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SEAT of the WORLD of Beautiful and Gentle Tales Are Discovered and Followed Through Their Development
The book is focused on the late production of the 4th c. BC Athenian sculptor Praxiteles and in particular 190 on his oeuvre from around 355 to around 340 BC. HE RT OF RAXITELES The most important works of this master considered in this essay are his sculptures for the Mausoleum of T A P IV Halicarnassus, the Apollo Sauroctonus, the Eros of Parium, the Artemis Brauronia, Peitho and Paregoros, his Aphrodite from Corinth, the group of Apollo and Poseidon, the Apollinean triad of Mantinea, the The Late Phase of his Activity Dionysus of Elis, the Hermes of Olympia and the Aphrodite Pseliumene. Complete lists of ancient copies and variations derived from the masterpieces studied here are also provided. The creation by the artist of an art of pleasure and his visual definition of a remote and mythical Arcadia SEAT OF THE WORLD of beautiful and gentle tales are discovered and followed through their development. ANTONIO CORSO Antonio Corso attended his curriculum of studies in classics and archaeology in Padua, Athens, Frank- The Palatine of Ancient Rome furt and London. He published more than 100 scientific essays (articles and books) in well refereed peri- ate Phase of his Activity Phase ate odicals and series of books. The most important areas covered by his studies are the ancient art criticism L and the knowledge of classical Greek artists. In particular he collected in three books all the written tes- The The timonia on Praxiteles and in other three books he reconstructed the career of this sculptor from around 375 to around 355 BC. -
The Seven Wonders of the World
Syrian Arab Republic Ministry of Education The National Center for the Distinguished The Seven Wonders of The World Preparation of : Rand Tamim Salman Under The Supervision of : Hiba Abboud 2015/2016 1 The Index : Page number The Index 2 The Index of The Pictures 3 Introduction 4 Chapter 1: The Wonders of The Ancient World. The Colossus of Rhodes 5 The Statue of Zeus at Olympia 6 The Temple of Artemis 8 The Mausoleum at Halicarnassus 12 The Great Pyramid of Giza 13 The Famed Lighthouse of Alexandria 16 The Hanging Gardens of Babylon 17 Chapter 2: The wonders of the modern world The wonders of the modern world 19 Conclusion 20 References 21 2 The Index of The Pictures: picture picture name Page number number 1 The Colossus of Rhodes 6 2 The Statue of Zeus 7 3 The Remains of Zeus Temple 8 4 Artemis 9 5 One of the column bases with carved 10 figures preserved at the British Museum. 6 The Temple of Artemis 11 7 The Mausoleum at Halicarnassus 13 8 The Great Pyramid of Giza 14 9 The Lighthouse of Alexandria 16 10 The hanging garden of Babylon 18 11 The wonders of the modern world 19 3 Introduction: When you hear the phrase "Seven Wonders of the World", people have different thoughts about what it means. In fact, if you survey people what are the seven wonders, you would probably get different answers. Depending on the era that you are talking about, you can get different results. From ancient time until this time, people have different points of view on what are those seven wonders. -
Journal I Bodrum Issue
ESCAPE JOURNEY INTO OUR CULTURE JOURNAL � I BODRUM ISSUE EDITOR'S NOTE 3 Dear friends, ’74Escape is a community platform that was born from a passion for exploring other people’s cultural experiences and making new discoveries through travel. Over time, the platform evolved into a wonderful collaborative and intimate space where we connect with friends from around the world, and share new finds and unforgettable memories. The emergence of a curated space and shop from this platform has always seemed like the next inevitable step. While the idea has long been on my mind, it was after enduring these last difficult months that the