The Sculpture of the Hellenistic Age

Bieber, Margarete

doi:10.7312/bieb94154

Cited by 65 publications

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“…The idea of a pedimental reconstruction for the Niobe group is no longer generally accepted as plausible. 45 Moreover, Cockerell's choice of the particular statues for it included three figures now known to be unrelated to the group and two more which are not thought to represent originals. 46 At the time, however, his publication was regarded as a brilliant solution.…”

Section: Srandaalsift • ? --• / > > -^-< « • • R a T • • * -mentioning

confidence: 99%

British Architects, Italian Fine Arts Academies and the Foundation of the RIBA, 1816-43

Salmon¹

1996

Architectural History

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JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. SAHGB Publications Limited is collaborating with JSTOR to digitize, preserve and extend access to Architectural History. http://www.jstor.org This content downloaded from 62.122.79.46 on Tue, 10 Jun 2014 12:23:07 PM All use subject to JSTOR Terms and Conditions British Architects, Italian Fine Arts Academies and the Foundation of the RIBA, 1816-43 by FRANK SALMON To commemorate the bicentenary of the birth of Thomas Leverton Donaldson (1795-1885), 'Father of the Institute' INTRODUCTION With the foundation of the Royal Academy in London in 1768 British artists went some way towards providing themselves with the sort of institutional basis for education and management in their professions which many of their European peers had long since enjoyed. From the outset, however, architects were poorly represented among the Royal Academicians, and it soon became apparent that the specific requirements which architects had of a professional institution were fundamentally different from those of painters and sculptors.1 This realization lay behind the sequential appearance between 1791 and 1834 of at least eleven separate architectural organizations in London, beginning with the Architects' Club and culminating in the foundation of the Institute of British Architects (officially the Royal Institute of British Architects since i866).2 A striking feature of several of these organizations was the reference they made to the foreign fine arts academies with which some of the architects involved had been connected during their educational travels abroad. Thus, for example, nobody was eligible for election to the Architects' Club in the I790s 'unless he be an Academician or Associate of the Royal Academy in London, or has received the Academy's gold medal for Composition in Architecture, or be a member of the Academies of Rome, Parma, Bologna, Florence, or Paris'.3 The fact that four of the five foreign academies listed here were Italian reflects the pre-eminence of Italy as the principal location for British architectural study abroad in the later eighteenth century. During the period of the Napoleonic Wars, when this pattern of travel was seriously interrupted, moves towards a British architectural institution nevertheless continued to be influenced by those with experience of Italian academies. Among the individuals endeavouring to found a Royal Academy of Architecture in I8IO, for 6 This content downloaded from 62.122.79.46 on Tue, 10 Jun 2014 12:23:07 PM All use subject to JSTOR Terms and Conditions ARCHITECTURAL HISTORY 39: I996 example, were Joseph Michael Gandy and Charles Heathcote Tatham, who had been variously involved with the academies of Rome and Bologna during the mid-I79os.4 After 1...

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Section: Srandaalsift • ? --• / > > -^-< « • • R a T • • * -mentioning

confidence: 99%

British Architects, Italian Fine Arts Academies and the Foundation of the RIBA, 1816-43

Salmon¹

1996

Architectural History

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“…20 A Hellenistic marble statue in the British Museum depicts the same theme, and terracottas from Priene in Asia Minor represent cruder, sometimes negroid, figures in the same position. 21 The Arrington 'thorn-puller' probably belongs to the group of spinarii made in the Gaulish pipe-clay factories. They occur, for instance, at Toulon-sur-Allier and Clermont-Ferrand.…”

