Читать книгу History of Ancient Art - Franz von Reber - Страница 3

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EGYPT.
PAGE.
The Delta. The Oldest Monuments, if not the most Ancient Civilization of the World 1, 2
Changeless Continuity of Life and Art 2
ARCHITECTURE.
The Age, Purpose, and Architectural Significance of the Pyramids 3–5
The Pyramids of Gizeh 5–7
Variety of Pyramidal Forms 8, 9
The Pyramids of Saccara, Meydoun, Dashour, Abousere, and Illahoun 9–12
Table of Dimensions 12
The Younger Pyramids of Nubia. Truncated Pyramids 12
Rock-cut Tombs 13
Development of Column from Pier 14
The Tombs at Beni-hassan 14, 15
Development of the Lotos-column 16, 17
The Invasion of the Hycsos. Restriction of the Prismatic Shaft. Extended Application of the Floral Columnin the New Theban Empire 18, 19
The Calyx Capital 20, 21
Piers with Figures of Osiris and Typhon. Entablature 21
Cavern Sepulchres 22
Temple Plan, Obelisks 23
Peristyle Court 25
Hypostyle Hall 26, 27
The Dwellings of Kings and Priests 28
Peripteral Temples 29
Rock-cut Temples 30
The Monuments at Abou-Simbel 31, 32
Palatial and Domestic Architecture 33
Interiors 34
The Labyrinth 35
Unimportant Character of Secular Architecture 36
SCULPTURE.
Fundamental and Changeless Peculiarities 36
Conventional Types 37
The Formation of the Head 38
Head-dresses. Conjunction of Human Trunks and Animal Heads 39
The Body. Lack of Progressiveness and of History 40
Animal Forms 41
Materials 42
Reliefs 43
Coilanaglyphics 44
The Variety and Interest of the Subjects Illustrated 45
PAINTING.
Intimate Relation to Sculpture. Hieroglyphics 46
Painting as an Architectural Decoration. Retrospect 47
CHALDÆA, BABYLONIA, AND ASSYRIA.
The Traditional Age. The Land and People 48
Building Materials. Clay and Bitumen 49
Perishable Character of the Monuments. Hills of Rubbish Recognized as Cities 50
ARCHITECTURE.
Chaldæa.
The Ruins of Mugheir, or Ur 50
Warka and Abou-Sharein 51
The Principle of the Arch 52
Political History 53
Babylon.
The Fabulous Account of Herodotos 54
The Temple Pyramid at Borsippa 56
Palace Structures. The Hanging Gardens of Semiramis 57
Private Dwellings. Works of Engineering 58
Assyria.
Nineveh 59
The Discoveries of Layard and Botta 60
The Hills of Coyundjic and Nebbi-Jonas 61
Royal Dwellings 62
The Palace at Kisr-Sargon 63–65
Terrace Pyramids 66
Lighting and Roofing 66, 67
The Restriction of Columnar Architecture 68
The Forms of Small Columns 69–71
Vaulted Construction 71
The Pointed Arch 72
The General Appearance of the Palaces 73
Sacred Architecture 74
Terrace Pyramids 75
The Cella 76
The Dwellings of the Priests 77
Altars and Obelisks 78
Domestic Architecture 79, 80
SCULPTURE.
Little Represented in Chaldæa 81
Babylonian Seals and Gems 82
Enamelled Tiles 83
Statues 85
Conventional Types 85, 86
Cherubims 87
Mural Reliefs 87–89
Variance from Egyptian Sculpture 90
Historical Reliefs 91–93
Religious Representations 94
Formal Landscapes. Bronzes 95, 96
PAINTING.
Upon Tiles and Stucco 96
Colors 97
The General Appearance of Assyrian Architecture, as Decorated by Reliefs and Paintings 98
PERSIA.
Historical Considerations 99
The Artistic Poverty of the Medes. The Achæmenidæ. Their Chief Cities 100
ARCHITECTURE.
Persepolis 101, 102
The Characteristic Differences of Persian and Mesopotamian Building 102
The Introduction of Columns 103
Columnar Forms 103, 104
Capitals 105–107
The Entablature 108
Plan of the Palace of Darius 109–113
Its State of Preservation 110
Illumination 110, 111
Upper Stories 111–113
The Palace and Hall of Xerxes 114
The Propylæa 115
The Harem 116, 117
The Disposition of the Terrace 117
Fire Altars 118
Funeral Monuments 119–121
Tomb of Cyrus 119
Tombs of the Later Achæmenidæ 120
Tombs of Subjects 121
Domestic Architecture 121
SCULPTURE.
Its Dependence upon the Art of Assyria 121
Egyptian and Hellenic Influences 122
Mythological and Ceremonial Representations 123–125
The Sculptured Decoration of Palaces and Terraces 126, 127
Rarity of Historical Scenes 128
PAINTING.
