Author : Georges Perrot
Release : 2013-09
Genre :
Kind :
Book Rating : 702/5 ( reviews)

GET EBOOK

A History of Art in Chaldæa and Assyria, from the Fr. of G. Perrot and C. Chipiez, Tr. and Ed. by W. Armstrong - read free eBook in online reader or directly download on the web page. Select files or add your book in reader. Download and read online ebook A History of Art in Chaldæa and Assyria, from the Fr. of G. Perrot and C. Chipiez, Tr. and Ed. by W. Armstrong write by Georges Perrot. This book was released on 2013-09. A History of Art in Chaldæa and Assyria, from the Fr. of G. Perrot and C. Chipiez, Tr. and Ed. by W. Armstrong available in PDF, EPUB and Kindle. This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1884 edition. Excerpt: ...are brought together in a single plate in the Discoveries, p. 601. The Aramaic texts will be published in the Corpus inscriptionum Semiticorum, in the first instalment of the part devoted to Aramaic inscriptions. These lions of Khorsabad and Nimroud may be compared, both for type and use, to the bronze lion found at Abydos, on the Hellespont, in i860. M. De Vogu has made us acquainted with the latter in the pages of the Revue archeologique for January, 1862. His article, which contains a reproduction both of the monument as a whole and of its inscription, and an explanation of the latter, has been reprinted in the Melanges d'archeologie orientale (8vo. 1868, pp. 179-196). Mr. Norris has published a special study of the weights in the British Museum (On the Assyrian and Babylonian Weights, in the Journal of the Royal Asiatic Society, vol. xvi. P-215) Fig. I Is.--Bas-relief from Khorsabad. Height 9 feet 5 inches. Louvre. With the accession of Sennacherib, a sensible change comes over the aspect of the reliefs. What until now has been the exception becomes the rule. On almost every slab we find a complex and carefully treated landscape background. The artist is not satisfied with indicating the differences between conifers, cypresses, and pines (Vol. I. Figs, 41--43), palms (id. Figs. 30 and 34; and above, Fig. 21), the vine (Fig. 47), and the tall reeds and grasses of the marsh (Fig. 119) are also imitated.1 We feel that the sculptor wished to reproduce all those subordinate features of nature by which his eye was amused on the Assyrian plains; he seems almost to have taken photographs from nature, and then to have transferred them to the palace walls by the aid of his patient chisel. Look, for instance, at the reliefs in which the...