- Sistra
A framework with loose metal bars inserted, sometimes with metal rings added, shaken by the hand. - Sistrum
- sixth to fifth centuries B.C.
Persian Costume of 6th to 5th Century BC - Snake Goddess and Votary
The snake goddess and her votary from Knossos have, in addition, a kind of apron reaching almost to the knees in front and behind, and rising to the hips at the sides. The costume is completed by the addition of a high hat or turban. Looking at the snake goddess more in detail, we find that the jacket is cut away into a V-shape from the neck to the waist, leaving both the breasts quite bare; the two edges are laced across below the breast, the laces being fastened in a series of bows. The jacket is covered with an elaborate volute pattern, the apron with spots and bordered with a “guilloche.” - Solon, the wise lawgiver of Athens
Solon, the wise lawgiver of Athens, was a descendant of King Codrus. His father had given away most of his wealth to help his city or his countrymen, so Solon became a merchant, as the sons of noblemen often did in these days of long ago. To increase his business, Solon journeyed through many of the states of Greece as well as to Asia. Wherever he went he studied the laws and manners of the people, just as Lycurgus the lawgiver of Sparta had done. Solon was not only a merchant, he was also a poet, and because he was both wise and learned he was counted one of the seven sages of Greece. When Solon returned from one of his journeys about 593 b.c., he was made an archon and asked to reform the laws. - Statue of Nebo
- Statue of Rânofir
- Statuette in wood
- Statuette in wood 2
- Stone lion at the entrance to a temple
- Street Musicians
- Sumerian Warriors in Phalanx
Perhaps the earliest people to form real cities in this part of the world, or indeed in any part of the world, were a people of mysterious origin called the Sumerians. They were neither Semites nor Aryans, and whence they came we do not know. Whether they were dark whites of Iberian or Dravidian affinities is less certainly to be denied.[103] They used a kind of writing which they scratched upon clay, and their language has been deciphered. - Sweet, piercing sweet was the music of Pan’s pipe
The great god Pan, protector of the shepherds and their flocks, was half man, half goat. Every one loved this strange god, who yet ofttimes startled mortals by his wild and wilful ways. When to-day a sudden, needless fear overtakes a crowd, and we say a panic has fallen upon it, we are using a word which we learned from the name of this old pagan god. Down by the streams the great god Pan was sometimes seen to wander— ‘What was he doing, the great god Pan, Down in the reeds by the river? Spreading ruin and scattering ban, Splashing and paddling with hoofs of a goat, And breaking the golden lilies afloat, With the dragon-fly on the river. ‘He tore out a reed, the great god Pan, From the deep cool bank of the river,’ and then sitting down he ‘hacked and hewed, as a great god can,’ at the slender reed. He made it hollow, and notched out holes, and lo! there was a flute ready for his use. Sweet, piercing sweet was the music of Pan’s pipe as the god placed his mouth upon the holes. - Tablet at Sneferu at Wady-Magharah
The first living, breathing, acting, flesh-and-blood personage, whom so-called histories of Egypt present to us, is a certain Sneferu, or Seneferu, whom the Egyptians seem to have regarded as the first monarch of their fourth dynasty. Sneferu—called by Manetho, we know not why, Soris—has left us a representation of himself, and an inscription. On the rocks of Wady Magharah, in the Sinaitic peninsula, may be seen to this day an incised tablet representing the monarch in the act of smiting an enemy, whom he holds by the hair of his head, with a mace. The action is apparently emblematic, for at the side we see the words Ta satu, "Smiter of the nations;" and it is a fair explanation of the tablet, that its intention was to signify that the Pharaoh in question had reduced to subjection the tribes which in his time inhabited the Sinaitic regions. - Temple of Êa at Eridhu
- Temple ruins in Paestum
- The African elephant (Elephas Africanus) with rider mounted on its back
The African elephant (Elephas Africanus) with rider mounted on its back. The drawing is an enlarged representation of an ancient Carthaginian coin. - The Age of Pericles and down to the year 338 B
The Age of Pericles and down to the year 338 B - The Art of Akhnaton compared with Archaic Art
