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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.


The Garden of Allah

  Excerpt: By Robert Hichens PREPARER'S NOTE This text was prepared from an edition published by Grosset Dunlap, New York. It was originally published in 1904. Contents THE GARDEN OF ALLAH BOOK I. PRELUDE CHAPTER I CHAPTER II CHAPTER III CHAPTER IV CHAPTER V CHAPTER VI BOOK II. THE VOICE OF PRAYER CHAPTER VII CHAPTER VIII CHAPTER IX BOOK III. THE GARDEN CHAPTER X CHAPTER XI CHAPTER XII CHAPTER XIII CHAPTER XIV CHAPTER XV BOOK IV. THE JOURNEY CHAPTER XVI CHAPTER XVII CHAPTER XVIII CHAPTER XIX CHAPTER XX CHAPTER XXI CHAPTER XXII CHAPTER XXIII CHAPTER XXIV CHAPTER XXV BOOK V. THE REVELATION CHAPTER XXVI BOOK VI. THE JOURNEY BACK CHAPTER XXVII CHAPTER XXVIII CHAPTER XXIX CHAPTER XXX CHAPTER XXXI THE GARDEN OF ALLAH BOOK I. PRELUDE CHAPTER I The fatigue caused by a rough sea journey, and, perhaps, the consciousness that she would have to be dressed before dawn to catch the train for Beni-Mora, prevented Domini Enfilden from sleeping. There was deep silence in the Hotel de la Mer at Robertville. The French officers who took their pension there had long since ascended the hill of Addouna to the barracks. The cafes had closed their doors to the drinkers and domino players. The lounging Arab boys had deserted the sandy Place de la Marine. In their small and dusky bazaars the Israelites had reckoned up the takings of the day, and curled themselves up in gaudy quilts on their low divans to rest. Only two or three gendarmes were still about, and a few French and Spaniards at the Port, where, moored against the wharf, lay the steamer Le General Bertrand, in which Domini had arrived that evening from Marseilles. In the hotel the fair and plump Italian waiter, who had drifted to North Africa from Pisa, had swept up the crumbs from the two long tables in the salle-a-manger, smoked a thin, dark cigar over a copy of the Depeche Algerienne, put the paper down, scratched his blonde head, on which the hair stood up in bristles, stared for a while at nothing in the firm manner of...


A Manual of Egyptian Archaeology and guide to the Study of Antiquities in Egypt

  partial list of CONTENTS: CHAPTER I. ARCHITECTURE--CIVIL AND MILITARY. § 1. HOUSES: Bricks and Brickmaking, Foundations, Materials, Towns, Plans, Decoration § 2. FORTRESSES: Walls, Plans, Migdols, etc. § 3. PUBLIC WORKS: Roads, Bridges, Storehouses, Canals, Lake Moeris, Dams, Reservoirs, Quarries CHAPTER II. RELIGIOUS ARCHITECTURE. § 1. MATERIALS; PRINCIPLES OF CONSTRUCTION: Materials of Temples, Foundations of Temples, Sizes of Blocks, Mortars, Mode of hoisting Blocks, Defective Masonry, Walls, Pavements, Vaultings, Supports, Pillars and Columns § 2. TEMPLES: Temples of the Sphinx, Temples of Elephantine, Temple at El Kab, Temple of Khonsû, Arrangement of Temples, Levels, Crypts, Temple of Karnak, Temple of Luxor § 3. DECORATION: Principles of Decoration, The Temple a Symbolic Representation of the World, Decoration of Parts nearest the Ground, Dadoes, Bases of Columns, Decoration of Ceilings, Decoration of Architraves, Decoration of Wall-surfaces, Magic Virtues of Decoration CHAPTER III. TOMBS. § 1. MASTABAS: Construction of the Mastaba, The Door of the Living, and the Door of the Dead, The Chapel, Wall Decorations, The Double and his Needs, The Serdab, Ka Statues, The Sepulchral Chamber § 2. PYRAMIDS: Plan of the Pyramid comprises three leading features of the Mastaba, Materials of Pyramids, Orientation, Pyramid of Khûfû § 3. TOMBS OF THE THEBAN EMPIRE; THE ROCK-CUT TOMBS: Pyramid-mastabas of Abydos, Pyramid-mastabas of Drah Abû'l Neggah, Rock-cut Tombs of Beni Hasan and Syene, Rock-cut Tombs of Siût, Wall-decoration of Theban Catacombs, Tombs of the Kings of the Eighteenth Dynasty at Thebes, Valley of the Tombs of the Kings, Royal CatacombsCHAPTER IV. PAINTING AND SCULPTURE. § 1. DRAWING AND COMPOSITION: Supposed Canon of Proportion, Drawing Materials, Sketches, Illustrations to the Book of the Dead, Conventional Treatment of Animal and Human Figures, Naturalistic Treatment, Composition, Grouping, Wall-paintings of Tombs, A Funerary Feast, A Domestic Scene§ 2. TECHNICAL PROCESSES: The Preparation of Surfaces, Outline, Sculptors' Tools, Iron and Bronze Tools, Impurity of Iron, Methods of Instruction in Sculpture, Models, Methods of cutting Various Stones, Polish, Painted Sculptures, Pigments § 3. SCULPTURE: The Great Sphinx, Art of the Memphite School, Wood-panels of Hesi, Funerary Statues, The Portrait-statue and the Double , Chefs d'oeuvre of the Memphite School, The Cross-legged Scribe, Diorite Statue of Khafra, Rahotep and Nefert, The Sheikh el Beled, The Kneeling Scribe, The Dwarf Nemhotep, Royal Statues of the Twelfth Dynasty, Hyksos Sphinxes of Tanis CHAPTER V. THE INDUSTRIAL ARTS. § 1. STONE, CLAY, AND GLASS: Precious Stones, Lapidary Art, Beads and Amulets, Scarabaei, Statuettes, Libation Tables, Perfume Vases, Kohl-pots, Pottery, Clay, Glazes, Red and Painted Wares, Ûshabtiû, Funerary Cones, Painted Vases, 'Canopic' Vases, Clay Sarcophagi, Glass, Its Chemical Constituents, Clear Glass, Coloured Glass § 2. WOOD, IVORY, LEATHER; TEXTILE FABRICS: Bone and Ivory, Elephant Tusks, Dyed Ivory, Egyptian Woods, Wooden Statuettes, Statuette of Hori, Statuette of Naï, Wooden Toilet Ornaments, Perfume and Unguent Spoons, Furniture, Chests and Coffers, Mummy-cases, Wooden Effigies on Mummy Cases, Huge Outer Cases of Ahmesnefertari and Aahhotep, Funerary Furniture, Beds, Canopies, Sledges, Chairs, Stools, Thrones § 3. METALS: Iron, Lead, Bronze, Constituents of Egyptian Bronze, Domestic Utensils in Bronze, Mirrors, Scissors, Bronze Statuettes, The Stroganoff Bronze, The Posno Bronzes, The Lion of Apries, Gilding, Gold-plating, Gold-leaf, Statues and Statuettes of Precious Metals , The Silver and Golden Cups of General Tahûti


