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By Seares F. H.

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Extra info for Relation of Color to Intrinsic Luminosity in Stars of the Same Spectral Type (1919)(en)(7s)

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British Museum, London. Egyptian Antiquity. 66 41 67 67. Anonymous. Adoration of the Magi, c. 200. Fresco. Capella Greca, Catacomb of Priscilla, Rome. Romanesque. 42 68. Anonymous. The Good Shepherd, c. 250. Fresco. Capella Greca, Catacomb of Priscilla, Rome. Romanesque. — Antiquity — 68 43 69 69. Anonymous. King Hunting Rams, plate, 5th-6th century. 9 cm. The Metropolitan Museum of Art, New York. Persian Antiquity. 44 — Antiquity — 70 70. Anonymous. The Missorium of Theodosius, 387-388. Silver, partially gilded, diameter: 74 cm.

Solid, heavy Romanesque art was obliged vating beauty. Its stylised decoration has the merit of imitating to resist the delicacy of jewellery but Gothic art would not have nature through routine and repetition and is an example of real lived up to its reputation for elegance, delicate tracery and beauty in an ornamental style. filigree work if it had not triumphed in the goldsmith’s art as The chest is an invention of the Middle Ages. Its shape, well as in architecture. We would be prepared to wager that, size, and the richness and quality of the decoration depend on had more Gothic jewellery survived, we would have been able the period when it was made.

Mirror from Tuscany, 350-300 BCE. Bronze, diameter: 12 cm. Museo Archeologico Nazionale, Florence. Etruscan Antiquity. 53 53. Anonymous. Coins from Vetulonia, c. 250 BCE. Bronze. Museo Archeologico Nazionale, Florence. Etruscan Antiquity. — Antiquity — 54 55 54. Anonymous. Mirror with a winged genius, 3rd century BCE. Bronze. Museo Nazionale Etrusco di Villa Giulia, Rome. Etruscan Antiquity. 55. Anonymous. Embellishment on the tomb of a woman from Waldalgesheim (Germany), second half of the 4th century BCE.

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