1. The head of Akhnaton. From a contemporary drawing. 2. The head of a king. From an archaic statuette found by Professor Petrie at Abydos. 3. The head of Akhnaton. From a contemporary drawing. 4. The head of a prince. From an archaic tablet found by Professor Petrie at Abydos. 5. An archaic statuette found by Professor Petrie at Diospolis, showing the large thighs found in the art of Akhnaton. - The Artist Auta
There are only two artists of the period who are known by name. The one was a certain Auta, who is represented in a relief dating from some eight years after the change in the art had taken place. It is a significant fact that this personage held the post of master-artist to Queen Tiy; and it is possible that in him and his patron we have the originators of the movement. The king, however, was now old enough to take an active interest in such matters; and the other artist who is known by name, a certain Bek, definitely states that the king himself taught him. Thus there is reason to suppose that the young Pharaoh’s own hand is to be traced in the new canons, although they were instituted when he was but fifteen years old - The Babylonian Cylinder
The Babylonian Cylinder - The bark of the sun
To the Egyptians there was no god of higher than the sun god, who was regarded as the sole creator, and ruler of the world; from the bark in which he traversed the heavens, the great god, the gor of heaven governed all things, and who-soeve in daily life merely speaks of the god, he will think of him. - The Chiton
The early chiton. At the beginning of the sixth century B.C. men followed the example of the women by adopting the Ionic chiton for general use. The masculine variety was a shortened version of the original worn by the women, and reached to just above the knees. In its early stage (sixth century B.C.) it was no more than a rectangular piece of linen, or wool, folded round the body and fastened on each shoulder by buttons or brooches, and round the waist by a girdle; or it could be girded under the arms. It was worn open down one side, and these two edges were usually finished off with a fringe, probably the raw edges left in the weaving. - The Chlamys and Petasos
The Chlamys and Petasos - The Colossus of Ramses II emerging from the earth
- The Creation
The god Nu rising out of the primeval water and bearing in his hands the boat of Rā, the Sun-god, who is accompanied by a number of deities. In the upper portion of the scene is the region of the underworld which is enclosed by the body of Osiris, on whose head stands the goddess Nut with arms stretched out to receive the disk of the sun. - The Crinkled Chiton and the Clamys (left) and the Chiton (right)
The later chiton. Approximately at the beginning of the fifth century B.C., the chiton was made on the same principle as the women's Ionic chiton using wider material; and was bound or worked at the top edge, with the portion covering the upper arms slightly gathered. This part was buttoned or clasped back to front, and. later on sometimes sewn together, to form a sleeve. It was girded at the waist and under the arms. It eventually became customary to sew up the open side, thus making the garment a cylinder in shape. The figure on left is a young man wearing a crinkled chiton under the chlamys. His long hair is twisted up and banded. He carries his petasos in his hand. The figure on right represents a young man dressed in accordance with the fashion of the fifth century B.C., but his hair is of the sixth and fifth centuries. The lyre is a development of the more primitive instrument of an earlier Age. - The Crinkled Ionic Chiton
The top part. The crinkled Ionic chiton was shaped like the original garment, but made of even thinner material, almost transparent, for the limbs could be seen through it. It was necessarily thinner, as more material was required in its width. It is seen on statues, the top part being crinkled in some way, in zig-zag or wavy lines, to about the hip level, where it is turned under and secured by an invisible waist-belt. It was fastened by buttons or clasps, or sewn as described earlier, to form sleeves. The skirt part was not crinkled, but, being very full, it hung in many flat folds, which gave a zig-zag effect at the bottom edge. - The Doric Chiton
The Doric Chiton, 550 B.C. {circa)-A.D. 100 About the same time, or shortly after the introduction of the Ionic chiton, a variation of the peplos was adapted under the name of the Doric chiton. It was worn simultaneously with the Ionic chiton, even to the end of the first century A.D., as may be seen on many vase paintings and pieces of sculpture. It was made of fine woollen material and woven complete in itself - The Doric Himation
