scholarly journals Two Vases by Phintias

1891 ◽  
Vol 12 ◽  
pp. 366-380 ◽  
Author(s):  
H. Stuart Jones
Keyword(s):  
British Museum ◽  
Vase Painting ◽  
Extreme Right ◽  
Main Field ◽  
The Right ◽  
Water Issues

It was my intention to publish in the Journal of Hellenic Studies a cylix by Phintias in the Central Museum at Athens, together with the substance of a paper read at a meeting of the British Archaeological School in March of this year. Learning, however, that Dr. P. Hartwig was anxious to publish the cylix in his forthcoming Meisterschalen, I entered into correspondence with him, and by his kindness am enabled to publish in its place the well-known hydria in the British Museum (Klein, Meistersignaturen 3) and fragments of a stamnos in the possession of Dr. Friedrich Hauser, now at Stuttgart, whose kindness in furnishing me with drawings by his own hand I would gratefully acknowledge.A.—The first vase to be discussed is the hydria in the British Museum (E 264) found at Vulci. The form is the older one with sharp divisions between neck, shoulder, and body, which is characteristic of b.f. hydriae, and disappears after the ‘severe’ period of r.f. vase-painting, shoulder and body passing into one and leaving only one field for decoration. On the inside of the lip, in front of the junction with the handle, are three round knobs suggesting pegs or nails. These are in this case painted purple, whereas usually when they appear they are varnished—cp. Petersburg 1, 337 and Berlin 1897 = Gerhard, A. V. 249, 250. The handles are left unvarnished, which is also comparatively uncommon. The main field of the vase is occupied by a scene, which if not of surpassing originality or interest, is at least unusual. Three naked ἔφηβοι, are represented in the act of carrying water from a fountain in hydriae which are of the same form as the vase itself, except that that which is carried by the second youth from the right on his shoulder is apparently of a more developed form, in which the sharp division between shoulder and body is given up. On the extreme right a stream of water issues from a lion's head of admirable execution, worthy to stand beside analogous portions of the work of Sosias and Peithinous, and a youth fills his hydria.

The Caputi Hydria

1961 ◽  
Vol 81 ◽  
pp. 73-75 ◽  
Author(s):  
Richard Green
Keyword(s):  
Young Girl ◽  
Extreme Right ◽  
The Right ◽  
Metal Vessels

Since its publication in 1876, the scene on the shoulder of this vase has been interpreted as showing the activities of a vase-painters' workshop. The original drawing had been reproduced several times, but its inaccuracies were so numerous that the photographs were long overdue in spite of Beazley's useful notes on it in Potter and Painter.The scene shows Athena and two Nikai crowning the artists for their skill. In the centre, Athena (plate VII 1), spear in hand, approaches with a wreath to crown the youth who is engaged in decorating a huge kantharos; before him waits a similar vessel with an oinochoe standing inside it. To the left, a boy who is decorating a volute-krater looks round in surprise at the Nike as she places a wreath about his head (plate VI 2). To the right of Athena another boy decorates a calyx-krater and does not notice the Nike who is about to crown him also. To the extreme right, a young girl on a dais begins the decoration of another volute-krater (plate VII 2).This note is an attempt to show that the scene does not depict vase-painters at work, but rather the decorators of metal vessels.

scholarly journals On Didymodon, a New Genus of Minute Artiodactyle Mammalia, from the Eocene of Vaucluse

The Geologist ◽  
1863 ◽  
Vol 6 (1) ◽  
pp. 8-11
Author(s):  
Charles Carter Blake
Keyword(s):  
New Genus ◽  
British Museum ◽  
Museum Collection ◽  
Museum Exhibits ◽  
Inner Aspect ◽  
The Right ◽  
To Receive ◽  
Range Of Variation

Since the original foundation of the genus Dichobune by Cuvier, and the critical observations made thereon by Owen, the national collection has continued to receive new accessions, indicating the existence of a certain range of variation in the molars of that genus.The specimen (No. 30673) in the British Museum collection, is figured in Plate II., by Mr. Mackie. It consists of the three molars of the right side of a species of small quadruped closely resembling Dichobune. The length of the fractured ramus containing these teeth, of which the inner aspect is exposed to the observer, measures 27mm.; its greatest vertical depth between the penultimate and last molar being 11mm.The last molar (m 3) measures 7mm. in length, and 4 in breadth. Its form is quadricuspid; the two outward cusps being least eroded; from the ectoposterior cusp is developed a slight basal talon, extending towards the entoposterior cusp, which is the smallest of the four, pyramidal, and acuminate; the entoanterior cusp is larger, and is tipped with a small exposed ring of enamel; the ectoanterior cusp is much worn; there is no trace of the distinct hinder lobe of Xiphodon, which lobe in the Dichobune (sp. ?) from Hordwell, marked 29714 in the British Museum, exhibits a well-marked bicuspid division, having the effect of rendering the ultimate molar in that specimen virtually hexacuspid, to a greater extent than in the Dichobune ovina.

