Augustus Buys Rome
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BYZANTINE CAMEOS and the AESTHETICS of the ICON By
BYZANTINE CAMEOS AND THE AESTHETICS OF THE ICON by James A. Magruder, III A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland March 2014 © 2014 James A. Magruder, III All rights reserved Abstract Byzantine icons have attracted artists and art historians to what they saw as the flat style of large painted panels. They tend to understand this flatness as a repudiation of the Classical priority to represent Nature and an affirmation of otherworldly spirituality. However, many extant sacred portraits from the Byzantine period were executed in relief in precious materials, such as gemstones, ivory or gold. Byzantine writers describe contemporary icons as lifelike, sometimes even coming to life with divine power. The question is what Byzantine Christians hoped to represent by crafting small icons in precious materials, specifically cameos. The dissertation catalogs and analyzes Byzantine cameos from the end of Iconoclasm (843) until the fall of Constantinople (1453). They have not received comprehensive treatment before, but since they represent saints in iconic poses, they provide a good corpus of icons comparable to icons in other media. Their durability and the difficulty of reworking them also makes them a particularly faithful record of Byzantine priorities regarding the icon as a genre. In addition, the dissertation surveys theological texts that comment on or illustrate stone to understand what role the materiality of Byzantine cameos played in choosing stone relief for icons. Finally, it examines Byzantine epigrams written about or for icons to define the terms that shaped icon production. -
Iulius Cæsar
GAIUS IULIUS CÆSAR “NARRATIVE HISTORY” AMOUNTS TO FABULATION, THE REAL STUFF BEING MERE CHRONOLOGY “Stack of the Artist of Kouroo” Project Gaius Iulius Cæsar HDT WHAT? INDEX GAIUS IULIUS CÆSAR GAIUS IULIUS CÆSAR 100 BCE July 12: Gaius Iulius Cæsar, who would become Dictator Perpetuus of Rome (and, it must be pointed out, a god), was born — on what would become, famously, a number of centuries later, Henry David Thoreau’s birthday. HDT WHAT? INDEX GAIUS IULIUS CÆSAR GAIUS IULIUS CÆSAR NOBODY COULD GUESS WHAT WOULD HAPPEN NEXT Gaius Iulius Cæsar “Stack of the Artist of Kouroo” Project HDT WHAT? INDEX GAIUS IULIUS CÆSAR GAIUS IULIUS CÆSAR 71 BCE Death of Marcus Antonius Creticus, father of Marcus Antonius. (His mother, Julia, a 2d cousin of Julius Caesar, would remarry with Cornelius Lentulus Sura, consul in 71, who would in 63 be executed at the instigation of Marcus Tullius Cicero on account of his participation in the conspiracy of Catiline.) DO I HAVE YOUR ATTENTION? GOOD. Gaius Iulius Cæsar “Stack of the Artist of Kouroo” Project HDT WHAT? INDEX GAIUS IULIUS CÆSAR GAIUS IULIUS CÆSAR 63 BCE In about this year Mark Antony got married with his cousin Antonia (the first of several wives). Cato the Younger was elected as tribune of the plebs for the following year. Lucius Sergius Catilina, a patrician, was leading a rebellion inside Rome with the purpose of making himself king. Cato assisted the consul, Marcus Tullius Cicero, in dealing with the Catiline conspiracy. Cato proposed to set an example by executing all the conspirators, over the objection of Gaius Julius Caesar, who advocated exile for the conspirators while their comrades were still in arms, possibly for the duration of their lives. -
INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin Text, Study Aids with Vocabulary, and Commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119
INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119 Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary Ingo Gildenhard https://www.openbookpublishers.com © 2018 Ingo Gildenhard The text of this work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the author(s), but not in any way that suggests that they endorse you or your use of the work. Attribution should include the following information: Ingo Gildenhard, Cicero, Philippic 2, 44–50, 78–92, 100–119. Latin Text, Study Aids with Vocabulary, and Commentary. Cambridge, UK: Open Book Publishers, 2018. https://doi. org/10.11647/OBP.0156 Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/product/845#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/ by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://www. -
Jackson's Auction
Jackson's Auction Collector's Choice: Antiques & Collectibles Wednesday - September 19, 2012 Collector's Choice: Antiques & Collectibles 675: REED & BARTON STERLING SILVER FLATWARE, 148 PIECES USD 4,000 - 6,000 A LARGE 148 PIECE SET OF REED AND BARTON FRANCIS 1ST STERLING SILVER FLATWARE, MID 20TH CENTURY. Comprising 24 table knives, 24 table forks, 24 salad forks, 35 teaspoons, 13 cream soup spoons, 5 tablespoons, 12 individual butter knives and 11 various serving pieces. Contained in two fitted chests, not matching. Total weight approximately 194 troy oz. 676: DUTCH SILVER EPERGNE, 1853 USD 1,000 - 1,500 A VERY FINE DUTCH SILVER AND CUT CRYSTAL CENTERPIECE EPERGNE, 1853. Stamp hallmarks including "Z&B" probably for Pieter Zollner and William Beijoer (1849-1871) comprising a silver entwining stem with extending foliage supporting two scallop cut crystal trays below a tulip blossom finial raised on a scalloped floral repousse and chased bell form base. Additionally stamped "Pde Meyer te'Hage." Silver weight approximately 34.76 troy oz. Height 22.5 inches (57cm). 677: WALLACE ROSE POINT STERLING SILVER FLATWARE, 63 PIECES USD 1,200 - 1,800 A VERY FINE SET OF WALLACE ROSE POINT STERLING SILVER FLATWARE, MID 20TH CENTURY. 63 pieces comprising 10 each place knives, place forks and salad forks, 20 teaspoons, 10 individual butters, a gravy ladle, sugar shell and pastry server. All contained in a fitted mahogany chest with drawer. Weight approximately 60 troy oz. 678: A FINE CONTINENTAL SILVER BACCHANALIAN FOOTED BOWL USD 200 - 400 A FINE CONTINENTAL SILVER BACCHANALIAN FOOTED BOWL, 20TH CENTURY. With embossed and chased facial mask within hammered scalloped lobes and grape vine rim in deep relief. -
Of the Grand Cameo: a Holistic Approach to Understanding the Piece, Its Origins and Its Context Constantine Prince Sidamon-Eristoff Sotheby's Institute of Art
Sotheby's Institute of Art Digital Commons @ SIA MA Theses Student Scholarship and Creative Work 2018 The "Whys" of the Grand Cameo: A Holistic Approach to Understanding the Piece, its Origins and its Context Constantine Prince Sidamon-Eristoff Sotheby's Institute of Art Follow this and additional works at: https://digitalcommons.sia.edu/stu_theses Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Fine Arts Commons, and the Metal and Jewelry Arts Commons Recommended Citation Sidamon-Eristoff, Constantine Prince, "The "Whys" of the Grand Cameo: A Holistic Approach to Understanding the Piece, its Origins and its Context" (2018). MA Theses. 14. https://digitalcommons.sia.edu/stu_theses/14 This Thesis is brought to you for free and open access by the Student Scholarship and Creative Work at Digital Commons @ SIA. It has been accepted for inclusion in MA Theses by an authorized administrator of Digital Commons @ SIA. For more information, please contact [email protected]. The “Whys” of the Grand Cameo: A Holistic Approach to Understanding the Piece, its Origins and its Context by Constantine P. Sidamon-Eristoff A thesis submitted in conformity With the requirements for the Master’s Degree Fine and Decorative Art and Design Sotheby’s Institute of Art 2018 Word Count: 14,998 The “Whys” of the Grand Cameo: A Holistic Approach to Understanding the Piece, its Origins and its Context By: Constantine P. Sidamon-Eristoff The Grand Cameo for France is the largest cameo surviving from antiquity. Scholars have debated who is portrayed on the stone and what its scene means for centuries, often, although not always, limiting their interpretations to this narrow area and typically only discussing other causes in passing. -
