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Abraham (Hermit) 142F. Aristode 160 Acacius (Bishop Atarbius (Bishop Of
INDEX Abraham (hermit) 142f. Aristode 160 Acacius (bishop Atarbius (bishop of Caesarea) 80f., 86f., of Neocaesarea) 109f., 127 91 Athanasius 63, 67ff., 75 Acacius (bishop Athanasius of Balad 156, 162 of Beroea) 142ff. Athenodorus (brother Aelianus 109 of Gregory al-Farabi 156 Thaumaturgus) 103, 105, Alexander (bishop 133 of Comana) I 26f., 129, Athens 120 132 Augustine 9-21, 70 Alexander (of the Cassiciacum Dialogues 9, 15ff. "Non-Sleepers" Corifessions 9-13, 15, monastery) 203, 211 18, 20f. Alexander (patriarch De beata vita 16ff. of Antioch) 144 De ordine 16ff. Alexander of Retractions 19 Abonoteichos 41 Soliloquies 19f. Alexander Severus Aurelian (emperor (emperor 222-235) 47 270-275) 121 Alexandria 37, 39f., 64, Auxentios 205 82, 101, 104, 120, Babai 172 n. II, 126f., 129 173ff. n. 92, 143, Babylas 70 156, 215 Baghdad 156 Alexandrian Christology 68 Bardesanism/Bardesanites 147 Amaseia 128 Barhadbeshabba 'Arbaya 145 Ambrose 70, 91 Barnabas 203 n. 39 Basil of Caeserea 109f., 117, Anastasios (monk) 207 121ff., 126f., Anastasius (= Magundat) 171 131, 157, Ancyra 113 166 Andrew Kalybites 207 Basilides 32, 37ff. Andrew the Fool 203 Beroea 141, 142 Annisa 112f. Berytus 101, 103f., Antioch 82, 105, 120 I I If., 155, 160, 215 Caesarea (Cappadocia) 129 Antiochene theology 72f., 143 Caesarea (Palestine) 80ff., 87, Antiochos the African 205 91, 92, 100, Antony 63,69f., 101, 103ff., 75f. 120 Antony / Antoninus Cappadocia 46ff., 53, (pupil of Lucian) 65 122 Apelles 51 Carpocrates 32, 39, 41 Arius/ Arianism/ Arians 65ff., 80ff., Carthage 47,49, 51, 92, 148 53ff., 57f. 224 INDEX Cataphrygian(s) 50ff., 56, 59 David of Thessalonike 205 Chaereas (comes) 140 Dcmosthenes (vicarius Chalcedon 75 of Pontica) III Chosroes II 17Iff., 175, Diogenes (bishop 177, I 79f., of Edessa) 144 182, 184, Dionysius (pope 259~269) 106 188 Doctrina Addai 91 n. -
Royal Power, Law and Justice in Ancient Macedonia Joseph Roisman
Royal Power, Law and Justice in Ancient Macedonia Joseph Roisman In his speech On the Crown Demosthenes often lionizes himself by suggesting that his actions and policy required him to overcome insurmountable obstacles. Thus he contrasts Athens’ weakness around 346 B.C.E. with Macedonia’s strength, and Philip’s II unlimited power with the more constrained and cumbersome decision-making process at home, before asserting that in spite of these difficulties he succeeded in forging later a large Greek coalition to confront Philip in the battle of Chaeronea (Dem.18.234–37). [F]irst, he (Philip) ruled in his own person as full sovereign over subservient people, which is the most important factor of all in waging war . he was flush with money, and he did whatever he wished. He did not announce his intentions in official decrees, did not deliberate in public, was not hauled into the courts by sycophants, was not prosecuted for moving illegal proposals, was not accountable to anyone. In short, he was ruler, commander, in control of everything.1 For his depiction of Philip’s authority Demosthenes looks less to Macedonia than to Athens, because what makes the king powerful in his speech is his freedom from democratic checks. Nevertheless, his observations on the Macedonian royal power is more informative and helpful than Aristotle’s references to it in his Politics, though modern historians tend to privilege the philosopher for what he says or even does not say on the subject. Aristotle’s seldom mentions Macedonian kings, and when he does it is for limited, exemplary purposes, lumping them with other kings who came to power through benefaction and public service, or who were assassinated by men they had insulted.2 Moreover, according to Aristotle, the extreme of tyranny is distinguished from ideal kingship (pambasilea) by the fact that tyranny is a government that is not called to account. -
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. -
Jan Van Eyck, New York 1980, Pp
PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/29771 Please be advised that this information was generated on 2021-09-25 and may be subject to change. 208 Book reviews werp, 70 from Brussels and around 100 from Haarlem. Maryan Ainsworth and Maximiliaan Martens evidently cannot agree on Christus’s origins. Martens (p. 15) believes that the Brabant Baerle is the more likely contender (even the unusual surname is commoner there), while Ainsworth (p. 55) would prefer him Maryan W. Ainsworth, with contributions by Maximi- to come from the Baerle near Ghent, and he would then step liaan P.J. Martens, Petrus Christus: Renaissance mas effortlessly into a “post-Eyckian workshop.” What is perhaps ter of Bruges, New York (Metropolitan Museum of Art) more important than the true birthplace (even though it might 1994* provide new points of reference), and certainly more so than the pernicious attempts to classify the young Petrus Christus as either “Dutch” or “early Flemish,” are the efforts to establish “Far fewer authors have written about Petrus Christus and his an independent position for this master, whose fortune and fate art since 1937 than on the van Eycks. Bazin studied one aspect it was to be literally forced to work in the shadow of Jan van of his art, Schöne proposed a new catalogue of his works, in an Eyck, the undisputed “founding father” of northern Renais appendix to his book on Dieric Bouts. -
Speaking to the Eye
Speaking to the Eye © BREPOLS PUBLISHERS THIS DOCUMENT MAY BE PRINTED FOR PRIVATE USE ONLY. IT MAY NOT BE DISTRIBUTED WITHOUT PERMISSION OF THE PUBLISHER. MEDIevAL IDENTITIes: SOCIO-CULTURAL SPACes Editorial Board under the auspices of the Centre for Medieval Studies, University of Hull Adrian P. Tudor, University of Hull Anu Mänd, Tallinna Ülikool (Tallinn University) Lesley A. Coote, University of Hull Ildar H. Garipzanov, Universitetet i Oslo Sophie Cassagnes-Brouquet, Université de Toulouse-II-Le Mirail Catherine Emerson, National University of Ireland, Galway Previously published volumes in this series are listed at the back of the book. Volume 2 © BREPOLS PUBLISHERS THIS DOCUMENT MAY BE PRINTED FOR PRIVATE USE ONLY. IT MAY NOT BE DISTRIBUTED WITHOUT PERMISSION OF THE PUBLISHER. Speaking to the Eye Sight and Insight through Text and Image (1150–1650) Edited by Thérèse de Hemptinne, Veerle Fraeters, and María Eugenia Góngora © BREPOLS PUBLISHERS THIS DOCUMENT MAY BE PRINTED FOR PRIVATE USE ONLY. IT MAY NOT BE DISTRIBUTED WITHOUT PERMISSION OF THE PUBLISHER. British Library Cataloguing in Publication Data Speaking to the eye : sight and insight through text and image (1150-1650). -- (Medieval identities ; 2) 1. Visual communication--History--To 1500. 2. Visual communication--History--16th century. 3. Imagery (Psychology) 4. Literature, Medieval--Psychological aspects. 5. Literature, Modern--15th and 16th centuries--Psychological aspects. 6. Christian art and symbolism--Early works to 1800. 7. Art and literature. 8. Ekphrasis. I. Series II. Hemptinne, Therese de editor of compilation. III. Fraeters, Veerle, 1963- editor of compilation. IV. Gongora, Maria Eugenia editor of compilation. 302.2'22'0902-dc23 ISBN-13: 9782503534206 © 2013, Brepols Publishers n.v., Turnhout, Belgium All rights reserved. -
Homer in Philo: Scylla's Myth in Philonic Philosophical Context
Chapter 10 Homer in Philo: Scylla’s Myth in Philonic Philosophical Context Marta Alesso The Homeric hypotext emerges in Philo by way of quotations or allusions on approximately sixty occasions. Homer is mentioned by name five times.1 Philo was not the only one to use Homer for his purposes of allegorical reading as a method. In the Hellenistic period, two ways of dealing with the problem of the apprehension of the meaning of a sacred text are foremost used. On the one hand the understanding of the Homeric poems under the light of a monotheis- tic perspective and, on the other, the reading of the Pentateuch illuminated by Greek philosophy. This practice, as a manner of understanding both the Bible and Homer’s poems, becomes after a few centuries a mode of interpretation of every text, when we arrive at Christian allegorism. Paradigmatic examples will be the Christian allegorism of Clement, who applied to Jesus the same argu- ments that Philo had used on Moses without mentioning his source; of Origen, in the polemic against Celso; of Ambrose, the bishop of Milan who practically plagiarized the Philonic texts. Ideas about Greek cosmology and cosmogony, genetically illuminated by etymologies, constitute the main instrumental basis of the exegetical method of Heraclitus (Homeric Problems), Lucius Annaeus Cornutus (Compendium of Greek Theology) and the Ps. Plutarch (On Homer), whose main objective is not to reveal the deep meaning of proper names and epithets (in the Stoic way) but to analyze extensive mythical episodes maintaining the coherence between the allegorical reading and the epic narrative, in order to demonstrate that Homer is the first and most enlightened enunciator of all philosophical conceptions about the physis of the universe. -
