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An introduction to Greek art : sculpture and vase painting in the archaic and classical periods
\"The four centuries between the composition of the Homeric epics and the conquests of Alexander the Great witnessed an immensely creative period in Greek art, one full of experimentation and innovation. But time has taken its toll; damaged statues have lost their colour and wall paintings have been totally destroyed. And yet sympathetic study of surviving sculpture and of drawing on vases can give extraordinary insight into and appreciation of these once brilliant works This book, designed originally for students, introduces the reader to Greek sculpture and vase painting in the critical period from the eighth to the fourth centuries BC. The works discussed are generously illustrated and lucidly analysed to give a vivid picture of the splendor of Greek art. The up-dated second edition includes a new chapter examining art in Greek society, a timeline to help relate artistic development to historical events, an explanation of how dates BC are arrived at, a brief overview of Greek temple plans and a further reading list of recent books. This clear, approachable and rigorous introduction makes the beauty of Greek art more readily accessible and comprehensible, balancing description with interpretation and illustration, and is an invaluable tool to help develop insight, appreciation and comprehension\"-- Provided by publisher.
Book
DAIDALOS AND IKAROS ON AN APULIAN FRAGMENT NEWLY ACQUIRED BY THE BRITISH MUSEUM
A fragment of an Apulian calyx-krater recently acquired by the British Museum shows a sorrowful, winged bearded man carrying what appears to be the dead body of a child. The figure has previously been tentatively identified as Thanatos, but a new interpretation is offered here: Daidalos carrying the body of Ikaros. This paper considers various aspects of the representation, including discussion of other images of Daidalos in South Italian vasepainting and the possible appearance of Daidalos in Euripides' lost tragedy Cretans.
Journal Article
Looking at pictures
Exploring the origins, designs and themes of over one hundred pictures from different periods and places, Susan Woodford artfully expands our appreciation of pictures. Woodford's riveting prose compares different artistic approaches, questions assumptions and introduces us to a wide range of stimulating ideas.
Book
Angiotensin-converting enzyme genotype and outcome in pediatric IgA nephropathy
Angiotensin-converting enzyme (ACE) I/D polymorphism has been implicated as a genetic marker for progression of glomerular disease. Studies of ACE genotypes in adults with IgA nephropathy (IgAN) have yielded conflicting results. We performed ACE genotyping on 79 patients with IgAN diagnosed prior to age 18 years who had either progressed to end-stage renal disease (ESRD) or are now more than 5 years post biopsy. Mean follow-up was 14.8 years for those with normal renal function. Forty-three (54.4%) subjects had normal renal function and a normal urinalysis at last evaluation. Sixteen (20%) progressed to ESRD and 1 has chronic renal insufficiency. Kaplan-Meier survival curves for progression to ESRD did not differ significantly for the ACE DD, ID, and II genotype groups (P=0.095, log-rank test). By univariate analysis, presence of hypertension and degree of proteinuria at diagnosis, and unfavorable histology but not ACE genotype, was significantly associated with progression to ESRD. In the Cox proportional hazards model that included grade of proteinuria, the ACE D allele was a significant independent predictor of outcome with a hazard ratio of 2.37 (P=0.031). Our data, while inconclusive, suggest that the ACE D allele may associate with poor outcome in pediatric IgAN.
Journal Article
SILENOI OUVRANTS: ON ALCIBIADES' IMAGE OF SOCRATES IN PLATO'S \SYMPOSIUM\
In the \"Symposium\" Plato has Alcibiades likening Socrates to certain \"herms\" or small-scale statues of Silenos (an uncouth follower of Dionysos), which opened up to reveal a statue of a god within. No such object has survived, but this article suggests that they were made of wood, and were similar in form to medieval \"vierges ouvrantes\", wooden statues of the Virgin which opened to reveal a further scene or figure, most frequently a representation of the Trinity.
Journal Article
Familial IgA Nephropathy
The evaluation of familial glomerulonephritis in patients with IgA nephropathy who were from central and eastern Kentucky resulted in the discovery of potentially related pedigrees containing 14 patients. An additional 17 members of the pedigrees had clinical glomerulonephritis, and 6 had \"chronic nephritis\" noted on their death certificates. Six patients with IgA nephropathy had a common ancestor. In addition, both parents of six patients with the disease came from families with other cases of IgA nephropathy. No single HLA haplotype or antigen was found in all the patients with IgA nephropathy. Our data on these pedigrees strongly support an inherited mechanism in the pathogenesis of IgA nephropathy in some patients. (N Engl J Med 1985; 312:202–8.)
IgA nephropathy was first described by Berger in 1969.
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The disease is characterized pathologically by the deposition of IgA in the glomerular mesangium. At clinical presentation the disorder may be macroscopic hematuria, often recurring in association with viral upper respiratory illness or with microscopic hematuria or proteinuria (or both). The original concept that IgA nephropathy was a benign form of glomerulonephritis
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has been reassessed in the light of numerous reports of progression to renal insufficiency.
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The prevalence of the disease apparently varies greatly among different ethnic groups and nationalities.
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Some of the identified pathogenic factors include circulating IgA-containing immune complexes, . . .
Journal Article
Palamedes seeks revenge
An Attic black-figure neck amphora in the British Museum (Plate VI d) depicts a winged warrior rushing to the right to overtake a ship that is sailing in the same direction. To the left a bird perches on a craggy rock. The winged warrior in this enigmatic scene should, I believe, be identified as the ghost of Palamedes, whose urgency in outracing the ship is dictated by his thirst for revenge. The name of Palamedes never appears in the Homeric epics. Most people, like Strabo, assume that this is because the story of Palamedes (and of his father Nauplios) was a creation of the poets of the later epic cycle and so was invented only after the composition of the Iliad and the Odyssey had been completed. Philostratos, however, suggested that Homer did know about Palamedes, but suppressed any mention of him because he wished to glorify Odysseus. For the story of Palamedes shed such discreditable light on Odysseus' character that the stain it left on the wily hero's reputation could never be effaced.
Journal Article
Herakles' attributes and their appropriation by Eros
This note discusses some of the images and ideas that led to the depiction of Eros with the attributes of Herakles (PLATE IVa), an iconographical type that was developed and elaborated in the Hellenistic and Roman
periods. Eros was not, in fact, the first to appropriate for himself the attributes of Herakles. From an early period popular imagination realised that even the mighty Herakles would occasionally be placed in a situation that lesser creatures could take advantage of. Before the Hellenistic period Kerkopes, satyrs and goat-legged Pans made use of whatever opportunities there were to steal Herakles' attributes; thereafter these subhuman thieves appear to have been replaced by a group of Erotes or a single Eros.
Journal Article
