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Donovan Pasha

  Soada was pretty and upright, with a full round breast and a slim figure. She carried a balass of water on her head as gracefully as a princess a tiara. This was remarked by occasional inspectors making their official rounds, and by more than one khowagah putting in with his dahabeah where the village maidens came to fill their water-jars. Soada's trinkets and bracelets were perhaps no better than those of her companions, but her one garment was of the linen of Beni Mazar, as good as that worn by the Sheikh-Elbeled himself.

The Marble Faun - Volume 2: The Romance of Monte Beni

  Excerpt: or The Romance of Monte Beni BY NATHANIEL HAWTHORNE Volume II. In Two Volumes Contents THE MARBLE FAUN, VOLUME II. CHAPTER XXIV CHAPTER XXV CHAPTER XXVI CHAPTER XXVII CHAPTER XXVIII CHAPTER XXIX CHAPTER XXX CHAPTER XXXI CHAPTER XXXII CHAPTER XXXIII CHAPTER XXXIV CHAPTER XXXV CHAPTER XXXVI CHAPTER XXXVII CHAPTER XXXVIII CHAPTER XXXIX CHAPTER XL CHAPTER XLI CHAPTER XLII CHAPTER XLIII CHAPTER XLIV CHAPTER XLV CHAPTER XLVI CHAPTER XLVII CHAPTER XLVIII CHAPTER XLIX CHAPTER L THE TOWER AMONG THE APENNINES SUNSHINE THE PEDIGREE OF MONTE BENI MYTHS THE OWL TOWER ON THE BATTLEMENTS DONATELLO'S BUST THE MARBLE SALOON SCENES BY THE WAY PICTURED WINDOWS MARKET-DAY IN PERUGIA THE BRONZE PONTIFF'S BENEDICTION HILDA'S TOWER THE EMPTINESS OF PICTURE GALLERIES ALTARS AND INCENSE THE WORLD'S CATHEDRAL HILDA AND A FRIEND SNOWDROPS AND MAIDENLY DELIGHTS REMINISCENCES OF MIRIAM THE EXTINCTION OF A LAMP THE DESERTED SHRINE THE FLIGHT OF HILDA'S DOVES A WALK ON THE CAMPAGNA THE PEASANT AND CONTADINA A SCENE IN THE CORSO A FROLIC OF THE CARNIVAL MIRIAM, HILDA, KENYON, DONATELLO CONCLUSION THE MARBLE FAUN Volume II CHAPTER XXIV THE TOWER AMONG THE APENNINES It was in June that the sculptor, Kenyon, arrived on horseback at the gate of an ancient country house (which, from some of its features, might almost be called a castle) situated in a part of Tuscany somewhat remote from the ordinary track of tourists. Thither we must now accompany him, and endeavor to make our story flow onward, like a streamlet, past a gray tower that rises on the hillside, overlooking a spacious valley, which is set in the grand framework of the Apennines. The sculptor had left Rome with the retreating tide of foreign residents. For, as summer approaches, the Niobe of Nations is made to bewail anew, and doubtless with sincerity, the loss of that large part of her population which she derives from other lands, and on whom depends much of whatever remnant of prosperity she still enjoys. Rome, at this...

