The Monopteros in the Athenian Agora
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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. -
The Grottesche Part 1. Fragment to Field
CHAPTER 11 The Grottesche Part 1. Fragment to Field We touched on the grottesche as a mode of aggregating decorative fragments into structures which could display the artist’s mastery of design and imagi- native invention.1 The grottesche show the far-reaching transformation which had occurred in the conception and handling of ornament, with the exaltation of antiquity and the growth of ideas of artistic style, fed by a confluence of rhe- torical and Aristotelian thought.2 They exhibit a decorative style which spreads through painted façades, church and palace decoration, frames, furnishings, intermediary spaces and areas of ‘licence’ such as gardens.3 Such proliferation shows the flexibility of candelabra, peopled acanthus or arabesque ornament, which can be readily adapted to various shapes and registers; the grottesche also illustrate the kind of ornament which flourished under printing. With their lack of narrative, end or occasion, they can be used throughout a context, and so achieve a unifying decorative mode. In this ease of application lies a reason for their prolific success as the characteristic form of Renaissance ornament, and their centrality to later historicist readings of ornament as period style. This appears in their success in Neo-Renaissance style and nineteenth century 1 The extant drawings of antique ornament by Giuliano da Sangallo, Amico Aspertini, Jacopo Ripanda, Bambaia and the artists of the Codex Escurialensis are contemporary with—or reflect—the exploration of the Domus Aurea. On the influence of the Domus Aurea in the formation of the grottesche, see Nicole Dacos, La Découverte de la Domus Aurea et la Formation des grotesques à la Renaissance (London: Warburg Institute, Leiden: Brill, 1969); idem, “Ghirlandaio et l’antique”, Bulletin de l’Institut Historique Belge de Rome 39 (1962), 419– 55; idem, Le Logge di Raffaello: Maestro e bottega di fronte all’antica (Rome: Istituto Poligrafico e Zecca dello Stato, 1977, 2nd ed. -
The Grotesque in El Greco
Konstvetenskapliga institutionen THE GROTESQUE IN EL GRECO BETWEEN FORM - BEYOND LANGUAGE - BESIDE THE SUBLIME © Författare: Lena Beckman Påbyggnadskurs (C) i konstvetenskap Höstterminen 2019 Handledare: Johan Eriksson ABSTRACT Institution/Ämne Uppsala Universitet. Konstvetenskapliga institutionen, Konstvetenskap Författare Lena Beckman Titel och Undertitel THE GROTESQUE IN EL GRECO -BETWEEN FORM - BEYOND LANGUAGE - BESIDE THE SUBLIME Engelsk titel THE GROTESQUE IN EL GRECO -BETWEEN FORM - BEYOND LANGUAGE - BESIDE THE SUBLIME Handledare Johan Eriksson Ventileringstermin: Hösttermin (år) Vårtermin (år) Sommartermin (år) 2019 2019 Content: This study attempts to investigate the grotesque in four paintings of the artist Domenikos Theotokopoulos or El Greco as he is most commonly called. The concept of the grotesque originated from the finding of Domus Aurea in the 1480s. These grottoes had once been part of Nero’s palace, and the images and paintings that were found on its walls were to result in a break with the formal and naturalistic ideals of the Quattrocento and the mid-renaissance. By the end of the Cinquecento, artists were working in the mannerist style that had developed from these new ideas of innovativeness, where excess and artificiality were praised, and artists like El Greco worked from the standpoint of creating art that were more perfect than perfect. The grotesque became an end to reach this goal. While Mannerism is a style, the grotesque is rather an effect of the ‘fantastic’.By searching for common denominators from earlier and contemporary studies of the grotesque, and by investigating the grotesque origin and its development through history, I have summarized the grotesque concept into three categories: between form, beyond language and beside the sublime. -
Gargoyles of Princeton University Ga Grotesque Tour of the Campus
