Westermark, 2018 Database right Uppsala University ISSN 1652-7232 ISBN 978-91-513-0269-0 urn:nbn:se:uu:diva-345876 (http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-345876) Typeset in Times New Roman by Elin Klingstedt and Magnus Wijk, Uppsala Printed in Sweden on acid-free paper by DanagårdLiTHO AB, Ödeshög 2018 Distributor: Uppsala University Library, Box 510, SE-751 20 Uppsala www.uu.se, [email protected] The publication of this volume has been assisted by generous grants from Uppsala University, Uppsala Sven Svenssons stiftelse för numismatik, Stockholm Gunnar Ekströms stiftelse för numismatisk forskning, Stockholm Faith and Fred Sandstrom, Haverford, PA, USA CONTENTS FOREWORDS ......................................................................................... -
A Dynamic Analysis of Tourism Determinants in Sicily
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by NORA - Norwegian Open Research Archives A Dynamic Analysis of Tourism Determinants in Sicily Davide Provenzano Master Programme in System Dynamics Department of Geography University of Bergen Spring 2009 Acknowledgments I am grateful to the Statistical Office of the European Communities (EUROSTAT); the Italian National Institute of Statistics (ISTAT), the International Civil Aviation Organization (ICAO); the European Climate Assessment & Dataset (ECA&D 2009), the Statistical Office of the Chamber of Commerce, Industry, Craft Trade and Agriculture (CCIAA) of Palermo; the Italian Automobile Club (A.C.I), the Italian Ministry of the Environment, Territory and Sea (Ministero dell’Ambiente e della Tutela del Territorio e del Mare), the Institute for the Environmental Research and Conservation (ISPRA), the Regional Agency for the Environment Conservation (ARPA), the Region of Sicily and in particular to the Department of the Environment and Territory (Assessorato Territorio ed Ambiente – Dipartimento Territorio ed Ambiente - servizio 6), the Department of Arts and Education (Assessorato Beni Culturali, Ambientali e P.I. – Dipartimento Beni Culturali, Ambientali ed E.P.), the Department of Communication and Transportation (Assessorato del Turismo, delle Comunicazioni e dei Trasporti – Dipartimento dei Trasporti e delle Comunicazioni), the Department of Tourism, Sport and Culture (Assessorato del Turismo, delle Comunicazioni e dei Trasporti – Dipartimento Turismo, Sport e Spettacolo), for the high-quality statistical information service they provide through their web pages or upon request. I would like to thank my friends, Antonella (Nelly) Puglia in EUROSTAT and Antonino Genovesi in Assessorato Turismo ed Ambiente – Dipartimento Territorio ed Ambiente – servizio 6, for their direct contribution in my activity of data collecting. -
The Pedimental Sculpture of the Hephaisteion
THE PEDIMENTALSCULPTURE OF THE HEPHAISTEION (PLATES 48-64) INTRODUCTION T HE TEMPLE of Hephaistos, although the best-preserved ancient building in Athens and the one most accessible to scholars, has kept its secrets longer than any other. It is barely ten years since general agreement was reached on the name of the presiding deity. Only in 1939 was the evidence discovered for the restora- tion of an interior colonnade whicli at once tremendously enriched our conception of the temple. Not until the appearance of Dinsmoor's study in 1941 did we have a firm basis for assessing either its relative or absolute chronology.' The most persistent major uncertainty about the temple has concerned its pedi- mental sculpture. Almost two centuries ago (1751-55), James Stuart had inferred 1 The general bibliography on the Hephaisteion was conveniently assembled by Dinsmoor in Hesperia, Supplement V, Observations on the Hephaisteion, pp. 1 f., and the references to the sculpture loc. cit., pp. 150 f. On the sculpture add Olsen, A.J.A., XLII, 1938, pp. 276-287 and Picard, Mamtel d'Archeologie grecque, La Sculpture, II, 1939, pp. 714-732. The article by Giorgio Gullini, " L'Hephaisteion di Atene" (Archeologia Classica, Rivista dell'Istituto di Archeologia della Universita di Roma, I, 1949, pp. 11-38), came into my hands after my MS had gone to press. I note many points of difference in our interpretation of the sculptural history of the temple, but I find no reason to alter the views recorded below. Two points of fact in Gullini's article do, however, call for comment. -
ANCIENT TERRACOTTAS from SOUTH ITALY and SICILY in the J