true philosophy and purpose began to take shape. Before we look outwards and explore, we must look within, and appreciate and celebrate our roots. Born from a heightened sense of unity and solidarity, this edition of the ’74Escape Store & Gallery hence intends to turn inwards, and shine a light on the creative and cultural production happening in Turkey today. This felt like an important time to activate our platform for the benefit of our community, and we have aimed to support our friends and their much loved brands, as well as newly discovered local designers, artisans and artists of Turkey. Istanbul is home to so many spirited brands that each share a unique vision and story that is rooted in our rich history, heritage and culture. The ’74Escape Store & Gallery at Maçakızı Bodrum this summer, celebrates and champions our homegrown talent, and offers a curated selection of exquisitely crafted contemporary works and products inspired by the Mediterranean way of life. -
JIIA.Eu Journal of Intercultural and Interdisciplinary Archaeology
JIIA.eu Journal of Intercultural and Interdisciplinary Archaeology The Masters of the Mausoleum of Halicarnassus Antonio Corso Kanellopoulos Foundation / Messenian Society, Psaromilingou 33, GR10553, Athens, Greece, phone +306939923573,[email protected] The Mausoleum of Halicarnassus is one of the most renowned monuments of the ancient world.1 Mausolus must have decided to set up his monumental tomb in the centre of his newly built capital toward the end of his life: he died in 353 BC.2 After his death, some writers who were renowned in the oratory – Theopompus, Theodectes, Naucrates and less certainly Isocrates – went to the Hecatomnid court at Halicarnassus and took part in the competition held in the capital of Caria in order to deliver the most convincing oration on the death of Mausolus. The agon was won by Theopompus.3 Poets had also been invited on the same occasion.4 After the death of this satrap, the Mausoleum was continued by his wife and successor Artemisia (353-351 BC) and finished after her death,5 thus during the rule of Ada and Idrieus (351-344 BC). The shape of the building is known only generically thanks to the detailed description of the monument given by Pliny 36. 30-31 as well as to surviving elements of the tomb. The Mausoleum was composed of a rectangular podium containing the tomb of the satrap, above which there was a temple-like structure endowed with a peristasis, which was topped by a pyramidal roof, made of steps and supporting a marble quadriga. The architects who had been responsible of the Mausoleum were Satyrus and Pytheus, who also wrote a treatise ‘About the Mausoleum’ (Vitruvius 7, praef. -
Greek Styles and Greek Art in Augustan Rome: Issues of the Present Versus
Originalveröffentlichung in: James I. Porter (Hrsg.), Classical Pasts. The Classical Traditions of Greece and Rome, Princeton; Oxford 2006, S. 237-269 Chapter 7 GREEK STYLES AND GREEK ART IN AUGUSTAN ROME: ISSUES OF THE PRESENT VERSUS RECORDS OF THE PAST Tonio Holscher Questions Roman art, as we have known since Winckelmann, was to a large extent shaped by “classical pasts,” by the inheritance of Greek art of various periods. In this, visual art corresponds to other domains of Roman culture, which in some respects can be described as a specific successor culture. Archaeological research has observed and evaluated this fact from controversial viewpoints.1 As long as the classical culture of Greece was valued as the highest measure of societal norms and artistic creation, no independent Roman strengths could be recognized in Roman art next to the Greek traditions; this was the basis for the sweeping negative judgment against “the art of the imitators.” Then, from around 1900, beginning with Franz Wickhoff and Alois Riegl,2 as the new archaeological arthistory developed a bold concept of cultural plurality and within this framework discovered and analyzed genuinely Roman forms and structures in visual art, the inherited Greek traditions were often judged to be a cultural burden and an interference in the development of an original Roman art. In neither case was the Greek inheritance seen as a productive element of Roman art. From the negative perspective, Roman art was of inferior impor tance because of its dependence on Greek models. On the positive side, it retained its originality and independence despite its occasional Greek overlay. -
