DOCSLIB.ORG

Aarschot, Duke of 340 Aberdeen 545 Académie Royale De

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Aarschot, Duke of 340 Aberdeen 545 Académie Royale De INDEX Aarschot, Duke of 340 Alexander of Hales 234 Aberdeen 545 Alexander Neckam 322, 323 Académie royale de peinture et de sculpture Alexandria 88, 224 (Paris) 397 Alfonso X of Castile 429 academies 369, 370, 385, 397–8, 511 Allard, Guy 143, 144 Accademia del Disegno (Florence) 397 Allarde Act, d’ (1791) 499 Accademia di San Luca (Rome) 397 Allgemeine Landrecht (1794) 546 acedia 136, 142 allocation of tasks 163–6, 176, 196 Achilles 18 Alpert of Metz 232 Acropolis 49 Alsace 127 active society 468–78 Amalfi 286 see also unemployment Amati family 364 actors, actresses 82, 85, 95, 107, 137 Ambrose, Saint 99, 104, 106, 132, 225, 232, Adalbero of Laon 120, 134, 174–5 456, 522 Adam 101, 105, 132, 160, 178, 179 America 271, 301, 448, 494 and Eve 177, 179, 182, 188, 206 Amiens 161 Aelfric of Eynsham 166, 174, 227 Amman, Jost 351–2, 354, 355, 382 Aelius Timminus, Lucius 71 Amsterdam 220, 289, 356, 468, 497 Aeschylus 44 attitudes to merchants 264, 272–3, Aesop 21 276, 307–8, 563 Africa 59, 71n, 81, 103, 301, 494 businesswomen in 292–4 Agatharchus from Samos 43 a community of commerce 264, 301 Age of Louis XIV (Voltaire) 480 elite 301–2 Agricola, Georgius 407–9 generosity of businessmen in 288 agriculture, views on middle strata in 348 in ancient Greece 19, 23–4 workhouses in 468, 476, 477 in the Middle Ages 161, 168, 190–1, 201 a world entrepôt 263–4 of agronomists 195–6, 201–9, 211–12 Anacreon 78 idealisation of 187, 211 Anaxagoras 43, 44 see also agronomists; improvement Ancient Economy, The (Finley) 36, 54 Agrippa von Nettesheim, Heinrich Anguissola, Sofonisba 401 Cornelius 261 Annaberg 440 agronomists 195–6, 201–9, 211–12 Antioch 112 Aix-la-Chapelle 544 Antipater of Tarsus 224 Alain de Lille 138 Antoninus of Florence, Saint 237–8 Alba Fucens 81 Antwerp 220, 265, 268, 281, 298, 392, 406, Albert II of Bavaria, Duke 173, 437 550 Albert and Isabella, Archdukes 189–90, artisan-artists in 367–8, 370, 374, 377, 395, 400, 410 394–5, 410, 528, 538 Alberti, Leon Battista artists in 187, 384, 391, 394–5, 398, on the active life 257 400, 403 on the art of building 373–4, 409 attitudes to merchants in 269–71, 272, on manual craftsmen 373 276 on painting 379, 381–2, 383 businesswomen in 291–2 on physical exertion 53, 383 Chambers of Rhetoric in 187, 269–70 Albertus Magnus 144 a community of commerce 299–300 Alcuin 226 craft guilds in 341–2, 343, 347, 364, 370 Alexander III, Pope 231 generosity of businessmen in 287–8 636 index great emporium of the West 263, 282 artisans journeymen in 534, 537, 539, 543, 545 autobiographical writings of 363, 364, merchants in 219, 261, 271, 281–2, 283, 391, 399 299, 377 and economic independence 345–6, printing works in 366, 534 348, 360–1 representations of businessmen in funeral monuments of 70–1, 80–2, 85–6 285–6 and honest work 346, 351–2 Apelles 381, 391, 392, 396, 423 honour of 42–7, 89–90, 324–5, 333, Apollo 42 344, 346, 354, 385, 407 Apostles 110–11 idealized 310, 349–59 Apostolic Constitutions 108 and intellectual life 360–1, 390, 394, apparitores 68–9 397–8, 413 Appenzell wars 181 and liberal arts 317–9, 362–3, 367, 370 apprentices, apprenticeship 436, 453, part played in Industrial Revolution 486, 499, 500–1, 505, 527–9, 543–5 420–1 Aquinas, Saint Thomas see Thomas personal identity of 359–64 Aquinas, Saint portraits of 340–1, 361, 365 Aragon 181, 437 and pride in craft 70–1, 78–87, 346, Archangel 293 391, 414–6, 418 Archermos 49 printed representations of 351–7 Archilochus 78 regarded