ANCIENT TERRACOTTAS FROM SOUTH ITALY AND SICILY in the j. paul getty museum The free, online edition of this catalogue, available at http://www.getty.edu/publications/terracottas, includes zoomable high-resolution photography and a select number of 360° rotations; the ability to filter the catalogue by location, typology, and date; and an interactive map drawn from the Ancient World Mapping Center and linked to the Getty’s Thesaurus of Geographic Names and Pleiades. Also available are free PDF, EPUB, and MOBI downloads of the book; CSV and JSON downloads of the object data from the catalogue and the accompanying Guide to the Collection; and JPG and PPT downloads of the main catalogue images. © 2016 J. Paul Getty Trust This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042. First edition, 2016 Last updated, December 19, 2017 https://www.github.com/gettypubs/terracottas Published by the J. Paul Getty Museum, Los Angeles Getty Publications 1200 Getty Center Drive, Suite 500 Los Angeles, California 90049-1682 www.getty.edu/publications Ruth Evans Lane, Benedicte Gilman, and Marina Belozerskaya, Project Editors Robin H. Ray and Mary Christian, Copy Editors Antony Shugaar, Translator Elizabeth Chapin Kahn, Production Stephanie Grimes, Digital Researcher Eric Gardner, Designer & Developer Greg Albers, Project Manager Distributed in the United States and Canada by the University of Chicago Press Distributed outside the United States and Canada by Yale University Press, London Printed in the United States of America Library of Congress Cataloging-in-Publication Data Names: J. -
Greek Mouldings of Kos and Rhodes
GREEK MOULDINGS OF KOS AND RHODES (PLATES 108-109) I. INTRODUCTION JT WAS regrettablethat it had not been possibleto makedrawings of the Dodeca- nesian material to include in the study of the profiles of Greek architectural mouldings published by the American School of Classical Studies at Athens in 1936.' Later opportunity arose 2 to make the drawings, full size with a Maco Template,3but their study was unfortunately delayed.4 The material is presented now as a supple- ment to the original volume. Considerations of printing have, however, made advisable certain changes in form as well as format, but it is hoped that this article may be used with the earlier publication without inconvenience, for the material in the two belongs together. It has not been possible to print all the profiles full size as in the original study, but Figure 1 is retained at full scale. It should be noted, then, in making comparison, that all the other profiles here presented, in Figures 2 through 8, are shown at one-half size. Information and comment regarding each profile, formerly presented in tabular form, is here put into catalogue form. All the same information given previously is included except the proportions. These were published originally as part of the proof of the chronological development noted in each type. Since the general lines of development appear now to have become established, it has not been considered essential to record the proportions. Only two of the Twelve Islands have yielded as yet any considerable Greek archi- tectural remains. Rhodes, with its numerous settlements, was an important seat of 1 L. -
Vasemania: Neoclassical Form and Ornament
VOLUME: 4 WINTER, 2004 Vasemania: Neoclassical Form and Ornament: Selections from The Metropolitan Museum of Art at the Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture Review by Nancy H. Ramage 1) is a copy of a vase that belonged to Ithaca College Hamilton, painted in Wedgwood’s “encaustic” technique that imitated red-figure with red, An unusual and worthwhile exhibit on the orange, and white painted on top of the “black passion for vases in the 18th century has been basalt” body, as he called it. But here, assembled at the Bard Graduate Center in Wedgwood’s artist has taken all the figures New York City. The show, entitled that encircle the entire vessel on the original, Vasemania: Neoclassical Form and and put them on the front of the pot, just as Ornament: Selections from The Metropolitan they appear in a plate in Hamilton’s first vol- Museum of Art, was curated by a group of ume in the publication of his first collection, graduate students, together with Stefanie sold to the British Museum in 1772. On the Walker at Bard and William Rieder at the Met. original Greek pot, the last two figures on the It aims to set out the different kinds of taste — left and right goût grec, goût étrusque, goût empire — that sides were Fig. 1 Wedgwood Hydria, developed over a period of decades across painted on the Etruria Works, Staffordshire, Britain, France, Italy, Spain, and Germany. back of the ves- ca. 1780. Black basalt with “encaustic” painting. The at the Bard Graduate Center. -
Great Waterworks in Roman Greece Aqueducts and Monumental Fountain Structures Function in Context
