ICCU-AIT Mappings
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
A Geometric Cemetery on the Areopagus: 1897, 1932, 1947*
A GEOMETRIC CEMETERY ON THE AREOPAGUS: 1897, 1932, 1947* with Appendices on the Geometric Graves found in the Dorpfeld Excavations on the Acropolis West Slope in 1895 and on Hadrian Street ("Phinopoulos' Lot") in 1898 (PLATES 65-80) I. Introduction and the Problem a. The D6rpfeld Excavations p. 325 b. The Agora Excavations and the Search p. 327 c. Disiecta Membra p. 328 II. The Areopagus Cemetery a. General Remarks and Conclusions p. 329 b. Catalogue of Graves and Finds p. 334 Appendix A: Sources for the D6rpfeld Geometric Graves p. 365 Appendix B: The Two Geometric Graves on the Acropolis West Slope: 1895 p. 372 Appendix C: Two Geometric Graves in Phinopoulos' Lot at No. 3, Hadrian Street: 1898 p. 374 Appendix D: A Note on Poulsen's "Akropolisvasen" p. 385 Appendix E: List of Known Finds from the D6rpfeld Geometric Graves p. 387 Appendix F: The Submycenaean Child's Grave South of the Amyneion: 1892 p. 389 I. INTRODUCTION AND THE PROBLEM' A. THE DORPFELD EXCAVATIONS For seven seasons between 1892 and 1899 the German Archaeological Institute, under the general supervision of Wilhelm Dorpfeld, carried out regular excavations in * Professor Penuel P. Kahane died suddenly on February 13, 1974 in Basel. This paper is dedicated to his memory. 1 I am deeply grateful to Professor Homer A. Thompson and to the American School of Classical Studies for the opportunity to study the Agora material; to the German Archaeological Institute in Athens and to Professor Emil Kunze for permission to use the Daybook material; to Dr. Ulf Jantzen for permission to publish the vases in the Institute, and to reproduce the photographs from the Photoabteilung; and to Dr. -
History and Drafting of Hose By: Adelheid Holtzhauer
History and Drafting of Hose By: Adelheid Holtzhauer Introduction Leg coverings of some sort have been worn throughout history by both men and women. For the purposes of this class, the hose we will be looking at are fitted, closed footed and made of woven fabric. There are many garments called Hose and Hosen worn throughout history. Extant examples have been found dating back to the 2nd century such as the footed hose found a Martres-de- Veyre. Image 1: Womens woollen twill hose excavated at Martres-de-Veyre Although there are many different garments that could be referred to as hose, in this class we will be focusing on "Single Hose" and "Attached Hose". Single hose cover one leg and can vary in length/height. Attached hose are essentially tight fitted trews. Over the course of time, single hose went from knee length and gartered with trim, to full fitted "pants" to thigh high and attached with to a belt at the waist, to detached and gartered under the knee to the full legging style common in the late 161h century. Image 2 shows a pair of attached hose which are carbon dated to 1355 AD and were found in the Damendorf Bog. Image 2: Susan Moller- Image 4: After a photo in Wlering: War and worship, p Nockert: 114 Bockstenmannen och Image 3: Margareta hans drakt Nockert: Bockstenmannen och hans drakt. pg 61 The knee high hose in image 3 were found on the Bocksten Bog Man generally dated to the th 14 century but were carbon dated between 1290 and 1430. -
BRAND NAME PRODUCTS Branded Male Marketing to Men.Pdf
Branded Male hb aw:Branded Male 15/1/08 10:10 Page 1 BRANDED MALE Mark Tungate is the “Tungate dissects the social trends that have been shaping the male consumer across a Men are not what they were. In article after author of the variety of sectors in recent years… Provides insights on how brands can tackle the article we’re told a new type of man is bestselling Fashion business of engaging men in a relevant way – and the influential role that the women in abroad – he’s more interested in looking Brands, as well as the their lives play.” good and he’s a lot keener on shopping. highly acclaimed Carisa Bianchi, President, TBWA / Chiat / Day, Los Angeles Adland: A Global Branded Male sets out to discover what History of Advertising, “Finally a book that uses humour, examples and clever storytelling to shed a new light on makes men tick as consumers and how both published by male trends. Helps us approach male consumers as human beings and not simply as products and services are effectively Kogan Page. Based in marketing targets.” branded for the male market. Using a day Photography: Philippe Lemaire Paris, he is a journalist in the life of a fictional “branded male”, specializing in media, marketing and Roberto Passariello, Marketing Director, Eurosport International Mark Tungate looks at communication. Mark has a weekly column BRANDED male-orientated brands and their in the French media magazine Stratégies, “Ideas, advice and insights that will help anyone aiming to get messages across marketing strategies in areas as diverse as: and writes regularly about advertising, style to men.” and popular culture for the trends David Wilkins, Special Projects Officer, Men’s Health Forum • grooming and skincare; intelligence service WGSN and the • clothes; magazine Campaign. -
Banchetele Tracilor Ca Expresie a Contactelor Interculturale
Studia Universitatis Babeş-Bolyai, Historia Volume 59, Number 1, June 2014 Banquets of Gods, Banquets of Men. Conviviality in the Ancient World I. Archaeology 1 JOHN BAINES Not only with the dead: banqueting in ancient Egypt 35 FLORIN GOGÂLTAN Drinking with the gods? The problem of Bronze Age pot deposits in Transylvania 83 DRAGOŞ MNDESCU The banquets of Thracians as an expression of intercultural contacts. A quick glance through the strainer's holes 96 FRANCK PERRIN Des coupes-crânes chez les anciens Celtes ? 106 GELU FLOREA Quel type de festin en Dacie, à la fin de l’âge du Fer? Ustensiles à servir la viande 115 CTLIN CRISTESCU Feasting with the king. The tableware of Sarmizegetusa Regia 153 MARIANA EGRI, AUREL RUSTOIU Sacred conviviality in the Lower Danube region. The case of the Sâncrieni hoard 189 MANUEL FIEDLER Bankette für Liber Pater in Apulum 204 CONSTANZE HÖPKEN Ein Bankett für Sabazios in Straubing ii Cuprins 215 SILVIA MUSTA, SZILÁMÉR-PÉTER PÁNCZEL, DÁVID PETRU, KATALIN SIDÓ Drinking and gaming in the Roman fort of Porolissum. Preliminary data offered by the excavation at building C3 239 VIORICA RUSU BOLINDE Pottery in funerary contexts – some aspects of conviviality in Roman Dacia II. History and epigraphy 285 JUAN RAMÓN CARBÓ GARCÍA Perspectives on the phenomenon of ritual sacrifice, sacralization of food and conviviality in the Classical world 308 ANGUS BOWIE Krater and kratos: the politics of Greek dining 322 GYÖRGY NÉMETH Two banquets of Socrates 334 VICTOR COJOCARU Ladung zu Opfer und Bankett als Auszeichnung der Fremde im pontischen Raum und der Pontikoi in der Fremde 345 MADALINA DANA « Le banquet des sophistes » : représentation funéraire, représentation sociale sur les stèles de Byzance aux époques hellénistique et impériale 372 LIVIO ZERBINI Le banquet en tant que forme de sociabilité et l’évergétisme romain 380 FRITZ MITTHOF Epulum dedit: Öffentliche Bankette in den lateinischen Inschriften Cuprins iii 391 IRINA NEMETI, SORIN NEMETI I banchetti religiosi nella Dacia romana. -
Chapter One Pottery Other Than Transport Amphorae Philip M. Kenrick
. chapter one . Pottery Other Than Transport Amphorae Philip M. Kenrick INTRODUCTION THE potterY fabrics The rescue excavations of 2000 took place alongside par- The pottery is arranged primarily by fabric, in order to dis- allel investigations at Zeugma by French and Turkish tinguish where possible the various sources from which teams. When I was first invited to participate there was Zeugma was supplied. Since there is also a high degree of also understood to be a possibility of a further long-term correlation between fabrics and the functions for which the research excavation on the site to study the pottery.1 At the vessels were intended, the following conceptual structure time, it seemed premature to