Some Fragments of a Vase presumably by Euphronios

1888 ◽  
Vol 9 ◽  
pp. 143-146
Author(s):  
Jane E. Harrison
Keyword(s):  
Interior Design ◽  
Detailed Examination ◽  
The South ◽  
Female Figure ◽  
Left Hand ◽  
Complete Restoration ◽  
South Wall ◽  
The Subject ◽  
The Right

The fragments collected on Plate VI. were found in 1888 in the excavations on the Acropolis—near to the south wall beyond the stratum of poros débris. (). I am not able to offer a complete restoration of the design, nor to explain with certainty all details, but the extant fragments are of such great artistic and archaeological importance that it seems desirable to publish them at once, without waiting either for such explanation or for a detailed examination of the mythography involved.I owe to the courtesy of M. Kabbadias permission to make the publication. The drawing is by M. Gilliéron, kindly supervised by Dr. Wolters, after I left Athens. To him is therefore due the present restored position of the fragments.The vase was obviously a cylix, the designs of both interior and exterior being painted on a white ground. The necklet and bracelet of the female figure, the head-bands of both, and other portions in slight relief and now coloured red, once bore gilding. The subject and main outline of the—most important—interior design are happily clear. Orpheus (ΟΡΦΕϒ) to the right sinks on one knee to the ground; his left hand no doubt supported him.

The Villa Item and a Bride's Ordeal

1929 ◽  
Vol 19 (1) ◽  
pp. 67-87 ◽  
Author(s):  
Jocelyn Toynbee
Keyword(s):  
The South ◽  
Important Paper ◽  
The North ◽  
Dwelling House ◽  
South Wall ◽  
The Subject ◽  
The One ◽  
The Individual ◽  
North Wall ◽  
The Right

The paintings in the triclinium of the Villa Item, a dwelling-house excavated in 1909 outside the Porta Ercolanese at Pompeii, have not only often been published and discussed by foreign scholars, but they have also formed the subject of an important paper in this Journal. The artistic qualities of the paintings have been ably set forth: it has been established beyond all doubt that the subject they depict is some form of Dionysiac initiation: and, of the detailed interpretations of the first seven of the individual scenes, those originally put forward by de Petra and accepted, modified or developed by Mrs. Tillyard appear, so far as they go, to be unquestionably on the right lines. A fresh study of the Villa Item frescoes would seem, however, to be justified by the fact that the majority of previous writers have confined their attention almost entirely to the first seven scenes—the three to the east of the entrance on the north wall (fig. 3), the three on the east wall and the one to the east of the window on the south wall, to which the last figure on the east wall, the winged figure with the whip, undoubtedly belongs.

Further Notes on the Sculpture of the Later Temple of Artemis at Ephesus

1914 ◽  
Vol 34 ◽  
pp. 76-88
Author(s):  
W. R. Lethaby
Keyword(s):  
British Museum ◽  
Female Figure ◽  
Left Hand ◽  
Right Hand ◽  
The Subject ◽  
Symmetrical Group ◽  
The Right ◽  
Vertical Joint ◽  
The Given

The Square Pedestals.—In some notes on the sculpture from the Artemision at the British Museum, printed in the last volume of this Journal (p. 87), I suggested that the fragment No. 1201 most probably belonged to a relief representing either Herakles in the Garden of the Hesperides or Herakles and the Hydra. Subsequent examination and the attempt to make a restoration from the given data have made me sure that the former was the subject of the sculpture. Only this would account for the quiet action of the left hand of Herakles and for the closely associated female figure. If this were indeed the subject, how could its normal elements be arranged so as to suit the conditions of the square pedestal having a vertical joint in the centre, and making proper use of the existing fragment of which Fig. 1 is a rough sketch? This question I have tried to answer. The fragment is now fixed in the side of a built-up pedestal close to its left-hand angle, but there is nothing which settles this position and it is a practically impossible one, for there is not room left in which to complete the figure of Herakles. If, however, we shift the piece to the right hand half of the pedestal, and sketch in the completion of the two figures, we at once see how perfectly the tree and serpent would occupy the centre of the composition and leave the left-hand space for the two other watching maidens—the whole making a symmetrical group.

