Roman Sources of Christian ArtColumbia University Press, 1951 - 248 páginas |
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Página 147
... figures in the foreground , and the more distant figures and parts of the scene as visualized by the sculptor are physically , within the limits of the relief , more distant from the spectator.16 In like manner , the Niobid disk in the ...
... figures in the foreground , and the more distant figures and parts of the scene as visualized by the sculptor are physically , within the limits of the relief , more distant from the spectator.16 In like manner , the Niobid disk in the ...
Página 150
... figures , with no marked distinctions drawn between protagonists and supernumeraries and little differentiation be- tween various kinds of action . This equality , ac- cording to Hamberg , 28 is expressed by the dis- position of figures ...
... figures , with no marked distinctions drawn between protagonists and supernumeraries and little differentiation be- tween various kinds of action . This equality , ac- cording to Hamberg , 28 is expressed by the dis- position of figures ...
Página 152
... figure quite clearly . He therefore , it is insisted , neglected entirely the spatial relationships so vital to the illusionistic method and produced these squat and unprepos- sessing figures , in which , it is claimed , we see the ...
... figure quite clearly . He therefore , it is insisted , neglected entirely the spatial relationships so vital to the illusionistic method and produced these squat and unprepos- sessing figures , in which , it is claimed , we see the ...
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aisles Alinari photo Ancient Rome Anthemius appears apse arch architects artistic Baalbek Baptistery Baths Baths of Diocletian brick building Byzantine Architecture Cathedral century B.C. Christian Art circular classic Claudia Antonia colorism coloristic columns Constantine Constantinople corbel Creswell crown dated decoration developed dome domical vault drill earlier earliest early Christian Early Muslim Architecture East Eastern effect Empire entirely esthetic example exterior fact figures flat Flavian frescoes frieze frontal Galla Placidia Greek Hadrian Hagia Sophia half-domes Hellenistic Ibid illusionistic interior Italy Kunst L'Art later lbid Lepcis marble ment merging pendentives monuments mosaic nave octagonal optical oriental origin pagan painting panels Pantheon period Perkins Pompeii principles Ravenna relief Rivoira Roman Architecture Roman art Roman Imperial roof sarcophagi scenes sculpture second century Septimius Severus slabs space spatial structure Syria techniques Temple theory third century tion tomb tradition Trajan tunnel vault ture walls West Western Roman Wickhoff