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.

Turns on the Move

2019 ◽  
pp. 73-76
Author(s):  
K. B. E. E. Eimeleus
Keyword(s):  
The Other ◽  
Left Shoulder ◽  
Sudden Stop ◽  
Flat Terrain ◽  
Right Hand ◽  
The World ◽  
The Right

This chapter looks at turns on the move with the right or left shoulder aligned with the corresponding ski. It distinguishes three important techniques that have gained currency in the world of sport. One of them pertains only to running skis while the other two require mountain skis with stable bindings. The first is the method for turning in place, used while descending from a mountain or over flat terrain on running skis, or on any skis that lack a stable binding and have a posterior center of balance. The next is the Christiania turn, which is carried out on the inner ski, that is, on the right ski when the turn is done to the right-hand side. Finally, the Telemark turn allows a skier to make a sudden stop as they are descending.

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.

Mors in Victoria

1939 ◽  
Vol 15 ◽  
pp. 27-32 ◽  
Author(s):  
D. E. L. Haynes
Keyword(s):  
Left Shoulder ◽  
Left Cheek ◽  
Left Forearm ◽  
Left Hand ◽  
Right Hand ◽  
En Face ◽  
The Right ◽  
Small Building

The relief shown in Plate IA was among those transferred to the Terme Museum from the Villa Ludovisi, where, about 1460, Cassiano Dal Pozzo saw it immured in the wall of a small building to the right of the entrance. Its original provenience is unknown. In his catalogue of the Villa Ludovisi sculpture Schreiber describes it as representing ‘a knight with two at tendants. … On the left a youth walks forward to the 1. He wears a sleeved tunic girt at the waist, and shoes; and carries on his right shoulder a short stave which has been broken off where the relief border is damaged. He is represented almost en face, and turns his head backwards towards the knight. With his left hand he leads by the bridle a richly harnessed horse saddled with a panther-skin. On the horse rides a young (beardless ?) man in short-sleeved tunic and cloak, the latter falling over his left forearm. He is laureate, and holds the horse's rein in his left hand, while the right is raised to the level of his head. … There follows a bearded man wearing tunic and shoes. In his left hand he holds the end of an object slung over his left shoulder (probably a sack …), and in his right hand he lifts up a hemispherical helmet (the left cheek-piece broken off), in the act of placing it on the knight's head.’

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.

After the fall of Babylon: A new look at the presentation scene on Assurbanipal relief BM ME 124945–6

Iraq ◽  
2008 ◽  
Vol 70 ◽  
pp. 105-125 ◽  
Author(s):  
J. Novotny ◽  
C. E. Watanabe
Keyword(s):  
British Museum ◽  
The Other ◽  
First Person ◽  
The North ◽  
Right Hand ◽  
The Right ◽  
Upper Register ◽  
The City ◽  
Wheeled Vehicles ◽  
Ground Line

BM ME 124945–6, a relief of Assurbanipal, was discovered in the ruins of Room M (the so-called ‘Throne Room’) of the North Palace in the Assyrian capital of Nineveh, and is now on display in the British Museum (Fig. 1). The slabs are divided into two registers: an upper register and a lower register, which are separated by a broad wavy band, each side of which forms the bank of a river. Two rivers flow horizontally in parallel in the centre of the slabs. The presentation scene appears in the lower register, which shows the Assyrian king Assurbanipal (668–631 BC) reviewing war spoils taken from Babylon after the city was captured by the Assyrian army in late 648 BC. The aim of this paper is to examine the spoils represented on the relief and, by carefully analysing Assurbanipal's inscriptions, to clarify how textual accounts of the event or events are reflected in the narrative scheme of the composition.The presentation scene is further divided into three rows by simple horizontal lines, each forming a ground line that normally indicates the recession of space based on the principle of “vertical perspective” in which distant figures are placed higher than nearer ones. The king is represented on the right of the scene, occupying the upper and middle rows (Fig. 2). He is mounted on a chariot and is accompanied by courtiers and soldiers who all face to the left of the scene. An epigraph is engraved above the horses of the king's chariot. On the far side of the scene, Assyrian soldiers, in the upper row, proceed towards the king. The first person is a eunuch raising his right hand; he is followed by a bearded man (Fig. 3). Then there are three soldiers, each holding a particular item of booty (Fig. 4). These men are followed by two wheeled vehicles: one is carried on the shoulders of several men (Fig. 5) and the other pulled by a group of soldiers (Fig. 6). To the far left of the scene, prisoners are led away by soldiers. In the middle row, four foreigners face right (Fig. 7), and behind them stand two scribes making a record in front of one pile of bows and quivers and another of severed heads (Fig. 8). More soldiers follow from the left with a team of horses. The lower row shows a procession of prisoners; all of them move from left to right (Fig. 9). To the far left, there are two sets of chariots, the horses of which are being led by soldiers (Figs. 10 and 11). The overall composition, except for the lower row, is arranged symmetrically facing to the centre, with special emphasis on the king.

