DOCSLIB.ORG

Terms and Facts- Hierarchical Scale

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Terms and Facts- Hierarchical Scale Terms and facts- Hierarchical scale From the Prehistoric and Neolithic- Post and Lintel, Megalith, tumulus, henge From Mesopotamia- The Code of Hammurabi, Shamash, Lamassu, Ziggurat, load bearing architecture, The Sumerians, the Akkadians, the Assyrians, the Babylonians, Stele or Stela From Minoa- Labrys, The myth of King Minos and the Minotaur From Mycenae- Corbelled vaults and domes, repousse, Tholos, Megaron, krater From Ancient Egypt- Ben-ben, mastaba, Imhotep, Ma’at, Canon (of artistic laws), cartouche, Canopic jars, Shabti or ushabti, the imagery of nine in connection to the pharaoh, the Amarna Period From Ancient Greece- Polykleitos, Humanism, contrapposto, Exekias, kouros and Kore, archaic smile, Praxiteles, some Greek mythology-especially the main gods and goddesses, meander (key design) Know the seven steps to lost wax casting Know the basic architecture of a Greek Temple-peristyle, the three column orders, (Doric, Ionic, Corinthian), stylobate, cella, shaft, caryatids, pediment, capital The two styles of Greek vase painting-black figure and red figure-the basic differences in look You should look up exam one of these myths and know the basic story or the main story about the character listed: Prometheus and Fire Apollo and Daphne Pygmalion and Galatea Niobe Persephone and Hades Pandora Tantalus-Son of Zeus The Danaides Alcyone and Ceyx Idas and Marpessa The Fall of Icarus Theseus and the Minotaur Perseus and the Medusa Jason and Medea Hercules and the Stymphalian Birds Chapter 2.9 Sculpture PART 2 MEDIA AND PROCESSES Seven steps in the lost-wax casting process Build and armature, sculpt the piece (clay), cover with ½ “ layer of wax, cover the entire piece with debris mixture, heat the entire work to melt out the wax through pre-drilled hole, pour the molten metal into the work through pre-drilled holes, break away the debris layer, clean and polishGateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields Archaic Greek Temple Figure 5-12 Plan of a typical Greek temple. The CELLA, is the room where the deity’s sculpture would have been housed. Think harmony, balance and order. Proportional exactness helped achieve this harmony and order. Order in the world, art and the cosmos Despite its grandeur, the Greek temple was elegantly simple in floor plan, stressing order through symmetry, balance 4 Diagram of the Classical architectural orders Diagram of the Classical architectural orders, differentiating between the Doric, Ionic, and Corinthian. Key parts of Greek temple design, such as the pediment, stylobate, entablature, frieze, capital, column, shaft, and base are also identified EXEKIAS, Achilles and Ajax playing a dice game (detail from an Athenian black-figure amphora), from Vulci, Italy, ca. 540–530 BCE. Whole vessel 2’ high; detail 8 1/2” high. Musei Vaticani, Rome. Now we see a whole scene and no hierarchy at all. Still some patterning used. This is black figure pottery on this large vessel- amphora. 6 EUTHYMIDES, Three revelers (Athenian red-figure amphora), from Vulci, Italy, ca. 510 BCE. 2’ high. Staatliche Antikensammlungen, Munich. Red figure painting could allow more artistic choice and detail. There could even be differences in the red hues. Note the ¾ view of theis figure, an early foray into foreshortening, so a sense of the figures exist in a space is achieved now. 7 Landscape with volcano eruption, wall painting Landscape with volcano eruption, Çatalhöyük, Turkey, c. 6150 BCE. Wall painting: Ankara Museum of Anatolian Civilizations, Turkey. Watercolor copy: Private collection Considered to be the first landscape painting known showing the town layout, volcano reference at the top can be the one from an earlier Neolithic town 60 miles away, since no volcano is near Chatal Hoyuk. Chatal Hoyuk means “forked mound”. Chapter 3.1 The Prehistoric and Ancient Mediterranean PART 3 HISTORY AND CONTEXT Hieroglyphics Often images of objects, but can represent ideas or sounds The Rosetta Stone, discovered in 1799, made the translation possible Hieroglyphics Demotic Greek Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields Stele of Hammurabi. c. 1760 