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Updated: May 21, 2025
The face we call the obverse is entirely occupied by the body of a fantastic quadruped, partly chiselled in slight relief, partly engraved. This monster is upright on his hind feet; his back is turned to the spectator, while the lower part of his body is seen almost in profile. He clings with his two fore feet to the upper edge of the plaque, and looks over it as over a wall.
And we'll all play Follow the Leda.... Somewhere in there, Mike the Angel managed to doze off. He awoke suddenly, and his dream of being a huge black swan vanished, shattered into nothingness. This time it had not been a sound that had awakened him. It had been something else, something more like a cessation of sound. A dying sigh. He reached out and touched the switch plaque. Nothing happened.
As is now the custom, though it is comparatively a recent one, the greater part of the picture, with the exception of the faces, hands and feet, is covered with an embossed and chased plaque in gold or silver-gilt representing the form and garments.
In any case the oasis of Tadmor was a dependency of Mesopotamia as long as the power of the Chaldæan and Assyrian monarchies lasted, and the characteristic features of the work in question are entirely Assyrian. In that respect neither Péretié nor Clermont-Ganneau made any mistake. This plaque is a tall rectangle in shape.
Mr. Laquedem conned all this for some while in silence, holding his chin with finger and thumb. "And it was here you discovered the plaque?" he asked at length. I pointed to the exact spot. "H'm!" he mused, "and that ship must be Greek or Levantine by its rig. Compare the crowns on her masts, too, with that on the plaque . . ." He stepped to the wall and peered into the frescoes.
People may differ as to the significance of this or that detail, but no one will deny that the plaque is religious and funerary in its general character, and that, whatever may have been its purpose, it is as a whole connected with the memory and worship of the dead, and therefore that this is the place for such remarks as we have to make upon it.
Their hair is plaited over a frame into two enormous flat bands, curved like the horns of a mountain sheep and reënforced with bars of wood or silver. Each horn ends in a silver plaque, studded with bits of colored glass or stone, and supports a pendent braid like a riding quirt. On her head, between the horns, she wears a silver cap elaborately chased and flashing with "jewels."
He went to one of the cabinets and got out the materials, and in a few minutes they were bending busily over the broken plaque, as interested and eager about it as if no subject of more vital importance had ever distracted them.
Some day, perhaps, the exact significance of this emblem may be explained, we are content to point out the variety and happy arrangement of the sinuous lines which surround and enframe the richly decorated pilaster that acts as its stem. The astragali, the ibex horns and the volutes, may all be easily recognized here. Ivory plaque found at Nimroud. Actual size.
The total length is nearly 80 feet. Another tomb of the same type, La Grotte du Castellet, contained over a hundred skeletons, together with thirty-three flint arrow or spear-heads, one of which was stuck fast in a human vertebra, a bell-shaped cup, axes of polished stone, beads and pendants of various materials, 114 pieces of callaïs, and a small plaque of gold.
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