embark upon a comprehen- was found useful. sive description of the pottery of Zeugma: It was there fore . Table wares. Vessels for serving and consuming food: agreed that I should concentrate on a few contexts that plates, dishes, small bowls, drinking cups, together with could be reasonably well dated and that might be used to lids intended for use with such forms; also some small characterize the major chronological phases identified in flagons and jugs intended for use at the table. These are the trenches for which Oxford Archaeology was respon- generally made in fine fabrics with smooth surfaces, sible: these were Trenches 1, 2, 4, 5, 7, 9, 10, 11, 12, 13, 15, 18, mostly with a distinctive surface finish such as a slip or and 19. glaze. The briefest of notes were made upon the entire pottery collection, and these were then used in conjunction with . -
From Boston to Rome: Reflections on Returning Antiquities David Gill* and Christopher Chippindale**
International Journal of Cultural Property (2006) 13:311–331. Printed in the USA. Copyright © 2006 International Cultural Property Society DOI: 10.1017/S0940739106060206 From Boston to Rome: Reflections on Returning Antiquities David Gill* and Christopher Chippindale** Abstract: The return of 13 classical antiquities from Boston’s Museum of Fine Arts (MFA) to Italy provides a glimpse into a major museum’s acquisition patterns from 1971 to 1999. Evidence emerging during the trial of Marion True and Robert E. Hecht Jr. in Rome is allowing the Italian authorities to identify antiquities that have been removed from their archaeological contexts by illicit digging. Key dealers and galleries are identified, and with them other objects that have followed the same route. The fabrication of old collections to hide the recent surfacing of antiquities is also explored. In October 2006 the MFA agreed to return to Italy a series of 13 antiquities (Ap- pendix). These included Attic, Apulian, and Lucanian pottery as well as a Roman portrait of Sabina and a Roman relief fragment.1 This return is forming a pattern as other museums in North America are invited to deaccession antiquities that are claimed to have been illegally removed from Italy. The evidence that the pieces were acquired in a less than transparent way is beginning to emerge. For example, a Polaroid photograph of the portrait of Sabina (Appendix no. 1) was seized in the raid on the warehousing facility of Giacomo Medici in the Geneva Freeport.2 Polaroids of two Apulian pots, an amphora (no. 9) and a loutrophoros (no. 11), were also seized.3 As other photographic and documentary evidence emerges dur- ing the ongoing legal case against Marion True and Robert E. -
Epilykos Kalos
EPILYKOS KALOS (PLATES 63 and 64) N TWO EARLIERPAPERS, the writerattempted to identifymembers of prominent Athenian families in the late 6th century using a combinationof kalos names and os- traka.1 In the second of these studies, it was observed that members of the same family occurredin the work of a single vase painter,2whether praised as kalos or named as partici- pant in a scene of athletics or revelry.3The converse,i.e. that the same individual may be namedon vases by painterswho, on the basis of stylistic affinities,should belong to the same workshop,seems also to be true.4The presentpaper tries to demonstrateboth these proposi- tions by linking membersof another importantfamily, the Philaidai, to a circle of painters on whose vases they appear. The starting point is Epilykos, who is named as kalos 19 times in the years ca. 515- 505, 14 of them on vases by a single painter, Skythes.5Of the other 5, 2 are cups by the Pedieus Painter, whom Beazley considered might in fact be Skythes late in the latter's career;61 is a cup linked to Skythes by Bloesch,7 through the potter work, and through details of draughtsmanship,by Beazley;8 1 is a cup placed by Beazley near the Carpenter Painter;9and the last is a plastic aryballos with janiform women's heads, which gives its name to Beazley's Epilykos Class.10 The close relationshipof Epilykos and Skythesis especiallystriking in view of Skythes' small oeuvre, so that the 14 vases praising Epilykos accountfor fully half his total output. -