The Mausoleum at Halicarnassus Restored
' r=li=Ii=Ipdp=Jr=I(=Ji=Jr=Ji=li=Ji=Ir=lr=lr=lr=Jr=lf=J ' i i! THE MAUSOLEUM iQ !D in ! D ! " in :D i HALICARNASSUS D | D n D RESTORED. ^1 i r=Jr=Jr=iir=Jf=Jr=Jr=Jr=Jr==Jr=Jr=Jr=Jr=Jr=Ji^r=Jr=Jr^ a Digitized by the Internet Archive in 2015 https://archive.org/details/mausoleumathalicOOferg THE MAUSOLEUM AT HALICAENASSUS RESTORED IN CONTOnMlTV WITH THE RECENTLY DISCOVERED REMAINS. BY JAMES FEllG USSON, FEI.IX)W noVAL INSTITUTE OK BRITISH AnClIITECTS. AUTHOR OF THK 'HANDDOOK OF ARCIIITECTUUE ;' 'ESSAY OS TIIK TOPO<5RAPIIY i>F JKIIUSAI.FM,' \c. LONDON: J 0 H N M U R R A Y, A L li I- M A R L E S T R K K T 18G2. The right r/ TratisM.oii is icsorcd. S, STAMFOnn STREET, PREFACE. The Essay contained in the following pages has no pretension to being a complete account of the Mausoleum at Ilahcarnassus. All that has been attempted in the present instance is to recapitulate and explain the various data wliich have recently been brought to light for restoring that celebrated monument of antiquity; and to show in wliat manner these may be applied so as to perfect a solution of the riddle wlnCli has so long perplexed tlie student of classical architecture. At some future period it may be worth while to go moie fully and with more careful elaboration into the whole subject; Init to do this as it should be done, would require more leisure and better opportunities than are at present at the Author's disjiosal for such a j)Ui-})ose. -
I UNIVERSITÉ PARIS IV
UNIVERSITÉ PARIS IV - SORBONNE ÉCOLE DOCTORALE MONDES ANCIENS ET MEDIEVAUX |__|__|__|__|__|__|__|__|__|__| (N° d !enregistrement attribué par la bibliothèque) T H È S E pour obtenir le grade de DOCTEUR DE L'UNIVERSITÉ PARIS IV Discipline : Lettres Classiques présentée et soutenue publiquement par Pauline Anaïs LeVen le 25 novembre 2008 LES NOUVEAUX VISAGES DE LA MUSE AU IVe SIÈCLE AV. J.-C. (THE MANY-HEADED MUSE: TRADITION AND INNOVATION IN FOURTH-CENTURY B.C. GREEK LYRIC POETRY) Co-directeurs de thèse: Monique Trédé et Andrew Ford Jury: M. Claude Calame M. Eric Csapo M. Paul Demont M. Dider Pralon i ii TABLE OF CONTENTS Table of contents iii Acknowledgments v Introduction 1 Chapter 1 A collection of Unrecollected Authors? 13 1. The corpus 14 2. The methods 35 Chapter 2 New Music and its Myths 43 1. Revisiting newness 43 2. New Music from the top 63 Chapter 3 Poet and Society: the “lives” of fourth-century poets 91 1. Mousikê and middlenesss 94 2. Opsophagia and philo -xenia 103 3. Poetry and parrhêsia 115 Chapter 4 Poetics of Late-Classical Lyric 137 1. Stylistic innovations 139 2. Thematic features 164 3. A case-study: Philoxenus’ Cyclops or Galatea 190 Chapter 5 Sympotica: Genre, Deixis and Performance 203 1. Changing sympotic practices 204 2. Nouvelle cuisine and New Dithyramb 213 3. Deixis and performance context in Ariphron’s paean 231 4. Aristotle’s hymn to Hermias 239 Chapter 6 A canon set in stone? 250 1. The new classic: Aristonous 258 2. -
History of Ancient Greek and Roman Art Hellenistic Sculpture Slide Collection