An Inscribed Lead Plaque from Korkyra

1971 ◽  
Vol 66 ◽  
pp. 79-93 ◽  
Author(s):  
P. Calligas
Keyword(s):  
British Museum ◽  
Lower Edge ◽  
The Right ◽  
Made In

In the store-rooms of the British Museum is kept a fragment belonging to a lead plaque which bears the traces of an inscription written boustrophedon in the Corinthian alphabet. This lead plaque was part of the collection of J. Woodhouse, which was made in Corfu, and following the death of the collector in 1866 was bequeathed to the British Museum.In 1868 the plaque was catalogued and described in the Museum's Register. According to a sketch, also included, it is clear that at that time more of it was preserved and that besides the upper and lower edge possibly the right end was also retained. It was described as containing seven lines of a boustrophedon inscription, of which only the first, second, and seventh lines were transcribed. The inscription was incomprehensible, and that may have been the reason for its not being published hitherto.

scholarly journals IX. On the fossil remains of a long-tailed bird ( Archeopteryx macrurus , Ow.) from the lithographic slate of Solenhofen

1863 ◽  
Vol 12 ◽  
pp. 271-273 ◽  
Keyword(s):  
British Museum ◽  
Lower Portion ◽  
Consecutive Series ◽  
Right Wing ◽  
Fossil Remains ◽  
Caudal Vertebrae ◽  
The Subject ◽  
The Right

The author details the circumstances connected with the discovery of the fossil remains, with the impressions of feathers, in the Lithographic slates of Solenhofen, of the Oxfordian or Corallian stage of the Oolitic period, and of the acquisition for the British Museum of the specimen which forms the subject of his paper. The exposed parts of the skeleton are,—the lower portion of the furculum; part of the left os innominatum; nineteen caudal vertebræ in a consecutive series; several ribs, or portions of ribs; the two scapulæ, humeri, and antibrachial bones; parts of the carpus and metacarpus, with two unguiculate phalanges, probably belonging to the right wing; both femora and tibiæ, and the bones of the right foot.

The Master of the Eucharides-Stamnos in Copenhagen

1912 ◽  
Vol 18 ◽  
pp. 217-233
Author(s):  
J. D. Beazley
Keyword(s):  
British Museum ◽  
National Museum ◽  
Vase Painting ◽  
History Of

The only extant vase with the love-name Eucharides is a red-figured stamnos of severe style in the National Museum at Copenhagen. Twenty-three vases must be assigned to the painter of the Eucharides-stamnos, among them such well-known pieces as the Danae-stamnos in St. Petersburg, the Tityos-vase in the British Museum, and the krater with Sarpedon or Memnon in the Louvre. His work, though not of the highest quality, is interesting in many ways; so I propose to make a list of his remaining vases, to describe the more prominent characteristics of his style, and to indicate very briefly the place he occupies in the history of Attic vase-painting.

scholarly journals XXVII. Plan projected in 1561, for building a House of Correction in Westminster: Communicated in a Letter addressed to the Right Honourable the Earl of Aberdeen, K. T. President, by Henry Ellis, Esq. F.R.S. Secretary

Archaeologia ◽  
1827 ◽  
Vol 21 ◽  
pp. 450-454
Author(s):  
Henry Ellis
Keyword(s):  
British Museum ◽  
The Right ◽  
Hand Writing

The Society of Antiquaries has recently been presented with one or two Communications of considerable interest respecting Westminster: and in the absence of any thing more important, I beg to lay before it the Transcript of a Scheme, projected in 1561, for constructing a House of Correction for that City. The original is preserved among the Lansdowne Manuscripts in the British Museum, and is endorsed, as for consideration, in the hand-writing of Lord Burghley.

scholarly journals On the hour lines of the ancients

1837 ◽  
Vol 3 ◽  
pp. 17-20
Keyword(s):  
Royal Society ◽  
Plane Surface ◽  
Computing Time ◽  
British Museum ◽  
The Other ◽  
Conical Surface ◽  
Ancient Greek ◽  
Double Curvature ◽  
The Right ◽  
Straight Lines

