The learned adhere closely to their hieroglyphical writing, representing every word by its corresponding picture.
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It is an hieroglyphical and shadowed lesson of the whole world, and of the creatures of God.
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I at once looked upon the figure of the animal as a kind of punning or hieroglyphical signature.
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Phase's work became ever more complex and grew further and further away from its original simple signature towards a hieroglyphical calligraphic abstraction.
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It represents a richly adorned character, showing on the side hieroglyphical inscriptions that are possibly chronological, but different from the classical of the Mayan culture.
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Gordon published two very learned treatises wherein he undertook to solve the mysteries of hieroglyphics and to illustrate "all the Egyptian mummies in England." Their titles are An Essay towards explaining the Hieroglyphical Figures on the Coffin of the Ancient Mummy belonging to Capt. William Lethieullier. (An Essay towards explaining the antient Hieroglyphical Figures on the Egyptian Mummy in the Museum of Doctor Mead).
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Nay, what is your Montesquieu himself but a clever infant spelling Letters from a hieroglyphical prophetic Book, the lexicon of which lies in Eternity, in Heaven?
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His robe was of the finest skins, which had been deprived of their fur, in order to admit of a hieroglyphical representation of various deeds in arms, done in former ages.
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He likewise noted that the Egyptian Pharaoh Sesostris led his forces passed the region en route to the northeastern port of Mosylon, a cinnamon hub that is believed to have been in or close to present-day Bosaso. Additionally, Pliny indicated that the Port of Isis was located near stone pillars on which unknown letters were engraved. Samuel Sharpe suggests that these old inscriptions were probably hieroglyphical.
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Contemporary archaeologists (first of all Michael D. Coe) have found depictions of characters and episodes from Popol Vuh on Mayan ceramics and other art objects (e.g., the Hero Twins, Howler Monkey Gods, the shooting of Vucub-Caquix and, as many believe, the restoration of the Twins' dead father, Hun Hunahpu).Chinchilla Mazariegos 2003 The accompanying sections of hieroglyphical text could thus, theoretically, relate to passages from the Popol Vuh. Richard D. Hansen found a stucco frieze depicting two floating figures that might be the Hero Twins at the site of El Mirador.
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The archon eponymous remained the titular head of state even under the democracy, though with much reduced political importance. In 753 BCE the perpetual archonship by the EupatridaeHerodotus, George Rawlinson, Sir Henry Creswicke Rawlinson, Sir John Gardner Wilkinson. The History of Herodotus: A New English Version, Ed. with Copious Notes and Appendices, Illustrating the History and Geography of Herodotus, from the Most Recent Sources of Information; and Embodying the Chief Results, Historical and Ethnographical, which Have Been Obtained in the Progress of Cuneiform and Hieroglyphical Discovery, Volume 3. Appleton, 1882.
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This imaginative portrait of Nicolas Flamel dates from the 19th century Legendary accounts of Flamel's life are based on 17th-century works, primarily Livre des figures hiéroglyphiques. The essence of his reputation are claims that he succeeded at the two goals of alchemy: that he made the philosopher's stone, which turns base metals into gold, and that he and his wife, Perenelle, achieved immortality through the "Elixir of Life". An alchemical book, published in Paris in 1612 as Livre des figures hiéroglyphiques and in London in 1624 as Exposition of the Hieroglyphical Figures was attributed to Flamel.Laurinda Dixon, ed.
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The validity of this story was first questioned in 1761 by Etienne Villain. He claimed that the source of the Flamel legend was P. Arnauld de la Chevalerie, publisher of Exposition of the Hieroglyphical Figures, who wrote the book under the pseudonym Eiranaeus Orandus. Other writers have defended the legendary account of Flamel's life, which has been embellished by stories of sightings in the 17th and 18th centuries and expanded in fictitious works ever since. Flamel had achieved legendary status within the circles of alchemy by the mid 17th century, with references in Isaac Newton's journals to "the Caduceus, the Dragons of Flammel".
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In the latter language he had assistance, but for many years there was only one other person in the institution, in a different department, who knew anything of ancient Egyptian. The entire arrangement of the department devolved upon Birch. He found time nevertheless for Egyptological work of the highest value, including a hieroglyphical grammar and dictionary, translations of The Book of the Dead and papyrus Harris I, and numerous catalogues and guides. He further wrote what was long a standard history of pottery, investigated the Cypriote syllabary, and proved by various publications that he had not lost his old interest in Chinese.
