A Statuette from Norway

1906 ◽  
Vol 26 ◽  
pp. 284-285
Author(s):  
A. H. S. Yeames

The British Museum has recently acquired a small bronze statuette, which is of some interest, not for its artistic merit, but for the probable place of its discovery. The statuette, 2⅞ inches high, represents a woman, who is dressed in a long chiton, which folds over so as to form a sort of cape and has short sleeves, leaving the arms bare from above the elbows. She is standing with her feet close together and holds her skirt with her left hand in the familiar ‘Spes’ attitude. Part of the left foot and the right arm from the elbow are broken away. Her hair falls in long tresses over her neck and shoulders, and is indicated by incised lines. Another incised line seems to represent a necklace.

1914 ◽  
Vol 34 ◽  
pp. 76-88
Author(s):  
W. R. Lethaby

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.


1883 ◽  
Vol 4 ◽  
pp. 46-52
Author(s):  
Warwick Wroth

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.


1898 ◽  
Vol 18 ◽  
pp. 141-146
Author(s):  
Ernest Gardner

The head reproduced upon Pl. XI. has recently been acquired by Philip Nelson, Esq., M.B., and we are indebted to him both for his courteous permission to publish the head and for the photographs, taken by himself, from which our illustration is derived. The head is of Parian marble, and is clearly of Greek workmanship; it is also evidently derived from an original of the very highest artistic merit. It is in excellent preservation, except that the end of the nose and a part of the lips on the right side have been restored.Dr. Nelson has kindly supplied me with the following information as to the history of the head and as to its dimensions and present condition. It was acquired by him in Bath at the sale of the collection of the late Captain Maignac, who inherited it from his father-in-law, an artist named Walton, a contemporary of the painter Barker of Bath, 1769–1847. This Walton in all probability brought the head from Italy, where he is known to have travelled and collected pictures, &c.; but there seems to be no more exact record as to its origin. The head seems to have remained practically unknown to archaeologists until its acquisition by Dr. Nelson, who, appreciating its importance, sent photographs to the British Museum in July, 1897.


1909 ◽  
Vol 29 (1) ◽  
pp. 29-40 ◽  
Author(s):  
F. G. Kenyon

Mr. Milne's article in the last volume of the Journal (xxviii. 121 ff.) calls attention to an interesting class of documents, the tablets or ostraka which served as school-books in Graeco-Roman Egypt. The British Museum has recently acquired two unusually good and complete specimens of this class. As they are, to the best of my belief, the most perfect that have yet come to light, it seems worth while to publish them in extenso.The first (now Brit. Mus. Add. MS. 37516) is a single wooden tablet, 1 ft. 4½ in. in length, 5¼ in. high at the left-hand end, and 4¾ in. at the right-hand end. Projecting from the left-hand end is a small knob, nearly an inch in diameter, through which a hole is bored, by which means the tablet could be suspended from a nail in the wall of the school, as in the well-known kylix of Douris at Berlin. The corners at both ends are rounded.


1946 ◽  
Vol 66 ◽  
pp. 8-10 ◽  
Author(s):  
Bernard Ashmole

An Attic cup of Siana shape, said to come from excavations in Rhodes, was presented to the British Museum in 1906 by Sir Henry Howorth (Pl. II). The lip is decorated with a wreath—interrupted above the handles—of alternate purple and black ivy-leaves set in two rows, one point-upwards, the other point-downwards, on a central horizontal stem. The reserved band on which the figures and handles are set comes immediately below the lip, save for a narrow black stripe; the rest of the bowl is black, but divided by a horizontal band of tongue-pattern; the tongues, pointing upwards, are alternately black and purple, except in two places where two blacks accidentally come together. Black underlies the purple and the white everywhere, except under the purple tongues, but the white, used only for women's flesh, has almost entirely disappeared. The interior is plain black. The date will be before 560 B.C.Let us look at the two scenes which appear one on each side of the cup: they are roughly drawn, but vigorous and interesting: begin with that which, as I hope to show, comes first in time (Pl IIIa). On the left, a woman is seated to right on a stool: she is dressed in purple; her hair is loose and she holds her left hand to her head in an attitude of grief, with which the gesture of the open right hand well consorts. On the right of the scene, another woman stands to left beside a naming altar (Pl IIIe). Her dress is a black peplos. She wears a broad belt, the upper band of which consists of a repeating Ѕ pattern; her hair is gathered into a small knot on the nape of the neck, and in her hands she holds out by its handles a liknoh, from the front end of which three corn-stalks project. Within are shown other objects; the scale is so small and the drawing so poor that it is not possible to identify them all: some are probably fruits, the central one almost certainly a phallus.


