- Zeus
- Wounded lion
[A drawing taken from a bas relief of the royal Assyrian lion hunt] - Women’s Head-dress
Women’s Head-dress - Winged Sun of Thebes
Over the portico of the Theban temple there is usually a ball or sun, ornamented with outstretched wings, representing the all-seeing Providence thus watching over and sheltering the world. From this sun hang two asps wearing the crowns of Upper and Lower Egypt. - Winged lion with human head
- Winged Bull
- Wild-sow and pigs
The wild animals indigenous in Babylonia appear to be chiefly the following:—the lion, the leopard, the hyeena, the lynx, the wild-cat, the wolf, the jackal, the wild-boar, the buffalo, the stag, the gazelle, the jerboa, the fox, the hare, the badger, and the porcupine. The Mesopotamian lion is a noble animal. The wild-boar frequents the river banks and marshes, as depicted in the Assyrian sculptures. - Warriors swimming on inflated skins
- Wagon and Boat, from a mummy bandage
A singular instance of the wagon and funeral-boat in combination has been found on the bandage of a mummy, now preserved in the collection of S. d'Athanasi. It is supposed by some modern authors that Herodotus, in speaking of the religious ceremonies in honor of Mars, as performed in the city of Pampremis, refers to this vehicle. Among other things, he tells us that the priests placed an image in a wooden temple, gilded all over, which they carried to a sacred dwelling; "then the few who were left about the image draw a four-wheeled carriage containing the temple and the image." - Venus Pompeiana
An altar stands before the statue of Venus. In pre-Roman times this may have been the only shrine in the city at which worship was offered to Herentas; for by that name the goddess of love was known in the native speech. Venus as goddess of the Roman colony, was represented in an altogether different guise, and had a special place of worship elsewhere - Venus
- Vase-painting—Ionic Dress
Vase-painting—Ionic Dress - Vase-painting—Dress with two Overfold
Vase-painting—Dress with two Overfold - Vase-painting in the Polygnotan Style
Vase-painting in the Polygnotan Style - Vase-painting from Lucania
Vase-painting from Lucania - Vase-painting by Hieron
Vase-painting by Hieron - Vase-painting by Falerii
Vase-painting by Falerii - Vase-painting by Euxitheos
Vase-painting by Euxitheos - Vase-painting by Euphronios
Vase-painting by Euphronios - Vase-painting by Brygos
Vase-painting by Brygos - Vase-painting
Vase-painting - Typhon
Typhon is a hippopotamus, usually walking on its hind legs, and with female breasts, sometimes with a sword in his hand, to show his wicked nature. He is th chief author of evil. - twenty-one string harp
- Triangular Musical instrument from Herculaneum
A Sambuca or triangular harp - Toga
From Hope's "Costume of the Ancients." The material of the toga was wool, in the earlier time and for the common people; afterwards silk and other materials were used, coloured or bordered according to the `rank` or station of the wearer. - Thuthu
THuthu, wife of Ani - Thothmes IV. slaying Asiatics
When Thothmes IV. ascended the throne he was confronted by a very serious political problem. The Heliopolitan priesthood at this time was chafing against the power of Amon, and was striving to restore the somewhat fallen prestige of its own god Ra, who in the far past had been the supreme deity of Egypt, but had now to play an annoying second to the Theban god. Thothmes IV., as we shall presently be told by Akhnaton himself,[8] did not altogether approve of the political character of the Amon priesthood, and it may have been due to this dissatisfaction that he undertook the repairing of the great Sphinx at Gizeh, which was in the care of the priests of Heliopolis. The sphinx was thought to represent a combination of the Heliopolitan gods Horakhti, Khepera, Ra, and Atum, who have been mentioned above; and, according to a later tradition, Thothmes IV. had obtained the throne over the heads of his elder brothers through the mediation of the Sphinx—that is to say, through that of the Heliopolitan priests. By them he was called “Son of Atum and Protector of Horakhte, ... who purifies Heliopolis and satisfies Ra,” and it seems that they looked to him to restore to them their lost power. The Pharaoh, however, was a physical weakling, whose small amount of energy was entirely expended upon his army, which he greatly loved, and which he led into Syria and into the Sudan. His brief reign of somewhat over eight years, from 1420 to 1411 B.C., marks but the indecisive beginnings of the struggle between Amon and Ra, which culminated in the early years of the reign of his grandson Akhnaton. - Thoth