Corpus Vasorum Antiquorum Malibu 2 (Bareiss) (25) CVA 2
CORPVS VASORVM ANTIQVORVM UNITED STATES OF AMERICA • FASCICULE 25 The J. Paul Getty Museum, Malibu, Fascicule 2 This page intentionally left blank UNION ACADÉMIQUE INTERNATIONALE CORPVS VASORVM ANTIQVORVM THE J. PAUL GETTY MUSEUM • MALIBU Molly and Walter Bareiss Collection Attic black-figured oinochoai, lekythoi, pyxides, exaleiptron, epinetron, kyathoi, mastoid cup, skyphoi, cup-skyphos, cups, a fragment of an undetermined closed shape, and lids from neck-amphorae ANDREW J. CLARK THE J. PAUL GETTY MUSEUM FASCICULE 2 . [U.S.A. FASCICULE 25] 1990 \\\ LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA (Revised for fasc. 2) Corpus vasorum antiquorum. [United States of America.] The J. Paul Getty Museum, Malibu. (Corpus vasorum antiquorum. United States of America; fasc. 23) Fasc. 1- by Andrew J. Clark. At head of title: Union académique internationale. Includes index. Contents: fasc. 1. Molly and Walter Bareiss Collection: Attic black-figured amphorae, neck-amphorae, kraters, stamnos, hydriai, and fragments of undetermined closed shapes.—fasc. 2. Molly and Walter Bareiss Collection: Attic black-figured oinochoai, lekythoi, pyxides, exaleiptron, epinetron, kyathoi, mastoid cup, skyphoi, cup-skyphos, cups, a fragment of an undetermined open shape, and lids from neck-amphorae 1. Vases, Greek—Catalogs. 2. Bareiss, Molly—Art collections—Catalogs. 3. Bareiss, Walter—Art collections—Catalogs. 4. Vases—Private collections— California—Malibu—Catalogs. 5. Vases—California— Malibu—Catalogs. 6. J. Paul Getty Museum—Catalogs. I. Clark, Andrew J., 1949- . IL J. Paul Getty Museum. III. Series: Corpus vasorum antiquorum. United States of America; fasc. 23, etc. NK4640.C6U5 fasc. 23, etc. 738.3'82'o938o74 s 88-12781 [NK4624.B37] [738.3'82093807479493] ISBN 0-89236-134-4 (fasc. -
Is a Set of Guidelines on the Historical Costume of Duke Siemovit’S Mazowiecka Banner
The following "Red Booklet" is a set of guidelines on the historical costume of Duke Siemovit’s Mazowiecka Banner. All of the information contained therein relate to what is required internally in our camp, and they are the choice of iconography and sources from the vast information about costumes from the period of our interest – i.e. 1390-1410. All kinds of questions and uncertainties related to the discrepancies between the guidelines of the Siemovit Banner and other Grunwald banners – should be cleared up within own camp, with persons involved in the control of the historical costume and with their costumography choices. Commander of the Siemovit’s Banner Małgorzta Rekosz-Piekarska, Red Booklet II Introduction to the reconstruction of the costume Reconstructing dresses of the bygone era we must rely on historical sources. The most reliable, are of course clothes preserved to our days, which we can, which we can freely examine and take to pieces. Unfortunately, the fabric does not stand up well to the passage of time, therefore from the late Middle Ages a little survived to our times. We therefore need to supplement our knowledge both with iconography as well as written sources. In the art of the turn of the 14th and 15th century there are plenty of depictions, which may become useful in reconstruction of the mediaeval clothing. Unfortunately there also is a lot of confusion and traps. Firstly, all depictions mainly show the higher society (founders and their entourage). Secondly the artists of this period often simplified the look of the clothing; there also was a custom of borrowing whole compositions or types of presentations from other artists (famous medieval patterns). -
The Classic Suit of Armor