Nog een suggestie voor het onderwerp van Rembrandts historiestuk te Leiden: De grootmoedigheid van Alexander

1987 ◽  
Vol 101 (2) ◽  
pp. 89-94
Author(s):  
J. Bruyn
Keyword(s):  
17Th Century ◽  
General Nature ◽  
History Painting ◽  
Emotional Words ◽  
Left Hand ◽  
Right Hand ◽  
Political Allegory ◽  
The Subject ◽  
Background Wave ◽  
The Right

AbstractOf the nine interpretations proposed for Rembraradt's history Painting of 1626 now at Leiden, none is really convincing. Il seems attractive to think of palamedes Condemned by Agamemncm as the subject because of its political significance in the year after the publication of Voredel's tragecty Palamedcs or Innocence Murdered, which denounced the execution of the Remonstrant leader Johan van Oldenbarnevelt in 1619. γet the scene depicted does not fit any episode frorn the Palamedes story. It appears rather to represent three young men appearing before a crowned figure who makes a pronouncement, probably one of magnanimity or clemency. It is conceivable that the subject was taken from Q. Curtius Rufus's Historiae Alexandri Magni Macedonis, ofwhich several editions, including translations into the vernacular, were published in Holland in the first decades of the 17th century. The episode in question was known to the young Rubens, but does not seem to have been illustrated by any other artist. At the beginning of the seventh book it is described how Alexander summoned before. him in the presence of the army two oj three brothers, who had been close friends of Philotas, a former, friend of his who had been executed for plotting against his life. The youngest brother, Poleinon, had panicked and fled but was caught and brought back at the very moment when Alexander had accused the brothers and the eldest, Amyntas, after having been released from his bonds and given a spear which he held in his left hand, had embarked on his szzccess ful defence. The appearance of Polemon infuriated the soldiers, but when he took the blame on himself and prrifessed his brothers' innocence, they were moved to tears. So too was Alexander who, prompted by their cries, absolved the brothers. This anecdote does at least explain some of the features of Rembrandt's scene. The young man standing on the right with his right hand raised as if swearing an oath would be the eloquent Amyntas with a spear in his left hand. Hidden behind him kneels the second brother, Simias, while Polemon, 'a young man just come to maturity and in the first bloom of his youth', has fallen on one knee in the foreground, underlining his emotional words with his right hand bressed to his heart. Alexander raises his sceptre in token of his absolution and some men in the background wave and shout from a socle they have climbed. Interpreted in this way, the scene coralains not a topical political allegory but, as would seem usual with history paintings, a message of a more general nature: the magnanimity of Alexander as an 'exemblum virtutis'.

§ XI.—Hellenistic Mycenae

1923 ◽  
Vol 25 ◽  
pp. 408-428
Author(s):  
C. A. Boethius
Keyword(s):  
Common Type ◽  
The Other ◽  
The South ◽  
Left Hand ◽  
The Right

Among the ruins of the Hellenistic buildings at the south end of the Great Ramp, in the fourth or southern chamber (Pl. I. 34), three fragments of a stele (now in the Nauplia Museum) were found. The stele is of a simple and common type, and is made of the same white limestone as the other Mycenaean stele found by Tsountas, which it closely resembles even in its weathering. Except for the top left-hand corner and a gap on the right side the whole stele is preserved. It is ·969 m. in height, ·41–·436 m. in breadth (·41 m. at the ninth line of the inscription) and ·11–·125 m. thick. At the top there is a plain frieze, ·065 m. high : ·02 m. below the frieze begins an inscription which fills twenty lines and ends ·50 m. above the bottom of the stele. The letters are ·008–·01 m. high. The space between the lines is ·009–·011 m. The surface of the stone is very much worn, and it was consequently difficult to make out the letters and their accurate forms. The sketch (Fig. 93) shows the arrangement of the text.

scholarly journals VALENCE OF PREDICATES IN THE ACTIVE-PASSIVE TRANSFORMATION IN GERMAN AND UKRAINIAN

2020 ◽  
pp. 77-82
Author(s):  
Tsymbalista L.R.
Keyword(s):  
Sampling Method ◽  
Syntactic Structure ◽  
Hand Position ◽  
Continuous Sampling ◽  
Left Hand ◽  
Decisive Effect ◽  
Modern Fiction ◽  
The Subject ◽  
The Right