Great Waterworks in Roman Greece Aqueducts and Monumental Fountain Structures Function in Context Access edited by Open Georgia A. Aristodemou and Theodosios P. Tassios Archaeopress Archaeopress Roman Archaeology 35 © Archaeopress and the authors, 2017. Archaeopress Publishing Ltd Gordon House 276 Banbury Road Oxford OX2 7ED www.archaeopress.com ISBN 978 1 78491 764 7 ISBN 978 1 78491 765 4 (e-Pdf) © Archaeopress and the authors 2018 Cover: The monumental arcade bridge of Moria,Access Lesvos, courtesy of Dr Yannis Kourtzellis Creative idea of Tasos Lekkas (Graphics and Web Designer, International Hellenic University) Open All rights Archaeopressreserved. No part of this book may be reproduced, in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior written permission of the copyright owners. Printed in England by Oxuniprint, Oxford This book is available direct from Archaeopress or from our website www.archaeopress.com © Archaeopress and the authors, 2017. Contents Preface ��������������������������������������������������������������������������������������������������������������������������������������������� iii Georgia A. Aristodemou and Theodosios P. Tassios Introduction I� Roman Aqueducts in Greece �������������������������������������������������������������������������������������1 Theodosios P. Tassios Introduction II� Roman Monumental Fountains (Nymphaea) in Greece �����������������������������������������10 Georgia A. Aristodemou PART I: AQUEDUCTS Vaulted-roof aqueduct channels in Roman -
Classical Orders of Architecture
Classical Orders Of Architecture Dipterocarpaceous Brian waggles, his melodies gutturalises tattlings peripherally. Audiovisual and gaping Lambert accessions merrily and enamelling his ells strongly and hypodermically. Transcendent and gastrointestinal Micheil never lustres his orations! The opening shapes and home, reserving the sequence of ancient buildings, greek states of orders, roughly twice in various aesthetic Columns are classified into target following two types based on the slenderness ratios i Short columns ii Slender thin long columns Version 2 CE IIT Kharagpur Page 12 Figure 1021 5 presents the three modes of quiet of columns with different slenderness ratios when loaded axially. Greek Columns SCHOOLinSITES. Architecture is fun Because it's inherently interesting and find because you will impress your friends by casually dropping things like oh what. Common column shapes include Rectangular Square Circular. AVhile the composition is not classical it trade in good coverage and pleases many. To enforce adherence to classical stylings the film would graduate a President's Committee for the Re-Beautification of Federal Architecture. Roof-only porticos without columns are usually installed over side doors. The expression major classical orders are Doric Ionic and Corinthian The orders describe their form and decoration of Greek and later Roman columns and twin to be widely used in architecture today The Doric order insert the simplest and shortest with no decorative foot vertical fluting and a flared capital. The earliest of contemporary taste for the arrangement of proportion of classical orders of architecture! Super Strong Shapes Liberty science Center. Consider four contemporary stone columns Doric Ionic Corinthian Tuscan These represent a rail of the Classical Order of Architecture. -
Anchoring Two Floating Temples
ANCHORING TWO FLOATING TEMPLES (PLATES 95 AND 96) ATREASURE TROVE of architecturalmembers was discoveredduring the excava- 17~. tions of 1939 and 1959 at the Athenian Agora, built into the Post-Herulian Wall and tower adjacentto the remains known as the Southeast Temple (Fig. 1).1 Among them is a series comprising marble Doric entablature blocks (A 1, B 1-3, C 1, 2, D 1-8), marble Doric column drums and capitals (E 1-6), one Doric anta capital (F 1), and several related wall blocks (G 1-8). The entablature series consists of an epistyle block, three epistyle backers,eight triglyphs, and two metope fragments, all of which had apparently been re- used together on a structureof the early Roman period.2The re-used column drums and capitals belong to four columns of milky white marble which, because of their scale and finding place, have been associatedwith the same Roman structure.The anta capital has the upper part of the anta shaft carvedon it; this shaft has a width which is the same as the lower diameter of the columns and therefore presumably was employed along with the columns in their second use. Incorporatedinto the wall as well, just beneath two of the epistyle backers, are five wall blocks which were set in a row; these are of the same milky white marble-usedfor the columns and are to be associatedwith them. Other blocks from this series now lie on the ground near by. ' See p. 421 below. I would like to thank Alison Adams most warmly for her interest and help in this study, particularly for the dating of the pottery for which she secured the expertise of Kathleen Slane. -
Greek Architecture