English Cameo Glass
ENGLISH CAMEO GLASS THE CORNING MUSEUM OF GLASS ENGLISH CAMEO GLASS IN THE CORNING MUSEUM OF GLASS DAVID WHITEHOUSE THE CORNING MUSEUM OF GLASS CORNING, NEW YORK Cover: Moorish Bathers. England, Amblecote, Thomas Webb & Sons, carved and engraved by George Woodall, 1898. D. 46.3 cm. The Corning Museum of Glass (92.2.10, bequest of Mrs. Leonard S. Rakow). Copyright © 1994 The Corning Museum of Glass Corning, New York 14830-2253 Editor: John H. Martin Photography: Nicholas L. Williams Design and Typography: Graphic Solutions, Corning, New York Printing: Upstate Litho, Rochester, New York Standard Book Number 0-87290-134-3 Library of Congress Catalog Card Number 94-071702 FRONTISPIECE. The Great Dish. CONTENTS Preface 7 Introduction 11 The Early Years 17 Stevens & Williams 31 Thomas Webb & Sons 33 A Woodall Miscellany 42 Epilogue 56 Further Reading 58 Notes on the Illustrations 59 Notes 63 FIG. 1. The Portland Vase. PREFACE THIS SHORT BOOK has two objectives: to cele- makers tried unsuccessfully to make a replica of brate the achievements of 19th-century English it, and in the 1820s and 1830s several silver ver- cameo glass makers and to focus attention on the sions were made by the London firm of Rundle, outstanding examples of their work in the collec- Bridge, and Rundell. tion of The Corning Museum of Glass. In the early 19th century—possibly as early Cameos are objects with two or more layers as 1804—glassmakers in Bohemia began to of different colors. The outer layer or layers are "case," or cover, colorless glass with a layer of partly removed to create relief decoration on a colored glass that was then cut through to reveal background of contrasting color. -
Gems and Minerals in the Mcferrin Fabergé Collection
GEMS AND MINERALS IN THE MCFERRIN FABERGÉ COLLECTION: A STUDY Presented by Christel McCanless,Annemiek Wintraecken, and Tim Adams Fabergé International Symposium Houston, Texas January 31, 2013 Organic Materials from Trees and the Oceans Gems and Minerals Mined from the Earth Rock Stars Demonstration Team, Houston Museum of Natural Science Tours – Cullen Hall of Gems & Minerals and the Smith Gem Vault, Docents All illustrations are courtesy of the Artie and Dorothy McFerrin Collection, unless otherwise noted. Fabergé Sorting Loose Stones ca. 1915 • 1908 Lapidary workshop at 44 Angliskii Prospekt, St. Petersburg, employing 30 craftsmen by 1912. • Hardstone animals and Russian folkloristic figures are not always marked Fabergé, unless they have added gold or silver decorations. • Study goals: Gem and mineral identification and discovery of historical details. Brown Agate, 18 ct. gold, diamondeyes, Zarnitza Sailor H.W. Henrik Wigström (1862-1923) (Virginia Museum of FineArts) (The Hodges Family Collection) Research Clues: London Sales Ledgers, October 14, 1913 Milky White Agate, Onyx or Chalcedony? I. Organic Materials from Trees and the Oceans Karelian Birch – Hard wood with bulbous growth, caused by a genetic defect of a tree growing in a sub-arctic climate Silver Birch Insights on the Appliques: (Wikipedia) Possibly a present from a woman closely connected to the man on the photo, perhaps a soldier going back to the battlefield after a vacation in July 1915 … Presented by Lyusya Messalineta, possibly a diminutive version of name Messalina, -
Aristocratic Identities in the Roman Senate from the Social War to the Flavian Dynasty