BCE. 7 ‘ x 28” Hammurabi, King of Babylon reunited Mesopotamia and instituted the Code of Hammurabi, a comprehensive set of laws addressing nearly all aspects of both civil and criminal offenses. Hammurabi is portrayed receiving the laws directly from Shamash the sun god. (a parallel to Moses). Shamash is the dominate figure— he is seated on his throne, wears a crown and has flames issuing from his shoulders. Although Hammurabi is subservient to the god he still makes a powerful authority statement by addressing the god directly. Even though he has his hand raised in reverence he shows that he has a personal relationship with the gods while mere mortals do not. The Phaistos Disc 2000 BCE. There are 45 characters on the disc. Pressed deals into the wet clay to print.First printed text ever found Written language is called “Linear A” Figure 1-4 Nude woman (Venus of Willendorf), from Willendorf, Austria, ca. 28,000– 25,000 BCE. Limestone, 4 1/4” high. Naturhistorisches Museum, Vienna. 12 Found in a grain storage vessel. She is flanked by two feline animals, believed to be leopards. Fertility figure and mother goddess of both birth and crops. Many more female deities are found at this time and place than male counterparts. Seated Goddess of Catal Hoyuk 6000 BCE Clay 16.5 cm Figure 4-13 Snake Goddess, from the palace at Knossos (Crete), Greece, ca. 1600 BCE. Faience, 1’ 1 1/2” high. Archaeological Museum, Irakleion. ART ACTIVITY Labrys – Double-headed axe attributed to matriarchal power and female divinities later to sacrifice and male power in other cultures 14 Newgrange Ireland (Bru na Boinne) 3200 BCE The roofbox lets in the light, illuminating the interior during the solstices. Corbelled vault. Exterior of the Treasury of Atreus (looking west), Mycenae, Greece, ca. 1300- 1250 BCE. 16 Largest dome constructed for over 1400 years. 43 feet high, 50 feet wide. Tholos (tomb) or Treasury of Atreus 1250 B.C.E. Above – corbelled vault construction. 17 •THE AKKADIANS Figure 2-13 Victory stele of Naram-Sin, set up at Sippar, Iraq, found at Susa, Iran, 2254–2218 BCE. Pink sandstone, 6’ 7” high. Musée du Louvre, Paris. Shown leading his army, King Naram-Sin is wearing the horned headdress signifying divinity First time Mesopotamian king shown as a god Three stars overhead, looks like he is scaling his way to the heavens Not in a horizontal format, but still hierarchical in scale 18 Figure 3-1 Judgment of Hu-Nefer, detail of an illustrated Book of the Dead, from the tomb of Hunefer, Thebes, Egypt, 19th Dynasty, ca. 1290-1275 BCE. Painted papyrus scroll, 1’ 3 ½” high; full scroll 18’ ½” long. British Museum, London. Know what is going on in the scene depicted. Positioning and portrayal of the bodies as a hallmark of Egyptian painted imagery. 19 Figure 3-2/3 Palette of King Narmer (left, back; right, front), from Hierakonpolis, Egypt, 3000–2920 BCE. Slate, 2’ 1” high. Symbolized the unification of Upper and Lower Egypt. On the left Narmer is slaying two foes at once, the man and the falcon, a symbol for the pharoah. The two interwined necks of the animals on the right – again unification symbology DEPICTED A HISTORICAL PERSON, HIERARCHICAL ORDER OR SCALE, AND THE SETTING OF THE BODY’S STYLE OF DEPICTION. A start of the canon of artistic laws for Ancient Egypt in the depiction of the pharaoh, other humans, space, decoration, action, etc. 20 Pyramids at Giza: from left to right, the pyramids of Khufu, Khafre, and Menkaure Giza (Gizeh) Video Link https://www.youtube.com/watch?v=q6fyAn9Ea_I SCULPTURE OLD KINGDOM Figure 3-13 Menkaure and Khamerernebty(?), from Gizeh, Egypt, Fourth Dynasty, ca. 2490–2472 BCE. Graywacke, 4’ 6 1/2” high. Museum of Fine Arts, Boston. 22 Kouros, from Attica, Greece, ca. 600 BCE. Marble, 6’ 1/2” high. Metropolitan Museum of Art, New York. 23 Doryphoros of Polykleitos •Originally titled Canon – a set of artistic laws to achieve perfection, harmony, beauty, the ideal •Established Polykleitos’ canon of proportions, setting ideal correlations among body parts derived from Pythagorus geometry and musical harmony theories and ratios •Contrapposto and counterbalance •Notice the harmony of opposites POLYKLEITOS, Doryphoros (Spear Bearer). Roman marble copy from Pompeii, Italy, after a bronze original of ca. 450–440 BCE, 6’ 11” high. Museo Archeologico Nazionale, Naples. 