By Robert Cumming
Taking an unique photographic method of glance intimately at sure issues, those 4 attention-grabbing books supply deeper knowing and richer delight in the worlds of structure, artwork, well-known artists, and myths and legends. writer BIO: Robert Cumming has been the chairman of Christie's schooling, London, studied artwork heritage at Cambridge collage, and his books have gained a number of foreign awards and contain Just glance, simply Imagine, and Looking into Paintings.
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Additional info for Art Explained: The World's Greatest Paintings Explored and Explained (Revised Edition)
1),29 the ash altar of Ti. 4),30 and the grave altar of C. 31 Both types of decorative scheme involve combining a variety of individual motifs in a design which is symmetrical and emphasises the front of the monument – indeed in most cases the attention of the viewer is drawn to the inscription in a panel placed in the centre of the upper part of the front. Standard motifs on the garland variety include the garland itself (made up of fruit and flowers, laurel or oak leaves, or occasionally other plants) slung from bulls’ skulls (bucrania), rams’ heads or the head of Zeus/Jupiter Ammon, or from other supports such as cupids (erotes), torches or candelabra at the upper corners of the front: there might be other items under the front corner supports, such as eagles, swans, sphinxes or griffins (the dancing figures on the grave altar of L.
73 These altars are decorated in much the same way as altars to those of lower status in Roman society, although they could perhaps be said to be characterised by a degree of tasteful minimalism: they include altars decorated with garlands as well as those which put more emphasis on the inscription and confine the decoration to the pedimental area. 74 The altars of the Licinii Crassi are also of interest because it would seem that this may be one instance where we can see the transition from cremation to inhumation monuments in action within a single aristocratic family.
766); Mercury and the infant Dionysus appear on a grave altar in Amelia and on the altar of Passiena Prima on display in the Vatican car park excavation site (where seated Mercury dangles a large bunch of grapes in front of the child, in the presence of female figures, presumably the Nymphs about to take over the task of caring for the baby). Ash chest of Ianuaria from the Volusii tomb, in the Museo Gregoriano Profano: Buonocore 1984, 110 – 111, no. 70, fig. 42; Sinn 1987, 202 – 3, no. 463, pl.
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