The Camillus Type In Sculpture 1911

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Excerpt from The "Camillus"-Type in Sculpture To the family, then, we must look for the origin of essen tial features in worship such as sacrifice and its due obser vance. With no certain knowledge of those far-off times, before a state was born, we follow the traditions of his toric Rome back to a possible beginning. In the simple agri cultural life of the early days the father of a family in the most natural way would take up the duties of a priest. Doubt less the recurring seasons suggested offerings to those gods who might, if they chose, injure crops and herds; perhaps, even, some portion of the family-meal was day by day put aside in honor of unseen but dreaded powers. So might the Roman lad who watched all this ask its purpose and, hearing of mysterious deities who demanded propitiation, might come to share in his father's belief. Likewise, the daughter, busy about the hearth, may have grown almost unconsciously into the service of the Hearth-goddess as she shared with her mother the duty of keeping the home-fire burning. Thus, in all naturalness and simplicity, the home became a training school for priestly offices and generation after generation absorbed the spirit of Roman religion and its growing ritual simultaneously with paternal teaching concerning fields and flocks or maternal instruction as to spinning and weaving. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This book constitutes the first comprehensive publication of a cache of eight bronzes from east-central Gaul. The types of objects and accompanying inscriptions suggest that these bronzes originally came from a sanctuary of a god named Cobannus. The first part of the book describes, analyzes, and interprets the individual objects, which are divided between the J. Paul Getty Museum and the Shelby White - Leon Levy Collection. The latter part of this work places the cache within a chronological, cultic, and cultural context. The Cobannus hoard is valuable not only from an artistic point of view but also for the information it provides on many different aspects of the religious, social, and political life of Roman Gaul. The book is lavishly illustrated, with 2 maps and 117 illustrations.