24 Aphodite of Knidos, PRAXITELES •Bold step to render a goddess in the nude •Sensuous and humanizing qualities – different from the cold, aloof gods and athletes of the High Classical PRAXITELES, Aphrodite of Knidos. Roman marble copy of an original of ca. 350–340 BCE. 6’ 8” high. Musei Vaticani, Rome. 25 ABOVE Dying warrior, from the east pediment of the Temple of Aphaia, Aegina, Greece, ca. 480 BCE. Marble, 6’ 1” long Dying Gaul. Roman marble copy of a bronze original of ca. 230–220 BCE, 3’ 1/2” high. Museo Capitolino, Rome. 26 Note in the later Classical and Hellenistic Periods how this statue does not depict an “ideal”. More of a true to life human with emotion, seated casually. Note the smashed nose, age. Greece is being taken over soon after Alexander the Great by Rome Seated boxer, ca. 100–50 BCE. Bronze, 4’ 2” high. Museo Nazionale Romano– Palazzo Massimo alle Terme, Rome. 27.
Load more

Recommended publications
  • Gods and Heroes: the Influence of the Classical World on Art in the 17Th & 18Th Centuries
    12/09/2017 Cycladic Figure c 2500 BC Minoan Bull Leaper c 1500 BC Gods and Heroes: the Influence of the Classical World on Art in the 17th & 18th centuries Sophia Schliemann wearing “Helen’s Jewellery” Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Heracles from the Parthenon Paris and Helen krater c 700 BC Roman copy of Hellenistic bust of Homer Small bronze statue of Alexander the Great c 100 BC Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Judgement of Paris from Etruria c 550 BC Tiberius sword hilt showing Augustus as Jupiter Arrival of Aeneas in Italy Blacas Cameo showing Augustus with aegis breastplate Augustus of Prima Porta c 25 AD Dr William Sterling (discovered 1863) Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk 1 12/09/2017 Romulus and Remus on the Franks Casket c 700 AD Siege of Jerusalem from the Franks Casket Mantegna Triumph of Caesar Mantua c 1490 Très Riches Heures du Duc de Berry c 1410 – tapestry of Trojan War Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk The Colosseum Rome The Parthenon Athens The Pantheon Rome Artist’s Impression of the Mausoleum of Halicarnassus showing surviving sculpture Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Hera and Zeus on the Parthenon Frieze in the British Museum Hermes, Dionysus, Demeter and Ares on the Parthenon Frieze Dr William Sterling Dr William Sterling www.williamsterling.co.uk
    [Show full text]
  • Art 258: Ancient and Medieval Art Spring 2016 Sched#20203
    Art 258: Ancient and Medieval Art Spring 2016 Sched#20203 Dr. Woods: Office: Art 559; e-mail: [email protected] Office Hours: Monday and Friday 8:00-8:50 am Course Time and Location: MWF 10:00 – 10:50 HH221 Course Overview Art 258 is an introduction to western art from the earliest cave paintings through the age of Gothic Cathedrals. Sculpture, painting, architecture and crafts will be analyzed from an interdisciplinary perspective, for what they reveal about the religion, mythology, history, politics and social context of the periods in which they were created. Student Learning Outcomes Students will learn to recognize and identify all monuments on the syllabus, and to contextualize and interpret art as the product of specific historical, political, social and economic circumstances. Students will understand the general characteristics of each historical or stylistic period, and the differences and similarities between cultures and periods. The paper assignment will develop students’ skills in visual analysis, critical thinking and written communication. This is an Explorations course in the Humanities and Fine Arts. Completing this course will help you to do the following in greater depth: 1) analyze written, visual, or performed texts in the humanities and fine arts with sensitivity to their diverse cultural contexts and historical moments; 2) describe various aesthetic and other value systems and the ways they are communicated across time and cultures; 3) identify issues in the humanities that have personal and global relevance; 4) demonstrate the ability to approach complex problems and ask complex questions drawing upon knowledge of the humanities. Course Materials Text: F.