The Doric Himation - The Elysian Fields of the Egyptians according to the Papyrus of Ani (XVIIIth dynasty)
The Elysian Fields of the Egyptians according to the Papyrus of Ani (XVIIIth dynasty) - The Elysian Fields of the Egyptians according to the Papyrus of Nebseni (XVIIIth dynasty)
The Elysian Fields of the Egyptians according to the Papyrus of Nebseni (XVIIIth dynasty) - The figure of the goddess was a colossal one
The figure of the goddess [Athene], fashioned by the magic hands of the sculptor Pheidias, was a colossal one. Calm, majestic, with a smile upon her face, she stood in her wondrous temple, clad in a robe of gold. On her head she wore a helmet, in her right hand she held fast a little golden figure of the goddess of victory, while her left lay upon her shield. At her feet a snake lay coiled. - The Forum Triangulare, with Adjacent Buildings
A. Portico at the Entrance of the Forum Triangulare. B. Forum Triangulare. 1, 1. Colonnade. 2. Promenade. 3. Doric temple. 4. Semicircular bench, with sundial. 5. Sepulchral enclosure. 6. Altars. 7. Well house. 8. Pedestal of the statue of Marcellus. C. Open-air Gymnasium—Palaestra. 1. Colonnade. 2. Pedestal with steps behind it. 3, 3. Dressing rooms. D. Tank for Saffron Water. E. Large Theatre. 1. Dressing room. 2. Stage. 3. Orchestra. 4. Ima cavea. 5. Media cavea. 6. Summa cavea, over a corridor. 7, 7. Tribunals. F. Small Theatre. 1. Dressing room. 2. Stage. 3, 3. Tribunalia. G. Theatre Colonnade, used as Barracks for Gladiators. 1. Passage leading from Stabian Street. 2. Entrance. 3. Doorkeeper's room. 4. Passage to the Large Theatre, walled up. 5. Stairway leading down from the Forum Triangulare. 6. Athletes' waiting room—Exedra. 7. Room with remains of weapons and cloth. 8. Guard room. 9. Stairs leading to overseer's rooms. 10. Kitchen. 11. Mess room. H. Temple of Zeus Milichius. 1. Colonnade. 2. Altar. 3. Cella. 4. Sacristan's room. I. Temple of Isis. 1. Colonnade. 2. Cella. 3. Shrine of Harpocrates. 4. Purgatorium. 5. Hall of initiation. 6. Hall of the Mysteries. 7. Priest's residence. K. City Wall. L. Foundations of Steps. - The Forum with the Adjoining Buildings
A. The Forum. 1. Pedestal of the statue of Augustus. 2. Pedestal of the statue of Claudius. 3. Pedestal of the statue of Agrippina. 4. Pedestal of the statue of Nero. 5. Pedestal of the statue of Caligula. 6. Pedestals of equestrian statues. 7. Pedestals of standing figures. 8. Pedestal for three equestrian statues. 9. Speaker's platform 10. Table of standard measures 11. Room of the supervisor of measures. B. The Basilica. a. Entrance court. 1. Corridor. 2. Main room. 3. Tribunal. 4-4. Rooms at the ends of the tribunal. C. The Temple of Apollo. 1. Colonnade. 2. Podium. 3. Cella. 4. Altar. 5. Sundial. 6. Sacristan's room. 7-7. Rooms made from earlier colonnade. D. D'. Market Buildings. E. Latrina. F. F. City Treasury. G. Commemorative Arch. H. Temple of Jupiter. I. Arch of Tiberius. K. The Provision Market—Macellum. 1. Portico. 2. Colonnade. 3-3. Market stalls. 4. Market for meat and fish. 5. Chapel of the imperial family. 6. Banquet room. 7. Round structure with water basin—Tholus. 8. Pen. L. Sanctuary of the City Lares. 1. Main room, unroofed, with an altar in the centre. 2. Apse, with shrine. 3. Recesses with pedestals. 4. Niche opening on the Forum. M. Temple of Vespasian. 1. Colonnade. 2. Altar. 3. Cella. 4. Portico. N. The Building of Eumachia. O. The Voting Place—Comitium. 1. Recess opening on the main room. 2. Recess opening on the Forum. P-R. Municipal Buildings. P. Office of the duumvirs. Q. Hall of the city council. R. Office of the aediles. S. Fountain. - The Gěrănŏs from a vase in the Museo Borbonico, Naples
Grown up men and women did not dance together, but the youth of both sexes joined in the Hormŏs or chain dance and the Gěrănŏs, or crane. The Gěrănŏs, originally from Delos, is said to have been originated by Theseus in memory of his escape from the labyrinth of Crete It was a hand-in-hand dance alternately of males and females. The dance was led by the representative of Theseus playing the lyre. - The God Amsu
- The God Osiris
The God Osiris - The Goddess Apit
- The hieroglyphics describe the dance
A favourite figure dance was universally adopted throughout the country, in which two partners, who were usually men, advanced toward each other, or stood face to face upon one leg, and having performed a series of movements, retired again in opposite directions, continuing to hold by one hand and concluding by turning each other round. - The Himation, 600-146 B.C.