STATE OF THE DISCIPLINE Greek Architecture BARBARA A. BARLETTA Abstract however, that the list of works cited, which is provided The study of Greek architecture grew out of the me- at the end of this article, will assist the reader in locat- ticulous recording of buildings and their components by ing those contributions. 18th- and 19th-century investigators. Although the aims have changed, with an increasing emphasis on historical history of the discipline and social context, the basic methods of documentation remain the same. This essay traces the history of the disci- The study of Greek architecture has evolved consid- pline as a background to modern approaches, geographic erably from its origins in the 18th century, but some emphases, and new perspectives. It surveys the work of of the basic principles have remained the same. It was archaeological schools and conference bodies, followed initiated by architects seeking to preserve a record of by general studies of architecture and its components as monuments of the past and to use them as a source of well as individual building forms and complexes. A focus is placed on recent literature, from 1980 to the present, “good taste” in their own times. They were already fa- and on books rather than articles.* miliar with buildings in Rome, but by the 18th century, their interests had shifted to Greece. Stuart and Revett state the reasons for this shift in their 1748 applica- introduction tion for financing for what would be the first project Many contributions have been made to the field sponsored by the Society of Dilettanti. -
Greek Art – Architecture
APAH: Greek Art – Architecture Temples Evolution from shrines to temples Evolution from wood/mud-brick construction to marble Availability of marble Housed cult statues Public ritual – not private Face outward – Altar at front of temple Building as sculpture Exterior more important than interior Monuments not just buildings Built without mortise – extreme precision Reflects Greek principles: symmetry, harmony, balance, order Ideal forms Contrast to other civilizations Mathematical order – Rationality Development – complexity Temple Orders Order = Platform – Column – Entablature Doric, Ionic, Corinthian Platform – Podium Stylobate Stereobate Column (2 or 3 part) – Base, Shaft, Capital No base on Doric columns Fluting – vertical channels Doric-sharp Ionic-flat Entasis – Gradual curving (tapering) toward column top Drum – Column segment Entablature Architrave Frieze – Decorated band b/w architrave and cornice Doric Triglyphs, Metopes Ionic Open Used for reliefs Cornice – projecting crown of entablature Pediment – triangular space at the end of a building Temple Forms Elevation – drawing of building profile Cella – room Naos – room for cult statue Portico – porch Colonnade – walkway w/ columns Prostyle – in front Amphiprostyle – along ends Peripteral – around Dipteral – around twice Early Architecture Plan of Temple A (c. 625 BC) Prinias, Greece (Crete) Simple megaron Sculptural decoration Archaic Architecture Temple of Hera I (c. 550 BC) Paestum, Italy Doric order Unusual central column row Lack of central space Forced canonical break Odd -
Archaic and Classical Cult Statues in Greece
ARCHAIC AND CLASSICAL CULT STATUES IN GREECE THE SETTING AND DISPLAY OF CULT IMAGES IN THE ARCHAIC AND CLASSICAL PERIODS IN GREECE By SHERR! DAWSON, B.A. A Thesis Submitted to the School of Graduate Studies In Partial Fulfilment of the Requirements For the Degree Master of Arts McMaster Uni versity © Copyright by Sherri Dawson, June 2002 MASTER OF ARTS (2002) McMaster University (Classical Studies) Hamilton, Ontario TITLE: The Setting and Display of Cult Images in the Archaic and Classical Peri ods in Greece. AUTHOR: Sherri Dawson, B. A. (Uni versity of Alberta) SUPERVISOR: Dr. Gretchen Umholtz NUMBER OF PAGES: xii, 257. 11 ABSTRACT The focus of this thesis is on ancient archaic and classical Greek cult statues and how their placement reflects both the role of the statues themselves and the continuity in worship. Greek sanctuaries generally exhibited a strong continuity of cult in terms of building successive temples directly on top of the remains of their predecessors. The sanctuary of Hera on Samos and the sanctuary of Apollo at Didyma are two such sanctuaries in Asia Minor that exhibit this type of continuity even though their early temples were replaced by large superstructures. The temple of Athena Nike in Athens is another example of continuity, since the larger Classical temple was built on the same site as the archaic one. The Athenian Parthenon, the temple of Zeus at Olympia, the Classical Heraion at Argos and the Classical temple of Dionysos on the south slope in Athens, however, were not built on the same site as the archaic temples.