    [Show full text]
  • Art List by Year
    ART LIST BY YEAR Page Period Year Title Medium Artist Location 36 Mesopotamia Sumerian 2600 Standard of Ur Inlaid Box British Museum 36 Mesopotamia Sumerian 2600 Stele of the Vultures (Victory Stele of Eannatum) Limestone Louvre 38 Mesopotamia Sumerian 2600 Bull Headed Harp Harp British Museum 39 Mesopotamia Sumerian 2600 Banquet Scene cylinder seal Lapis Lazoli British Museum 40 Mesopotamia Akkadian 2254 Victory Stele of Narum-Sin Sandstone Louvre 42 Mesopotamia Akkadian 2100 Gudea Seated Diorite Louvre 43 Mesopotamia Akkadian 2100 Gudea Standing Calcite Louvre 44 Mesopotamia Babylonian 1780 Stele of Hammurabi Basalt Louvre 45 Mesopotamia Assyrian 1350 Statue of Queen Napir-Asu Bronze Louvre 46 Mesopotamia Assyrian 750 Lamassu (man headed winged bull 13') Limestone Louvre 48 Mesopotamia Assyrian 640 Ashurbanipal hunting lions Relief Gypsum British Museum 65 Egypt Old Kingdom 2500 Seated Scribe Limestone Louvre 75 Egypt New Kingdom 1400 Nebamun hunting fowl Fresco British Museum 75 Egypt New Kingdom 1400 Nebamun funery banquet Fresco British Museum 80 Egypt New Kingdom 1300 Last Judgement of Hunefer Papyrus Scroll British Museum 81 Egypt First Millenium 680 Taharqo as a sphinx (2') Granite British Museum 110 Ancient Greece Orientalizing 625 Corinthian Black Figure Amphora Vase British Museum 111 Ancient Greece Orientalizing 625 Lady of Auxerre (Kore from Crete) Limestone Louvre 121 Ancient Greece Archaic 540 Achilles & Ajax Vase Execias Vatican 122 Ancient Greece Archaic 510 Herakles wrestling Antaios Vase Louvre 133 Ancient Greece High
    [Show full text]
  • Market Values in Eighteenth-Century Rome
    Market values in eighteenth-century Rome Review of: The Art Market in Rome in the Eighteenth Century: A Study in the Social History of Art, edited by Paolo Coen, Leiden and Boston: Brill, 2018 [Studies in the History of Collecting and Art Markets, vol. 5], xii + 234 pp., 80 colour illus., €116/$134 hdbk, ISBN 978-90-04-33699-5. Jeffrey Collins Anyone who doubts that a society’s art market reveals its underlying values need only consider the case of Inigo Philbrick, the high-flying young dealer who sold investors overlapping shares of the same blue-chip contemporary works and who was recently apprehended in Vanuatu. The present volume boasts no one quite so colourful, though it too concerns a moment in which the business side of art acquired new prominence. Based on an international congress held at Rome’s Palazzo Barberini, the anthology’s ten chapters consider diverse facets of art’s production, circulation, and recirculation in early modern Rome, unfortunately not all centred on the time and place announced in the title. This is a limitation in a study of art markets, which are typically localized and responsive to shifting conditions. While less focused than one would wish, the collection nonetheless illuminates a key phase in the market’s development while contextualizing our own age of glossy magazines, glamorous fairs, ‘specullectors’, and illicit trafficking of cultural property. Both symposium and anthology reflect the efforts of Paolo Coen, professor of the history of art at the Università degli Studi di Teramo, to bring to Rome something of the economic perspective long established in studies of the seventeenth-century Netherlands.