Aristocratic Identities in the Roman Senate From the Social War to the Flavian Dynasty By Jessica J. Stephens A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Greek and Roman History) in the University of Michigan 2016 Doctoral Committee: Professor David Potter, chair Professor Bruce W. Frier Professor Richard Janko Professor Nicola Terrenato [Type text] [Type text] © Jessica J. Stephens 2016 Dedication To those of us who do not hesitate to take the long and winding road, who are stars in someone else’s sky, and who walk the hillside in the sweet summer sun. ii [Type text] [Type text] Acknowledgements I owe my deep gratitude to many people whose intellectual, emotional, and financial support made my journey possible. Without Dr. T., Eric, Jay, and Maryanne, my academic career would have never begun and I will forever be grateful for the opportunities they gave me. At Michigan, guidance in negotiating the administrative side of the PhD given by Kathleen and Michelle has been invaluable, and I have treasured the conversations I have had with them and Terre, Diana, and Molly about gardening and travelling. The network of gardeners at Project Grow has provided me with hundreds of hours of joy and a respite from the stress of the academy. I owe many thanks to my fellow graduate students, not only for attending the brown bags and Three Field Talks I gave that helped shape this project, but also for their astute feedback, wonderful camaraderie, and constant support over our many years together. Due particular recognition for reading chapters, lengthy discussions, office friendships, and hours of good company are the following: Michael McOsker, Karen Acton, Beth Platte, Trevor Kilgore, Patrick Parker, Anna Whittington, Gene Cassedy, Ryan Hughes, Ananda Burra, Tim Hart, Matt Naglak, Garrett Ryan, and Ellen Cole Lee. -
Viewing Heaven: Rock Crystal, Reliquaries, and Transparency in Fourteenth-Century Aachen Claire Kilgore University of Nebraska-Lincoln, [email protected]
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Theses, Dissertations, and Student Creative Activity, Art, Art History and Design, School of School of Art, Art History and Design 5-2017 Viewing Heaven: Rock Crystal, Reliquaries, and Transparency in Fourteenth-Century Aachen Claire Kilgore University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/artstudents Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Architectural History and Criticism Commons, Catholic Studies Commons, Christianity Commons, European History Commons, History of Christianity Commons, History of Religion Commons, Liturgy and Worship Commons, Medieval History Commons, Medieval Studies Commons, Metal and Jewelry Arts Commons, Other History of Art, Architecture, and Archaeology Commons, Other Philosophy Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Kilgore, Claire, "Viewing Heaven: Rock Crystal, Reliquaries, and Transparency in Fourteenth-Century Aachen" (2017). Theses, Dissertations, and Student Creative Activity, School of Art, Art History and Design. 121. http://digitalcommons.unl.edu/artstudents/121 This Article is brought to you for free and open access by the Art, Art History and Design, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Theses, Dissertations, and Student Creative Activity, School of Art, Art History and Design by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VIEWING HEAVEN: ROCK CRYSTAL, RELIQUARIES, AND TRANSPARENCY IN FOURTEENTH-CENTURY AACHEN By Claire Kilgore A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Arts Major: Art History Under the Supervision of Professor Alison Stewart Lincoln, Nebraska May, 2017 VIEWING HEAVEN: ROCK CRYSTAL, RELIQUARIES, AND TRANSPARENCY IN FOURTEENTH-CENTURY AACHEN Claire Kilgore, M.A. -
Engraved Gems
& Baan (eds) & Baan Bercken den Van ENGRAVED GEMS Many are no larger than a fingertip. They are engraved with symbols, magic spells and images of gods, animals and emperors. These stones were used for various purposes. The earliest ones served as seals for making impressions in soft materials. Later engraved gems were worn or carried as personal ornaments – usually rings, but sometimes talismans or amulets. The exquisite engraved designs were thought to imbue the gems with special powers. For example, the gods and rituals depicted on cylinder seals from Mesopotamia were thought to protect property and to lend force to agreements marked with the seals. This edited volume discusses some of the finest and most exceptional GEMS ENGRAVED precious and semi-precious stones from the collection