The Himation was not exclusively a feminine garment; it was also worn by men. It was an oblong piece of material, woven with a border, and in dimensions approximately eighteen feet by six feet. During the sixth century of the Classic Period, it was often the sole garment worn. How to wear it. It was draped over the left arm, with one end hanging in front, the rest of the material being drawn across the back, round the body on the right side, and over the left shoulder again. As civilisation progressed, it was deemed necessary by ordinary men to add an under-garment—either the chiton or the kolobus. - The Himtation. A garment worn in Greece and Rome between 550 B.C. and 300 A.D.
From this time onward another garment, distinct in itself, came into general use, and remained until the end of the Classic Greek Period. This was the himation, an essential part of a Greek woman's costume, and indispensable with the Ionic chiton. It was often worn in the house, and always out of doors. In shape it resembled a shawl, and was an oblong piece of woollen or linen material, twelve to fifteen feet long, and in breadth about equal to the height of the wearer. - The Ionic Chiton
The costume of these people consisted practically of only two garments for men and women alike—nothing more than rectangular pieces of material—but the manner of wearing them required care, management and perfect taste. These garments were called by the Greeks: THE CHITON and THE HIMATION, but are commonly known to us as "The Tunic" and "The Mantle." The last six centuries B.C. and the nineteenth and twentieth centuries A.D. share a distinction in the history of costume, as being the only periods in which women have dominated the fashions. The women were compelled by law to change their attire, as it was found that the large pins by which the earlier "peplos"* was fastened proved dangerous weapons in the hands of infuriated women, whereas the Ionic chiton generally required no pins. - The King Sargon and his Grand Vizier
- The Kolobus, 400-146 B. C.
The figure represents a man of this particular epoch (400-146 B.C.) wearing the kolobus ornamented with bands of embroidery. It is girded at the waist, and a himation of small dimensions is draped over the left shoulder, ready for the other end to be thrown over it. He wears the pilos and his hair has been allowed to grow longer than heretofore, in accordance with the new fashion of this age. If this young man had desired to be in the height of fashion, he would have had long close-fitting sleeves added to his kolobus. - The lady Touî, statuette in wood
- The Lighthouse of the Harbor of Alexandria in the Hellenistic Age
Alexander died in Babylon when not quite thirty-three years old. In actual and immediate achievement he surpassed perhaps every other man who has ever lived. He founded an empire which he himself had conceived and developed, which covered nearly all the then known world, and which, though it was composed mainly of barbarous and semi-barbarous people, was dominated by Greek thought. It is true that the empire fell apart almost immediately after Alexander died. But it did not fall into anarchy, or revert to its previous state: it was divided into four parts, each of which was distinct, self-governing and well organized. The two larger parts, the kingdom of the Seleucidæ, which occupied approximately the territory of Persia, and the kingdom of the Ptolomies, or Egypt, continued as torch-bearers to civilization for many centuries thereafter. Of the two, the former was the larger and was probably the better, from an administrative point of view; but Egypt represented the finer civilization; for Alexandria, with its library and its wonderful museum, became the seat of learning and the resort of the scholars of the world, and the centre of the Hellenistic civilization that followed that of Greece. - The multitude saluted him with loud acclamations
For two years, from 409 b.c. to 407 b.c., Alcibiades stayed at the Hellespont retaking cities which had thrown off their allegiance to Athens and joined Sparta. Then feeling that now he might return with glory, he set sail for Athens. Plutarch tells us that as Alcibiades drew near to the Piræus he was afraid to venture on shore, until he saw friends waiting to welcome him: ‘As soon as he was landed the multitude who came out to meet him scarcely seemed so much as to see any of the other captains, but came in throngs about Alcibiades and saluted him with loud acclamations, and still followed him; those who could press near him crowned him with garlands, and they who could not come up so close, yet stayed to behold him afar off, and the old men pointed him out and showed him to the young ones.’ - The Paenula