    [Show full text]
  • Catalogue of Paintings, Sculptures and Other Objects Exhibited During The
    ART ' INSTITUTE OF CHICAGO CATALOGUE • OF PAINTINGS, ScuLPTURES AND OTHER OBJECTS EXHIBITED DURING THE WoRLD'S CoNGREssEs MAY 15 TO OCT. 31, 1893. THE ART INSTITUTE, Lake Front, opposite Adams Street, Chicago. THE ART INSTITUTE OF CHICAGO. CATALOGUE -OF- PAINTINGS, SCULPTURES AND OTHER OBJECTS EXHIBITED DURING THE WORLD'S CON- GRESSES. · SEPTEMBER, I893. CHICAGO, LAKE FRONT, HEAD OF ADAMS STREET. TRUSTEES OF THE ART INSTITUTE OF CHICAGO, !892-J. CHARLES L. HUTCHINSON, SAMUEL M. NICKERSON, DAVID W. IRWIN, MARTIN A. RYERSON, EDWARD E. A YER, WILLIAM . T. BAKER, ELIPHALET W. BLATCHFORD, NATHANIEL K. FAIRBANK, JAMES H. DOLE, ALBERT A. SPRAGUE, JOHN C. BLACK, ADOI;PHUS C. BARTLETT, . JOHN J. GLESSNER, CHARLES D. HAMILL, EDSON KEITH, TURLINGTON W. HARVEY. ALLISON V. ARM01J.R, HOMER N. HIBBARD, MARSHALL FIELD, GEORGE N . CULVER, PHILANDER C. HANFORD. OFFICERS CHARLES L. HUTCHINSON, JAMES H. DOLE, President. V{ce-President. LYMAN J . GAGE, N.H. CARPENTER, Treasurer. Secretary. W . M. R. FRENCH, ALFRED EMERSON, Director. Curator of Classical Antiquities. EXECUTIVE COMMITTEE <;HARLES L. HUTCHINSON, CHARLES D. HAMILL, JA)iES H. DOLE, JOHN C. BLACK, ALBERT A. SPRAGUE, MARTIN A. RYERSON, WILLIAM T . BAKER. THE ART INSTITUTE OF CHICAGO was incorporated May 24, 1879, for the purpose of maintaining a Museum and School of Art. The present building is built by the Art Institute and the World's Columbian Exposition jointly, at a cost of ~625,000, upon land granted by the city. At the end of the Fair the building will become the permanent and exclusive possession of· the Art Institute . During the Fair it is occupied by the World's Congresses.