Section: (Iii) Long-haired Child (Fig 3 Iii)mentioning

confidence: 99%

A Roman Lead Coffin with Pipeclay Figurines from Arrington, Cambridgeshire

Taylor

1993

Britannia

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By ALISON TAYLOR I n November 1990 a new sewage pipe was being laid at Wraggs Farm, Arrington, when a JCB bucket struck the coffin (FIG. I). The Archaeology Section of Cambridgeshire County Council was alerted immediately and, after a visit to the site to assess the problem, the burial was excavated on the following day under the difficult conditions imposed by a deep narrow construction trench (PL. VII). Excavation was made more awkward by the need to remove heavy lead in reasonable condition from very sticky and intransigent clay in a confined space. Surviving bones were extremely fragile and fragmentary, which also posed problems. Figurine fragments had already been collected by workmen and soil containing them had been removed, so no more could be found. THE EXCAVATION Setting The burial was located in a pasture field containing medieval settlement earthworks, 38 m west of the A1198, which overlies or follows closely the route of Roman Ermine Street (TL 32695049). Two kilometres south of the burial lies the Roman posting-station of Arrington Bridge and an adjacent settlement at Wimpole, excavated by Cambridgeshire County Council in 1988. 1 Close by is the junction of a Roman road leading northeast to Cambridge and a likely, but unverified, Roman road leading southwest to Sandy, both of these being Roman towns. The underlying geology is gault clay, though it is very close to Lower Chalk, noticeable as flecks of chalk in the gault. The nearest river is the Cam, two kilometres to the south. It is a small stream at this point and is unlikely to have been navigable. Lead was, therefore, transported to the site by road rather than water. Description The coffin was laid due west-east and buried 2.50 m deep (measured at the base of the coffin). There was no sign of a grave cut, although the sewer trench gave a clean, straight section where such a cut could have been visible. No other structures or features were found either during this excavation or the rest of the trench construction. Substantial, but very soft, rotted wood survived on the outside and underside of the coffin and there were slight traces on the lid in spite of displacement by a JCB bucket. The wood has been identified as oak. 2 1 G. Wait, Archaeological Assessment at the Junction of the A14/A604 Codmanchester, Combs. (1990). 2 Peter Murphy, pers. comm.

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“…11 These long tasselled ribbons are among the most familiar symbols of victory and appear frequently on vases that show Nike figures binding them on the heads of victors in various competitive endeavours, whether athletic or in one of the categories of mousikê. 11 The significance of this detail was emphasized by Hauser (1889) Bieber (1961) 154. 12 Aristophanes demonstrates that this gesture applied equally to dramatic victory when the chorus of initiates in Frogs prays that they themselves may gain a victory and have their heads bound with tainiai: nikAEsanta tainioËsyai.…”

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Celebrating poetic victory: representations of epinikia in Classical Athens

Biles

2007

J. Hell. Stud.

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Although we are fairly well informed about the general organization and important events of the dramatic competitions in Athens, there remain significant gaps in our knowledge on many points of detail. In no place is this more true than with regard to the epinikian celebration honouring members of the victorious performance, about which scarcely any unambiguous testimony has come down to us. This study aims to provide new insights into the problem by demonstrating a connection between the iconography preserved in several sculpted reliefs of the Roman period commonly referred to as Dionysos' visit to Ikarios and the representation of a celebration for poetic victory in Plato's Symposium. Central to the combined testimony of these sources is the ideal of Dionysos' epiphany to the poet in order to acknowledge and honour his victory in person. So identified as an element of victory celebration, related articulations of this imagined moment can then be detected in several additional representations on vases and in Aristophanic comedy, in both of which other independent elements likewise suggest the activation of an epinikian syntax. Practical matters about the celebration still elude us; what we gain, however, is a clearer sense of the religious ideals that were conveyed through these celebrations in connection with the worship of Dionysos, which formed a nucleus for the dramatic festivals.1 Above all, doubt exists over the relationship between the chorus of Acharnian men and this earlier chorus. Dover (1987) 303 suggests that they speak as the generic chorus of comedy. 2 Wilson (2000) 102-3. 3 Dover (1965) dates the dialogue to the period 384-379.

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The Sculpture of the Hellenistic Age

Cited by 65 publications

References 0 publications

British Architects, Italian Fine Arts Academies and the Foundation of the RIBA, 1816-43

British Architects, Italian Fine Arts Academies and the Foundation of the RIBA, 1816-43

A Roman Lead Coffin with Pipeclay Figurines from Arrington, Cambridgeshire

Celebrating poetic victory: representations of epinikia in Classical Athens

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