{"product_id":"2940014685788","title":"A History of Art in Ancient Egypt Volume 1","description":"A History of Art in Ancient Egypt from the French of Georges Perrot, Professor in the Faculty of Letters, Paris; Member of the Institute and Charles Chipiez\u003cbr\u003eIllustrated with Five Hundred and Ninety-Eight Engravings in the Text, and Fourteen Steel and Coloured Plates.\u003cbr\u003eIn Two Volumes—Volume 1.\u003cbr\u003eTranslated and Edited by\u003cbr\u003eWalter Armstrong, B. A., Oxon.,\u003cbr\u003eAuthor of “Alfred Stevens,” etc.\u003cbr\u003e\u003cbr\u003eCONTENTS\u003cbr\u003eTranscriber’s Note:\u003cbr\u003ePreface.\u003cbr\u003eIntroduction.\u003cbr\u003eTo the Reader.\u003cbr\u003eChapter 1. The General Character of Egyptian Civilization.\u003cbr\u003e§ 1. Egypt’s Place in The History of the World.\u003cbr\u003e§ 2. The Valley of the Nile and its Inhabitants.\u003cbr\u003e[Illustration: FIG. 12.--The Pschent.] § 3. The Great Divisions of Egyptian History.\u003cbr\u003e§ 4. The Constitution of Egyptian Society--Influence of that Constitution upon Monuments of Art.\u003cbr\u003e§ 5.--The Egyptian Religion and its Influence upon the Plastic Arts.\u003cbr\u003e§ 6. That Egyptian Art did not escape the Law of Change, and that its History may therefore be written.\u003cbr\u003e§ 7. Of the place held in this work by the monuments of the Memphite period, and of the limits of our inquiry.\u003cbr\u003eChapter 2. Principles and General Characteristics of Egyptian Architecture.\u003cbr\u003e§ 1.--Method to be Employed by us in our Study of this Architecture.\u003cbr\u003e§ 2.--General Principles of Form.\u003cbr\u003e§ 3. General Principles of Construction.--Materials.\u003cbr\u003e§ 4.--Dressed Construction.\u003cbr\u003e§ 5.--Compact Construction.\u003cbr\u003e§ 6.--Construction by Assemblage.\u003cbr\u003e§ 7.--Decoration.\u003cbr\u003eChapter 3. Sepulchral Architecture.\u003cbr\u003e§ 1.--The Egyptian Belief as to a Future Life and its Influence upon their Sepulchral Architecture.\u003cbr\u003e§ 2.--The Tomb under the Ancient Empire.\u003cbr\u003e§ 3. The Tomb under the Middle Empire.\u003cbr\u003e§ 4. The Tomb under the New Empire.\u003cbr\u003eChapter 4. The Sacred Architecture of Egypt.\u003cbr\u003e§ 1.--The Temple under the Ancient Empire.\u003cbr\u003e§ 2. The Temple under the Middle Empire.\u003cbr\u003e§ 3. The Temple under the New Empire.\u003cbr\u003e§ 4. General Characteristics of the Egyptian Temple.\u003cbr\u003e\u003cbr\u003ePreface.\u003cbr\u003e\u003cbr\u003eM. Perrot’s name as a classical scholar and archæologist, and M. Chipiez’s as a penetrating critic of architecture, stand so high that any work from their pens is sure of a warm welcome from all students of the material remains of antiquity. These volumes are the first instalment of an undertaking which has for its aim the history and critical analysis of that great organic growth which, beginning with the Pharaohs and ending with the Roman Emperors, forms what is called Antique Art. The reception accorded to this instalment in its original form is sufficient proof that the eulogium prefixed to the German translation by an eminent living Egyptologist, Professor Georg Ebers, is well deserved; “The first section,” he says, “of this work, is broad and comprehensive in conception, and delicate in execution; it treats Egyptian art in a fashion which has never previously been approached.” In clothing it in a language which will, I hope, enable it to reach a still wider public, my one endeavour has been that it should lose as little as possible, either in substance or form.\u003cbr\u003e\u003cbr\u003eA certain amount of repetition is inevitable in a work of this kind when issued, as this was, in parts, and in one place[1] I have ventured to omit matter which had already been given at some length, but with that exception I have followed M. Perrot’s words as closely as the difference of idiom would allow. Another kind of repetition, with which, perhaps, some readers may be inclined to quarrel, forced itself upon the author as the lesser of two evils. He was compelled either to sacrifice detail and precision in attempting to carry on at once the history of all the Egyptian arts and of their connection with the national religion and civilization, or to go back upon his footsteps now and again in tracing each art successively from its birth to its decay. The latter alternative was chosen as the only one consistent with the final aim of his work. (CONTINUED...)","brand":"Denise Henry","offers":[{"title":"Default Title","offer_id":47152974266608,"sku":"2940014685788","price":19.99,"currency_code":"USD","in_stock":true}],"url":"https:\/\/shop-qa.barnesandnoble.com\/products\/2940014685788","provider":"Barnes \u0026 Noble (DEV)","version":"1.0","type":"link"}