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 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.

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.

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.

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.

Hector and Andromache on a Red-Figured Vase

1888 ◽  
Vol 9 ◽  
pp. 11-17
Author(s):  
Percy Gardner
Keyword(s):  
British Museum ◽  
The Other ◽  
Left Hand ◽  
Right Hand ◽  
The Subject ◽  
The Right

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.

Editorial Note

1946 ◽  
Vol 11 (1) ◽  
pp. 2-2
Keyword(s):  
Editorial Note ◽  
Speech Sounds ◽  
Left Hand ◽  
Hand Column ◽  
Right Hand ◽  
Infant Speech ◽  
The Right

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.

Eosinophilic vasculitis: an inhabitual and resistant manifestation of a vasculitis

VASA ◽  
2010 ◽  
Vol 39 (4) ◽  
pp. 344-348 ◽  
Author(s):  
Jandus ◽  
Bianda ◽  
Alerci ◽  
Gallino ◽  
Marone
Keyword(s):  
Skin Biopsy ◽  
Intravenous Iron ◽  
Small Vessel Vasculitis ◽  
High Dose ◽  
Raynaud Phenomenon ◽  
The Third ◽  
Left Elbow ◽  
Right Hand ◽  
The Right ◽  
Trunk Skin

A 55-year-old woman was referred because of diffuse pruritic erythematous lesions and an ischemic process of the third finger of her right hand. She was known to have anaemia secondary to hypermenorrhea. She presented six months before admission with a cutaneous infiltration on the left cubital cavity after a paravenous leakage of intravenous iron substitution. She then reported a progressive pruritic erythematous swelling of her left arm and lower extremities and trunk. Skin biopsy of a lesion on the right leg revealed a fibrillar, small-vessel vasculitis containing many eosinophils.Two months later she reported Raynaud symptoms in both hands, with a persistent violaceous coloration of the skin and cold sensation of her third digit of the right hand. A round 1.5 cm well-delimited swelling on the medial site of the left elbow was noted. The third digit of her right hand was cold and of violet colour. Eosinophilia (19 % of total leucocytes) was present. Doppler-duplex arterial examination of the upper extremities showed an occlusion of the cubital artery down to the palmar arcade on the right arm. Selective angiography of the right subclavian and brachial arteries showed diffuse alteration of the blood flow in the cubital artery and hand, with fine collateral circulation in the carpal region. Neither secondary causes of hypereosinophilia nor a myeloproliferative process was found. Considering the skin biopsy results and having excluded other causes of eosinophilia, we assumed the diagnosis of an eosinophilic vasculitis. Treatment with tacrolimus and high dose steroids was started, the latter tapered within 12 months and then stopped, but a dramatic flare-up of the vasculitis with Raynaud phenomenon occurred. A new immunosupressive approach with steroids and methotrexate was then introduced. This case of aggressive eosinophilic vasculitis is difficult to classify into the usual forms of vasculitis and constitutes a therapeutic challenge given the resistance to current immunosuppressive regimens.

Detection of Sarcoidosis Based on Subcutaneous Nodules in the Dorsum of the Right Hand

2014 ◽  
Vol 76 (1) ◽  
pp. 14-17
Author(s):  
Yoshiyuki KUWAE ◽  
Kunitaka HARUNA ◽  
Yasushi SUGA
Keyword(s):  
Subcutaneous Nodules ◽  
Right Hand ◽  
The Right
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