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A Basic History of Art by ANTHONY F. JANSON' 'H.W. JANSON

By ANTHONY F. JANSON' 'H.W. JANSON

The main thorough, cogent, and lavishly illustrated survey of artwork within the Western culture, Janson's historical past of paintings has now been thoroughly redesigned and up-to-date to make it the final word visually and intellectually intriguing source for at the present time. Timelines; thesaurus; bibliography; index. 1,266 illustrations, greater than 775 in complete colour.

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The houses clustered about a HmHH — l I — I =1 sacred area that was a vast architectural com- plex embracing not only shrines but work- and scribes' quarters as well. In their midst, on a raised platform, stood the temple of the local god. These platshops, storehouses, 41. Plan of the "White (after Temple" on H. Frankfort) its ziggurat 53 54 • ANCIES'T NEAR EASTERN ART forms soon reached the height of true mountains, comparable to the pyramids of Egypt in the immensity of effort required for construction marks and in their effect as great land- that tower above the featureless plain.

Their insistent stare is emphasized bv colored inlavs. which are still in place. The entire group must have stood in the cella of the Abu temple, the priests and worshipers confronting the two gods and communicating with them through their eves. "Representation" here had a verv direct meaning: the gods were believed to be present in their images, and the statues of the tallest, worshipers served as stand-ins for the persons thev portraved. offering pravers or transmitting messages to the deity in their stead.

Must not be taken The enemv local plain. is • start, a ritual rather than a physi- is gather from the this fact that Narmer has taken off his sandals (the court official behind him carries them in his right hand), an indication that he standing on is holy ground. ) The inner logic of the Narmer palettes stvle is readily apparent. The artist strives for claritv, not illusion, and therefore picks the most view in each case. But he imposes telling on himself: when he changes a strict rule his angle of vision, he must do so by ninety degrees, as if he 28.

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