GARGOYLES of Princeton University Ga grotesque tour of the campus 1 2 Here we were taught by men and Gothic towers democracy and faith and righteousness and love of unseen things that do not die. H. E. Mierow ’14 or centuries scholars have asked why gargoyles inhabit their most solemn churches and institutions. Fantastic explanations have come downF from the Middle Ages. Some art historians believe that gargoyles were meant to depict evil spirits over which the Christian church had triumphed. One theory suggests that these devils were frozen in stone as they fled the church. Supposedly, Christ set these spirits to work as useful examples to men instead of sending them straight to damnation. Others say they kept evil spirits away. Psychologists suggest that gargoyles represent the fears and superstitions of medieval men. As life became more secure, the gargoyles became more comical and whimsical. This little book introduces you to some men, women, and beasts you may have passed a hundred times on the campus but never noticed. It invites you to visit some old favorites. A pair of binoculars will bring you face-to-face with second- and third- story personalities. Why does Princeton have gargoyles and grotesques? Here is one excuse: … If the most fanciful and wildest sculptures were placed on the Gothic cathedrals, should they be out of place on the walls of a secular educational establishment? (“Princeton’s Gargoyles,” New York Sun, May 13, 1927) Note: Taking some technical license, the creatures and carvings described in this publication are referred to as “gargoyles” and “grotesques.” Typically, gargoyles are defined as such only when they also serve to convey water away from a building. -
© in This Web Service Cambridge University
Cambridge University Press 978-1-107-00123-7 - The Art and Archaeology of Ancient Greece Judith M. Barringer Index More information I n d e x Abdalonymos of Sidon. See Alexander tomb of. See Alexandria (Egypt), tombs, Sarcophagus Alexander the Great Achaia, 384 and Zeus, 304 Achaians, 41 , 162 , 163 , 164 , 189 , 199 , 233 Alexandria (Egypt), 281 , 332 , 335 , 340–342 Achilles, 162 , 163 , 395 city plan, 340 and Ajax, 163–164 grotesques, 343 father of Neoptolemos, 299 harbors, 340 and Polyxena, 158 Homereion, 345 and Telephos. See Tegea, temple of Athena library, 340 , 343 Alea Mouseion, 340 , 345 , 350 and Thetis, 221 , 278 Pharos lighthouse, 340 and Troilos, 162 Sarapeion, 340 Actium, Battle of, 322 , 340 , 401 tombs Aemilius Paullus, 371–373 Alexander the Great, 340 Aeneas, 390 , 391 , 395 Moustafa Pasha Tomb I, 341–342 Aeolic order, 85–86 Alkamenes, 252 Afghanistan, 304 . See also Ai Khanoum; Baktria Alkestis, 260 Agamemnon, 41 , 51 Alkmaionidai, 175 agora, 122 . See also Athens, Agora ; Delos, Agora of Al Mina, 71 the Italians; Thasos Altar of Domitius Ahenobarbus, 386–389 Agrippa, Marcus, 401 Amasis (Egyptian pharaoh), 168 Ahuramazda. See Nemrud Dagh Amasis Painter, 167–168 Ai Khanoum, 304 , 328 , 364–367 Amazonomachy, 233 . See also Athens, Aiakos, 200 Akropolis, Lesser Attalid Monument ; Aigina Athens, Akropolis, Parthenon ; Bassai, and Athens, 200–201 temple of Apollo ; Epidauros, temple of coinage, 128 Asklepios ; Halikarnassos, Mausoleion mother of Aiakos, 200 Amazons. See Amazonomachy temple of Aphaia, 200 , 225 , 334 Amyntas. See Olympia, Philippeion Aischylos, 248 Anavysos. See kouroi (sg. kouros), Anavysos Ajax, 199 ancestor cult, 72 and Achilles, 163–164 Anchises, 390 and Kassandra, 189 , 298 Andokides Painter, 169–171 and Odysseus, 164 Antenor, 183 suicide of, 114 , 164 Antigonids, 308 A k r o t i r i . -
A Comparative Study of Ancient Greek City Walls in North-Western Black Sea During the Classical and Hellenistic Times
INTERNATIONAL HELLENIC UNIVERSITY SCHOOL OF HUMANITIES MA IN BLACK SEA CULTURAL STUDIES A comparative study of ancient Greek city walls in North-Western Black Sea during the Classical and Hellenistic times Thessaloniki, 2011 Supervisor’s name: Professor Akamatis Ioannis Student’s name: Fantsoudi Fotini Id number:2201100018 Abstract Greek presence in the North Western Black Sea Coast is a fact proven by literary texts, epigraphical data and extensive archaeological remains. The latter in particular are the most indicative for the presence of walls in the area and through their craftsmanship and techniques being used one can closely relate these defensive structures to the walls in Asia Minor and the Greek mainland. The area examined in this paper, lies from ancient Apollonia Pontica on the Bulgarian coast and clockwise to Kerch Peninsula.When establishing in these places, Greeks created emporeia which later on turned into powerful city states. However, in the early years of colonization no walls existed as Greeks were starting from zero and the construction of walls needed large funds. This seems to be one of the reasons for the absence of walls of the Archaic period to which lack comprehensive fieldwork must be added. This is also the reason why the Archaic period is not examined, but rather the Classical and Hellenistic until the Roman conquest. The aim of Greeks when situating the Black Sea was to permanently relocate and to become autonomous from their mother cities. In order to be so, colonizers had to create cities similar to their motherlands. More specifically, they had to build public buildings, among which walls in order to prevent themselves from the indigenous tribes lurking to chase away the strangers from their land. -
