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GCSE English Still image descriptive draft about roman soldier
Still image draft: soldier
Thudding of simultaneous monotonous feet hour upon hour echoed in the cohorts mind. As night fell the drained, weary and drowsy the 480 legionary’s from the 20 mile march were ordered to rest for the night. Many believed to have seen red eyed dark figures in the distance but came to the conclusion that they were: deprived of sleep, rest, resulting in hallucinations due to extreme fatigue. After a regimented breakfast at the allocated time, trumpets were sounded and the camp's tents and huts were dismantled and preparations made for departure. The trumpet then sounded again with the signal for standby to march.
The cohort were obviously outnumbered by the barbaric enemy whom mysteriously bolstered their numbers in the woods, they wore dark demonic cloaks which shrouded their devilish tattoos. The cohort instantaneously formed as tortoise like formation with their spears protruding the shell, protecting the officer as the rest of the cohort formed several steel walls. The mighty metallic machine marched efficiently forward, their shields enveloped them in a coffin and they marched unknowingly to their demise. All of a sudden the howling wolf like people leaped out from the secretive woodland. The woods howled, just then the horde flooded the clearing, suicidaly running towards their imminent deaths.
Without warning the cohort was ambushed from behind, the cohort replied rapidly and were ordered to “protect the rear flank” the officer bellowed commandingly. The third rank marched automatically to the rear of the machine, forming an oval surrounding the tortoise. Fighting shoulder to shoulder keeping the wall as cavity free as possible was astoundingly effective each legionary thrust their Gladius short swords into the delish shadows, pommels were equally as efficacious. Head sized boulders were violently being lobbed at the legionary’s vulnerable heads. The officer of the cohort immediately knew that they couldn’t hold off the horde

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    SHELDON
NODELMAN
 from
 E.
D’Ambra,
ed.,
Roman
Art
in
Context.
NY:
Prentice
Hall.
1993
pp.
10‐20
 Like all works of art. the portrait is a system of signs; it is often an ideogram of “public’ meanings condensed into the image of a human face. Roman portrait sculpture from the Republic through the late Empire-the second century BCE. to the sixth CE -constitutes what is surely the most remarkable body of portrait art ever created. Its shifting montage of abstractions from human appearance and character forms a language in which the history of a whole society can be read. Beginning in the first century B.C., Roman artists invented a new kind of portraiture, as unlike that of the great tradition of Greek Hellenistic art (whence the Romans had ultimately derived the idea of portraiture itself and a highly developed vocabulary of formal devices for its realization) as it was unlike that of their own previous Italo-Hellenistic local tradition. This new conception, conferring upon the portrait an unprecedented capacity to articulate and project the interior processes of human experience, made possible the achievement in the ensuing six centuries of what is surely the most extraordinary body of portrait art ever created, and forms the indispensable basis for the whole of the later European portrait tradition, from its rebirth in the 13th and 14th centuries to its virtual extinction in the 20th. No clear account of the nature of this reformulation of the structure of representation or of its historical significance has so far been given. That the portraiture which it engendered is strikingly “realistic” in the sense of evoking the presence of an astonishingly concrete and specific individuality, to a degree previously unknown and rarely equaled since, has been the universal experience of every observer. But this question-begging term (first used to characterize Roman portraiture, in opposition to the “idealism” imputed to the Greeks, three…

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