A New Seal in the Ashmolean Museum

1923 ◽  
Vol 43 (1) ◽  
pp. 55-56
Author(s):  
G. R. Driver
Keyword(s):  
British Museum ◽  
Right Hand ◽  
The Right

Among a number of cuneiform tablets recently presented to the Ashmolean Museum by Mr. H. Weld-Blundell is an interesting seal (Fig. 1). It is an egg-shaped lump of bitumen with a slit through the centre, in which can be seen carbonised remains of the tag; stamped on it are the impressions of two different seals: a small stamp showing a winged sphinx confronted by a star, repeated eleven times, and a very finely drawn head, facing to the right, laureate, which Prof. P. Gardner states to be the head of Apollo. He compares with it the head of Apollo on the coins of Magnesia, Myrina, etc., after 190 B.C. (see B. V. Head, British Museum Catalogue of the Greek Coins of Ionia, Pl. XIX. No. 3). A similar seal is shown by L. Speleers (No. 205 on Pl. IV. of his Notice sur les Inscriptions de l'Asie Antérieure des Musées Royaux du Cinquantenaire à Bruxelles, Wetteren), who wrongly calls the figure there depicted Hermes; it is, according to Prof. Gardner, Apollo, holding in his right hand an arrow and leaning his elbow on a sacred tripod, precisely similar to that depicted on the reverse of certain coins of Seleucus II.

scholarly journals Athena Hygieia

1899 ◽  
Vol 19 ◽  
pp. 165-168
Author(s):  
H. B. Walters
Keyword(s):  
Southern Italy ◽  
British Museum ◽  
Whole Body ◽  
Right Hand ◽  
Points Of View ◽  
The Right

The British Museum in 1898 acquired a small bronze figure of Athena, which is figured on Plate VII. from three points of view. Mr. Murray has described it in his report as a bronze statuette of Athena, looking downwards at the serpent which she holds in her right hand. This type of Athena, as he points out, is very rare.This figure is included in the new Catalogue of Bronzes under the number 1055 (p. 189), where it is described in much the same words as above. In discussing it now at greater length I have the kind sanction of Mr. Murray for making use of certain suggestions which he has made as a result of further investigation of the type.The provenience of the bronze is unfortunately unknown, but we may conjecture that it comes from Southern Italy, probably from the neighbourhood of Rome or Naples. The goddess stands in a somewhat peculiar attitude, the left leg being so much bent that the whole body appears to be thrown backwards. The left foot is drawn very far back, while the right leg is quite straight.

Two Greek School-Tablets

1909 ◽  
Vol 29 (1) ◽  
pp. 29-40 ◽  
Author(s):  
F. G. Kenyon
Keyword(s):  
British Museum ◽  
Left Hand ◽  
Right Hand ◽  
Roman Egypt ◽  
Interesting Class ◽  
The Right ◽  
School Books

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.

Kalligeneia and Hieros Arotos

1946 ◽  
Vol 66 ◽  
pp. 8-10 ◽  
Author(s):  
Bernard Ashmole
Keyword(s):  
British Museum ◽  
The Other ◽  
Black Stripe ◽  
Left Hand ◽  
Front End ◽  
Right Hand ◽  
To Come ◽  
The Right ◽  
Horizontal Band

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.

Inscriptions from Cyzicus

1902 ◽  
Vol 22 ◽  
pp. 190-207 ◽  
Author(s):  
Cecil Smith ◽  
R. de Rustafjaell
Keyword(s):  
The Other ◽  
Left Shoulder ◽  
Lower Edge ◽  
Right Hand ◽  
The Spectator ◽  
The Right

1. On a slab of marble, ht. 10½ in. × 10 in., found within the walls during the tentative excavation. It is broken on the lower edge, but the other edges are fairly complete. The greater part is occupied with a relief representing Hermes and a goddess who is presumably Andeiris (Fig. 1). Both figures face the spectator: on the left Hermes (apparently beardless), wearing short girt chiton, chlamys, and petasos, stands at rest with caduceus along left arm, and right hand resting on hip: on right is Andeiris, a draped woman. Unfortunately this figure is broken away diagonally from the left shoulder to the right breast, and the surface is injured throughout. It is consequently impossible accurately to distinguish the details.

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