COMPUTER NAME: HELLNSCP.SCH RAYMOND V. SCHODER, S.J. 1916-1987 HISTORY OF ANCIENT GREEK AND ROMAN ART HELLENISTIC SCULPTURE SLIDE COLLECTION I cardboard slide box 96 Slides Accession No. 89-15 Prepared by Brent Wold January 23, 1991 LOCATION: I RAYMOND V. SCHODER, S.J. (1916-1987) Classical Studies Department HELLENISTIC SCULPTURE SLIDES 96 slides Ace. No. 89-15 Computer Name: HELLNSCP.SCH 1 Cardboard Box Location: I7B The following Hellenistic sculpture slides arc from the collection of Raymond V. Schader, S.J. They are arranged alpha-numerically in the order in which they were received at the archives. The short list below provides a brief description of the categorical breakdown of the slides and is copied verbatim from Schader's own notes on the material. I. STELE: Warrior w. Helmet, He (Rhodes) 2. SCULPT: Bel vedcre Torso, c.50BC (Vat) 3. REL: Stele: girl w. mirror, c.300 (BM) 4. SARC: Sidamara, early Illc.: Dead, wife as Demeter, daught, as Artm., Dioscuri (Istb) 5. SCULPT: Thcmis of Rhamnous, Chaircsratos, c.290 (A) 6. SCULPT: Aristonoe, priestess of Nemesis, Rhamnous; dcd. by son Hierocles; Illc (A) 7. SCULPT: Hlst:Aristonoc, priestess Dcmet.Rhamnous, Ilc, ded.byson Hierokles #232 (A) 8. SCULPT: Polyhymnia (Csy) 280-240c 9. SCULPT: Ephcbe, c.270, Trallcs (Istb) 10. SCULPT: Ariadne asleep (vat) C c240 II. SCULPT: Maid of Anzio, Hlst. (T) 12. SCULPT: Melpomene fr.Erythrae, c.200 (BM) 13. SCULPT: Victory Samothrace (L) c190 14. SCULPT: Victory of Samothrace (L) 15. SCULPT: Victory Samothrace, rt.wing 16. SCULPT: Venus de Milo (L) 17. -
The Halicarnassus Mausoleum, a Digital Rereading. Step 1: the Statues at the British Museum
The Halicarnassus Mausoleum, a Digital Rereading. Step 1: The Statues at the British Museum GIORGIO VERDIANI, Dipartimento di Architettura, Università degli Studi di Firenze, Italy ANNA FRASCARI, Dipartimento di Architettura, Università degli Studi di Firenze, Italy STÉPHANE GIRAUDEAU , Dipartimento di Architettura, Università degli Studi di Firenze, Italy Well known as one of the Seven Ancient World’s Wonders, the Mausoleum built by Mausolus in Halicarnassus is one of the many lost masterpieces from the past. Its architectural and artistic high quality just left a large bounce of fragments and ruins, leaving to all the scholars a rich subject for studies and to imagine possible reconstructions. In this ongoing research, a try of collecting the single parts and make some matching with other possible references is done starting from 3D digital modeling. Photogrammetry was used on a set of statues from the British Museum, for creating accurate 3D models, with a great attention in finding correspondences with other sculptures and features (faces, dresses, details) from other artworks from the same area. The use of the SfM/IM (to give it a very specific definition) [Guidi et al. 2015], commonly indicated as SfM/IM photogrammetry (tuned out again to be a great tool for rapid and accurate digitalization, all the models were then edited, simplified and uploaded to the Sketchfab platform to be a quick reference for all the participants to the research group, but also accessible to anyone for seeing and checking these interesting pieces from the past. Such an operation, starting from the statues trays to bring on some reflections about proportions, stiles and relationship with architecture to better understand and verify possible new reconstruction choices about this long lost architectural wonder. -
P35-KIDS Layout 1
WEDNESDAY, MAY 25, 2016 Color me! WORD SEARCH Craft What You Need: • Tissue paper Tissue • Pipe cleaner • Construction paper Paper • Scissors • Glue Flowers Instructions: 1. Take a piece of tissue paper, and cut eight squares that are 5 inches across by 5 inches tall. 2. Stack the squares on top of each other and “fan fold” the stack. 3. Wrap the end of a green pipe cleaner tightly around the center of the folded tis- sue paper. 4. Open up the fan of tissue paper on each side of the pipe cleaner, and separate each sheet of tissue from the stack. 