Egyptian Decorative Art a Course of Lectures Delivered At the Royal Institutio
Egyptian Decorative Art a Course of Lectures Delivered At the Royal Institutio
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In our eReader you can find the full English version of the book. Read Egyptian Decorative Art a Course of Lectures Delivered At the Royal Institutio Online - link to read the book on full screen. Our eReader also allows you to upload and read Pdf, Txt, ePub and fb2 books. In the Mini eReder on the page below you can quickly view all pages of the book - Read Book Egyptian Decorative Art a Course of Lectures Delivered At the Royal Institutio
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— p.
142. — p.
and C. Ass seems a likely influence on the develop- ment of this pattern. It was so far removed from a natural view that it soon became greatly varied "3. And amplified, as on a bracelet in the Louvre.
In Assyria this became a staple design, in which the top was greatly increased at the expense of the lotus sepals below ; but still the 127. Four sepals, two front and two back, are shown. In the Greek designs, however barbarous they may seem in com- parison, owing to their hopeles...s divergence from any rational type, yet the same elements remain, and the four sepals can be traced below the view of the petals in the flower. Thus the anthemion with its double curves is fully GoodJta7 75. Accounted for, the lower and 143. — Tanis H. Xxxi.
NATURAL DECORATION 73 upper sepals being still distinguishable in the two spirals on each side at the base of it. The later changes of this neces- sarily belong to Greek art, and we cannot here follow them out.
A late development of the lotus in Ptolemaic Egypt was with a i^^l^^ central spike through the face of petals.
What to read after Egyptian Decorative Art a Course of Lectures Delivered At the Royal Institutio?
You can find similar books in the "Read Also" column, or choose other free books by W M Flinders William Matthew Flinders Petrie to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
— p.
142. — p.
and C. Ass seems a likely influence on the develop- ment of this pattern. It was so far removed from a natural view that it soon became greatly varied "3. And amplified, as on a bracelet in the Louvre.
In Assyria this became a staple design, in which the top was greatly increased at the expense of the lotus sepals below ; but still the 127. Four sepals, two front and two back, are shown. In the Greek designs, however barbarous they may seem in com- parison, owing to their hopeles...s divergence from any rational type, yet the same elements remain, and the four sepals can be traced below the view of the petals in the flower. Thus the anthemion with its double curves is fully GoodJta7 75. Accounted for, the lower and 143. — Tanis H. Xxxi.
NATURAL DECORATION 73 upper sepals being still distinguishable in the two spirals on each side at the base of it. The later changes of this neces- sarily belong to Greek art, and we cannot here follow them out.
A late development of the lotus in Ptolemaic Egypt was with a i^^l^^ central spike through the face of petals.
What to read after Egyptian Decorative Art a Course of Lectures Delivered At the Royal Institutio?
You can find similar books in the "Read Also" column, or choose other free books by W M Flinders William Matthew Flinders Petrie to read onlineMoreLess
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