When the land was divided into separate estates or properties, Thoth, the Pillar or Landmark at the corner of the field, became an important god; and as the owner's name was carved upon it, he was the god of letters and of all learning. - Theatrum at Aspendus
- The weighing of the heart of the scribe Ani in the Balance in the presence of the gods
The weighing of the heart of the scribe Ani in the Balance in the presence of the gods. - The Villa Rustica near Boscoreale
A. Court. 1, 5. Cistern curbs. 2. Wash basin of masonry. 3. Lead reservoir from which water was conducted to the reservoir in the kitchen supplying the bath. 4. Steps leading to the reservoir. B. Kitchen. 1. Hearth. 2. Reservoir containing water for the bath. 3. Stairway to rooms over the bath. 4. Entrance to cellar under the inner end of the first wine press, in which were the fastenings of the standard of the press beam. C-F. Bath. C. Furnace room. D. Apodyterium. E. Tepidarium. F. Caldarium. H. Stable. J. Tool Room. K, L. Sleeping Rooms. N. Dining Room. M. Anteroom. O. Bakery. 1. Mill. 2. Oven. P. Room with Two Wine Presses. 1, 1. Foundations of the presses. 2, 2, 2. Receptacles for the grape juice, dolia. 3. Cistern for the product of the second pressing, lacus. 4. Holes for the standards of the press beams. 5, 5. Holes for the posts at the ends of the two windlasses used in raising and lowering the press beams. 6. Pit affording access to the framework by which the windlass posts were tied down. Q. Corridor. 1. Round vats, dolia. R. Court for the Fermentation of Wine. 1. Channel for the fresh grape juice coming from P. 2. Fermentation vats, dolia. 3. Lead kettle over a fireplace. 4. Cistern curb. S. Barn, nubilarium (?). T. Threshing Floor, area. U. Open Cistern for the Water falling on the Threshing Floor. V-V. Sleeping Rooms. W. Entrance to Cellar under the Inner End of the Second Wine Press; see B. 4. X. Room with Hand Mill. Y. Room with Oil Press. 1. Foundation of the press. 2. Hole for the standard of the press beam. 3. Entrance to cellar with appliances for securing the press beam. 4. Holes for the windlass posts. 5. Hole affording access to the fastenings of the windlass posts. 6. Receptacle for the oil, gemellar. Z. Room containing the Olive Crusher. - The Toga Praetexta
The toga was draped on the figure by starting with point A at the left foot; the straight edge was taken over the left shoulder and arm, B. It was then passed across the back, and hung loose under the right arm, D, across the chest, over the left shoulder and arm again, E, with the remaining portion hanging down the back, finishing at point F. Having arranged the toga as described, it will be found that the straight edge at D under the right arm can be made, by turning it over, to form a second piece of curved drapery over the right upper leg. This is called the "sinus." Also, if the straight edge of the first portion (which passes over the left shoulder at B) is pulled out, and pouched over the top part which also crosses the left shoulder, the draped effect is obtained. This part, called the "umbo," was often used to envelop the right hand. The loose portion c at the back of the right shoulder was often drawn up over the shoulder, and attached to the belt at the waist, so as to form a sort of sleeve. It was also the custom to utilise this loose portion c alternatively as a head-covering; and it was in use for this purpose during all religious ceremonies—it also served as a protection from bad weather. The toga praetexta was used by noble youths. It had a straight band of purple or scarlet on the white toga. This toga praetexta, according to tradition, was also worn exclusively by kings at an earlier period. In later Republican times it was the distinctive garment worn by the higher magistrates (curule) and senators. It was awarded as a badge of `rank`. - The suite of Sargon 2
- The suite of Sargon
- The Street of Tombs
