By Johann Joachim Winckelmann
These finely engraved illustrations of figures from historical faith and mythology provide a compelling learn, relatively within the mild of the main points imparted through the German scholar’s observation. as well as reproductions of the entire photos from the unique quantity, this variation comprises newly translated textual content and captions and an advent that relates interesting info about the author's existence. this can be the 1st English-language model of Winckelmann's vintage, featuring not just a landscape of eye-catching attractions from classical civilizations but additionally an immense contribution to the literature of artwork history.
Read or Download Winckelmann's Images from the Ancient World: Greek, Roman, Etruscan and Egyptian (Dover Fine Art, History of Art) PDF
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Additional info for Winckelmann's Images from the Ancient World: Greek, Roman, Etruscan and Egyptian (Dover Fine Art, History of Art)
Eleven in addition (not counting mere snippets of data, comparable to filling in gaps within the narration of myths) major square-bracket additions, in regards to the 1767 vendors or different elements of artwork historical past, were made in a minimum of 29 different goods within the statement. (It’s very unlikely, given the parameters of this version, to supply a extra systematic presentation of mythology, political historical past, and paintings background in precedent days, not to mention the historical past of the trendy rediscovery of the traditional cultures. ) remark at the ENGRAVINGS The unbracketed fabric is a condensation, in a pretty uniform trend, of the data scattered via Winckelmann’s often long and discursive textual content; the identifications and conjectures therein are his. the cloth inside of sq. brackets has been newly supplied via the editor of this Dover quantity, utilising quite a few trustworthy sleek reference works. An test has been made, during this new fabric, to spot person vendors pointed out via Winckelmann, yet in most cases no longer museums or different associations, palaces, or villas. The reader is anticipated to have or receive at the least a rudimentary wisdom of old mythology and historical past. 1: A paste (glass-paste imitation of a gemstone, for slenderer handbags) from the Stosch assortment [Florence, then Berlin; see part “Winckelmann’s existence and Work”]: a clothed, winged Jupiter [Zeus]12 along with his liked Semele (soon to be the mum of Bacchus) and the thunderbolts that might damage her once they copulate. 2: Gem from the Stosch assortment: a nude, winged Jupiter with Semele. three: Chalcedony scarab13 within the choice of Christian Dehn, Rome: Neptune [Poseidon] with thunderbolts, trident, and chariot. [Dehn, ca. 1697–1770, used to be a former retainer of Stosch’s who dealt in prints of Stosch’s gem stones. ] four: A paste from the Stosch assortment: Mars [Ares] hurling a thunderbolt at a Titan (or gigantic) in the course of the conflict among the gods and people earthborn creatures. five: Marble wellhead within the Museo Capitolino, Rome (being used as a base for a marble urn); Etruscan (? ): twelve significant gods—TOP, LEFT TO correct, Juno [Hera], Jupiter, Vulcan [Hephaestus], Neptune, Mercury [Hermes], Ceres [Demeter] or Vesta [Hestia]; backside, Venus [Aphrodite], Mars, Diana [Artemis], Apollo, Hercules [Herakles], Pallas [Athena; Minerva]; present in a winery open air the Porta del Popolo and given to Cardinal Albani by means of the Grand Duke of Tuscany, who owned the winery. [In all chance, this is often the Neo-Attic14 puteal (wellhead) within the Musei Capitolini depicting twelve archaizing Olympians in converging processions; particular mythological occasions were advised, yet this is often most likely only one of the never-ending lineups to be present in Neo-Attic reliefs (many extra during this volume); wells may be sacral areas, just like the enclosures of temple precincts. ] 6: Altar within the Villa Albani, Rome: a number of gods—Mercury, Bacchus [Dionysus],Venus, Neptune, Proserpina [Persephone], Jupiter, Vesta(? ), and Diana. [Probably Neo-Attic. ] 7: Bas-relief within the Villa Albani: Bacchus’s genius, or attendant spirit (or else his “favorite,” Ampelus, son of Silenus), proven as a satyr with the bacchanalian attributes panther and thyrsus (a reed crowned with an ivy-leaf cluster).