    [Show full text]
  • The Code of Hammurabi
    The Code of Hammurabi The Original Version of this Text was Rendered into HTML by Jon Roland of the Constitution Society Converted to PDF by Danny Stone as a Community Service to the Constitution Society The Code of Hammurabi 1 The Code of Hammurabi hen Anu the Sublime, King of the Anunaki, and Bel, the lord of Heaven and earth, who Wdecreed the fate of the land, assigned to Marduk, the over-ruling son of Ea, God of righteousness, dominion over earthly man, and made him great among the Igigi, they called Babylon by his illustrious name, made it great on earth, and founded an everlasting kingdom in it, whose foundations are laid so solidly as those of heaven and earth; then Anu and Bel called by name me, Hammurabi, the exalted prince, who feared God, to bring about the rule of righteousness in the land, to destroy the wicked and the evil-doers; so that the strong should not harm the weak; so that I should rule over the black-headed people like Shamash, and enlighten the land, to further the well- being of mankind. Hammurabi, the prince, called of Bel am I, making riches and increase, enriching Nippur and Dur-ilu beyond compare, sublime patron of E-kur; who reestablished Eridu and purified the worship of E- apsu; who conquered the four quarters of the world, made great the name of Babylon, rejoiced the heart of Marduk, his lord who daily pays his devotions in Saggil; the royal scion whom Sin made; who enriched Ur; the humble, the reverent, who brings wealth to Gish-shir-gal; the white king, heard of Shamash, the mighty, who again laid the
    [Show full text]
  • Justice in Ancient Mesopotamia Zchapter ONE JUSTICE in ANCIENT MESOPOTAMIA
    Justice in Ancient Mesopotamia zCHAPTER ONE JUSTICE IN ANCIENT MESOPOTAMIA Introduction Any study of justice in the Bible must begin with ancient Mesopotamia be- cause the concept and the vocabulary of biblical justice are rooted in that culture. To uncover these roots, this chapter will explore justice in ancient Mesopotamia from the Sumerian culture to the Neo-Babylonian. Although the scope of this chapter seems ambitious, its purpose is limited. The structure of judicial power and the general administration of justice in these cultures will not be treated here.1 This chapter restricts itself rather to the analysis of certain aspects of justice: the problem of the poor and the oppressed, the action of the government in response to them, and the reflection of such a problem in popu- lar piety.2 The concept of justice in ancient Mesopotamia embraces a broader meaning than our concepts of commutative, distributive, or social justice. It is not enough for the governor to promulgate good laws and supervise the keeping of these laws; in order for justice to have its place in the Mesopotamian world, he must also issue decrees of mercy that allow the restoration of a destabilized equality. This chapter studies the texts in chronological order. After an overview of early social and economic development in ancient Mesopotamia, it analyzes the first of social reforms undertaken there. It then goes on to consider the various Mesopotamian law codes, the decrees of mercy (“justice”), and the religious texts that reflect the situation facing the underclasses of Mesopotamia.3 1 For a study of the characteristic structures of judicial power as well as the adminis- tration of justice in general within the societies of ancient Mesopotamia, see Hans J.
    [Show full text]
  • Greek Sculpture Archaic Kore 660 BC to 590 BC • Archaic Period • All Female Youth Sculptures Were Called Kore
    Greek Sculpture Archaic Kore 660 BC to 590 BC • Archaic Period • All female youth sculptures were called Kore. • Made of marble • Would have been painted with bright colors and decorated. • Archaic smile-corners of her mouth slightly lifted. • Hair is carved down the back showing Egyptian influence. • Would have been found in and around temples holding an offering in her outstretched hand. • The Kore were always clothed. • Not meant to house the soul or KA at death but may have been used as graver markers. • Represented the ideal female youth. • Flesh would have been painted lighter than the male kouros. Kouros 660 BC to 590 BC • 1st appearance coincides with trade with Egypt. • Usually a votive statue (representing a hero or athlete) or a grave marker. • Represented the god Apollo. • All male statues were called kouros and were nude. • Represented the ideal male youth. • Flesh would have been painted brown or red. classical The Discus Thrower by Myron • 480-440 BC • Roman copy of a Greek sculpture. • Shows an athlete in motion performing the Olympic event discus throwing. • Athletes performed nude • Romans copied all the Greek sculptures. Venus de Milo 150 BC • Classical Period • Sculpted by Alexandros of Antioch • Statue of Aphrodite (Venus) • Located at the Louvre museum in Paris • Found on the island of Milos in 1820 • Milos means “apple” in Greek • Would have been painted and adorned with jewelry • Made of marble • 6’8 feet tall • The arms were lost in transport. • Her face is neutral and drapery is realistic • Known for perfect graceful proportions Doryphorus (the spear bearer) 450 BC-415 BC • Polykleitos of Argos • Bronze • Known for his sculptures of young athletes • Known only through Roman copies • Perfect proportions • Idealized • Classical period • Contrapposto stance Hellenistic The Seated Boxer 225 BC • Votive statue- commemorated a known boxer.