The Street of Tombs 24. Villa of Diomedes. 16-23. Tombs—Group III. 16. Unfinished tomb. 17. Tomb of Umbricius Scaurus. 18. Round tomb. 19. Sepulchral enclosure. 20. Tomb of Calventius Quietus. 21. Sepulchral enclosure of Istacidius Helenus. 22. Tomb of Naevoleia Tyche. 23. Triclinium Funebre. 5-15. So-called Villa of Cicero. 1-4 a. Tombs—Group I. 1. Sepulchral niche of Cerrinius Restitutus. 2. Sepulchral bench of A. Veius. 3. Tomb of M. Porcius. 4. Sepulchral bench of Mamia. 4 a. Tomb of the Istacidii. A. Herculaneum Gate. C. Bay Road. KEY TO THE RIGHT SIDE 33-43. Tombs—Group IV. 33. Unfinished tomb. 34. Tomb with the marble door. 35. Unfinished tomb. 36. Sepulchral enclosure with small pyramids. 37. Tomb of Luccius Libella. 38. Tomb of Ceius Labeo. 39. Tomb without a name. 40. Sepulchral niche of Salvius. 41. Sepulchral niche of Velasius Gratus. 42. Tomb of M. Arrius Diomedes. 43. Tomb of Arria. 31-32. Samnite Graves. 10-30. Villa. 10, 11, 13, 14. Shops. 12. Garden belonging to Tombs 8 and 9. 15. Street entrance of Inn. 16-28. Rooms belonging to the Inn. 29-30. Potter's establishment. 1-9. Tombs—Group II. 1. Tomb without a name. 2. Sepulchral enclosure of Terentius Felix. 3, 4. Tombs without names. 5. Sepulchral enclosure. 6. Garland tomb. 7. Sepulchral enclosure. 8. Tomb of the Blue Glass Vase. 9. Sepulchral niche. A. Herculaneum Gate. B. City Wall. D. Road along City Wall. E-E. Vesuvius Road. - The soul of Rā
The soul of Rā (1) meeting the soul of Osiris (2) in Tattu, The cat (i.e., Rā) by the Persea tree (3) cutting off the head of the serpent which typified night. - The Peplos
The peplos was the chief garment of the Achaean women of the early Archaic Period (circa 1200-600 B.C.). In shape it was a rectangular piece of material, often heavily embroidered and consequently of a solid texture. It was put on in the manner of the Doric chiton, but being made of more substantial stuff it was wrapped tightly round the figure without folds, girded at the waist and open up one side, the top part falling back over the chest and back. It was fastened on the shoulders, and often down the side,by large pins. - The Paenula
A cloak of cloth copied from the Greek peasants. It was in common use among all classes, both men and women, as a travelling or rain cloak, and was an important garment with the peasantry. In colour it was dark, and in shape a semicircle with the straight edges fastened down the centre-front, converting it into a bell or funnel. Alternatively, the edges were sewn together down the front; but in either case it fitted close round the figure. A hole was left for the head, which was usually encircled with a hood. - The Kolobus, 400-146 B. C.
The figure represents a man of this particular epoch (400-146 B.C.) wearing the kolobus ornamented with bands of embroidery. It is girded at the waist, and a himation of small dimensions is draped over the left shoulder, ready for the other end to be thrown over it. He wears the pilos and his hair has been allowed to grow longer than heretofore, in accordance with the new fashion of this age. If this young man had desired to be in the height of fashion, he would have had long close-fitting sleeves added to his kolobus. - The King Sargon and his Grand Vizier
- The Ionic Chiton
The costume of these people consisted practically of only two garments for men and women alike—nothing more than rectangular pieces of material—but the manner of wearing them required care, management and perfect taste. These garments were called by the Greeks: THE CHITON and THE HIMATION, but are commonly known to us as "The Tunic" and "The Mantle." The last six centuries B.C. and the nineteenth and twentieth centuries A.D. share a distinction in the history of costume, as being the only periods in which women have dominated the fashions. The women were compelled by law to change their attire, as it was found that the large pins by which the earlier "peplos"* was fastened proved dangerous weapons in the hands of infuriated women, whereas the Ionic chiton generally required no pins. - The Himtation. A garment worn in Greece and Rome between 550 B.C. and 300 A.D.
From this time onward another garment, distinct in itself, came into general use, and remained until the end of the Classic Greek Period. This was the himation, an essential part of a Greek woman's costume, and indispensable with the Ionic chiton. It was often worn in the house, and always out of doors. In shape it resembled a shawl, and was an oblong piece of woollen or linen material, twelve to fifteen feet long, and in breadth about equal to the height of the wearer. - The Himation, 600-146 B.C.