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The hieroglyphical name of the goddess consists of a female head characterized by a hair-like curl (prefixed or infixed). The curl is not unimportant, since it is usually assumed to be the sign of the earth (kabʼ[an]) or the moon (Landa's u-sign), with the goddess being identified accordingly. However, the curl might, perhaps, better be viewed as the post-Classic rendition of the infix and hair curl characteristic of Classic glyphs for 'woman' (ixik).Stone and Zender 2011: 35 The head of goddess I is often preceded by the glyph for 'white' (sak).
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He made various translations, wrote poems, and laid claim to two tragedies, Herod and Mariamne (1673), and The Siege of Babylon (1678), and a romance, Eliana. While living with his father at the parsonage of Bradfield in 1660 he published a translation from Seneca the Younger, with notes, called ‘Troades Englished.’ About the same time he published ‘Poems upon Several Occasions, by S. P., gent.,’ a little volume which included panegyrics on Charles II and General George Monck, but which consisted for the most part of poems in the style of Robert Herrick. In 1661 a volume appeared called ‘Mundorum Explicatio, or the explanation of an Hieroglyphical Figure.
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In 1827 he married his first cousin Sarah (born 1796, died 3 June 1851), daughter of Joseph Sharpe, and had six children, of whom two daughters survived him. The girls are described as offering "efficient help" in his studies, for example by tracing Egyptian hieroglyphs, and with their assistance he was able to release "by far the largest collection of hieroglyphical inscriptions ever yet published" For many years Sharpe and his brothers taught classes to poor children, before office hours, in the Lancasterian school, Harp Alley, Farringdon Street. He was elected a fellow of the Geological Society about 1827, but took a greater interest in mathematical science and archæological research, as his contributions (1828–31) to the Philosophical Magazine show.
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He described the thrill of tagging subway cars as "impact expressionalism". He is also credited with having pioneered the use of arrows in graffiti writing around this same time. Hip-hop journalist Jeff Chang has noted that Phase 2's canvasses from 1973 have "been widely recognized as defining the early genre."Chang, p153. Over time Phase's work become more complex, moving away from the simple tags of the early 1970s to "hieroglyphical calligraphic abstraction." In 1975, he joined the newly created United Graffiti Artists, a professional aerosol writer collective that began to attract media attention. He was featured in an essay on graffiti art by Richard Goldstein, which appeared in New York magazine. In 1986, Phase 2 became the art director of International Get Hip Times, the first 'zine about aerosol culture.
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Champollion recognized that Young was the author, and sent him a rebuttal of the review, while maintaining the charade of the anonymous review. Furthermore, Young, in his 1823 An Account of Some Recent Discoveries in Hieroglyphical Literature and Egyptian Antiquities, including the author's original alphabet, as extended by Mr. Champollion, he complained that "however Mr Champollion may have arrived at his conclusions, I admit them, with the greatest pleasure and gratitude, not by any means as superseding my system, but as fully confirming and extending it."(p. 146). In France, Champollion's success also produced enemies. Edmé-Francois Jomard was chief among them, and he spared no occasion to belittle Champollion's achievements behind his back, pointing out that Champollion had never been to Egypt and suggesting that really his lettre represented no major progress from Young's work.
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Given the diversity and sheer number of images (which may be well over 60), some researchers have hypothesized they represent a palimpsest of drawings carved at different times. For instance, a study of the design elements in the Mt. Rich petroglyphs, as compared to others in the Lesser Antilles, found that the earliest images at Mt. Rich may have been carved as early as AD 500. Ceramic data from a nearby archaeological site suggests they were carved slightly later, perhaps as early as AD 700. A Photo of the main stone, from Huckerby's 1921 book The earliest historical reference to the Mt. Rich stones is a brief note dated 1845 in Simmond's Colonial Magazine, which describes "several hieroglyphical characters" carved on a stone below the Mount Rich sugar‐works. In 1921, Thomas Huckerby, a Methodist minister that previously wrote an article on St. Vincent's petroglyphs, published a small booklet about Grenada’s petroglyphs through the Museum of the American Indian in New York (now part of the Smithsonian).
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