Project Number: JLS 0048 The Classic Suit of Armor An Interactive Qualifying Project Report Submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degree of Bachelor of Science by _________________ Justin Mattern _________________ Gregory Labonte _________________ Christopher Parker _________________ William Aust _________________ Katrina Van de Berg Date: March 3, 2005 Approved By: ______________________ Jeffery L. Forgeng, Advisor 1 Table of Contents ABSTRACT .................................................................................................................................................. 5 INTRODUCTION ........................................................................................................................................ 6 RESEARCH ON ARMOR: ......................................................................................................................... 9 ARMOR MANUFACTURING ......................................................................................................................... 9 Armor and the Context of Production ................................................................................................... 9 Metallurgy ........................................................................................................................................... 12 Shaping Techniques ............................................................................................................................ 15 Armor Decoration -
The Complete Costume Dictionary
The Complete Costume Dictionary Elizabeth J. Lewandowski The Scarecrow Press, Inc. Lanham • Toronto • Plymouth, UK 2011 Published by Scarecrow Press, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 http://www.scarecrowpress.com Estover Road, Plymouth PL6 7PY, United Kingdom Copyright © 2011 by Elizabeth J. Lewandowski Unless otherwise noted, all illustrations created by Elizabeth and Dan Lewandowski. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Lewandowski, Elizabeth J., 1960– The complete costume dictionary / Elizabeth J. Lewandowski ; illustrations by Dan Lewandowski. p. cm. Includes bibliographical references. ISBN 978-0-8108-4004-1 (cloth : alk. paper) — ISBN 978-0-8108-7785-6 (ebook) 1. Clothing and dress—Dictionaries. I. Title. GT507.L49 2011 391.003—dc22 2010051944 ϱ ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed in the United States of America For Dan. Without him, I would be a lesser person. It is the fate of those who toil at the lower employments of life, to be rather driven by the fear of evil, than attracted by the prospect of good; to be exposed to censure, without hope of praise; to be disgraced by miscarriage or punished for neglect, where success would have been without applause and diligence without reward. -
Object List (Draft)
OBJECT LIST Colors of Clay: Special Techniques in Athenian Vases at the Getty Villa (June 8 - September 4, 2006) 1. Signed by Andokides 4. Signed by Nikosthenes Attributed to Psiax Storage Jar with Courtesans, Dogs, and Tripods Storage Jar with Apollo, Artemis, Leto, Ares, and Neck-Amphora of Nicosthenic Type, 525 B.C.– Dionysos and His Followers 520 B.C. Bilingual Amphora of Type A, 515 B.C.–510 B.C. Object: H: 32 cm (12 5/8 in.) Object (approx.): H: 61.2 x Diam.: 35 cm Musée du Louvre. Paris, France, F114 (24 1/8 x 13 3/4 in.) Cat. 15 Museo Arqueológico Nacional. Madrid, Spain, 11.008 5. Attributed to the Kleophrades Painter Cat. 1 Mixing Vessel with the Adventures of Herakles Attic Red-Figure Volute Krater, about 480 B.C. 2. Attributed to the Amasis Painter Object (body, top of volutes): 56.7 to 56.9 x Storage Jar with a Wine-Making Scene and 37.4 cm (22 5/16 to 22 3/8 x 14 3/4 in.) Dionysos The J. Paul Getty Museum at the Getty Villa. Black-Figured Amphora of Type B, about Malibu, California 540 B.C. Cat. 13 Object: H: 44 x Diam. (foot): 17 cm (17 5/16 x 6 11/16 in.) 6. Attributed to the Phiale Painter Antikenmuseum Basel und Sammlung Ludwig. Mixing Vessel with the Infancy of Dionysos Basel, Switzerland, Kä420 White-Ground Calyx-Krater, 440 B.C.–435 B.C. Cat. 43 Object: H: 32.8 cm (12 15/16 in.) Vatican Museums. Vatican City, 16586 3.