Classic Full-Color Illuminated Borders by Dover

By Dover

119 attractive examples of illuminated borders and letters reveal unique crops, animals, and legendary creatures in magnificent colours. chosen from infrequent 19th-century guides, those fabulous treasures of chromolithographic artwork will upload a nostalgic contact to image assignments in addition to a number of paintings and craft tasks.

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I regret that I cannot include all such references in the written version of my presentation, which is meant for a wider readership, many of whom would beas I wasunfamiliar with the Berkeley environment. I want, however, to acknowledge what a great source of inspiration my stay at the University has been, and what a delight I have derived from its magnificent grounds and varied buildings. ) A person who pointed me in the direction of pertinent examples and was of great help in producing slides that illustrated them is Kathryn Bothos, head curator of the visual resources collection for the Art History Department at Berkeley.

It engendered a sense of recognition, a reinforcement of beliefs, even a diffusion of culture that can only be compared to the impact of present-day television, videos, and billboards. Although the ancient Greeks were generally literate, able to read at least public inscriptions, the transmission of epics and mythology was largely effected through oral or visual means, of which architectural sculpture was a most potent exponent. Other visual mediaand Page 9 equally potent, to be surewere monumental painting, vase painting, and especially weaving, 22 but the latter two were more temporary in nature and more limited in their diffusion, circulating within privileged and restricted circles; the first is for us almost entirely lost and can only be reconstructed, vaguely and hypothetically, through the ancient notices.

Or, to ask a more specific question, what was the function of architectural sculpture? The Importance of Greek Architectural Sculpture In answering the above questions, technical difficulties and sculptural inexperience need not be taken into account. It could plausibly be argued that it is easier to tell a story in relief than in the round, because of the strengthening function of the background, which allows for more animated poses and greater interaction. Yet that convincing, integrated groups could be produced is shown by the relatively early (ca.

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