Manual of Egyptian Archaeology

  partial list of CONTENTS: CHAPTER I. ARCHITECTURE--CIVIL AND MILITARY. § 1. HOUSES: Bricks and Brickmaking, Foundations, Materials, Towns, Plans, Decoration § 2. FORTRESSES: Walls, Plans, Migdols, etc. § 3. PUBLIC WORKS: Roads, Bridges, Storehouses, Canals, Lake Moeris, Dams, Reservoirs, Quarries CHAPTER II. RELIGIOUS ARCHITECTURE. § 1. MATERIALS; PRINCIPLES OF CONSTRUCTION: Materials of Temples, Foundations of Temples, Sizes of Blocks, Mortars, Mode of hoisting Blocks, Defective Masonry, Walls, Pavements, Vaultings, Supports, Pillars and Columns § 2. TEMPLES: Temples of the Sphinx, Temples of Elephantine, Temple at El Kab, Temple of Khonsu, Arrangement of Temples, Levels, Crypts, Temple of Karnak, Temple of Luxor § 3. DECORATION: Principles of Decoration, The Temple a Symbolic Representation of the World, Decoration of Parts nearest the Ground, Dadoes, Bases of Columns, Decoration of Ceilings, Decoration of Architraves, Decoration of Wall-surfaces, Magic Virtues of Decoration CHAPTER III. TOMBS. § 1. MASTABAS: Construction of the Mastaba, The Door of the Living, and the Door of the Dead, The Chapel, Wall Decorations, The Double and his Needs, The Serdab, Ka Statues, The Sepulchral Chamber § 2. PYRAMIDS: Plan of the Pyramid comprises three leading features of the Mastaba, Materials of Pyramids, Orientation, Pyramid of Khufu § 3. TOMBS OF THE THEBAN EMPIRE; THE ROCK-CUT TOMBS: Pyramid-mastabas of Abydos, Pyramid-mastabas of Drah Abu'l Neggah, Rock-cut Tombs of Beni Hasan and Syene, Rock-cut Tombs of Siut, Wall-decoration of Theban Catacombs, Tombs of the Kings of the Eighteenth Dynasty at Thebes, Valley of the Tombs of the Kings, Royal CatacombsCHAPTER IV. PAINTING AND SCULPTURE. § 1. DRAWING AND COMPOSITION: Supposed Canon of Proportion, Drawing Materials, Sketches, Illustrations to the Book of the Dead, Conventional Treatment of Animal and Human Figures, Naturalistic Treatment, Composition, Grouping, Wall-paintings of Tombs, A Funerary Feast, A Domestic Scene§ 2. TECHNICAL PROCESSES: The Preparation of Surfaces, Outline, Sculptors' Tools, Iron and Bronze Tools, Impurity of Iron, Methods of Instruction in Sculpture, Models, Methods of cutting Various Stones, Polish, Painted Sculptures, Pigments § 3. SCULPTURE: The Great Sphinx, Art of the Memphite School, Wood-panels of Hesi, Funerary Statues, The Portrait-statue and the Double , Chefs d'oeuvre of the Memphite School, The Cross-legged Scribe, Diorite Statue of Khafra, Rahotep and Nefert, The Sheikh el Beled, The Kneeling Scribe, The Dwarf Nemhotep, Royal Statues of the Twelfth Dynasty, Hyksos Sphinxes of Tanis CHAPTER V. THE INDUSTRIAL ARTS. § 1. STONE, CLAY, AND GLASS: Precious Stones, Lapidary Art, Beads and Amulets, Scarabaei, Statuettes, Libation Tables, Perfume Vases, Kohl-pots, Pottery, Clay, Glazes, Red and Painted Wares, Ushabtiu, Funerary Cones, Painted Vases, 'Canopic' Vases, Clay Sarcophagi, Glass, Its Chemical Constituents, Clear Glass, Coloured Glass § 2. WOOD, IVORY, LEATHER; TEXTILE FABRICS: Bone and Ivory, Elephant Tusks, Dyed Ivory, Egyptian Woods, Wooden Statuettes, Statuette of Hori, Statuette of Naï, Wooden Toilet Ornaments, Perfume and Unguent Spoons, Furniture, Chests and Coffers, Mummy-cases, Wooden Effigies on Mummy Cases, Huge Outer Cases of Ahmesnefertari and Aahhotep, Funerary Furniture, Beds, Canopies, Sledges, Chairs, Stools, Thrones § 3. METALS: Iron, Lead, Bronze, Constituents of Egyptian Bronze, Domestic Utensils in Bronze, Mirrors, Scissors, Bronze Statuettes, The Stroganoff Bronze, The Posno Bronzes, The Lion of Apries, Gilding, Gold-plating, Gold-leaf, Statues and Statuettes of Precious Metals , The Silver and Golden Cups of General Tahûti