THE CLOISTERS ARCHIVES Collection No. 43 the Harry Bober
THE CLOISTERS ARCHIVES Collection No. 43 The Harry Bober Papers Processed 1995, 2013 The Cloisters Library The Metropolitan Museum of Art Ft. Tryon Park 99 Margaret Corbin Dr. New York, NY 10040 (212) 396-5365 [email protected] 0 TABLE OF CONTENTS PREFACE…….…………………………………………..……………….….…………………2 ADMINISTRATIVE INFORMATION…….……………….………….………………….……3 HARRY BOBER TIME LINE…….…………………………………………………….………4 HARRY BOBER BIBLIOGRAPHY…….…………………………………..…………….……5 SCOPE AND CONTENT NOTE…….………………………………………….………..……..8 SERIES DESCRIPTIONS…….………………………………………………………….…….10 CONTAINER LISTS Series I. Card Files…………….……………………………………………..……..13-30 Series II. Research Files………….……………………………………...…………31- 72 Series III. Publications ………….…………………………………………….…..73 Series IV. Slides………….……………………………………………..….………..74-77 Series V. Glass Plate Negatives………….…………………………………….………..78 Series VI. Negative Films………….………………………………………..………79-81 Series VII. Oversize Material………….……………………………….....……....…82-83 Series VIII. 1974 Messenger Lectures, Recordings (tapes and CDs) …………....…..…84 1 PREFACE In 1991, the papers of Harry Bober were donated to the Metropolitan Museum of Art by his sons, David and Jonathan Bober. The collection was delivered to the Medieval Department of the museum, where it was housed until its transfer to The Cloisters Archives during the summer of 1993. Funding for the first year of a two-year processing project was provided through the generosity of Shelby White and Leon Levy. The first year of the project to process the Harry Bober Papers began in August of 1994 and ended in August of 1995, conducted by Associate Archivist Elaine M. Stomber. Tasks completed within the first year included: rehousing the collection within appropriate archival folders and boxing systems; transferring original folder titles to new folders; conservation repair work to the deteriorating card file system; creating a container list to Bober's original filing system; transferring published material from research files; and preparing a preliminary finding aid to the collection. -
The Moneylender and His Wife by Quentin Metsys (1466-1530) Oil on Panel 1514
The Moneylender and His Wife By Quentin Metsys (1466-1530) Oil on panel 1514 ABOUT THE ARTIST: Born in Louvain, Belgium in 1466, Quentin Metsys was trained as an ironsmith before becoming a painter and later settling in Antwerp, Belgium where in 1491 he is mentioned as a master in the guild of painters. At this time, Antwerp was the center of economic activity in the Low Countries which were comprised of Flanders (Northern Belgium) and the Netherlands. The growth and prosperity of Antwerp also attracted many artists who benefitted from the wealthy merchants who would collect and purchase their art. Metsys became Antwerp’s leading artist and founder of the Antwerp School. There is little known of Metsys’s artistic training but his style reflects the influence of multiple artists. “Matsys’ firmness of outline, clear modelling and thorough finish of detail stem from Van de Weyden's influence; from the Van Eycks and Memling by way of Dirck Bouts, the glowing richness of transparent pigments.” Other artists that have been referenced are Hieronymus Bosch, Albrecht Durer, Hans Holbein and Leonardo da Vinci. Not only is a religious influence felt in Metsys’s paintings, which was typical of traditional Flemish works, but he included a bit of satire as well. Metsys died in Antwerp in 1530. To mark the first centennial of his death there was a ceremony and a relief plaque with an additional inscription on the facade of the Antwerp Cathedral. Cornelius van der Geest, a patron, came up with the wording: "in his time a smith and afterwards a famous painter" honoring Metsys’ life. -
The Reception of Alexander in Hellenistic Art
