History of ancient pottery, Band 11858 |
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Achilles amphora ancient Aphrodite Apollo appears Aryballos Assyrian Athens Babylonia baked bas-relief Basilicata beads blue body bricks British Museum Brongniart Bull chariot Chimæra clay coffins colour covered cups cylinders D'Hancarville decorations deities Descr Dionysos discovered dynasty Egypt Egyptian emblems Ericthonius female figures flowers formed François Vase friezes Gerhard glaze Greece Greek handles head Heracles Hercules Hermes hieroglyphics holding hydria Ibid imitations inscribed inscriptions Jahn jugs king Kouyunjik later style later vases Layard modelled moulded mummy neck Nimrúd Nostoi nymphs objects Olympiad ornaments Osiris painted pale Peleus period pithoi porcelain pottery Prisse probably represented resembling rhyta Roman Rosellini round scenes seen sepulchres shape Sileni sometimes specimens stamped subjects sun-dried supposed temple terra-cotta tiles tombs unglazed viii Volc Vulci ware Warka wine xliv xlix xviii xxiv xxix xxxv xxxviii yellow Zeus
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Seite 210 - All these were discovered in the sepulchres of the ancients, but the circumstances under which they were found differ according to locality. In Greece, the graves are generally small, being designed for single corpses, which accounts for the comparatively small size of the vases discovered in that country. At Athens, the earlier graves are sunk deepest in the soil, and those at Corinth, especially such as contain the early Corinthian vases, are found by boring to a depth of several feet beneath the...
Seite 282 - The limbs are fuller and thicker, the faces noble, the hair of the head and beard treated with greater breadth and mass, as in the style of the painter Zeuxis, who gave more flesh to his figures, in order to make them appear of greater breadth and more grandiose, adopting the ideas of Homer, who represents even his females of large proportions.
Seite 282 - The ornaments are in white, and so are the letters. The figures have lost that hardness which at first characterised them ; the eyes are no longer represented oblique and in profile ; the extremities are finished with greater care, the chin and nose are more rounded, and have lost the extreme elongation of the earlier...
Seite 5 - The application of clay to the making of vases probably soon caused the invention of the potter's-wheel, before which period only vessels fashioned by the hand, and of rude unsymmetrical shape, could have been made. But the application of a circular lathe, laid horizontally and revolving on a central pivot, on which the clay was placed, and to which it adhered, was in its day a truly wonderful advance in the art. As the wheel spun round, all combinations of oval, spherical, and cylindrical forms...
Seite 369 - At this period there were no European troops in New Spain; and though at a later date Spanish forces were sent into the country, their number was always greatly exceeded by that of the native regiments. Thus the combatants on either side were sons of the soil; and it is necessary to bear this in mind in order to appreciate the critical position in which the viceroy found himself at the outbreak of the rebellion, as well as the political division which existed in the ranks of the oppressed portion...
Seite 4 - The materials used for writing on have varied in different ages and nations. Among the Egyptians slices of limestone, leather, linen, and papyrus, especially the last, were universally employed. The Greeks used bronze and stone for public monuments, wax for memorandums, and papyrus for the ordinary transactions of life. The kings of Pergamus adopted parchment, and the other nations of the ancient world chiefly depended on a supply of the paper of Egypt. But the Assyrians and Babylonians employed...
Seite 283 - ... disproportionate shape of the limbs disappears, and the countenance assumes its natural form and expression. The folds of the drapery, too, are freer, and the attitudes have lost their ancient rigidity. It is the outgrowth of the life and freedom of an ideal proportion, united with cai eful composition.
Seite 66 - Pottery," chap, ii, he describes the Egyptian wares, some of which are called porcelain, though they are not what we now understand as porcelain, upon which this vitreous glaze was put. Of this porcelain body he says, " It is of a white or grey " colour, and of a sandy, friable texture, the particles of which " it is composed being hard, but having little or no cohesion " . . . . this paste or body, which was the core of the " glaze, could have very little plasticity, presenting a gritty, " sandy...
Seite 241 - ... the painter. It was necessary for the artist to finish his sketch with great rapidity, since the clay rapidly absorbed the colouring matter, and the outline was required to be bold and continuous, each time that it was joined detracting from its merit. A finely-ground slip was next laid upon a brush, and the figures and ornaments were painted in. The whole was then covered with a very fine siliceous glaze, probably formed of soda and welllevigated sand. The vase was next sent to the furnace,...
Seite 295 - Comedy, tire found at the commencement of the decadence; but, as it proceeded, the choice of subjects became restricted to a few, although some, consisting of allegorical representations, were suggested by the philosophical writers, and by the decay of religious feeling. A group, often repeated, is that of a female seated upon a rock, holding a basket, fillet, and bunch of grapes, and approached by a flying figure of Eros, holding similar objects. In other instances, females are represented at musical...