scholarly journals Some Recently acquired Reliefs in the British Museum

1916 ◽  
Vol 36 ◽  
pp. 65-86 ◽  
Author(s):  
A. H. Smith
Keyword(s):  
British Museum ◽  
White Marble ◽  
Private Owner ◽  
The Temple

In the following paper, certain reliefs are described and illustrated, which have been added in comparatively recent years to the collection of the British Museum.(1) Votive relief of Zeus Stratios. This relief, which was acquired in the summer of 1914 from a private owner, is of exceptional interest as an addition to the Museum which contains the remains of the Mausoleum.The relief is of white marble, and consists of a sculptured panel 35·5 cm. wide, and so far as extant, 21 cm. high. It is surmounted by a pediment, with acroterial ornaments. The whole subject measures 49 × 45 cm.‘In 1868 it was in the court yard of a house at Piali (Tegea) in the neighbourhood of the temple of Athena Alea. It had been found on the spot with some other antiquities.’ So M. Foucart, who has recently discussed the relief at length in the Monuments Piot.

The Central Part of the Eastern Frieze of the Parthenon

1929 ◽  
Vol 49 (1) ◽  
pp. 7-13
Author(s):  
W. R. Lethaby
Keyword(s):  
British Museum ◽  
The Temple ◽  
Pencil Drawings

Amongst the drawings in the Elgin Collection at the British Museum are many from the sculptures of the Parthenon made by William Pars in 1765–6. Two of the drawings representing the long middle slab of the Eastern Frieze, and the slab next to it on the left, are exceptional in not being merely pencil drawings; these are tinted with the brush in sepia and are highly finished and wonderfully delicate. They are not signed, but it may be safely assumed that they are by Pars. Pars was sent out with the Chandler expedition, organised by the Society of Dilettanti in 1764, partly for the purpose of completing the work of Stuart and Revett in Athens from 1751 to 1753. Pars was engaged for several months in drawing the sculptures of the Parthenon. This work, according to Chandler, he executed ‘with diligence, fidelity and courage.’ Courage was needed, for he drew the frieze of the cella from the stone beam of the peristyle. He recorded all of it that was then on the building, together with some slabs which had been removed from their places. At a meeting of the Society of Dilettanti on December 2, 1766, ‘A great variety of Views and Drawings of Basso relievos of the Temple of Minerva at Athens, and others, were produced by Mr. Pars, which appear'd to the Committee to be done with Taste and Accurateness.’ The original tinted view of the east front of the Temple now hanging in the Elgin Gallery shows his powers of observation and minute record. In this view the metopes have their subjects really drawn in little spaces not much more than a quarter of an inch square.

scholarly journals Radhe Krishna Temple of Baroh, Kangra: A Photo Journey

2019 ◽  
Vol 3 (1) ◽  
Author(s):  
Sapna Dogra ◽  
Keyword(s):  
Rural Population ◽  
Himachal Pradesh ◽  
White Marble ◽  
Photo Essay ◽  
The Temple

In this photo essay, I want to show the spectacular beauty of the Baba Baroh Temple of Kangra through some of my photographs.Located in Baba Baroh, a tehsil of Kangra district of Himachal Pradesh, 45km away from Dharamshala City, Radhe Krishna temple of Baba Baroh is the most famous pilgrim spot for the rural population. A lack of hotels, guest houses and restaurants in the area are some of the reasons that this temple is not on every traveller’s list that comes to Kangra. A large number of other smaller temples can be found around Baroh but are of negligible historical and architectural importance. At present, one big marble temple is standing here and is spectacular in beauty. The breathtaking beauty of the temple can be gauged by the fact that the temple (made purely of white marble) stands tall atop a hill surrounded by snow-capped Dhauladhar range around it.

scholarly journals An Inscription from Prienè

1883 ◽  
Vol 4 ◽  
pp. 237-242
Author(s):  
E. L. Hicks
Keyword(s):  
Short Distance ◽  
Good Deal ◽  
British Museum ◽  
Asia Minor ◽  
Southern Slope ◽  
Left Hand ◽  
The Press ◽  
The Temple

The following inscription was copied by Mr. A. S. Murray when travelling with Mr. Newton in Asia Minor in 1870, ‘from a stelè at the door of a house at Kelibesch.’ It has been put into my hands for publication because the inscribed marbles brought from Prienè by Mr. Pullan in 1870, and presented to the British Museum by the Society of Dilettanti, have been prepared by me for the press, and are now in course of publication. They will form a portion of Part iii. of the Greek Inscriptions in the British Museum. Kelibesch is a Turkish village on the southern slope of Mt. Mykalè, a short distance from the ruins of the temple of Athenè Polias at Prienè. A description of it will be found in Chandler's Travels in Asia Minor, vol. i., p. 197. Mr. Murray's memoranda do not furnish any account of the size or colour of the marble employed for this stelè: but it is evidently entire at the top and right side; the left-hand edge is slightly injured, but a good deal is broken off at the bottom.