as artists 392–3, 396–7 Archimedes 88 and secrecy 373, 414–5, 416–7, 541–2 architects self-images of 47–9, 70–1, 359, 393, learned 372, 375–6 423, 424 and master builders 371–2, 375 and skill as source of satisfaction architecture 89, 322, 370, 375–6, 405, 78–87, 346, 391, 414–16, 418–19 408–9 social differentiaton amongst 336–8, among liberal arts 320, 374, 382, 405 342–4 military 372, 376–9 writing 345–6, 360–1, 364 see also architects; engineers; Vitruvius see also artisan-artists; artists; arts; craft Arcimboldo, Giuseppe 358 guilds; craftsmanship; master artisans Arendt, Hannah 14 artists Argos 78 and corporatism 394–7, 560 Arias Montano, Benito 423 as courtiers 388–9, 397, 399 Aristarchus 22 as craftsmen 392–3 aristocracy see elite, traditional; nobility as creators 390–1 Aristophanes 16, 17, 21, 41 entrepreneurs 399 Aristotle 14, 16, 33, 99, 103, 126, 137, 145, formal education of 397–8 189, 196, 200, 408, 412, 549 female 400–4 on the banausic arts 26, 27, 35 intellectual 381–3, 390, 391 and the contemplative life 17 and prejudices of the elite 399–400 definition of ‘art’ 45, 46 self-portraits of 393–4 on a ‘republic of farmers’ 34 social status of 379–80, 388–90, 392 on trade and merchants 39, 41, 223 and study of geometry 379, 381, 394, 398 triadic model of urban society 313 see also architects; artisan-artists; on work as a way of life 33 painters; sculptors; women see also pseudo-Aristotle Artois, County of 271 Arles 81 arts, banausic 26–7, 34–5 Armentières 458 arts, liberal 33, 139–40, 187, 317–9, 362, Arras 219 363, 367, 370, 560, 562 Ars Poetica (Horace) 380 arts, mechanical 143–4, 317–23, 354, 370, artes liberales, see arts, liberal 375–6, 382, 394, 398, 406–7, 411–14, 416, artes mechanicae, see arts, mechanical 420, 486, 559, 562 artisan-artists 392, 394–7, 559, 560 see also arts, banausic.
Load more

Recommended publications
  • Two Books on Ancient Perspective Illustration Jim Barnes, Architect -- 2Nd August 2011
    REVIEW: Two books on ancient Perspective illustration Jim Barnes, Architect -- 2nd August 2011 Alan M.G. Little; Roman Perspective Painting and the Ancient Stage , 1971, ~71 pages. John White; The Birth and Rebirth of Pictorial Space , 1957, Chapter XVI, 36 pages. These are two good books by two very fine researchers; and I recommend them for the study of ancient Greek and Roman perspective illustration. Alan M.G. Little’s career goes back to the 1930s when he received grant funding to research ancient Greek and Roman theater while serving on Harvard’s faculty. His lifetime study in this specialty led to this 1971 publication on Roman painting. Little starts by explaining that prior archaeological expertise sorted the ancient Roman frescos of Pompeii into four epochs, called “Styles”. His book goes on to provide compelling reason to believe that certain Roman frescos, especially during the Second Style epoch, are reproductions of ancient theatrical stage sets. Citing Plutarch’s biography of Alcibiades (c. 450-404 B.C.), Little recites the historical account of theater scenery first being transplanted onto the walls of ancient Athenian homes. We have no surviving Greek wall paintings today, but we know that Roman murals were copied repetitively, the same picture often copied in several places, even among the tiny number of Roman specimens surviving to our modern age. Greek stage set design similarly followed a conservative tradition; a single format was used repeatedly; while only details were varied. Quoting ancient sources, such as Plato’s Republic (c. 380 B.C.), Alan Little shows how the archetypical elements of Greek stage sets appear in Roman murals.