1 2 3 4 5 a B C D E
STREET REGISTER ARRIVING & GETTING AROUND ARRIVING & GETTING AROUND ARRIVING & GETTING AROUND WHAT TO SEE WHAT TO SEE WHAT TO SEE Amurskaya E/F-2 Krasniy Spusk G-3 Radishcheva E-5 By Bus By Plane Great Mitridat Stairs C-4, near the Lenina Admirala Vladimirskogo E/F-3 Khersonskaya E/F-3 Rybatskiy prichal D/C-4-B-5 Churches & Cathedrals pl. The stairs were built in the 1930’s with plans Ancient Cities Admirala Azarova E-4/5 Katernaya E-3 Ryabova F-4 Arriving by bus is the only way to get to Kerch all year round. The bus station There is a local airport in Kerch, which caters to some local Crimean flights Ferry schedule Avdeyeva E-5 Korsunskaya E-3 Repina D-4/5 Church of St. John the Baptist C-4, Dimitrova per. 2, tel. (+380) 6561 from the Italian architect Alexander Digby. To save Karantinnaya E-3 Samoylenko B-3/4 itself is a buzzing place thanks to the incredible number of mini-buses arriving during the summer season, but the only regular flight connection to Kerch is you the bother we have already counted them; Antonenko E-5 From Kerch (from Port Krym) To Kerch (from Port Kavkaz) 222 93. This church is a unique example of Byzantine architecture. It was built in Admirala Fadeyeva A/B-4 Kommunisticheskaya E-3-F-5 Sladkova C-5 and departing. Marshrutkas run from here to all of the popular destinations in through Simferopol State International, which has regular flights to and from Kyiv, there are 432 steps in all meandering from the Dep. -
Thessaly and Macedon at Delphi
ELECTRUM * Vol. 19 (2012): 41–60 doi: 10.4467/20843909EL.12.002.0743 THESSALY AND MACEDON AT DELPHI Emma M.M. Aston Abstract: The Daochos Monument at Delphi has received some scholarly attention from an art- historical and archaeological perspective; this article, however, examines it rather as a refl ection of contemporary Thessalian history and discourse, an aspect which has been almost entirely ne- glected. Through its visual imagery and its inscriptions, the monument adopts and adapts long- standing Thessalian themes of governance and identity, and achieves a delicate balance with Mac- edonian concerns to forge a symbolic rapprochement between powers and cultures in the Greek north. Its dedicator, Daochos, emerges as far more than just the puppet of Philip II of Macedon. This hostile and largely Demosthenic characterisation, which remains infl uential even in modern historiography, is far from adequate in allowing for an understanding of the relationship between Thessalian and Macedonian motivations at this time, or of the importance of Delphi as the pan- Hellenic setting of their interaction. Looking closely at the Daochos Monument allows for a rare glimpse into the Thessalian perspective in all its complexity. Keywords: Daochos, Philip II of Macedon, the Daochos Monument, Delphi, Thessaly. Introduction Reconstructing Thessaly’s early involvement in Delphi and its Amphiktyony draws the scholar towards the shimmering mirage of Archaic Thessalian history. Like all mirages, it is alluring, and represents something which the viewer wishes keenly to fi nd: in this case an ambitious, powerful, energetic Thessaly extending its infl uence outside its own borders and claiming a stake in wider Greek affairs.1 Also in the nature of mirages, when grasped it proves insubstantial. -
View Fast Facts
FAST FACTS Author's Works and Themes: Edgar Allan Poe “Author's Works and Themes: Edgar Allan Poe.” Gale, 2019, www.gale.com. Writings by Edgar Allan Poe • Tamerlane and Other Poems (poetry) 1827 • Al Aaraaf, Tamerlane, and Minor Poems (poetry) 1829 • Poems (poetry) 1831 • The Narrative of Arthur Gordon Pym of Nantucket, North America: Comprising the Details of a Mutiny, Famine, and Shipwreck, During a Voyage to the South Seas; Resulting in Various Extraordinary Adventures and Discoveries in the Eighty-fourth Parallel of Southern Latitude (novel) 1838 • Tales of the Grotesque and Arabesque (short stories) 1840 • The Raven, and Other Poems (poetry) 1845 • Tales by Edgar A. Poe (short stories) 1845 • Eureka: A Prose Poem (poetry) 1848 • The Literati: Some Honest Opinions