Валентність предиката має вирішальний вплив на структуру речення. Хоча активний і пасивний варіанти речення опису-ють одну й ту ж ситуацію, предикат проходить крізь трансформацію, яка тісно пов’язана з явищем валентності. У цій статті проаналізовано валентність предиката та її вплив на цю трансформацію у німецькій та українській мовах на прикладах із сучасної літератури.Мета. Метою статті є порівняння трансформації «актив – пасив» у німецькій та українській мовах та опис ролі валентності у цьому процесі.Методи. Для проведення дослідження було зібрано методом суцільної вибірки приклади пасивних конструкцій із сучас-них художніх текстів німецькою та українською мовами, які опісля було оброблено та проаналізовано з використанням типо-логічного, зіставного, описового методів, а також методу моделювання.Валентність предиката проявляється у його здатності формувати зв’язки з іншими елементами в реченні та дає змогу передбачити додаткові позиції у синтаксичній структурі речення, які можуть бути заповнені обов’язковими чи факультатив-ними компонентами. Для предиката властиві два типи валентності, які залежать від позиції поширювачів у реченні. Якщо лівобічну позицію переважно пов’язують із суб’єктом, то правобічна зазвичай стосується актантів з об’єктним, адресатним, локативним чи інструментальним значеннями.Результати. Зважаючи на те, що одна й та ж функція пасивних конструкцій у німецькій та українській мовах реалізується різними формами, валентні зміни у кожній з конструкцій мають свої особливості. Спільною рисою цих перетворень виступає зменшення облігаторних актантів на одну одиницю, яка може бути заповнена факультативно у разі комунікативної потреби у інформації про виконавця дії.Висновки. Можна зробити висновок, що валентність предиката є багатогранним феноменом, що підлягає впливу не лише формально-граматичних, а й семантико-синтаксичних чинників, а також мовленнєвої ситуації загалом. Відповідно, змін у валентності предикатів протягом трансформації з активу у пасив не можна уникнути. The valence of the predicate has a decisive effect on the structure of the sentence. Although the active and passive variant of the sentence describes the same situation, the predicate goes through a transformation that also has to do with valence. This article analyzes the valency of the predicate and its influence on such transformation in German and Ukrainian based on the examples from modern literature.Purpose. The purpose of the article is to compare the active-passive transformation in German and Ukrainian and to describe the role of valence in this process.Methods. For the research, we collected the examples of passive constructions from modern fiction in German and Ukrainian using the continuous sampling method, which were then processed and analyzed using typological, comparative, descriptive methods as well as the modelling method.The valence of the predicate verb shows in its ability to connect with other sentence elements and enables the prediction of the additional positions in the syntactic structure of the sentence, which can be supplemented by mandatory or optional components. The predicate is characterized by two types of valence, which depend on the position of the fillers in the sentence: the left-hand position is mainly connected the subject of the utterance, and the right-hand position has to do with actants which define object, addressee, location or have instrumental meaning.Results. Due to the fact that the same function of passive constructions in German and Ukrainian is realized in different forms, the valence changes in each of the constructions have their own features. A common feature of these transformations is the reduction of obligatory actants by one unit, which can be filled in optionally in case of communicative need for information about the performer of the action.Conclusions. We reach the conclusion that the valence of the predicate is a multilevel phenomenon that is influenced not only by formal grammatical but also by semantic and syntactic factors as well as the language situation in general. Accordingly, changes in the valence of predicates during the active-passive transformation are inevitable.

Register of Dupuytren’s Disease (Contracture) in Tatarstan Republic: Efficacy of Surgical Treatment

2013 ◽  
Vol 20 (1) ◽  
pp. 10-17
Author(s):  
R. O Magomedov ◽  
G. I Mikusev ◽  
R. F Baykeev ◽  
I. E Mikusev ◽  
A. E Nikitina
Keyword(s):  
Surgical Treatment ◽  
Postoperative Complications ◽  
Treatment Efficacy ◽  
Hand Function ◽  
Left Hand ◽  
Complete Restoration ◽  
Palmar Aponeurosis ◽  
The Right ◽  
Common Intervention ◽  
Right And Left Hand

Analysis of Dupuytren’s contracture (DC) surgical treatment efficacy according to the Tatarstan Republic DC Register (258 patients, 343 hands) was performed. Partial wedge-shaped excision of palmar aponeurosis was the most common intervention on both the right and left hand. Late (1 year and over) postoperative complications (POC) — relapse, dissemination, progression were detected in 41.8% of patients at terms up to 15 years. Presence of POC on the operated hand caused disturbance of its function in 11.9% of cases on the right and 16.3% of cases on the left. Curability from DC made up 34.9 — 73.8% depending on the operated hand. Complete restoration of hand function was achieved in 22.2—100% of observations. Surgical treatment of DC enabled to ensure favorable patient’s condition at term 1 year and over in 67.5 and 59.9% of cases on the right and left hand respectively.

Effects of S-R and R-R Compatibility on Bimanual Movement Time

1973 ◽  
Vol 25 (2) ◽  
pp. 247-252 ◽  
Author(s):  
John Annett ◽  
Martin R. Sheridan
Keyword(s):  
Movement Time ◽  
Cerebral Hemispheres ◽  
Central Channel ◽  
Bimanual Movement ◽  
Left Hand ◽  
Oscilloscope Screen ◽  
Minor Factor ◽  
The Subject ◽  
The Right ◽  
Visual Separation

