History of Art, Architecture, and Archaeology Commons^™

Apollo Hypoakraios Reconsidered, Peter Nulton

Peter E. Nulton Ph.D.

In 1897, the excavations of P. Kabbadias uncovered ten votive plaques in a cave on the northwest slope of the Athenian Acropolis, thereby fixing the location of the "sanctuary of Apollo in a cave" mentioned by Pausanias (I.28.4). The inscriptions indicated that they were meant as dedications to Apollo Hypoakraios or Hypo Makrais, and that the dedicants were invariably members of the college of archons. Although the corpus has increased steadily since then, the inscriptions have not been treated together since Kabbadias's original publication.

In this paper, I will offer some conclusions drawn from a thorough re-analysis of the corpus. …

The Frontispiece Miniatures Of The Stammheim Missal, Elizabeth Teviotdale

Elizabeth C Teviotdale

Examines the frontispiece miniatures of Los Angeles, J. Paul Getty Museum, MS 64, proposing that the direct reflection of the art patronized by Bishop Bernward of Hildesheim (d. 1022) is a key component in the manuscript's role as a testament to Bernward.

Adorn The Halls: History Of The Art Collection At Thomas Jefferson University, Julie S. Berkowitz

Jefferson History Books

On March 11, 1871 Samuel D. Gross, M.D., the internationally celebrated surgeon and author, entreated fellow Jefferson alumni to "adorn the halls" with portraits of those who had "devoted their lives to the service of the school," and thus "inspire the pupil with ambition to excel in great and noble works." This clarion call to emulate European medical and scientific institutions by memorializing their great men was taken up almost immediately.

One hundred and twenty-five years later, Thomas Jefferson university is still securing portraits, accepting art donations and bequests, and exhibiting art works effectively. By manifesting an appreciation for the …

Production Practices In Medieval Stained Glass Workshops: Some Evidence In The Glencairn Museum, Michael Watt Cothren

Art & Art History Faculty Works

Two examples of technical and physical evidence of early-medieval stained-glass workshop practices are examined. The examples comprise a group of 13 panels of French grisaille from various buildings, which date from the 1250s to the 1270s, and panels representing three standing bishops from the band windows in the Norman abbey church of Evron, which date from the second decade of the 14th century. All of the panels are now housed in the Glencairn Museum in Bryn Athyn, Pennsylvania. The first group seems to provide an example of “ghost images”—corrosive imprints resulting from vaporized deposits transferred from one piece of glass …

The Guitar In The Middle Ages And Renaissance, Julie D. Carmen

Library Scholarship

In the Society for Creative Anachronism (SCA) world there are high standards for recovering and reconstructing the truth in history. Recorded history determines how we re-create the Middle Ages, and it is with much determination that we search for as many facts as possible for each of our varied interests. This article seeks to clarify the historical authenticity of one of the most popular musical instruments, the guitar.

Madaba Plains Project: Excavations At Tall Al-'Umayri, 1998, Larry G. Herr, Douglas R. Clark, Lawrence T. Geraty, Oystein S. Labianca

Faculty Publications

No abstract provided.

Who Was Gevehard?, Elizabeth Teviotdale

Elizabeth C Teviotdale

Discusses the relationship between the Stammheim Missal (Los Angeles, J. Paul Getty Museum, MS 64) and the Ratmann Missal (Hildesheim, Dom-Museum, MS DS 37), a pair of manuscripts produced at and for the Abbey of St. Michael's, Hildesheim, in the second half of the 12th century, focusing on a certain Gevehard, a contemporary monk and priest pictured in the Getty manuscript.

The Getty Anglo-Saxon Leaves And New Testament Illustration Around The Year 1000, Adam Cohen, Elizabeth Teviotdale

Elizabeth C Teviotdale

A study of the two surviving leaves of an Anglo-Saxon gospel book (Los Angeles, J. Paul Getty Museum, MS 9), concluding that the text was based on an Irish-influenced recension of the text transmitted to England by Breton manuscripts of the late Carolingian period and that a Carolingian model can also be proposed for the illustrations of the parent manuscript.