about Authorial Merits and Demerits, with Occasional Words of Personality (criticism) 1850 Major Themes The most prominent features of Edgar Allan Poe's poetry are a pervasive tone of melancholy, a longing for lost love and beauty, and a preoccupation with death, particularly the deaths of beautiful women. Most of Poe's works, both poetry and prose, feature a first-person narrator, often ascribed by critics as Poe himself. Numerous scholars, both contemporary and modern, have suggested that the experiences of Poe's life provide the basis for much of his poetry, particularly the early death of his mother, a trauma that was repeated in the later deaths of two mother- surrogates to whom the poet was devoted. Poe's status as an outsider and an outcast--he was orphaned at an early age; taken in but never adopted by the Allans; raised as a gentleman but penniless after his estrangement from his foster father; removed from the university and expelled from West Point--is believed to account for the extreme loneliness, even despair, that runs through most of his poetry. -
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 -
Andrea F. Gatzke, Mithridates VI Eupator and Persian Kingship
The Ancient History Bulletin VOLUME THIRTY-THREE: 2019 NUMBERS 1-2 Edited by: Edward Anson ò Michael Fronda òDavid Hollander Timothy Howe ò John Vanderspoel Pat Wheatley ò Sabine Müller òAlex McAuley Catalina Balmacedaò Charlotte Dunn ISSN 0835-3638 ANCIENT HISTORY BULLETIN Volume 33 (2019) Numbers 1-2 Edited by: Edward Anson, Catalina Balmaceda, Michael Fronda, David Hollander, Alex McAuley, Sabine Müller, John Vanderspoel, Pat Wheatley Senior Editor: Timothy Howe Assistant Editor: Charlotte Dunn Editorial correspondents Elizabeth Baynham, Hugh Bowden, Franca Landucci Gattinoni, Alexander Meeus, Kurt Raaflaub, P.J. Rhodes, Robert Rollinger, Victor Alonso Troncoso Contents of volume thirty-three Numbers 1-2 1 Kathryn Waterfield, Penteconters and the Fleet of Polycrates 19 John Hyland, The Aftermath of Aigospotamoi and the Decline of Spartan Naval Power 42 W. P. Richardson, Dual Leadership in the League of Corinth and Antipater’s Phantom Hegemony 60 Andrea F. Gatzke, Mithridates VI Eupator and Persian Kingship NOTES TO CONTRIBUTORS AND SUBSCRIBERS The Ancient History Bulletin was founded in 1987 by Waldemar Heckel, Brian Lavelle, and John Vanderspoel. The board of editorial correspondents consists of Elizabeth Baynham (University of Newcastle), Hugh Bowden (Kings College, London), Franca Landucci Gattinoni (Università Cattolica, Milan), Alexander Meeus (University of Mannhiem), Kurt Raaflaub (Brown University), P.J. Rhodes (Durham University), Robert Rollinger (Universität Innsbruck), Victor Alonso Troncoso (Universidade da Coruña) AHB is currently edited by: Timothy Howe (Senior Editor: [email protected]), Edward Anson, Catalina Balmaceda, Michael Fronda, David Hollander, Alex McAuley, Sabine Müller, John Vanderspoel, Pat Wheatley and Charlotte Dunn. AHB promotes scholarly discussion in Ancient History and ancillary fields (such as epigraphy, papyrology, and numismatics) by publishing articles and notes on any aspect of the ancient world from the Near East to Late Antiquity. -
Modern American Grotesque
Modern American Grotesque Goodwin_Final4Print.indb 1 7/31/2009 11:14:21 AM Goodwin_Final4Print.indb 2 7/31/2009 11:14:26 AM Modern American Grotesque LITERATURE AND PHOTOGRAPHY James Goodwin THEOHI O S T A T EUNIVER S I T YPRE ss / C O L U MB us Goodwin_Final4Print.indb 3 7/31/2009 11:14:27 AM Copyright © 2009 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Goodwin, James, 1945– Modern American grotesque : Literature and photography / James Goodwin. p. cm. Includes bibliographical references and index. ISBN-13 : 978-0-8142-1108-3 (cloth : alk. paper) ISBN-10 : 0-8142-1108-9 (cloth : alk. paper) ISBN-13 : 978-0-8142-9205-1 (cd-rom) 1. American fiction—20th century—Histroy and criticism. 2. Grotesque in lit- erature. 3. Grotesque in art. 4. Photography—United States—20th century. I. Title. PS374.G78G66 2009 813.009'1—dc22 2009004573 This book is available in the following editions: Cloth (ISBN 978-0-8142-1108-3) CD-ROM (ISBN 978-0-8142-9205-1) Cover design by Dan O’Dair Text design by Jennifer Shoffey Forsythe Typeset in Adobe Palatino Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 Goodwin_Final4Print.indb 4 7/31/2009 11:14:28 AM For my children Christopher and Kathleen, who already possess a fine sense of irony and for whom I wish in time stoic wisdom as well Goodwin_Final4Print.indb 5 7/31/2009