    [Show full text]
  • The Greek Sources Proceedings of the Groningen 1984 Achaemenid History Workshop Edited by Heleen Sancisi-Weerdenburg and Amélie Kuhrt
    Achaemenid History • II The Greek Sources Proceedings of the Groningen 1984 Achaemenid History Workshop edited by Heleen Sancisi-Weerdenburg and Amélie Kuhrt Nederlands Instituut voor het Nabije Oosten Leiden 1987 ACHAEMENID HISTORY 11 THE GREEK SOURCES PROCEEDINGS OF THE GRONINGEN 1984 ACHAEMENID HISTORY WORKSHOP edited by HELEEN SANCISI-WEERDENBURG and AMELIE KUHRT NEDERLANDS INSTITUUT VOOR HET NABIJE OOSTEN LEIDEN 1987 © Copyright 1987 by Nederlands Instituut voor het Nabije Oosten Witte Singe! 24 Postbus 9515 2300 RA Leiden, Nederland All rights reserved, including the right to translate or to reproduce this book or parts thereof in any form CIP-GEGEVENS KONINKLIJKE BIBLIOTHEEK, DEN HAAG Greek The Greek sources: proceedings of the Groningen 1984 Achaemenid history workshop / ed. by Heleen Sancisi-Weerdenburg and Amelie Kuhrt. - Leiden: Nederlands Instituut voor het Nabije Oosten.- (Achaemenid history; II) ISBN90-6258-402-0 SISO 922.6 UDC 935(063) NUHI 641 Trefw.: AchaemenidenjPerzische Rijk/Griekse oudheid; historiografie. ISBN 90 6258 402 0 Printed in Belgium TABLE OF CONTENTS Abbreviations. VII-VIII Amelie Kuhrt and Heleen Sancisi-Weerdenburg INTRODUCTION. IX-XIII Pierre Briant INSTITUTIONS PERSES ET HISTOIRE COMPARATISTE DANS L'HIS- TORIOGRAPHIE GRECQUE. 1-10 P. Calmeyer GREEK HISTORIOGRAPHY AND ACHAEMENID RELIEFS. 11-26 R.B. Stevenson LIES AND INVENTION IN DEINON'S PERSICA . 27-35 Alan Griffiths DEMOCEDES OF CROTON: A GREEKDOCTORATDARIUS' COURT. 37-51 CL Herrenschmidt NOTES SUR LA PARENTE CHEZ LES PERSES AU DEBUT DE L'EM- PIRE ACHEMENIDE. 53-67 Amelie Kuhrt and Susan Sherwin White XERXES' DESTRUCTION OF BABYLONIAN TEMPLES. 69-78 D.M. Lewis THE KING'S DINNER (Polyaenus IV 3.32).
    [Show full text]
  • The Scenery of the Greek Stage
    THE SCENERY OF THE GREEK STAGE. WHILE most of the dispositions of the ancient Greek theatre have been submitted in recent years to a searching examination, the question as to the scenery used as a background to plays has been somewhat neglected. It seems to me that a fresh enquiry on this particular point may be of service. I must preface this enquiry by a statement of the view which I adopt as to the presence or absence of a raised stage in the Greek theatre, since it is obvious that any theory as to scenery must depend in a great degree upon the solution of the stage question which is adopted. It is quite impossible on this occasion to discuss fully the question whether the place of the actors in Greece was the orchestra or the Xoyelov. I can only say that I assume the latter view to be correct. I think that from the time of Aeschylus onwards the stage, which had at first been a low platform of varying size, grew steadily in height as the part of the actors in the performance grew more important, and their independence of the chorus more complete. And as the stage grew higher it also grew narrower by an obvious necessity, until we have the long narrow stone stage of the Hellenistic age, which exactly corresponds with the assertions of Vitruvius and other ancient authorities. * In the last few months a fresh piece of evidence, which tends strongly to confirm this view, has been brought forward. Mr. Fossum,1 who was engaged in 1891 on behalf of the American School of Athens in excavating the theatre at Eretria, has now declared his conviction that he discovered there remains of the elcricvic\r)/ji,a, a pair of parallel lines of slabs of bluish marble on which the eicicv/c\7)/Aa ran backwards and forwards between the skene' and the proscenium.