The Himation was not exclusively a feminine garment; it was also worn by men. It was an oblong piece of material, woven with a border, and in dimensions approximately eighteen feet by six feet. During the sixth century of the Classic Period, it was often the sole garment worn. How to wear it. It was draped over the left arm, with one end hanging in front, the rest of the material being drawn across the back, round the body on the right side, and over the left shoulder again. As civilisation progressed, it was deemed necessary by ordinary men to add an under-garment—either the chiton or the kolobus. - The hieroglyphics describe the dance
A favourite figure dance was universally adopted throughout the country, in which two partners, who were usually men, advanced toward each other, or stood face to face upon one leg, and having performed a series of movements, retired again in opposite directions, continuing to hold by one hand and concluding by turning each other round. - The God Osiris
The God Osiris - The Gěrănŏs from a vase in the Museo Borbonico, Naples
Grown up men and women did not dance together, but the youth of both sexes joined in the Hormŏs or chain dance and the Gěrănŏs, or crane. The Gěrănŏs, originally from Delos, is said to have been originated by Theseus in memory of his escape from the labyrinth of Crete It was a hand-in-hand dance alternately of males and females. The dance was led by the representative of Theseus playing the lyre. - The Forum with the Adjoining Buildings
A. The Forum. 1. Pedestal of the statue of Augustus. 2. Pedestal of the statue of Claudius. 3. Pedestal of the statue of Agrippina. 4. Pedestal of the statue of Nero. 5. Pedestal of the statue of Caligula. 6. Pedestals of equestrian statues. 7. Pedestals of standing figures. 8. Pedestal for three equestrian statues. 9. Speaker's platform 10. Table of standard measures 11. Room of the supervisor of measures. B. The Basilica. a. Entrance court. 1. Corridor. 2. Main room. 3. Tribunal. 4-4. Rooms at the ends of the tribunal. C. The Temple of Apollo. 1. Colonnade. 2. Podium. 3. Cella. 4. Altar. 5. Sundial. 6. Sacristan's room. 7-7. Rooms made from earlier colonnade. D. D'. Market Buildings. E. Latrina. F. F. City Treasury. G. Commemorative Arch. H. Temple of Jupiter. I. Arch of Tiberius. K. The Provision Market—Macellum. 1. Portico. 2. Colonnade. 3-3. Market stalls. 4. Market for meat and fish. 5. Chapel of the imperial family. 6. Banquet room. 7. Round structure with water basin—Tholus. 8. Pen. L. Sanctuary of the City Lares. 1. Main room, unroofed, with an altar in the centre. 2. Apse, with shrine. 3. Recesses with pedestals. 4. Niche opening on the Forum. M. Temple of Vespasian. 1. Colonnade. 2. Altar. 3. Cella. 4. Portico. N. The Building of Eumachia. O. The Voting Place—Comitium. 1. Recess opening on the main room. 2. Recess opening on the Forum. P-R. Municipal Buildings. P. Office of the duumvirs. Q. Hall of the city council. R. Office of the aediles. S. Fountain. - The Forum Triangulare, with Adjacent Buildings
A. Portico at the Entrance of the Forum Triangulare. B. Forum Triangulare. 1, 1. Colonnade. 2. Promenade. 3. Doric temple. 4. Semicircular bench, with sundial. 5. Sepulchral enclosure. 6. Altars. 7. Well house. 8. Pedestal of the statue of Marcellus. C. Open-air Gymnasium—Palaestra. 1. Colonnade. 2. Pedestal with steps behind it. 3, 3. Dressing rooms. D. Tank for Saffron Water. E. Large Theatre. 1. Dressing room. 2. Stage. 3. Orchestra. 4. Ima cavea. 5. Media cavea. 6. Summa cavea, over a corridor. 7, 7. Tribunals. F. Small Theatre. 1. Dressing room. 2. Stage. 3, 3. Tribunalia. G. Theatre Colonnade, used as Barracks for Gladiators. 1. Passage leading from Stabian Street. 2. Entrance. 3. Doorkeeper's room. 4. Passage to the Large Theatre, walled up. 5. Stairway leading down from the Forum Triangulare. 6. Athletes' waiting room—Exedra. 7. Room with remains of weapons and cloth. 8. Guard room. 9. Stairs leading to overseer's rooms. 10. Kitchen. 11. Mess room. H. Temple of Zeus Milichius. 1. Colonnade. 2. Altar. 3. Cella. 4. Sacristan's room. I. Temple of Isis. 1. Colonnade. 2. Cella. 3. Shrine of Harpocrates. 4. Purgatorium. 5. Hall of initiation. 6. Hall of the Mysteries. 7. Priest's residence. K. City Wall. L. Foundations of Steps. - The Elysian Fields of the Egyptians according to the Papyrus of Nebseni (XVIIIth dynasty)
The Elysian Fields of the Egyptians according to the Papyrus of Nebseni (XVIIIth dynasty) - The Elysian Fields of the Egyptians according to the Papyrus of Ani (XVIIIth dynasty)
