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The Mediterranean Sea was the heart of the Old World; the important lands of the early history of civilization were grouped about its richly indented shores, generally decreasing in respect of culture as they receded from it. The northeastern part of the Mediterranean, because of its many islands, having an even greater proportionate coast-line, was the centre of the countries ennobled by Hellenic civilization. Separating and uniting at once, like all the waters of the earth, the Aegean Sea formed the boundary between the two chief races of Greek intellectual life–the Dorians and the Ionians; while it was, at the same time, the favoring medium of exchange for the productions of their genius. European Greece, with its predominating Doric population, and the almost exclusively Ionic coasts of Asia Minor, equally looked upon this sea as their own, traversing it with thousands of ships, and gaining more from the trackless waters before them than from the interior lands of the immense continents whose seaboard alone they were content to occupy. In Asia the Greeks were restricted to the countries upon its uttermost western border; in European Greece the development was chiefly directed towards the eastern coast, paying even less attention to their own shores on the Adriatic than to the early colonized ports of Magna – Graecia and Sicily. The Archipelago itself provided convenient strongholds and outposts in every direction. The numerous harbors and anchoring – places of its many islands offered protection against the notorious treachery of the Aegean main–a protection imperatively necessary for the primitive seafarers of antiquity. But, as in the history of all civilization, the currents of Greek intellectual and artistic progress moved distinctly from east to west. The European (Doric) culture was in itself less calculated to influence Asia than the Asiatic (Ionic) to affect the younger continent. It was, as decided by nature, upon European soil, upon Attica–the most advanced promontory of European Greece–that the two branches of the Greek race united, and bore in Athens that double fruit at which we marvel. The Dorians, displaced, in some measure, by the rapid growth of Ionic Asia and Europe, turned still farther westward, and settled upon the shores of Sicily and the Gulf of Tarention, where imposing monuments still attest the extent of their power.
Ionic Order Art Print
Abraham Swan
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The legends of the wanderings of Hellenic tribes, and especially of the so-called Doric migration, were based upon the busy currents of intercourse between Asia and Europe, over seas and straits, and between the European continent and the Morea, the Island of Pelops. The relations and the quarrels of Hellenic and semi-barbaric peoples upon each side of the Aegean are illustrated by the tales of the Argonauts and their voyage, and of the Trojan War, both of which bear the stamp of a certain piratical rivalry. The fatal lack of unity, resulting from the separate development of neighboring districts, could not be more distinctly characterized than by the fact that the Greek races, although they felt themselves divided from other nations — from barbarians — by an impassable gulf, and were aware of their own absolute intellectual superiority, yet lacked any comprehensive designation for themselves: the name Greeks, or Hellenes, is of comparatively recent origin.
Egypt This Winter Art Print
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SUPREME FOR SUNSHINE SPORT AND GAIETY
The fundamental motive of the pyramid is the funeral mound. A small upheaval above the natural level of the ground results of itself from the earth displaced by the bulk of the buried body. Our present practice of interment clearly illustrates this. Increased dimensions elevate the mound to an independent monument. Many nations, some of a high degree of civilization, have contented themselves with such imposing hills of earth over the grave,–tumuli, which, from the manner of their construction, assumed a conical form. Others placed the mound upon a low cylinder, thus better marking its distinction from accidental natural elevations. The Egyptians and the Mesopotamians rejected the cone entirely, and formed, with plane surfaces upon a square plan, the highly mon- umental pyramid. Peculiar to the former people are the inclined sides which give to the pyramid its absolute geometrical form, as opposed to the terraced structures of Chaldaea. The sand of the desert ebbed and flowed fifty centuries ago as constantly as in our time, when the sphinx, after being uncovered to its base, has been quickly hidden again to the neck. Rulers, unwilling that their gigantic tombs should be thus submerged, were obliged to secure to them great height, with inclined and unbroken sides, upon which the sand could not lodge.
Spend This Winter in Egypt Where a Perfect Climate is to be Obtained Art Print
Tamplough, M.
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Cairo by Air Art Print
James, Brian
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The true age of the monuments of Lower Egypt has not long been known. When Napoleon I. fired the spirits of his troops before the Battle of the Pyramids by the well-known words “Forty centuries look down upon you from the heights of these pyramids,” he must have been aware that, according to the conceptions of the archaeological science of the time, he was exaggerating. In fact, however, he was far behind the truth. The pyramids of Abousere, possibly also those of Dashour, are of the third dynasty ( 3338 to 3124 B.C., according to Lepsius), those of Gizeh of the fourth dynasty of Manetho ( 3124 to 2840 B.C.). These are structures which have stood for five thousand years. The pyramids of Cochome, referred to the first dynasty of Manetho, are still older, dating from a time nearly coincident, according to Biblical authority, with the creation of the world itself ( 3761 B.C.).