1888 ◽  
Vol 9 ◽  
pp. 11-17
Author(s):  
Percy Gardner

The vase which is the subject of the present paper is no new find. It has been for many years in the British Museum (Cat. No. 810), and was mentioned by Overbeck in his Heroische Bildwerke in 1851. It has not however hitherto been figured, and it may be well to take advantage of its publication in these pages to make a few observations on the general subject of vase-paintings which are connected with the myths of the Iliad.The present vase is an amphora from Vulci, height nineteen inches. The form and decoration are given in the woodcut. On one side is a warrior standing to the left, clad in a chlamys, and armed with helmet, spear, and shield adorned with serpent. On the other side is a lady to the left, clad in Ionian chiton and overdress, her head enveloped in a kerchief; she raises her right hand; in her left hand is a baby boy, who turns and stretches his hands to the right. The main outlines of the figures are traced in black, but the folds of the Ionian chiton with light red; there are three incised circles on the warrior's shield. Under each figure runs a line of maeander pattern; an anthemion adorns the bottoms of both handles.


1925 ◽  
Vol 45 (2) ◽  
pp. 255-261
Author(s):  
H. B. Walters

The British Museum has recently had the good fortune to acquire a statuette representing Socrates, which has been purchased for the Department of Greek and Roman Antiquities, with the aid of contributions from the National Art Collections Fund, Dr. Walter Leaf, and Mr. G. Eumorfopoulos. It is illustrated from four different points of view in Plates X.–XIII. It is of Parian marble, standing 27·5 cm. or 11 inches high, and was found recently at Alexandria. The statuette is in almost perfect condition, except that both feet are missing and also a portion of the drapery above the left foot; the manner in which the surface of the marble has been treated is remarkable, the flesh surfaces being highly polished throughout, while the hair, beard, and drapery retain a rough unpolished surface.The philosopher stands full-face, with the right leg slightly bent; he wears a chiton which leaves the breast bare and is gathered at its upper edge in a thick fold immediately above the waist. Over it is a himation falling over the left shoulder and draped transversely over the back, where the sculptor's attempt at reproducing the effect of a textile fabric by very simple means has been surprisingly successful (see Plate XIII.). The garment is gathered up in a fold on the left side, where it hangs over the arm, the edge being caught in the left hand and drawn slightly back; the right hand, which is beautifully modelled, catches up the edge of the himation just above the knee.


1946 ◽  
Vol 11 (1) ◽  
pp. 2-2

In the article “Infant Speech Sounds and Intelligence” by Orvis C. Irwin and Han Piao Chen, in the December 1945 issue of the Journal, the paragraph which begins at the bottom of the left hand column on page 295 should have been placed immediately below the first paragraph at the top of the right hand column on page 296. To the authors we express our sincere apologies.


Author(s):  
Marc Ouellet ◽  
Julio Santiago ◽  
Ziv Israeli ◽  
Shai Gabay

Spanish and English speakers tend to conceptualize time as running from left to right along a mental line. Previous research suggests that this representational strategy arises from the participants’ exposure to a left-to-right writing system. However, direct evidence supporting this assertion suffers from several limitations and relies only on the visual modality. This study subjected to a direct test the reading hypothesis using an auditory task. Participants from two groups (Spanish and Hebrew) differing in the directionality of their orthographic system had to discriminate temporal reference (past or future) of verbs and adverbs (referring to either past or future) auditorily presented to either the left or right ear by pressing a left or a right key. Spanish participants were faster responding to past words with the left hand and to future words with the right hand, whereas Hebrew participants showed the opposite pattern. Our results demonstrate that the left-right mapping of time is not restricted to the visual modality and that the direction of reading accounts for the preferred directionality of the mental time line. These results are discussed in the context of a possible mechanism underlying the effects of reading direction on highly abstract conceptual representations.


Author(s):  
Emanuela Gualdi-Russo ◽  
Natascia Rinaldo ◽  
Alba Pasini ◽  
Luciana Zaccagni

The aims of this study were to develop and validate an instrument to quantitatively assess the handedness of basketballers in basketball tasks (Basketball Handedness Inventory, BaHI) and to compare it with their handedness in daily activities by the Edinburgh Handedness Inventory (EHI). The participants were 111 basketballers and 40 controls. All subjects completed the EHI and only basketballers filled in the BaHI. To validate the BaHI, a voluntary subsample of basketballers repeated the BaHI. Exploratory and confirmatory factor analyses supported a two-factor model. Our results show that: (i) Handedness score (R) in daily actions did not differ between basketball players (R by EHI = 69.3 ± 44.6) and the control group (R by EHI = 64.5 ± 58.6); (ii) basketballers more frequently favored performing certain sport tasks with the left hand or mixed hands (as highlighted by R by BaHI = 50.1 ± 47.1), although their choice was primarily the right hand in everyday gestures; and (iii) this preference was especially true for athletes at the highest levels of performance (R by BaHI of A1 league = 38.6 ± 58.3) and for those playing in selected roles (point guard’s R = 29.4 ± 67.4). Our findings suggest that professional training induces handedness changes in basketball tasks. The BaHI provides a valid and reliable measure of the skilled hand in basketball. This will allow coaches to assess mastery of the ball according to the hand used by the athlete in the different tasks and roles.


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