The Elysian Fields of the Egyptians according to the Papyrus of Ani (XVIIIth dynasty) - The Doric Himation
The Doric Himation - The Doric Chiton
The Doric Chiton, 550 B.C. {circa)-A.D. 100 About the same time, or shortly after the introduction of the Ionic chiton, a variation of the peplos was adapted under the name of the Doric chiton. It was worn simultaneously with the Ionic chiton, even to the end of the first century A.D., as may be seen on many vase paintings and pieces of sculpture. It was made of fine woollen material and woven complete in itself - The Crinkled Ionic Chiton
The top part. The crinkled Ionic chiton was shaped like the original garment, but made of even thinner material, almost transparent, for the limbs could be seen through it. It was necessarily thinner, as more material was required in its width. It is seen on statues, the top part being crinkled in some way, in zig-zag or wavy lines, to about the hip level, where it is turned under and secured by an invisible waist-belt. It was fastened by buttons or clasps, or sewn as described earlier, to form sleeves. The skirt part was not crinkled, but, being very full, it hung in many flat folds, which gave a zig-zag effect at the bottom edge. - The Crinkled Chiton and the Clamys (left) and the Chiton (right)
The later chiton. Approximately at the beginning of the fifth century B.C., the chiton was made on the same principle as the women's Ionic chiton using wider material; and was bound or worked at the top edge, with the portion covering the upper arms slightly gathered. This part was buttoned or clasped back to front, and. later on sometimes sewn together, to form a sleeve. It was girded at the waist and under the arms. It eventually became customary to sew up the open side, thus making the garment a cylinder in shape. The figure on left is a young man wearing a crinkled chiton under the chlamys. His long hair is twisted up and banded. He carries his petasos in his hand. The figure on right represents a young man dressed in accordance with the fashion of the fifth century B.C., but his hair is of the sixth and fifth centuries. The lyre is a development of the more primitive instrument of an earlier Age. - The Creation
The god Nu rising out of the primeval water and bearing in his hands the boat of Rā, the Sun-god, who is accompanied by a number of deities. In the upper portion of the scene is the region of the underworld which is enclosed by the body of Osiris, on whose head stands the goddess Nut with arms stretched out to receive the disk of the sun. - The Chlamys and Petasos
The Chlamys and Petasos - The Chiton
The early chiton. At the beginning of the sixth century B.C. men followed the example of the women by adopting the Ionic chiton for general use. The masculine variety was a shortened version of the original worn by the women, and reached to just above the knees. In its early stage (sixth century B.C.) it was no more than a rectangular piece of linen, or wool, folded round the body and fastened on each shoulder by buttons or brooches, and round the waist by a girdle; or it could be girded under the arms. It was worn open down one side, and these two edges were usually finished off with a fringe, probably the raw edges left in the weaving. - The Babylonian Cylinder
The Babylonian Cylinder - The Artist Auta
There are only two artists of the period who are known by name. The one was a certain Auta, who is represented in a relief dating from some eight years after the change in the art had taken place. It is a significant fact that this personage held the post of master-artist to Queen Tiy; and it is possible that in him and his patron we have the originators of the movement. The king, however, was now old enough to take an active interest in such matters; and the other artist who is known by name, a certain Bek, definitely states that the king himself taught him. Thus there is reason to suppose that the young Pharaoh’s own hand is to be traced in the new canons, although they were instituted when he was but fifteen years old - The Art of Akhnaton compared with Archaic Art
1. The head of Akhnaton. From a contemporary drawing. 2. The head of a king. From an archaic statuette found by Professor Petrie at Abydos. 3. The head of Akhnaton. From a contemporary drawing. 4. The head of a prince. From an archaic tablet found by Professor Petrie at Abydos. 5. An archaic statuette found by Professor Petrie at Diospolis, showing the large thighs found in the art of Akhnaton.