    [Show full text]
  • The Code of Hammurabi: an Economic Interpretation
    International Journal of Business and Social Science Vol. 2 No. 8; May 2011 The Code of Hammurabi: An Economic Interpretation K.V. Nagarajan Department of Economics, School of Commerce and Administration Laurentian University, Sudbury Canada E-mail: [email protected], Fax: 705-675-4886 Introduction Hammurabi was the ruler of Babylon from 1792 B.C. to 1750 B.C1. He is much celebrated for proclaiming a set of laws, called the Code of Hammurabi (The Code henceforward). The Code was written in the Akkadian language and engraved on black diorite, measuring about two-and-a-quarter meters. The tablet is on display in the Louvre, Paris. The stone carving on which the laws are written was found in 1901-1902 by French archeologists at the Edomite capital Susa which is now part of the Kuzhisthan province in Iran. The Code was determined to be written circa 1780 B.C. Although there are other codes preceding it2, The Code is considered the first important legal code known to historians for its comprehensive coverage of topics and wide-spread application. It has been translated and analyzed by historians, legal and theological scholars (Goodspeed, 1902; Vincent, 1904; Duncan, 1904; Pfeiffer, 1920; Driver and Miles, 1952). The Code is well- known for embodying the principle of lex talionis (“eye for an eye”) which is described as a system of retributive justice. However, The Code is also much more complex than just describing offenses and punishments and not all punishments are of the retributive kind. The Code has great relevance to economists. However, very few studies have been undertaken from an economic or economic thought point of view.
    [Show full text]
  • Defeat, Poised in Stone Anatomical Dissection and the Indignity of Smugglerius
    Defeat, poised in stone Anatomical dissection and the indignity of Smugglerius Trahern Jones The author is a member of the Class of 2013 at Mayo ofmedicalandartstudents.Recently,theskilledworkofan- Medical School College of Medicine. thropologistDr.JeanneCannizzoandartistJoanSmithhasled us,forthefirsttime,toapotentialidentityofthe“donor”:a curious specimen resides in the Royal Academy of footpadnamedJamesLangar.2 theArtsinLondon:agrotesquecastmadefromthe Langarwasprobablyexecutedsometimearound1776for flayedfigureofaman.Inasurrealneoclassicaltwist, highway robbery rather than smuggling, making the epithet AitisposedintheattitudeofthefamousHellenisticsculpture, Smuggleriusabitofamisnomer.2Occupyingashamefulplace Dying Gaul.ArecastofanoriginalconceivedbyDr.William inthehistoryofmedicineandanatomy,heisbutonemanin Hunter,thepremiereighteenth-centuryanatomistandobste- a long line of victims of body-snatching and nonconsenting trician,1itisnamedSmuggleriusinapseudo-Latinizedepithet bodydonors.Tobesure,thetreatmentofhisbodyafterhis referencingthe“donor’s”supposedpreviousoccupation.Ithas execution,likethatofmanyothers,isbothanindignityand longservedintheAcademyasaremarkabledisplayofhuman aninjustice—butwecanlearnsomethingfromthepeculiar, formandanatomy,andhasinspiredandtutoredgenerations significantchoiceofposegiventohisbodybyWilliamHunter. 22 The Pharos/Spring2011 AstheDying Gaulgeneratesaprofound,instructive pathos and sense of respect in the viewer, so does Langar’stragedyasanunwillingbodydonor;weare inducted by the cast’s naked vulnerability
    [Show full text]
  • Chapter 5 Th a F a I G E Art of Ancient Greece (Iron Age)