Chiefly Ornamental 128
General Harmony of the Three Arts 129
PHŒNICIA, PALESTINE, AND ASIA MINOR.
Extensive Artistic Influence of Mesopotamia in Point of Distance as well as of Time 130
The Seleucidæ. The Sassanidæ 131, 132
Phœnicia.
Explorations in Recent Times 132, 133
The Chief Cities 133
ARCHITECTURE.
Ruins at Amrith 134, 135
The Monuments known as El-Meghazil 135–137
The Grotto Tombs of Central Phœnicia. Sarcophagi at Jebeil 137, 138
Domestic Architecture 138
SCULPTURE.
Work of Driven Metal (Sphyrelaton) 139
Bronzes 139, 140
Inlaid Work. Ivory Carvings. Glass 140
Influence of the Sphyrelaton upon Sculptural Style 141
Stone-cutting 142
The Decisive Influence of both Egypt and Mesopotamia 143
Palestine.
The Dependence of the Jews in Artistic respects upon Egypt 143
The Tabernacle 143–147
Its Disposition 144, 145
Its Columns. The Horns of the Altar. The Seven-armed Candlestick 145, 146
The Holy of Holies. Cherubim 146, 147
Solomon’s Temple 147–156
Untrustworthiness of Biblical Accounts 147
Construction of the Building. Its Site 148
The Brazen Laver 149
“Jachin and Boaz” 149–151
The Tower 151, 152
Interior. Upper Story 153, 154
Materials 154
Decoration. The Molten Sea. The Mercy-seat and Cherubim 155
The Destruction and Rebuilding of this Temple 156
Its Architectural Character 157
Rock-cut Tombs 157, 158
Cyprus and Carthage.
The Rock-cut Tombs at Paphos 160
The Temple of Aphrodite at Golgoi. Cesnola’s Discoveries 161, 162
The Ruins of Carthage 163
Malta, the Balearic Isles, Sardinia 163
Asia Minor.
An Independent Art Found only in Lycia, Phrygia, and Lydia 164
The Rock-cut Tombs of Lycia. The Timbered Dwelling Carved in Stone 165, 166
The Monument of the Harpies at Xanthos 167
Lycian Sarcophagi 168
Temple Façades Imitated upon Cliffs 169
The Rock-cut Tombs of Phrygia 171, 172
The Tumuli of Lydia 173, 174
HELLAS.
The Ægean Sea the Centre of Greek Civilization 175
The Dorians and the Ionians 176
The Development of Poetry Earlier than that of Art 177
ARCHITECTURE.
The Tholos of Atreus 179–183
The Phœnician Character of its Decoration 183
The Grave at Menidi 183
The Treasure-houses of the Pelopidæ 184
Tumuli 185
The Common Modes of Burial 186
Pyramids 186, 187
Primitive Fortifications. Tiryns 187
Mykenæ 188
Gateways and Portals 189–193
The Agora of Mykenæ 192
Primitive Temple Cellas without Columns 192, 193
The Structure upon Mt. Ocha. Timbered Roofs and Ceilings. The Origin of the Doric Entablature 195–197
The Decorative Painting of Woodwork 197
The Doric Column 197–199
Its Egyptian Prototype 198
The Development of the Temple-plan 199–202
The Temple in Antis 199
Prostylos 200
Amphiprostylos. Peripteros 201
Stone Construction 202
The Entasis 203
The Capital 204
The Inclination of the Columns 205
The Details of the Entablature 206–209
Polychromy 210
Curvatures 211, 212
The Pteroma and Ceiling 213
Illumination 214
Archaic Doric Temples 215
The Progress of this Style. Selinous 216
Corinth 217
Acragas 219
Olympia. Ægina 222
The Supremacy of Athens 223
The Theseion 224
The Parthenon 225
The Propylæa 226
Phigalia 227
Eleusis 228
The Ionic Style. Its Intimate Relation to Oriental Architecture 229, 230
The Capital 231–233
The Entablature 234
Its Want of Historical Development 235
Phigalia 236
The Ionic Monuments of Asia Minor 237–240
The Ionic Monuments of Attica 240–245
The Temple upon the Ilissos 241
The Propylæa 242
The Erechtheion 243–245
Caryatides 245
The Corinthian Capital 246–249
The Temple of Olympian Zeus in Athens 249
Monumental Tombs 250
The Mausoleum of Halicarnassos 251, 252
The Monument of the Nereides at Xanthos 252
The Choragic Monument of Lysicrates 253
The so-called Tower of the Winds at Athens 253
The Stoa 253–255
The Palæstra 255
The Gymnasion 256
The Stadion and Hippodrome 257
The Theatre and Odeion 258–260
Domestic Architecture. Palaces 260, 261
The Boundless Luxury of the Diadochi 261
SCULPTURE.