    [Show full text]
  • Tragic Themes in Large Paintings. from the Work on the New Overbeck
    Hyperboreus Vol.16-17 (2010-2011) “VARIANTE LOQUELLA” 232 Bernd Seidensticker Bernd Seidensticker TRAGIC THEMES IN LARGE PAINTINGS. FROM THE WORK ON THE NEW OVERBECK Johannes Overbeck’s Antike Schriftquellen zur Geschichte der bildenden Künste bei den Griechen of 1868 has been – and still is – an essential work-tool not only for all disciplines of Altertumswissenschaften, but also for art history and many other areas of the cultural sciences. But time has taken its toll: After almost 150 years, the increase in the pertinent material and in our knowledge of Greek art and the considerable changes in the qualifi cations and needs of the different users call for a substantial philological and archaeological revision of the book to turn the collection of sources into a modern interdisciplinary research tool. A small group of philologists, archaeologists and epigraphers in Berlin1 have undertaken this task and are presently working to update – or perhaps rather to replace – the Old Overbeck. The most important steps of the revision are: 1. The addition of new or overlooked testimonia Overbeck has 2400 testimonia (plus a supplementum of about 100). We will be able to add approximately 500 new literary testimonia. They come from new texts, yet unknown to Overbeck, as e. g. Herondas’ Mimiamb IV (with the mention of the sons of Praxiteles and of Apelles) or the New Poseidippos which contains nine epigrams on masterpieces of sculpture, among them statues, about which we had no previous knowledge – like the Tydeus (or perhaps a group of the Seven against Thebes) by Myron (Nr. 69 AB), or the statue of the poet Philitas by Hecataeus (Nr.
    [Show full text]
  • Downloaded from Brill.Com09/26/2021 12:20:17AM Via Free Access Appendix 2 Disquisition on the Art of the Ancients
    Appendix 2 Uytbreyding over de schilderkonst der ouden Original Text Vroegste ontwikkelingen1 31 Indien wy de geheele Historie der Schilderkunst wilden ophaalen, dienden wy op te klimmen tot aan Adam, en al geduuriglijk neerwaards te loopen zoeken door de gan- sche Oudheyt: doch by gebrek van Wegwyzers zal men de Reys van een bekender plaats 32 voortzetten, en die plaats oordeelen wy Griekenlant te zijn, | of schoon er veel schijn is om te vermoeden dat de Egyptenaaren die Konst, gelijk als meer andere Konsten en Wetenschappen, vroeger hebben bezêten als de Grieken. Het is ons ongeraaden dat landverschil te beslissen door een beslechtent vonnis, te meer daar dat verschil maar is gesticht op ses duyzent jaaren, die Egypten voorgeeft ouder te zijn in de vinding der Schilderkonst; een getal maklijk te noemen, doch moeijelijk te bewyzen. Het is zeker dat de Nyldrinkers de aldereerste uytvinders zijn geweest van de Starrenkunde, in dien niet van de Schilderkonst, ook was hun Koning Belus den verzinner van het stokken- gevecht, een Krygsoefening waar in de Britten uytmunten, en eenige andere Natien, gelijk als zy noch dagelijks met bebloede koppen komen te bewijzen. De meeste groo- te Grieksche Wysgeeren trokken wel na Egypten, doch zo het ons voorkomt, min om te schilderen, dan om te studeeren, gelyk als wy konnen bewaarheyden met Thales, Pythagoras, Demokritus, Plato, en meer andere Filosoofen; of er nu eenige Schilders of Konstenaaren onder dien troep zich bevonden, konnen wy niet beëedigen. Altoos wy weeten, of ten minsten wy gelooven, dat de Schilderkonst zich eerst heeft neergezet te Korinthen, of te Sicyone, op wiens puynhoopen de Turken een steedje hebben gesticht genaamt Vasilica.