Rugs: Oriental and Occidental, Antique & Modern

  From Content: 'Rugs, in the house beautiful, impart richness and represent refinement. Their manufacture was one of the earliest incentives for the blending of colors in such harmony as to please the eye and satisfy the mind; consequently, it is one of the most important of the industrial arts. Since the days when ancient peoples first lay down to sleep wrapped in the skins of animals, the human intelligence has quickened, and as the race has become more civilized, rugs have gradually taken the place of skins. Thus began the industry of rug-weaving, and it has grown to such an extent that it is now of world-wide importance. The word Rug is used in this volume in the following sense: 'A covering for the floor; a mat, usually oblong or square, and woven in one piece. Rugs, especially those of Oriental make, often show rich designs and elaborate workmanship, and are hence sometimes used for hangings,' In several books rugs and carpets are referred to as identical. In fact most written information on rugs has been catalogued under the term carpets; and there seems to be good reason for assuming that the terms tapestries and carpets, as used in ancient times, were synonymous with the word rugs of the present day, for these were spread loosely on the floor without the aid of fastenings. Historical references to spinning and to the weaving of tapestries date back to a very early period. An ancient Jewish legend states that Naamah, daughter of Lamech and sister of Tubal-Cain, was the inventor of the spinning of wool and of the weaving of thread into cloth. On at least two of the wonderful rock-cut tombs at Beni-Hassan, in Egypt,—2800-2600 B.C.,—there are pictures of weavers at work. In one, women are filling a distaff with cotton, twisting it with a spindle into thread, and weaving this on an upright loom. Beside them is a man, evidently an overseer, watching the weavers and their work. The other wall-painting represents a man weaving a checkered rug on a horizontal loom. Other monuments of ancient Egypt and of Mesopotamia bear witness that the manufacture of rugs dates a considerable time prior to 2400 B.C. At Thebes a fresco, dating 1700-1000 B.C., represents three men weaving at an upright loom. A small rug, discovered in that city some time between the years 666 and 358 B.C., and now in the possession of Mr. Hay in England, is described by Sir J. Gardner Wilkinson as follows: 'This rug is eleven inches long by nine broad. It is made like many carpets of the present day, with woollen threads on linen string. In the centre is the figure of a boy in white, with a goose above it, the hieroglyphic of 'child' upon a green ground, around which is a border composed of red, white, and blue lines. The remainder is yellow, with four white figures above and below, and one at each side, with blue outlines and red ornaments; and the outer border is made up of red, white, and blue lines, with a fancy device projecting from it, with a triangular summit, which extends entirely round the edge of the rug. Its date is uncertain, but from the child, the combination of the colors, and ornamental border, I am inclined to think it really Egyptian, not of the Pharaonic, but of the Greek and Roman period.' Dr. Samuel Birch, who edited the last edition of Wilkinson's work, affirms that this is so.'

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