The Unrivalled Perfection of the Art. Its Fundamental Deviation from the Principles of Egyptian Sculpture 264, 265
Its Dependence upon Western Asia 266
Empaistic Work. Xoana 267
Dædalos 268
The Homeric Shield of Achilles. Its Workmanship and Artistic Importance 269–271
Pseudo-Hesiodic Shield of Heracles 272
The Gate of the Lions at Mykenæ 273, 274
Schliemann’s Excavations upon the Acropolis of Mykenæ 274, 275
The Chest of Kypselos. The Throne of Apollo at Amyclæ 276–278
The Introduction of Bronze Casting. Marble-cutting and Chryselephantine Work 278–281
The Potter Boutades 278
Glaucos. Rhoicos and Theodores 279
Boupalos and Athenis 280
Dipoinos and Skyllis 281, 282
The First Metopes at Selinous 283, 284
Archaic Statues at Miletos 285
Reliefs at Assos. The Apollo of Thera 286
The Stele of Aristion 287, 288
The Second Metopes at Selinous 290
Archaistic Works 291, 292
The Gable Sculptures of the Temple of Ægina 293–296
The School of Ægina: Callon and Onatas 296, 297
The School of Attica: Hegias, Critios, and Nesiotes 297
Canachos 298
Agelades 299
Calamis 300
Pythagoras 301
Myron 302, 303
The Progress of Athens after the Persian Wars 303
Pheidias 304–315
The Athene Parthenos 310–313
The Panathenaic Frieze 313–315
The Metopes 316
The Scholars of Pheidias. Agoracritos 316, 317
The Gable Sculptures of the Temple of Olympia 317, 318
The Victory of Paionios 319
The Scholars of Myron 320
The Phigalian Frieze 321
Callimachos and Demetrios 322
Polycleitos 322–326
The Third Metopes at Selinous 327, 328
The Extent of the School of Attica and Argos. Kephisodotos 329
Scopas 330–333
The Niobids 331, 332
Praxiteles 333
The Scholars of Scopas and Praxiteles. The Sculptures of the Mausoleum of Halicarnassos 334
The Hermes of Olympia 335, 336
The Venus of Melos 338, 339
Silanion and Euphranor 340
Lysippos 340–344
The School of Lysippos 344, 345
The Sculpture of the Hellenistic Period 346, 347
The Altar at Pergamon 347, 348
The so-called Dying Gladiator 348, 349
The School of Pergamon 349, 350
The School of Rhodes. The Laocoon 351–353
The Farnese Bull 353–355
The Apollo Belvedere 356–358
The Introduction of Greek Sculpture into Rome 358–360
The Borghese Gladiator 361
The Belvedere Torso 362
The Hellenic Renaissance in Rome 363–366
PAINTING.
Lack of all Remains 366
Its Early Development Fictitiously Related by Pliny. Eumaros. Kimon 367
Polygnotos 368, 369
The Scenography of Agatharchos. Of Apollodoros 370
Zeuxis 371, 372
Parrhasios 373, 374
Timanthes 374
The School of Sikyon: Eupompos, Pamphilos 375
Melanthios. Pausias 376
The School of Thebes and Athens: Nicomachos, Aristides, Euphranor 377, 378
Nikias 378
Apelles 379–382
Protogenes 383
Antiphilos. Ætion. Asclepiodoros. Theon 384
Hellenistic Painting. Timomachos 385
Trivial and Obscene Subjects. Mosaic. Sosos 386
ETRURIA.
Relationship to the Arts of Greece 387
ARCHITECTURE.
The so-called Cyclopean Walls. Arched Gates 388
Vaulted Canals 389
Cemeteries. Tumuli. The Tomb of Porsena 390
Imitations of Dwellings upon Tombs 391, 392
Grotto Sepulchres 392
Imitations of Temple Façades upon Cliffs 393, 394
Norchia 394, 395
The Etruscan Temple 396, 397
The Dwelling-house 397
Its Court 398, 399
Lack of Progressive Architectural History 399, 400
SCULPTURE.
Museums. The Oldest or Decorative Period. Phœnician Importations 400
The Influence of Western Asia Superseded by that of Greece 401, 402
The Sarcophagus of Cære 402
Realism. Sculpture in Marble 403
The Bronze Chariot from Perugia 404
The Capitoline Wolf. Engraved Mirrors 405
Height of Etruscan Art. Hellenistic Influences 406
Sculptured Sarcophagi 406, 407
Terra-cottas and Bronzes 408
The Similarity of late Etruscan to Roman Sculpture 408, 409
PAINTING.
Its Development Similar to that of Sculpture. The Ornamental and Dependent Period 409
Realistic Characteristics 409, 410
The Wall-paintings of Cære and Corneto 409, 410
History of Ancient Art

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