    [Show full text]
  • Uxºv, the Dynamics of Innovation Abstract
    THE DYNAMICS OF INNOVATION Newness and Novelty in the Athens of Aristophanes Armand D'Angour University College London Thesis submitted for Ph.D. in Classics March 1998 BIEL uxºv, The Dynamics of Innovation Abstract ABSTRACT This study looks at the dynamics of innovation: why innovation occurs, what newness means in diverse areas of life, how social, cultural and individual attitudes to novelty interact, and the wider impact of innovation. The historical focus is ancient Athens, a society well known for its originality and creativity. Despite Athens' well-known competitiveness and flair for innovation, classical historians have tended to emphasise its traditionalism and respect for the past. However, the comedies of Aristophanes testify to the deliberate pursuit of innovation and to the effects of rapid and wide-ranging change in the late fifth and early fourth centuries B. C. They are adduced, together with other sources for the period, as evidence for the kinds of innovation that took place in politics, law, religion and warfare, as well as in specialist skills (technai) such as rhetoric, the visual arts, music, and medicine. The sources reveal diverse reactions, ranging from ambivalence and anxiety to excitement and optimism, to the experience of newness in these culturally key areas of Athenian life. Attitudes and behaviour differed between individuals and social groups, depending on the area of innovation. A combination of factors served to encourage the drive to innovate: material circumstances such as commercialism, war, and imperial rule; social pressures such as competitiveness, democratic openness, and the desire for acclaim; and technical imperatives such as the pursuit of accuracy, efficacy, and originality.
    [Show full text]
  • Thucydides, "Funeral Oration of Pericles"
    ART HUMANITIES: PRIMARY SOURCE READER Section 1: The Parthenon Art Humanities Primary Source Reading 1 Thucydides, "Funeral Oration of Pericles" EXCERPT FROM HISTORY OF THE PELOPONNESIAN WAR, 5TH CENTURY B.C. Thucydides, one of the most important Greek writers of the period during which the Parthenon was constructed, is the author of a history of the war between Athens and Sparta (the so-called Peloponnesian War, 431-404 BCE). As an Athenian general, Thucydides was a first-hand witness to the conflict. His history, an incomplete work in eight books, includes a famous speech by the statesman Pericles, one of the most prominent leaders of the Athenian democracy. The speech is a funeral oration, delivered during public ceremonies the winter after the beginning of the war to honor soldiers killed in the first campaign. As a tribute to the fallen, Pericles praises the city of Athens as the embodiment of the ideals Athenian soldiers died to defend. To the grieving populace, he says: “I would have you day by day fix your eyes upon the greatness of Athens,” alluding at least in part to the city’s massive religious sanctuary, whose centerpiece was the Parthenon. Set high above the city on the Acropolis plateau, this temple to Athena had been inaugurated in 432, only one year before the outbreak of war. The Parthenon and its lavish sculptural decoration transformed the Acropolis into a celebration of Athenian civic principles and pride; it was in many ways a political monument as well as a religious center. The Greek world of the 5th century BCE was divided into more or less autonomous city-states, of which Athens and Sparta were among the most powerful and feared.