5. Cut out leaves from construction paper and glue them to the pipe cleaner. Now you have a beautiful flower to give to a friend! DID YOU KNOW? The Mausoleum • You may have heard someone say, “It’s raining cats and dogs.” There have been actual documented cases from at Halicarnassus all over the world of fish, frogs, dead he Mausoleum at men. The tomb was erected on a build such an extravagant build- birds, snakes, snails, beetles, worms Halicarnassus or Tomb of hill overlooking the city. The ing. Therefore, it is believed that and jellyfish raining down from the TMausolus was a tomb built whole structure sat in an enclosed construction was begun by sky in great numbers, but no reports between 353 and 350 BC at courtyard. At the center of the Mausolus before his death or con- of showers of cats or dogs. Halicarnassus (present Bodrum, courtyard was a stone platform on tinued by the next leaders. -
The Elder Pliny's Chapters on the History of Art;
CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE Cornell University Library N5610 .P72 1896 3 1924 031 053 550 olin The original of tliis book is in tlie Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924031053550 THE ELDER PLINY^S CHAPTERS ON THE HISTORY OF ART , Tnerrtoiuiioaaur-' 'poW aim tnutprauefemtferarrc cUtuf* fi crontM-f bAg«VA- ixer difciTJuLuf «liA<lu»TJc- fe- cjuA- amnef feaxnii-m Xfaa. molltter' lutte qiitf<)' ttiiieAfferrc- VjAecefi /nuTn fectt cerTtwrTrtalcrrnfT-'o ' .polvcltii 'pr-o^trrzx:ai)ex-pUt nern' ttlrtetzurn • J^UUtr -ttirTUl. clefAtJt: C^itMT tAem ^jJot-v pViorum utraltter'puerit ffecttr- tfiquet77ca.TJo»iA^ metitf- ,pW*-diif• praaitter tii aem ol/f^miim cfuemnerrto A.-r-rtfTcefuocATTt .l-iTira- XernvJuttUT' ftctce^cii^or^ •mcrrta. 3kT-nf ejcco ^etcn xetnue-mvnertiAm Jcotentf- -cef ueL ira ^ilfig^ quAdam •fblitfc|«eliominuTn ecr" -oBTTJjpfXm feciffcr itr-nf nem fu^r^vsaan tninetrtiX opere- tudica^ur- fecnr ^st -tATTi cjcf»T»iaL^pu.U;l>rtiii«lt iefVingentem fe- dinu mf-ucfcrTriACr cdcrjowen dum-caLs tncrfferixeTTj • ^uxeper-w fiecwdicliHucuTn • duofbitte-- -pucrortcftm ^Zilijun mtnertUiTn quam nudof- xiUfVtuientefqui vUocdjTtwT' a.f^ra.«LUx0>i a.clAe«Jemfi>ytunae-V»tfju'rce' tn «-tt itt: « > f tcf ^fjtnr _^ ftei dtcAutc- ttftn duo fiy X*rioAuo.Vioc*ipercTiuV la. c^uA«caWLufine3u]em Utrn a-pfbUrttuf ptertq' |vtede- ^*ll*A*ak- diaVusT-uwi CO ttidiiuMtr- TremTnfrrcurl Vlp ffVxoTi-nu<lt»Ti.y»nTnttfq» tttn- quifUttlf-fimxcliajsae. -
Austino-Dissertation Adaptation and Tradition in Hellenistic Sacred Laws
Adaptation and Tradition in Hellenistic Sacred Laws by Chad Erik Austino Department of Classical Studies Duke University Date:_______________________ Approved: ___________________________ Joshua D. Sosin, Supervisor ___________________________ Carla M. Antonaccio ___________________________ Mary T. BoatwriGht ___________________________ Fred S. Naiden ___________________________ Kent J. RiGsby Dissertation submitted in partial fulfillment of the requirements for the deGree of Doctor of Philosophy in the Department of Classical Studies in the Graduate School of Duke University 2012 i v ABSTRACT Adaptation and Tradition in Hellenistic Sacred Laws by Chad Erik Austino Department of Classical Studies Duke University Date:_______________________ Approved: ___________________________ Joshua D. Sosin, Supervisor ___________________________ Carla M. Antonaccio ___________________________ Mary T. BoatwriGht ___________________________ Fred S. Naiden ___________________________ Kent J. RiGsby An abstract of a dissertation submitted in partial fulfillment of the requirements for the deGree of Doctor of Philosophy in the Department of Classical Studies in the Graduate School of Duke University 2012 i v CopyriGht by Chad Erik Austino 2012 Abstract This dissertation examines the adaptability of civic cults during the Hellenistic period. Faced with shiftinG populations, increasinG social tensions, economic chanGes, and political pressures, Hellenistic communities devised a number of strateGies aimed at neGotiating the tension between maintenance of