This enchanted tour of Egyptian art by one of its early explorers is one of the most beautiful modern works on ancient Egyptian art. Prisse d'Avennes' monumental work, first published in Paris over a ten-year period between 1868 and 1878, includes the only surviving record of many lost artifacts. ''None of Prisse's contemporaries had the skill or endurance to bring such an endeavor to such a brilliant end. He was far ahead of his time in his awareness of the vulnerability of the monuments and the need to protect them and to record them. His were the first reliable drawings of Egyptian architecture and ornaments and the first plans and sections of constructions newly excavated. He returned to Paris [in 1860] with a rich harvest of 300 drawings, 400 meters of squeezes, and 150 photographs.'' - Maarten J. Raven, Curator of the Egyptian Department, the Rijksmuseum van Oudheden, Leiden. Now reissued in a handy new hardbound reference format.

Surveys the history and culture of ancient Egypt, including archaeological discoveries, mythology, architecture, and religion.

Authoritative and up-to-date, this key single-volume work is a thematic exploration of ancient Egyptian civilization and culture as it was expressed down the centuries.Including topics rarely covered elsewhere as well as new perspectives, this work comprises thirty-two original chapters written by international experts. Each chapter gives an overvi

The archaeological study of the ancient world has become increasingly popular in recent years. A Research Guide to the Ancient World: Print and Electronic Sources, is a partially annotated bibliography. The study of the ancient world is usually, although not exclusively, considered a branch of the humanities, including archaeology, art history, languages, literature, philosophy, and related cultural disciplines which consider the ancient cultures of the Mediterranean world, and adjacent Egypt and southwestern Asia. Chronologically the ancient world would extend from the beginning of the Bronze Age of ancient Greece (ca. 1000 BCE) to the fall of the Western Roman Empire (ca. 500 CE). This book will close the traditional subject gap between the humanities (Classical World; Egyptology) and the social sciences (anthropological archaeology; Near East) in the study of the ancient world. This book is uniquely the only bibliographic resource available for such holistic coverage. The volume consists of 17 chapters and seven appendixes, arranged according to the traditional types of library research materials (bibliographies, dictionaries, atlases, etc.). The appendixes are mostly subject specific, including graduate programs in ancient studies, reports from significant archaeological sites, numismatics, and paleography and writing systems. These extensive author and subject indexes help facilitate ease of use.

A History of Art in Ancient Egypt in two volumes is a study of Egyptian arts and of their connection with the national religion and civilization written by French archeologists and historians Georges Perrot and Charles Chipiez. The aim of the work was to trace the course of the great evolution which culminated in the age of Pericles and came to an end in that of Marcus Aurelius. That evolution forms a complete entirety – an unbroken chain of cause and effect uniting the two eras. Using carefully selected examples authors prove that the art of the Egyptians went through the same process of development as those of other nationalities, earlier and later ones, and that the unique quality of the sculptures and paintings of the Nile Valley was a persistent affinity to simplification, which comes in part from the habit created by writing the hieroglyphic and in part from the materials used.

Reproduction of the original: A history of art in ancient Egypt by Georges Perrot, Charles Chipiez

The successful interpretation of the ancient writings of Egypt, Chaldæa, and Persia, which has distinguished our times, makes it necessary that the history of antiquity should be rewritten. Documents that for thousands of years lay hidden beneath the soil, and inscriptions which, like those of Egypt and Persia, long offered themselves to the gaze of man merely to excite his impotent curiosity, have now been deciphered and made to render up their secrets for the guidance of the historian. By the help of those strings of hieroglyphs and of cuneiform characters, illustrated by paintings and sculptured reliefs, we are enabled to separate the truth from the falsehood, the chaff from the wheat, in the narratives of the Greek writers who busied themselves with those nations of Africa and Asia which preceded their own in the ways of civilization. Day by day, as new monuments have been discovered and more certain methods of reading their inscriptions elaborated, we have added to the knowledge left us by Herodotus and Diodorus Siculus, to our acquaintance with those empires on the Euphrates and the Nile which were already in old age when the Greeks were yet struggling to emerge from their primitive barbarism. Even in the cases of Greece and Rome, whose histories are supplied in their main lines by their classic writers, the study of hitherto neglected writings discloses many new and curious details. The energetic search for ancient inscriptions, and the scrupulous and ingenious interpretation of their meaning, which we have witnessed and are witnessing, have revealed to us many interesting facts of which no trace is to be found in Thucydides or Xenophon, in Livy or Tacitus; enabling us to enrich with more than one feature the picture of private and public life which they have handed down to us. In the effort to embrace the life of ancient times as a whole, many attempts have been made to fix the exact place in it occupied by art, but those attempts have never been absolutely successful, because the comprehension of works of art, of plastic creations in the widest significance of that word, demands an amount of special knowledge which the great majority of historians are without; art has a method and language of its own, which obliges those who wish to learn it thoroughly to cultivate their taste by frequenting the principal museums of Europe, by visiting distant regions at the cost of considerable trouble and expense, by perpetual reference to the great collections of engravings, photographs, and other reproductions which considerations of space and cost prevent the savant from possessing at home. More than one learned author has never visited Italy or Greece, or has found no time to examine their museums, each of which contains but a small portion of the accumulated remains of antique art. Some connoisseurs do not even live in a capital, but dwell far from those public libraries, which often contain valuable collections, and sometimes—when they are not packed away in cellars or at the binder's—allow them to be studied by the curious.[2] The study of art, difficult enough in itself, is thus rendered still more arduous by the obstacles which are thrown in its way. The difficulty of obtaining materials for self-improvement in this direction affords the true explanation of the absence, in modern histories of antiquity, of those laborious researches which have led to such great results since Winckelmann founded the science of archæology as we know it. To be continue in this ebook...

Written at the height of the arts and crafts movement in fin-de-siecle Vienna, Alois Riegl's Stilfragen represented a turning point in defining art and understanding the sources of its inspiration. Demonstrating an uninterrupted continunity in the history of ornament from the ancient Egyptian through the Islamic period, Riegl argued that the creative urge manifests itself in both "great art" and the most humble artifact, and that change is an inherent part of style. This new translation, which renders Riegl's seminal work in contemporary, readable prose, allows for a fresh reexamination of his thought in light of current revisionist debate. His discovery of infinite variation in the restatement of several decorative motifs--the palmette, rosette, tendril--led Riegl to believe that art is completely independent from exterior conditions and is beyond individual volition. This thinking laid the groundwork for his famous concept of Kunstwollen, or artistic intention. "Something that the translation will, I hope, convey, is the passion invsted in Riegl's enterprise. We are made to feel that the issues he discussed mattered vitally to him; it was the very nature of art and its relation to human life that were at stake, art as an absolute necessity." --From the preface of Henri Zerner Alois Reigl (1858-1905) was Curator of Textiles at the Museum of Art and Industry in Vienna during most of his career and wrote many influential works on the history of art, including Spatromische Kunstgeschichte. Evelyn Kain is Associate Professor of Art History at Ripon College, Ripon, Wisconsin. David Castriota is Assistant Professor of Art History at Sarah Lawrence College. Originally published in 1993. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.