of the Dutch National Museum of Antiquities – more than 5.800 engraved gems from the ancient Near East, Egypt, the classical world, renaissance and 17th- 20th centuries – and other special collections throughout Europe. Meet the people behind engraved gems: gem engravers, the people that used the gems, the people that re-used them and above all the gem collectors. This is the first major publication on engraved gems in the collection of the National Museum of Antiquities in Leiden since 1978. ENGRAVED GEMS From antiquity to the present edited by B.J.L. van den Bercken & V.C.P. Baan 14 ISBNSidestone 978-90-8890-505-6 Press Sidestone ISBN: 978-90-8890-505-6 PAPERS ON ARCHAEOLOGY OF THE LEIDEN MUSEUM OF ANTIQUITIES 9 789088 905056 PALMA 14 This is an Open Access publication. -
1920'S Antique Cameo Ring, RG-3177 a Woman in Elizabethan Dress Is Depicted in a Classic Cameo Antique Ring. This Antique Cameo
1920's Antique Cameo Ring, RG-3177 A woman in Elizabethan dress is depicted in a classic cameo antique ring. This antique cameo ring features a classic hand wrought 18k white gold mounting. The hardstone cameo is carved white on black and depicts a woman's right profile. She is in Elizabethan dress and is wearing earrings and a necklace. The 18k white gold band of this antique cameo ring is engraved in a leaf motif. Circa 1920. Options None Item # rg3177 Metal 18k white gold Circa 1920 Weight in grams 5.14 Special characteristics This circa 1920's cameo ring features a classic hand wrought 18k white gold mounting with hand engraving and a leaf motif on the shank. The hardstone cameo is carved white on black and depicts a woman's right profile. She is in Elizabethan dress and is wearing earrings and a necklace. Condition The condition is good with minor wear and tear on the cameo. Gemstone name Agate (onyx) Gemstone tone 2 on 10 Gemstone saturation 1 on 8 Gemstone # of stones 1 Top of ring length (N-S) 18.79 mm [0.73 in] Top of ring width (E-W) 20.6 mm [0.80 in] Width of shank at shoulders 1.93 mm [0.08 in] Width of shank at base 1.30 mm [0.05 in] Ring height above finger 4.7 mm [0.18 in] Ring Size 6.5 Important Jewelry Information Each antique and vintage jewelry piece is sent off site to be evaluated by an appraiser who is not a Topazery employee and who has earned the GIA Graduate Gemologist diploma as well as the title of AGS Certified Gemologist Appraiser. -
Münchner Beiträge Zur Vor- Und Frühgeschichte Band 67
MÜNCHNER BEITRÄGE ZUR VOR- UND FRÜHGESCHICHTE BAND 67 BAYERISCHE AKADEMIE DER WISSENSCHAFTEN VERGLEICHENDE ARCHÄOLOGIE RÖMISCHER ALPEN- UND DONAULÄNDER VERLAG C.H.BECK MÜNCHEN KULTURWANDEL UM CHRISTI GEBURT SPÄTLATÈNE- UND FRÜHE RÖMISCHE KAISERZEIT IN DEN MITTLEREN ALPEN ZWISCHEN SÜDBAYERN UND GARDASEE BAND 2 AKTEN DES KOLLOQUIUMS IN INNSBRUCK AM 18. UND 19. OKTOBER 2017 HERAUSGEGEBEN VON WERNER ZANIER VERLAG C.H.BECK MÜNCHEN Mit 222 Abbildungen und 33 Tabellen Das Werk besteht aus 2 Teilbänden. Redaktion: Güde Bemmann und Werner Zanier Die Archäologische Erforschung der römischen Alpen- und Donauländer wird als Vorhaben der Bayerischen Akademie der Wissenschaften im Rahmen des Akademienprogramms von der Bundesrepublik Deutschland und vom Freistaat Bayern gefördert. © Bayerische Akademie der Wissenschaften, München 2019 In Kommission bei Verlag C. H. Beck oHG, München 2019 Gesamtherstellung: Likias Verlag, Friedberg Druck: BELTZ Bad Langensalza GmbH Gedruckt auf säurefreiem, alterungsbeständigem Papier (hergestellt aus chlorfrei gebleichtem Zellstoff) Printed in Germany ISBN 978-3-406-10768-9 ISSN 0580-1435 www.beck.de INHALT Band 2 Fundplätze in Bayern, Tirol und im Trentino Bernd Steidl Kontinuität der vorrömischen Bevölkerung und die Heimstettener Gruppe. Neue Forschungen zum 1. Jahrhundert n. Chr. in Raetien �������������������������������������������������������� 317 Barbara Kainrath Das Ehrwalder Becken in der frühen römischen Kaiserzeit . 345 Daniel Lueger, Gerhard Tomedi Eine spätlatènezeitliche „casa retica“ in Stams, Bez. Imst