A New Head of Hadrian from Pompeiopolis

1996 ◽  
Vol 46 ◽  
pp. 83-89 ◽  
Author(s):  
Ayşe Çalık
Keyword(s):  
Lower Side ◽  
Upper Lip ◽  
White Marble ◽  
The Right ◽  
The Temple

In 1993, the head of an emperor was found in Pompeiopolis (Soloi or modern Viranşehir) and delivered to the Mersin Museum, where it is now on display (Pl. IX (a–d)). The head is notable because of its crystalline white marble material and its larger-than-life size. Maximum dimensions: H: 0·39 m, H (chin to crown): 0·32 m, W: 0·31 m, Th: 0·32 m.The head had been broken from its statue-body, but has been preserved together in one piece with the neck. Its state of preservation is good, but there is the following damage to its features. Large chips have gone from the base of the neck on the left (Pl. IX (a, d)), and a smaller piece from the surface of the middle of the neck on the right. The beard on the lower side of the chin, the upper lip and the nose are broken. On the left (a, c), one larger chip has gone from the cheek, two smaller ones around the temple. A large portion of a hair lock is broken above the temple and the ear on the left. The centre of the corona civica, which might have had a jewel in its middle, has been damaged and a large portion has broken off (Pl. IX (a, b)). The surface, especially on the flesh parts, has weathered.

scholarly journals Museum of Light: The New Acropolis Museum and the Campaign to Repatriate the Elgin Marbles

2015 ◽  
Author(s):  
James M. Beresford
Keyword(s):  
British Museum ◽  
Fifth Century ◽  
Design Parameters ◽  
Natural Light ◽  
Government Officials ◽  
Public Display ◽  
Bright Sunlight ◽  
The Temple ◽  
Of Greece

It is almost half-a-dozen years since the New Acropolis Museum in Athens was inaugurated in June 2009, following a gestation period of over three decades. Before, during and after the construction of the building, the importance of natural light was frequently emphasised by the Museum’s Swiss-French architect, Bernard Tschumi, as well as many Greek government officials, archaeologists, and other heritage professionals. The manner in which the same bright sunlight illuminates both the Parthenon and the temple’s decorative sculptures which are now on display in the Museum, is also routinely referenced by campaigners advocating a return of those sculptures that were removed from the Athenian Acropolis on the orders of Lord Elgin between 1801–03 and subsequently shipped to London. Following the purchase of the collection by the British government in 1816, the Marbles of the Elgin Collection were presented to the British Museum, where they are presently on display in Room 18, the Duveen Gallery. However, for more than two centuries it has been maintained that the sculptures can only be truly appreciated when viewed in the natural light of Athens. Even before the completion of the New Acropolis Museum there were bitter attacks on the manner in which the Marbles are displayed in the British Museum, and the quality of the illumination afforded to the sculptures in the Duveen Gallery. The aesthetics of the Attic light has therefore taken its place as one of the principal weapons in the armoury of Greek officials and international campaigners seeking the return of the Marbles removed by Lord Elgin. Nonetheless, this paper will argue against the accepted orthodoxy that the New Acropolis Museum replicates the original light conditions many of the sculptures from the temple experienced when on the Parthenon. Indeed, this article will dispute the goal of many architects, politicians, and heritage professionals of the need ensure that, when on public display, all of the Parthenon sculptures are bathed in bright natural light. The ability to display the Marbles in the sun-drenched gallery of the New Acropolis Museum forges a powerful link binding the environment of Classical Athens with the present-day capital of Greece, offering politicians and activists seeking the repatriation of the Elgin Marbles a potent weapon wielded to great effect. However, the politically motivated design parameters laid on the museum, requiring the building admit vast amounts of natural Attic light, has destroyed the architectural context the Marbles were displayed in when originally affixed to the temple in the fifth century BC.

