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Flatland: A Romance of Many Dimensions is a satirical novella by the English schoolmaster Edwin Abbott Abbott, first published in 1884 by Seeley & Co. of London. Written pseudonymously by "A Square", [1] the book used the fictional two-dimensional world of Flatland to comment on the hierarchy of Victorian culture, but the novella's more enduring contribution is its examination of dimensions.
In archeology and art history the appearance, and sometimes disappearance, of monumental sculpture (using the size criterion) in a culture, is regarded as of great significance, though tracing the emergence is often complicated by the presumed existence of sculpture in wood and other perishable materials of which no record remains; [7] the totem pole is an example of a tradition of monumental ...
Ceiling of the Treasure Room of the Archaeological Museum of Ferrara, Italy, painted in 1503–1506. Trompe-l'œil (French for 'deceive the eye'; / t r ɒ m p ˈ l ɔɪ / tromp-LOY; French: [tʁɔ̃p lœj] ⓘ) is an artistic term for the highly realistic optical illusion of three-dimensional space and objects on a two-dimensional surface.
The Sator Square (or Rotas-Sator Square or Templar Magic Square) is a two-dimensional acrostic class of word square containing a five-word Latin palindrome. [1] The earliest squares were found at Roman-era sites, all in ROTAS-form (where the top line is "ROTAS", not "SATOR"), with the earliest discovery at Pompeii (and also likely pre-AD 62).
A number of regional schools converged in the early Romanesque illuminated manuscript: the "Channel school" of England and Northern France was heavily influenced by late Anglo-Saxon art, whereas in Southern France the style depended more on Iberian influence, and in Germany and the Low Countries, Ottonian styles continued to develop, and also ...
Wax-works, not intended as fine art, subsequently became popular attractions, consisting principally of images of historical or notorious personages, made up of waxen masks on lay figures in which sometimes mechanism is fitted to give motion to the figure. Such an exhibition of wax-works with mechanical motions was shown in Germany early in the ...
The word encaustic originates from Ancient Greek: ἐγκαυστικός, which means "burning in", from ἐν en, "in" and καίειν kaiein, "to burn", [3] and this element of heat is necessary for a painting to be called encaustic. Encaustice or Encaustike (ἐγκαυστική) was the art of painting by burning in the colours. [4]
Peristyle around the great court of the palaestra, described by Vitruvius, which measured two stadia (1,200 ft.) in length, on the south side this peristyle had two rows of columns, so that in stormy weather the rain might not be driven into the inner part. The word was also used in ancient Greece for a foot race of twice the usual length. [26]