    [Show full text]
  • Openness, Secrecy, Authorship Long 00 (I-Xvi/1-15) REV 5/14/01 7:43 PM Page Ii Long 00 (I-Xvi/1-15) REV 5/14/01 7:43 PM Page Iii
    Long 00 (i-xvi/1-15) REV 5/14/01 7:43 PM Page i Openness, Secrecy, Authorship Long 00 (i-xvi/1-15) REV 5/14/01 7:43 PM Page ii Long 00 (i-xvi/1-15) REV 5/14/01 7:43 PM Page iii Openness, Secrecy, Authorship technical arts and the culture of knowledge from antiquity to the renaissance Pamela O. Long The Johns Hopkins University Press baltimore and london Long 00 (i-xvi/1-15) REV 5/14/01 7:43 PM Page iv © 2001 The Johns Hopkins University Press All rights reserved. Published 2001 Printed in the United States of America on acid-free paper 2 4 6 8 9 7 5 3 1 The Johns Hopkins University Press 2715 North Charles Street Baltimore, Maryland 21218-4363 www.press.jhu.edu Library of Congress Cataloging-in-Publication Data Long, Pamela O. Openness, secrecy, authorship : technical arts and the culture of knowledge from antiquity to the Renaissance / Pamela O. Long. p. cm. Includes bibliographical references (p. ) and index. ISBN 0-8018-6606-5 (alk. paper) 1. Technology and civilization—History—To 1500. 2. Commu- nication of technical information—Europe—History—To 1500. 3. Technical writing—Europe—History—To 1500. 4. Intellectual property—Europe—History—To 1500. 5. Learning and scholar- ship—Europe—History—To 1500. 6. Renaissance. I. Title. CB478 .L65 2001 001.1'094—dc21 00-010152 A catalog record for this book is available from the British Library. Long 00 (i-xvi/1-15) REV 5/14/01 7:43 PM Page v For Bob Korn and Allison Rachel Korn Long 00 (i-xvi/1-15) REV 5/14/01 7:43 PM Page vi Long 00 (i-xvi/1-15) REV 5/14/01 7:43 PM Page vii Contents List of Illustrations
    [Show full text]
  • Funeral Speech, Erotic Essay 60, 61, Exordia and Letters, with an English
    THE LOEB CLASSICAL LIBRARY FOUNDED BY JAMES LOEB, LL.D. EDITED BY t T. E. PAGE, C.H., LITT.D. CAPPS, PH.D., LL.D. W. H. D. ROUSE, litt.d. A. POST, M.A. E. H. WARMIXGTON, m.a., f.r.hist.soc. DEMOSTHENES VII FUNERAL SPEECH, EROTIC ESSAY LX, LXI EXORDIA AND LETTERS DEMOSTHENES k VII ; FUNERAL SPEECH, EROTIC ESSAY LX. LXI EXORDIA AND LETTERS WITH AN ENGLISH TRANSLATION BY NORMAN W: DeWITT, Ph.D. VICTORIA COLLEGE, UNIVERSITV OF TORONTO, CAifADA AND NORMAN J.' DeWITT, Ph.D. WASHINGTOX UNIVERSITV, ST. LOIIS, MISSOIRI KS VS, \o. A,^ LONDON WILLIAM HEINEMANN LTD CAMBRIDGE, MASSACHUSETTS HARVARD UNIVERSITY PRESS MCMXLIX PR Printed in Great Britain PREFACE The Public and Private Orations of Demosthenes have appeared in the preceding six volumes. They represent the deliberative and forensic styles re- spectively. The third category recognized by the ancients, epideictic oratory, is represented in this volume by the Funeral Speech and the Erotic Essat/. Such compositions were not designed to persuade the hearers but to delight them and confirm them in sentiments already endorsed by habit and tradi- tion. The Erotic Essay is usually called a speech, but is supposed to have been read from a written copy to a small select group. The Prooemia or Exordia are closely^ related to the Public Orations. They comprise fifty-six paragraphs intended for use as introductions to speeches before the Council or Assembly. Of the six Letters five are addressed to the Council and Assembly and contain matters of public interest ; they also belong, there- fore, ^^'ith the Public Orations.
    [Show full text]
  • The Harvard Classics Eboxed
    HARVARD LASSICS THEFIVE-FOOT HELFOFBOOKS OSES BUS I S3 ESI Dais MM THE HARVARD CLASSICS The Five-Foot Shelf of Books I s I THE HARVARD CLASSICS EDITED BY CHARLES W. ELIOT, LL.D. Plutarch's Lives of Themistocles • Pericles • Aristides Alcibiades and Coriolanus Demosthenes and Cicero Caesar and Antony IN THE TRANSLATION CALLED DRYDEn's CORRECTED AND REVISED BY ARTHUR HUGH CLOUGH With Introductions and No/« \olume 12 P. F. Collier & Son Corporation NEW YORK Copyright, 1909 By P. F. Collier & Son MANUFACTURED IN U. S. A. CONTENTS PACE Themistocles 5 Pericles 35 Aristides 78 Alcibiades 106 coriolanus 147 Comparison of Alcibiades with Coriolanus 186 Demosthenes 191 Cicero 218 Comparison of Demosthenes and Cicero 260 Cesar 264 Antony 322 INTRODUCTORY NOTE Plutarch, the great biographer of antiquity, had not the fortune him- self to find a biographer. For the facts of his life we are dependent wholly upon the fragmentary information that he scattered casually throughout his writings. From these we learn that he was born in the small Boeotian town of Chaeroneia in Greece, between 46 and 51 A. D., of a family of good standing and long residence there; that he married a certain Timoxena, to whom he wrote a tender letter of consolation on the death of their daughter; and that he had four sons, to two of whom he dedicated one of his philosophical treatises. He began the study of philosophy at Athens, travelled to Alexandria and in various parts of Italy, and sojourned for a considerable period in Rome; but he seems to have continued to regard Chaeroneia as his home, and here he did a large part of his writing and took his share in public service.