It is true we are still so far from chronological certainty that dates often differ astonishingly. Osburn, for instance, places the fourth and fifth dynasties as late as the period between 2228 and 2108 B.C., and notably the two kings of the fourth dynasty, Shofo and Nu-Shofo, about 2170 B.C. The first twelve dynasties of Memphis, dated by Lepsius about 3892 to 2167, and by Osburn as late as 1959 B.C., are now known principally by their monumental tombs. Among these, the sepulchres of the kings are prominent in like manner as the ruler in an absolute and theocratic monarchy is elevated above his subjects.
Imperial Airways, England – Egypt – India Art Print
Erickson, Kerne
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Egypt for Winter Sunshine Poster
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The changeless blue of the Egyptian sky, the strictly regular return of all the natural phenomena connected with the Nile, that wonderful stream of the land’s life, are entirely in accord with the fixedness of Egyptian civilization in all its branches. Though the high state of advance which we first find in Egyptian art, three thousand years before the Christian era, must necessarily have been preceded by less perfected degrees, it is wholly impossible to perceive such stages of development in any of the monuments known. After Egypt had attained a certain height of civilization, its history, during the thousands of years known to us, shows none of those phases of advance or decline, of development in short, to be observed in Europe during every century, if not during every decade.
The Egyptian completed buildings and statues begun by his remote ancestors without the slightest striving for individual peculiarity. He commenced new works in the same spirit, leaving them for similar execution by his great-grandchildren. Numberless generations thus dragged on without bequeathing a trace of any peculiar character and ability. It is only by the cartouches of the kings in the hieroglyphic inscriptions that it is possible to separate the dynasties, and to group into periods of a thousand years or more, works of art which seem from their style to belong to one and the same age. What gigantic revolutions have affected the civilization of Europe during the fourteen centuries elapsed since the overthrow of the Roman Empire, and how slight are the appreciable changes during the nearly equal number of years of the ancient dynasties of Memphis–the period of the pyramids, or again of the Theban kingdom–from the seventeenth dynasty to the rule of the Ptolemies!
Temple of Abou Simbel Art Print
Roberts, David
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It is a curious chance that the most ancient monuments of human civilization should stand upon a land which is one of the youngest geological formations of our earth. The scene of that artistic activity made known to us by the oldest architectural remains of Africa and of the world was not Upper Egypt, where steep primeval cliffs narrow the valley of the Nile, but the alluvion of the river’s delta. It would be difficult to decide whether the impulse of monumental creativeness were here first felt, or whether the mere fact of the preservation of these Egyptian works, secured by the indestructibility of their construction as well as by the unchangeableness of Egyptian art, be sufficient to explain this priority to other nations of antiquity — notably to Mesopotamia.
Although no ruins have been found in Chaldaea of earlier date than the twenty-third century B.C., it is not at all impossible that remains of greater antiquity may yet come to light in a country which is by no means thoroughly explored. Nor should we deem the old est structures now preserved to be necessarily those first erected. The perishable materials of the buildings which stood in the plains of the Euphrates and Tigris, generally sun-dried bricks with asphalt cement, were not calculated to insure long duration, or to prevent their overthrow and obliteration by the continual changes in the course of these rivers, through the silting and swamping of their valleys. Yet, though tradition would incline us to assume that Chaldaean civilization and art were the more ancient, the oldest monuments known exist upon the banks of the Nile.
The Great Pyramids, El Giza, Egypt Art Print
Koubou, Shashin
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The Egyptians had many gods, but there were two whom they worshiped above all others. The sun, which shines so gloriously in the cloudless Egyptian sky, was their greatest god, and their most splendid temples were erected for his worship. Indeed, the pyramid is a symbol sacred to the Sun-god. They called him Re (pronounced ray). The other great power which they revered was the shining Nile. The great river and the fertile soil he refreshes, and the green life which he brings forth–all these the Egyptian thought of together as a single god, Osiris, the imperishable life of the earth, which revives and fades every year with the changes of the seasons. It was a beautiful thought to the Egyptian that this same life-giving power which furnished him his food in this world would care for him also in the next, when his body lay out yonder in the great cemetery of Gizeh, which we are approaching.
But this vast cemetery of Gizeh tells us of many other things besides the religion of the Egyptians. As we look up at the colossal pyramids behind the Sphinx we can hardly grasp the fact of the enormous forward stride taken by the Egyptians since the days when they used to be buried with their flint knives in a pit scooped out on the margin of the desert. It was the use of metal which since then had carried them so far. That Egyptian in Sinai who noticed the first bit of metal lived over a thousand years before these pyramids were built. He was buried in a pit like that of the earliest Egyptian peasant.
London Stretched Canvas Print
Laliberte, Andrea
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Big Ben and the Houses of Parliament Art Print
Libra, Pawel
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Black & White Photo of Big Ben and the Houses of Parliament in London, UK. European Travel Prints – London, United Kingdom BW Travel Photography Art
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Erickson, Kerne
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