chapter 6 The Reception of Alexander in Hellenistic Art Olga Palagia Introduction Alexander appears to have invented his own image as a youthful ruler who preserved his young looks by shaving his chin contrary to usual practice, and by growing his hair longer than average, swept up from the forehead to form an anastole. In addition, he was said to have a melting gaze and crooked neck.1 Alexander’s own favourite artists, the sculptor Lysippus, the painter Apelles and the gem-cutter Pyrgoteles, disseminated his official image during his lifetime. Other artists, like Leochares and Euphranor of the Attic School, also attempted his portrait, not least during the lifetime of his father, Philip ii, when Alexander was crown prince.2 None of these works has come down to us. The only inscribed portrait of Alexander is the Azara herm of the Roman period, which is heavily restored.3 It is thought to reflect an original by Lysippus though this is sometimes disputed. It does, nevertheless, provide a blueprint for Alexander’s appearance enabling us to recognize his image. The Hellenistic period begins with Alexander’s death in Babylon in 323 and ends with Cleopatra vii’s death in Alexandria in 30bc. Shortly after his death in 323, Alexander’s empire disintegrated and was divided into the kingdoms of the Successors.4 Each one of them claimed him in some manner and depended 1 On the physical characteristics of Alexander, see Plut. Mor. 180b and 335a–b; Alex. 4.1–7; Athen. 13.565a; Ael. vh 12.14. T. Hölscher, Ideal und Wirklichkeit in den Bildnissen Alexanders desGrossen (Heidelberg: CarlWinter, 1971), 24–42; A. -
Jheronimus Bosch-His Sources
In the concluding review of his 1987 monograph on Jheronimus Bosch, Roger Marijnissen wrote: ‘In essays and studies on Bosch, too little attention has been paid to the people who Jheronimus Bosch: his Patrons and actually ordered paintings from him’. 1 And in L’ABCdaire de Jérôme Bosch , a French book published in 2001, the same author warned: ‘Ignoring the original destination and function his Public of a painting, one is bound to lose the right path. The function remains a basic element, and What we know and would like to know even the starting point of all research. In Bosch’s day, it was the main reason for a painting to exist’. 2 The third International Bosch Conference focuses precisely on this aspect, as we can read from the official announcement (’s-Hertogenbosch, September 2012): ‘New information Eric De Bruyn about the patrons of Bosch is of extraordinary importance, since such data will allow for a much better understanding of the original function of these paintings’. Gathering further information about the initial reception of Bosch’s works is indeed one of the urgent desiderata of Bosch research for the years to come. The objective of this introductory paper is to offer a state of affairs (up to September 2012) concerning the research on Bosch’s patronage and on the original function of his paintings. I will focus on those things that can be considered proven facts but I will also briefly mention what seem to be the most interesting hypotheses and signal a number of desiderata for future research. -
A New Look at the Cure of Folly
Medical History, 1978, 22: 267-281. A NEW LOOK AT THE CURE OF FOLLY by WILLIAM SCHUPBACH* THE MEDICAL and surgical scenes depicted by Netherlandish artists of the sixteenth and seventeenth centuries have attracted the admiring attention of historians of medicine to such a degree that almost no book on "art and medicine" omits such paintings as Jan Steen's A love-sick (or pregnant) girl visited by a physician (several versions) or Gerrit Dou's Quacksalver (Rotterdam, Boymans-van Beuningen museum), although their documentary value is problematical.' Almost as popular are the paint- ings and graphics which illustrate the scene known in Dutch as Het snijden van den kei, in French as La pierre de tte or La pierre defolie, in English as The cure offolly, and in German as Der Steinschneider. In these scenes, a medical practitioner- physician, surgeon, barber-surgeon or quack, or a combination of those four-makes an incision in the patient's scalp and appears to extract from it a foreign body, usually a stone, the pierre de tete, which, according to contemporary inscriptions, had caused the patient to be afflicted with some kind of mental disorder ("folly"). One of the first modem writers to discuss these scenes, writing about the version in the Prado (Madrid) which is attributed to Hieronymus Bosch, interpreted it as a fantastic suggestion to the surgeons, comparable to Swift's suggestion of reciprocal hind-brain transplants for contentious politicians.2 This interpretation was soon overcast by another, which was first put forward by Henry Meige of the Salpetri6re in a fascinating and persuasive series of articles.3 The Persian physician Rhazes *William Schupbach, M.A., Weilcome Institute for the History of Medicine, 183 Euston Road, London NW1 2BP. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.