§ 8. Bronzes from Palaikastro and Praisos

1940 ◽  
Vol 40 ◽  
pp. 51-59
Author(s):  
Sylvia Benton
Keyword(s):  
British Museum ◽  
The Temple

There are fragments of eight to ten tripods from Palaikastro now in the Candia Museum. Some of these were found outside and in front of the temple precincts. The excavator mentions fourteen, but he may not have noticed that certain fragments belong to the same tripod. Part of a tripod-leg in the British Museum catalogued (1907, 1–19–233) as being from Palaikastro and published BSA XXXV, 96, 97, fig. 10, pl. 23, 5, is illustrated in Bosanquet's notes, but I have not been able to determine the exact provenience of individual tripods at Palaikastro. Compare the position of tripods found in front of the sanctuary of Polis in Ithaca, BSA XXXV, 51, and in front of the Idaean Cave, Halbherr and Orsi, Museo Italiano, II, p. 5. It certainly comes from the same workshop as Candia Museum No. 86 from the Idaean Cave and carries a similar figurine.

XVI.—On the Hieratic Papyrus of Nesi-Amsu, a scribe in the Temple of Amen-Rā at Thebes, about B.C. 305

Archaeologia ◽  
1890 ◽  
Vol 52 (2) ◽  
pp. 393-608
Author(s):  
E.A. Wallis Budge
Keyword(s):  
British Museum ◽  
Short Article ◽  
The Temple

The papyrus which is transcribed and translated in the following pages is preserved in the collection of Egyptian antiquities in the British Museum, where it bears the number 10188. It was found at Thebes in the year 1860, and was purchased by the late Mr. A. H. Rhind; in 1865 it was sold to the trustees of the British Museum by Mr. David Bremner, together with a number of other papyri collected by Mr. Rhind. A few years later its existence was pointed out by Dr. Birch to Dr. Pleyte, who wrote a short article upon it, in which he gave a description of the chapters and translated some passages principally from the first work written on the papyrus. In November, 1886, a further account of it was given by me, together with hieroglyphic transcripts of some important passages in it.

scholarly journals Inscription from Kalymnos

1881 ◽  
Vol 2 ◽  
pp. 362-364
Author(s):  
C. T. Newton
Keyword(s):  
British Museum ◽  
The Subject ◽  
The Temple ◽  
The Church

I copied this inscription in 1855 from a marble found in a garden near the Marina, called Blyko, in the island of Kalymnos, the ancient Kalymna. On this site formerly stood the Church of Panagia Kalymniotissa.In the year 1854 I explored the site of the Temple of Apollo in that island and discovered there a number of inscriptions, most of which will appear in Part II. of the work on Greek Inscriptions in the British Museum, of which Part I. was published in 1874.The inscription which I have here selected for publication, and which was not taken away by me from Kalymnos, is one of a well-known class which relate to the enfranchisement of slaves, and of which many examples have been found at Delphi and elsewhere. The forms and conditions of such enfranchisement varied in different places (See M. Foucart's article, Apeleutheroi, in Daremberg, Dictionnaire des Antiquités, where the subject is very fully treated).

Some Inscriptions from Lepcis Magna

1951 ◽  
Vol 19 ◽  
pp. 118-121
Author(s):  
J. M. Reynolds
Keyword(s):  
British Museum ◽  
Latin Text ◽  
Public Building ◽  
The Face ◽  
The Temple

In 1816 the Bey of Tripoli presented to the Prince Regent a cargo of antiquities from Lepcis Magna. They were brought to England in 1817, and, after a sojourn in the courtyard of the British Museum, went to Virginia Water with material from other sources, to be disposed in a sham ruin. One inscribed stone was subsequently returned to the British Museum. Its findspot is certain, for it was seen c. 1806 at Lepcis Magna by J. D. Delaporte, among the remains of a building since identified as, possibly, the Temple of Jupiter Dolichenus.It is a block of the grey limestone typical of public building at Lepcis in the first and early second centuries A.D., part of an entablature, with mouldings above and below, a socket for a roofbeam at the back, and a monumental inscription on the face. Previous publications of the text are incomplete. There are two lines of Latin, followed by one in neo-Punic. The Latin text reads:… VESPASIAN]I F DOM[ITIAN… (erased)…] AVG SVFE[…

Sign in / Sign up

Export Citation Format

Share Document