The Marble Faun - Volume 1: The Romance of Monte Beni

  Excerpt: or The Romance of Monte Beni By Nathaniel Hawthorne In Two Volumes This is Volume One Contents THE MARBLE FAUN CHAPTER I CHAPTER II CHAPTER III CHAPTER IV CHAPTER V CHAPTER VI CHAPTER VII CHAPTER VIII CHAPTER IX CHAPTER X CHAPTER XI CHAPTER XII CHAPTER XIII CHAPTER XIV CHAPTER XV CHAPTER XVI CHAPTER XVII CHAPTER XVIII CHAPTER XIX CHAPTER XX CHAPTER XXI CHAPTER XXII CHAPTER XXIII MIRIAM, HILDA, KENYON, DONATELLO THE FAUN SUBTERRANEAN REMINISCENCES THE SPECTRE OF THE CATACOMB MIRIAM'S STUDIO THE VIRGIN'S SHRINE BEATRICE THE SUBURBAN VILLA THE FAUN AND NYMPH THE SYLVAN DANCE FRAGMENTARY SENTENCES A STROLL ON THE PINCIAN A SCULPTOR'S STUDIO CLEOPATRA AN AESTHETIC COMPANY A MOONLIGHT RAMBLE MIRIAM'S TROUBLE ON THE EDGE OF A PRECIPICE THE FAUN'S TRANSFORMATION THE BURIAL CHANT THE DEAD CAPUCHIN THE MEDICI GARDENS MIRIAM AND HILDA THE MARBLE FAUN Volume I CHAPTER I MIRIAM, HILDA, KENYON, DONATELLO Four individuals, in whose fortunes we should be glad to interest the reader, happened to be standing in one of the saloons of the sculpture-gallery in the Capitol at Rome. It was that room (the first, after ascending the staircase) in the centre of which reclines the noble and most pathetic figure of the Dying Gladiator, just sinking into his death-swoon. Around the walls stand the Antinous, the Amazon, the Lycian Apollo, the Juno; all famous productions of antique sculpture, and still shining in the undiminished majesty and beauty of their ideal life, although the marble that embodies them is yellow with time, and perhaps corroded by the damp earth in which they lay buried for centuries. Here, likewise, is seen a symbol (as apt at this moment as it was two thousand years ago) of the Human Soul, with its choice of Innocence or Evil close at hand, in the pretty figure of a child, clasping a dove to her bosom, but assaulted by a snake. From one of the windows of this saloon, we may see a flight of broad stone steps, descending alongside the antique and massive...

Ancient Egyptian and Greek Looms

  PREFACE: Halifax, which is situated in the heart of the great textile trade of Lancashire and Yorkshire, has been a home of the woollen manufacture since the earliest time, and it is only meet, therefore, that its museum should possess specimens of the tools used in the early days of spinning, weaving, and cloth making generally. In spite of the considerable progress made towards that end, many typical specimens are still wanting, and, while we have plenty of material for the study of weaving in various parts of the world, we are lacking in everything relating to the industry in Ancient Egypt and Greece. Failing specimens I have had recourse to illustrations, but the Egyptian ones published by Cailliaud, Rosellini, Sir J. G. Wilkinson and Lepsius, contradict each other in many important points, so that those who study them find them practically useless for an understanding of the art as carried on in the Nile lands. Fortunately, last year, Mr. N. de G. Davies, the well-known Egyptologist, hearing of my difficulty, very generously placed some of his copies of tomb drawings at my disposal, and with this invaluable help I have been enabled to complete the present paper, and to lay before Halifax students some new details of manufacture bearing upon their staple industry. H. Ling Roth, Bankfield Museum, Halifax, April 1913. *** a excerpt from the first chapter: I. Egyptian Looms. HORIZONTAL LOOMS.[A] IN the tomb of Chnem-hotep, at Beni Hasan, there is a wall painting of a horizontal loom with two weavers, women, squatting on either side, and at the right in the background is drawn the figure of the taskmaster. There are also figures represented in the act of spinning, etc. For the present we are concerned with the weaving only. Fig. 1.Horizontal Loom, Tomb of Chnem-hotep, from the illustration in Cailliauds Recherches, etc. Same size as published. Of this illustration, there appear to be six reproductions. We have first of all, Fig. 1, that of Fred. Cailliaud (Recherches sur les Arts et Mtiers, etc., Paris, 1831) with illustrations of drawings made by himself in the years 1819 to 1822. His publication was followed !-- Figures 2 and 3 in original --[Pg 5] by Fig. 2, that of Sir J. G. Wilkinson (Manners and Customs, etc., London, 1837). Mr. John Murray, whose house has published Wilkinsons work from the first edition to the last, informs me that a few of the drawings were made by George Scharf, afterwards Sir George Scharf, Keeper of the National Portrait Gallery, but that most of them seem to have been made by Joseph Bonomi, the well known Egyptologist. Wilkinsons woodcut, although clearly and neatly done, is on a very small scale; nevertheless it admits of a fair comparison with those reproduced on a larger scale.


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