    Chapter 5 The Art of A nci ent G reece (Iron Age) Famous Greeks: Playwriters: Aeschylus (“father of Greek tragedy”), Sophocles (Antigone, Oedipus), Euripides, Aristophanes (Comedies. Lysistrata) Philosophers: Heraclitus (“You can never step into the same river twice”) Plato,,, Socrates, Aristotles Mathematicians and scientists: Archimedes, Pythagoras, Aristotles, Euclid Authors and poets: Homer (Odyssey and Iliad), Sappho of Lesbos, Aesop Historians: Herodotus ("The Father of History,"). Thucydides The Greek World GtiPid(9Geometric Period (9-8th c. BCE) Early Geometric Krater. C. 800 BCE Krater A bowl for mixing wine and water Greek key or Meander An ornament consisting of interlocking geometric motifs. An ornamental pattern of contiguous straight lines joined usually at right angles. Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. Approx. 3’ 4 1/2” high. Metropolitan Museum of Art, New York. Geometric krater, from the Dipylon cemetery. Detail. Hero and Centaur (Herakles and Nessos? Achilles and Chiron?) ca. 750–730 BCE. Bron ze, a pprox. 4 1/2” high. Metropolitan Museum of Art, New York. Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. Approx. 3’ 4 1/2” high. Hero and Centaur (Herakles and Nessos? Achilles and Chiron?) ca. 750–730 BCE. Bronze, approx. 4 1/2” high. Greek Vase Painting Orientalizing Period (7th c. BCE) Pitcher (olpe) Corinth, c. 600 BCE Ceramic with black-figure decoration, height 11½ " British Mus . London Rosette: A round or oval ornament resembling a rose Comppyarison: Assyrian.. Lamassu, ca. 720–705 BCE. Pitcher (olpe) Corinth, c. 600 BCE Ceramic with black-figure decoration, height 11½" British Mus.
    [Show full text]
  • The Slave Systems of Greek and Roman Antiquity
    THE SLAVE SYSTEMS OF GREEK AND ROMAN ANTIQUITY WILLIAM L. WESTERMANN THE SLAVE SYSTEMS OF GREEK AND ROMAN ANTIQUITY Memoirs of the AMERICAN PHILOSOPHICAL SOCIETY Held at Philadelphia for Promoting Useful Knowledge Volume 40 THE SLAVE SYSTEMS OF GREEK AND ROMAN ANTIQUITY WILLIAM L. WESTERMANN Professor Emeritus of History Columbia University THE AMERICAN PHILOSOPHICAL SOCIETY INDEPENDENCE SQUARE PHILADELPHIA 1955 Copyright 1955 by the American Philosophical Society Library of Congress Catalog Card No. 54-9107 ISBN 0-87169-040-3 Reprinted 1984 TO THE MEMORY OF MICHAEL IVANOVICH ROSTOVTZEFF CONTENTS PAGE Prefatory Statement and Acknowledgments xi Abbreviations xi I. Greek Slavery from Homer to the Persian Wars 1 II. From the Persian Wars to Alexander. Slave Supply and Slave Numbers 5 III. From the Persian Wars to Alexander. Slave Employment and Legal Aspects of Slavery . 12 IV. From the Persian Wars to Alexander. The Social Setting of Polis Slavery 22 V. The Eastern Mediterranean Lands from Alexander to Augustus. Recruitment of Slaves and Numbers 28 VI. The Eastern Mediterranean Lands from Alexander to Augustus. The Delphic Manumissions: Slave Origins, Economic and Legal Approaches 34 VII. The Eastern Area from Alexander to Augustus. Basic Differences Between Pre-Greek and Greek Slavery 39 VIII. Slavery in Hellenistic Egypt. Pharaonic Tradition and Greek Intrusions 46 IX. War and Slavery in the West to 146 B. C 57 X. The Roman Republic. Praedial Slavery, Piracy, and Slave Revolts 63 XI. The Later Republic. The Slave and the Roman Familia 69 XII. The Later Republic. Social and Legal Position of Slaves 77 XIII. Slavery Under the Roman Empire to Constantine the Great.
    [Show full text]