The hour lines on the sundials of the ancient Greeks and Romans correspond to the division of the time between sun rise and sun-set into twelve equal parts, which was their mode of computing time. An example of these hour lines occurs in an ancient Greek sundial, forming part of the Elgin collection of marbles at the British Museum, and which there is reason to believe had been constructed during the reign of the Antonines. This dial contains the twelve hour lines drawn on two vertical planes, which are inclined to each other at an angle of 106°; the line bisecting that angle having been in the meridian. The hour lines actually traced on the dial consist of such portions only as were requisite for the purpose the dial was intended to serve: and these portions are sensibly straight lines. But the author has shown, in a paper published in the Transactions of the Royal Society of Edinburgh, that if these lines are continued through the whole zone of the rising and setting semidiurnal arcs, they will be found to be curves of double curvature on the sphere. In the present paper the author enters into an investigation of the course of these curves; first selecting as an example the lines indicating the 3rd and the 9th hours of the ancients. These lines are formed by the points of bisection of all the rising and setting semidiurnal arcs; commencing from the southern point where the meridian cuts the horizon, and proceeding till the line reaches to the first of the always apparent parallels, which, being a complete circle, it meets at the end of its first quadrant. At this point the branch of another and similar curve is continuous with it: namely, a curve which in its course bisects another set of semidiurnal arcs, belonging to a place situated on the same parallel of latitude as the first, but distant from it 180° in longitude. Continuing to trace the course of this curve, along its different branches, we find it at last returning into itself, the whole curve being characterized by four points of flexure. If the describing point be considered as the extremity of a radius, it will be found that this radius has described, in its revolution, a conical surface with two opposite undulations above, and two below the equator. The right section of this cone presents two opposite hyperbolas between asymptotes which cross one another at right angles This cone varies in its breadth in different positions of the sphere; diminishing as the latitude of the place increases. The cones to which the other ancient hour lines belong, are of the same description, having undulations alternately above and below the equator; but they differ from one another in the number of the undulations: and some of these require more than one revolution to complete their surface. The properties of the cones and lines thus generated, may be rendered evident by drawing the sections of the cones on the sphere, in perspective, either on a cylindrical or on a plane surface: several examples of which are given in the paper.

Anti-Zionism and the Italian Extreme Right

Modern Italy ◽  
2008 ◽  
Vol 13 (1) ◽  
pp. 21-35 ◽  
Author(s):  
Roberto Chiarini
Keyword(s):  
Foreign Policy ◽  
Middle East ◽  
Political Competition ◽  
Policy Response ◽  
Postwar Period ◽  
Extreme Right ◽  
The Right ◽  
National Alliance ◽  
Over Time

There are few issues that better illustrate the unresolved condition of the Italian right in the postwar period (neo-fascist in identity, democratic from necessity) than that of its stance on Israel, the Jews and Zionism. In the aftermath of the fall of fascism, the right had no difficulty in combining the defence of anti-Jewishness with domestic anti-anti-fascist policies and a foreign policy that was hostile towards the ‘allies’ of 1940–1945. Yet as soon as political competition became oriented around pro- and anti-communism, the right was, over time, driven to play down the recollections of fascism and specifically its antipathy towards Israel, not to mention its anti-Zionism. The exacerbation of the Middle East problem and the right's foreign policy response to it led to a further evolution in its stance, eventually culminating in a definitive end to any ambivalence on the issue with the birth of the ‘National Alliance’. From that point onwards, anti-Zionism found support only in the utterances of neo-Nazi skinheads and the banners of rowdy fans at the ‘northern end’ of football stadia.

Belgian Political Parties Since Liberation

1950 ◽  
Vol 12 (1) ◽  
pp. 99-119 ◽  
Author(s):  
F. E. Oppenheim
Keyword(s):  
Nineteenth Century ◽  
Political Parties ◽  
Extreme Right ◽  
Absolute Majority ◽  
French Speaking ◽  
The Right ◽  
Religious Differences

The party structure in Belgium has always reflected not merely the graduation of opinions from the extreme right to the extreme left, but also the linguistic and religious differences of a nation divided into French and Flemish speaking people, and into Catholic believers and freethinkers. The latter distinction still remains the most important one. Thus, the parties continue, as during the nineteenth century, to be classified into “right” and “left” according to whether they have a religious or an agnostic character. The “right” is considered identical with the Catholic Party, and the “left” with the Liberal, Socialist, and Communist Parties. It is also true that the Catholic Party is considered politically conservative, and the “left,” taken as a whole, progressive. And since the “right” has an absolute majority in Flanders and the “left” in Wallonia (the French speaking region), it can be said that, very broadly, the religious, political, and linguistic groupings tend to place Catholics, conservatives, and Flemings against freethinkers, progressives, and Walloons.

scholarly journals A Bronze Statuette in the British Museum and the ‘Aristotle’ of the Palazzo Spada

1914 ◽  
Vol 34 ◽  
pp. 47-59
Author(s):  
Katharine A. Esdaile
Keyword(s):  
British Museum ◽  
Left Shoulder ◽  
Large Hole ◽  
Right Hand ◽  
The Right

Among the most important bronzes in the British Museum is the statuette of a philosopher, said to have been found in dredging the harbour at Brindisi, which was acquired in 1865 (Pl. II). It measures 20 inches (50·8 cm.) in height, and represents a bearded man seated—though the original seat has disappeared—and resting his chin on his right hand; his left arm, muffled in his only garment, the himation that passes over his left shoulder, lies across his lap and supports the right arm; the right foot is drawn back behind the left, and he wears sandals elaborately tied. The thoughtful and interesting head (Pl. III.) suggests in type and period the pleasanter portraits of Aeschines and the newly discovered Aristotle; hair and beard are cut close, the features are small and well shaped, the whole effect in singular harmony with the reflective pose of the figure. The surface has suffered from the action of water, and there is a large hole on the left shoulder, and a crack running down the arm.

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