    [Show full text]
  • A History of Greek Mathematics
    CORNELL UNIVERSITY LBRAaY Cornell University Library QA 22.H43 V.1 A history of Greek mathematics, 3 1924 008 704 219 A HISTORY OF GREEK MATHEMATICS VOLUME I A HISTORY OF GKEEK MATHEMATICS BY SIR THOMAS HEATH K.C.B., K.C.V.O.. F.R.S. Se.D. CAMI). ; HON. D.SC. OXFORD HONORARV FEt.r.OW (FORMFRLV FELLOw) OF TRI>fITY COLI.FHF, CAAIBRIDGE ' . An independent world, Created out of pnre intelligence.' Wordsworth. VOLUME I FROM THALES 'JO EUCIJD OXFORD AT THE CLARENDON PRESS 1921 OXFORD UNIVERSITY PRESS London Edinburgh Glasgow Copenhagen New York Toronto Melbourne Cape Town Bombay Calcutta Madras Shanghai HUMPHREY MILFORD Publisher to the University PREFACE The idea may seem quixotic, but it is nevertheless the author's confident hope that this book will give a fresh interest to the story of Greek mathematics in the eyes both of mathematicians and of classical scholars. For the mathematician the important consideration is that the foundations of mathematics and a great portion of its content are Greek. The Greeks laid down the first principles, invented the methods ah initio, and fixed the terminology. Mathematics in short is a Greek science, whatever new developments modern analysis has brought or may bring. The interest of the subject for the classical scholar is no doubt of a different kind. Greek mathematics reveals an important aspect of the Greek genius of which the student of Greek culture is apt to lose sight. Most people, when they think of the Greek genius, naturally call to mind its master- pieces in literature and art with their notes of beauty, truth, freedom and humanism.
    [Show full text]
  • The Philosophy of Painting
    The Philosophy of Painting A Study of the Development of the Art from Prehistoric to Modern Times By Dr. Ralcy Husted Bell Author of The Worth of Words," "The Changing Values of English Speech," "Words of the Wood," "The Religion of Beauty," "Taormina," "Art-Talks with Ranger," etc. " / have multiplied visions, and used similitudes," G. P. Putnam's Sons New York and London Gbe "ffmicfeerbocfeet {press 1916 3> Copyright, 1916 BY RALCY HUSTED BELL MAR -4 1916 Ube ftntcfeerbocfeer press, "flew H?orh ©CU427136 A MONSIEUR McDOUGALL HAWKES, PRESIDENT DU Musee d'Art Franqais ET DE l'Institut Francais aux Etats-Unis, AVEC l'hommage de son collegue, l'auteur. PREFACE PAINTINGS have been catalogued to death. There are enough histories of painting, such as they are; and as for dissertation and criticism, there is no end. It might seem presumptuous, therefore, to write anything further on a subject that has received so much attention from authors and scribblers alike. Perhaps it is. At all events, it has been done, and here it is. A long-winded apology could make it no better; and explanations would not excuse its defects. If it has any merits, they will take care of themselves. With deference to a polite and tottering old custom, the author announces his purposes in writing the book: They were, first, to sketch the course and progress of the art in an easy perspec- tive; second, to assemble some scattered material which is interesting and convenient to have in small compass; third, to give some results of his own reasoning, and playfully, as it were, to fly the kite of speculation from more or less solid ground fourth, to hit some absurdities which have ; to correlate long been shameless bores ; fifth, some relationships which reveal a tendency strong enough to be called a spirit; and sixth, to suggest vi Preface some theories which may be proved or disproved by more competent students.
    [Show full text]