Bimanual asymmetrical movements are generally found to be slower than symmetrical movements but asymmetrical movement normally involves visual separation of targets which might account for the effect. By using a system in which the subject controls two cursors on an oscilloscope screen by moving two levers the S-R relationship on either hand can be reversed, thus providing an asymmetrical movement task without visual separation of targets. Movement times for five right-handed subjects were recorded on four unimanual and six bimanual conditions varying with respect to both S-R and R-R compatibility. In the unimanual conditions, the left hand was found to be as fast as the right when the opposite S-R relationship was used. In the bimanual tasks visual separation of targets was a relatively minor factor movement time being strongly influenced by S-R compatibility and to a lesser degree by R-R compatibility. The results suggest that compatibility, rather than being a property of a single central channel, differs, as between the two cerebral hemispheres.

scholarly journals A Statue of the Youthful Asklepios

1883 ◽  
Vol 4 ◽  
pp. 46-52
Author(s):  
Warwick Wroth
Keyword(s):  
British Museum ◽  
The Body ◽  
Lower Half ◽  
Left Shoulder ◽  
Hellenic Journal ◽  
Left Hand ◽  
Marble Statue ◽  
History Of ◽  
The Subject ◽  
The Right

The marble statue of a youthful male figure holding in his left hand a snake-encircled staff, which is reproduced in the accompanying plate, was found by Smith and Porcher at Cyrene, and is now in the collection of the British Museum. By its original discoverers this figure was named Aristaeus: an attribution which has been adopted, though with some hesitation, in the Museum Guide to the Graeco-Roman Sculptures. As, however, this attribution seems more than doubtful, it may be well to lay before the readers of the Hellenic Journal some additional remarks upon the subject, and to direct special attention to a statue which is not among those photographed in the History of Discoveries at Cyrene, and which has not, hitherto, been figured elsewhere.The statue now to be described is four feet five and a half inches in height, and represents a young and beardless male figure standing facing. His right hand rests upon his hip, and under his left arm is a staff round which is coiled a serpent. The lower half of the body is wrapt in a himation, the end of which falls over the left shoulder, leaving the chest and the right arm uncovered. The hair is wavy and carefully composed, but does not fall lower than the neck: around the head is a plain band, above which has been some kind of crown or upright headdress: the top of the head has been worked flat. On the feet are sandals, and at the side of the left foot is a conical object which has been called a rude representation of the omphalos, but which is, in all probability, a mere support.

Echoes from Bassae

1965 ◽  
Vol 60 ◽  
pp. 156-158
Author(s):  
Peter Corbett
Keyword(s):  
The South ◽  
South Side ◽  
Left Hand ◽  
Modern Times ◽  
Right Hand ◽  
The Right ◽  
The Temple

A marble slab, built into a private chapel in a cemetery in Catania, has on it a centauromachy, carved in relief. In a recent publication the author observes that at the start of the century the chapel belonged to a Catanian antiquary, who decorated it with sculpture from various places and periods; apart from this, nothing is known about the provenience of the slab. He also comments that the whole face has been re-cut at an unknown date, but certainly in modern times, so that an exact judgement of the style is impossible, and adds that the theme was a common one in ancient art, citing in particular the metopes from the south side of the Parthenon and the frieze from the temple of Apollo at Bassae. It is possible to go somewhat further; the nine figures on the relief are all copied from the frieze from Bassae; reading from left to right, the first four figures correspond to Slab 526; the fifth one to the left-hand centaur on Slab 521; the next two to the left-hand pair on Slab 525, and the last couple to the group of a Greek and a centaur on Slab 521. It might seem impossible to decide beyond all doubt if the Catania relief is an ancient copy of the frieze, re-cut in modern times, or if it is entirely modern; the copyist has indeed taken certain liberties with his original, varying some of the details—for instance, the position of the right forearm of the right-hand centaur—and replacing the woman on Slab 521 by two figures from another slab, but these changes are perhaps not inconceivable in an ancient copy. Two other details, however, are decisive.

Rupture of a Basilar Artery, &c., in a Case of Syphilitic Insanity

1879 ◽  
Vol 24 (108) ◽  
pp. 617
Author(s):  
M. D. Macleod
Keyword(s):  
Great Depression ◽  
Potassium Iodide ◽  
Basilar Artery ◽  
Severe Attack ◽  
Left Hand ◽  
The Subject ◽  
The Right ◽  
Bodily States

The subject was a female, aged 47, who had an attack of syphilis three years before her admission in July last. She laboured under great depression, irritability, suspicion, and delusions that people plotted against her, that she was to be hanged, &c. She was thin and anæmic. Had slight ptosis of the right eyelid. For the first six weeks treatment was unsuccessful in her case. During September she had a transient attack of paralysis of the left hand and arm. Latterly she improved both in her mental and bodily states under the use of potassium iodide and quinine and iron. She had a sudden and very severe attack of apoplexy on the morning of the 11th November, from which she never regained consciousness, but died on the same evening.

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