A cloak of cloth copied from the Greek peasants. It was in common use among all classes, both men and women, as a travelling or rain cloak, and was an important garment with the peasantry. In colour it was dark, and in shape a semicircle with the straight edges fastened down the centre-front, converting it into a bell or funnel. Alternatively, the edges were sewn together down the front; but in either case it fitted close round the figure. A hole was left for the head, which was usually encircled with a hood. - The Peplos
The peplos was the chief garment of the Achaean women of the early Archaic Period (circa 1200-600 B.C.). In shape it was a rectangular piece of material, often heavily embroidered and consequently of a solid texture. It was put on in the manner of the Doric chiton, but being made of more substantial stuff it was wrapped tightly round the figure without folds, girded at the waist and open up one side, the top part falling back over the chest and back. It was fastened on the shoulders, and often down the side,by large pins. - The Pyramids of Gizeh
- The Sky as a cow
The Sky as a cow, supported by Shu and other gods. Across her body are the stars, and the barks of the sun. (Tomb of Seti I) - The Soul - back view
- The Soul - front view
- The soul of Rā
The soul of Rā (1) meeting the soul of Osiris (2) in Tattu, The cat (i.e., Rā) by the Persea tree (3) cutting off the head of the serpent which typified night. - The Street of Tombs
The Street of Tombs 24. Villa of Diomedes. 16-23. Tombs—Group III. 16. Unfinished tomb. 17. Tomb of Umbricius Scaurus. 18. Round tomb. 19. Sepulchral enclosure. 20. Tomb of Calventius Quietus. 21. Sepulchral enclosure of Istacidius Helenus. 22. Tomb of Naevoleia Tyche. 23. Triclinium Funebre. 5-15. So-called Villa of Cicero. 1-4 a. Tombs—Group I. 1. Sepulchral niche of Cerrinius Restitutus. 2. Sepulchral bench of A. Veius. 3. Tomb of M. Porcius. 4. Sepulchral bench of Mamia. 4 a. Tomb of the Istacidii. A. Herculaneum Gate. C. Bay Road. KEY TO THE RIGHT SIDE 33-43. Tombs—Group IV. 33. Unfinished tomb. 34. Tomb with the marble door. 35. Unfinished tomb. 36. Sepulchral enclosure with small pyramids. 37. Tomb of Luccius Libella. 38. Tomb of Ceius Labeo. 39. Tomb without a name. 40. Sepulchral niche of Salvius. 41. Sepulchral niche of Velasius Gratus. 42. Tomb of M. Arrius Diomedes. 43. Tomb of Arria. 31-32. Samnite Graves. 10-30. Villa. 10, 11, 13, 14. Shops. 12. Garden belonging to Tombs 8 and 9. 15. Street entrance of Inn. 16-28. Rooms belonging to the Inn. 29-30. Potter's establishment. 1-9. Tombs—Group II. 1. Tomb without a name. 2. Sepulchral enclosure of Terentius Felix. 3, 4. Tombs without names. 5. Sepulchral enclosure. 6. Garland tomb. 7. Sepulchral enclosure. 8. Tomb of the Blue Glass Vase. 9. Sepulchral niche. A. Herculaneum Gate. B. City Wall. D. Road along City Wall. E-E. Vesuvius Road. - The suite of Sargon
- The suite of Sargon 2
- The Sun-God of Edfu
Another important centre of the worship of the sun god, was Edfu in Upper Egypt, where even now his temple stands complete. Here originated the remarkable figure of the god which represents him as the sun with multicoloured wings as he flies across the heavens triumphant over his enemies. This figure of Horus of Edfu (or, as he was usually styled, he of Edfu) is placed over the gateways of the temples to keep out all evil things. - The Toga Praetexta
The toga was draped on the figure by starting with point A at the left foot; the straight edge was taken over the left shoulder and arm, B. It was then passed across the back, and hung loose under the right arm, D, across the chest, over the left shoulder and arm again, E, with the remaining portion hanging down the back, finishing at point F. Having arranged the toga as described, it will be found that the straight edge at D under the right arm can be made, by turning it over, to form a second piece of curved drapery over the right upper leg. This is called the "sinus." Also, if the straight edge of the first portion (which passes over the left shoulder at B) is pulled out, and pouched over the top part which also crosses the left shoulder, the draped effect is obtained. This part, called the "umbo," was often used to envelop the right hand. The loose portion c at the back of the right shoulder was often drawn up over the shoulder, and attached to the belt at the waist, so as to form a sort of sleeve. It was also the custom to utilise this loose portion c alternatively as a head-covering; and it was in use for this purpose during all religious ceremonies—it also served as a protection from bad weather. The toga praetexta was used by noble youths. It had a straight band of purple or scarlet on the white toga. This toga praetexta, according to tradition, was also worn exclusively by kings at an earlier period. In later Republican times it was the distinctive garment worn by the higher magistrates (curule) and senators. It was awarded as a badge of `rank`.