No description available.

Inaug.-diss.--Halle. / Lebenslauf. "Lituraturverzeichnis": p. 101-107.

Thesis (Ph. D.)--Bryn Maur College, 1936. / Vita. Published also without thesis note. Bibliographical references in "Appendix" (p. 97-105).

Revised version of author's Thesis (doctoral)--University of Oxford, 1984. / Includes bibliographical references (p. 113-116) and index.

Thesis--Basel. / Includes bibliographical references.

Thesis--Hamburg. / Includes bibliographical references (p. 217-228).

Revised version of author's Thesis (doctoral)--University of Oxford, 1984. / Includes bibliographical references (p. 113-116) and index.

This thesis examines the extent to which a more accurate representation of the human body is developed from the last decades of the sixth century, and the reasons for this development. A sound knowledge of clinical anatomy is used to analyse closely the rendering of features and trace the way the Greek artist looked at his model. The study covers different media found in Attica (vases, sculpture in marble or in poros, bronzes, and terracottas) and shows that artists try to render the human body accurately in all, although the pace of development varies according to the cost, subject and technique used (painting, carving, casting, modelling). This move away from the conventional representation reflects a close observation of the life model even though the human figure is still rendered according to idealized proportions and features. In order to explain this change, literary evidence is gathered to reconstruct the knowledge of human anatomy and body at the time. A rich anatomical vocabulary is already developed in the Iliad and the Odyssey but is used in descriptions which combine imagination and reality, whereas, from the last decades of the sixth century, the extant philosophical and (slightly later) medical texts reflect a growing concern with anatomical features and internal organs in order to distinguish the human from the animal. This new approach may have influenced the way contemporary artists looked at, and represented the human figure, since it is probable that they knew these theories either from lay-texts, which often reproduce passages of philosophical or medical treatises, or from public lectures and readings.

The aim of this thesis is to study the iconography of the sphinx in Early Archaic Greek art and plot its origin and evolution. Therefore the Dark Age material is dealt with in some detail. Two types of sphinxes are attested, both radically different from the Minoan-Mycenaean sphinx. The wingless sphinx is a typically Dark Age creation attested throughout the period but without an obvious further influence in Archaic Greek art. The winged sphinx is introduced to Cretan Art in the Dark Ages from the Orient and the type preserves its vitality through successive waves of Oriental influence. The sphinx in the Geometric and Orientalizing period is more clearly traced to the Orient. In drawing up a typology I have taken as my starting point the hybrid winged feline and human character of the monster. Thus the following types emerge: a) winged female, b) winged male, c) wingless, d) with equine elements, e) with human arms, f) doublebodied, g) gorgon-sphinx, and i) sphinx protome. The iconography of each type is discussed in depth and a detailed pattern established of the interrelationship of workshops. In dealing with the imported sphinxes emphasis has been placed on discussing some classes of objects of a possibly Greek origin. Finally the evidence for the nature and the character of the motif in the Early Archaic period is discussed and the conclusion reached is that the sphinx does not enter the Boeotian myth earlier than the end of the seventh century.

Diss.--Munich, 1966. / Bibliography: p. 155-159.