The Code of Hammurabi (Codex Hammurabi) is a well-preserved ancient law code, created ca. 1790 BC (middle chronology) in ancient Babylon. It was enacted by the sixth Babylonian king, Hammurabi. One nearly complete example of the Code survives today, inscribed on a seven foot, four inch tall basalt stele in the Akkadian language in the cuneiform script. One of the first written codes of law in recorded history. These laws were written on a stone tablet standing over eight feet tall (2.4 meters) that was found in 1901.
'TRULY INSPIRING' Mail on Sunday Now familiar to millions of Gardeners' World fans as Longmeadow (the home of Nigel & Nellie), this is the story of Monty & Sarah Don's early days there. The Jewel Garden is the story of the garden that bloomed from the muddy fields around the Dons' Tudor farmhouse, a perfect metaphor for the Monty and Sarah's own rise from the ashes of a spectacular commercial failure in the late '80s . At the same time The Jewel Garden is the story of a creative partnership that has weathered the greatest storm, and a testament to the healing powers of the soil. Monty Don has always been candid about the garden's role in helping him to pull back from the abyss of depression; The Jewel Garden elaborates on this much further. Written in an optimistic, autobiographical vein, Monty and Sarah's story is truly an exploration of what it means to be a gardener.
From Timur's tent in Samarqand to Shah 'Abbas's palace in Isfahan and Humayun's tomb in Delhi, the pavilion has been an integral part of Persianate gardens since its earliest appearance at the Achaemenid garden in Pasargadae in the sixth century BC. Here, Mohammad Gharipour places both the garden and the pavilion within their historical, literary and artistic contexts, emphasizing the importance of the pavilion, which has hitherto been overlooked in the study of Iranian historical architecture. Starting with an examination of the depictions and representations of gardens in religious texts, Gharipour analyses the how the idea of the garden developed from the model of pre-Islamic gardens in Achaemenid and Sassanian Persia to its mentions in the Zoroastrian text of Aban Yasht and on to its central role as paradise in the Qur'an. Continuing on with an exploration of gardens and pavilions in Persian poetry, Gharipour offers in-depth analysis of their literal and metaphorical values. It is in the poetry of major Persian poets such as Ferdowsi, Naser Khosrow, Sa'di, Rumi and Hafez that Gharipour finds that whilst gardens are praised for their spiritual values, they also contain significant symbolic worth in terms of temporal wealth and power. Persian Gardens and Pavilions then goes onto examine the garden and the pavilion as reflected in Persian miniature painting, sculpture and carpets, as well as accounts of travelers to Persia. With masters such as Bizhad representing daily life as well as the more mystical prose and poetry in, for example, Sa'di's Bustan (The Orchard) and Golestan (The Rose Garden), the garden and the pavilion can be seen to have crucial semiotic significances and cultural meanings. But in addition to this, they also point to historical patterns of patronage and ownership which were of central importance in the diplomatic and social life of the royal courts of Persia. Gharipour thereby highlights the metaphorical, spiritual, symbolic and religious aspects of gardens, as well as their more materialistic and economic functions. This book reaches back through Persia's rich history to explore the material and psychological relationships between human beings, pavilions and gardens, and will be a valuable resource for Art History, Architecture and Iranian Studies.
History, if we define it as the mere transcription of the written records of former generations, can go no farther back than the time such records were first made, no farther than the art of writing. But now that we have come to recognize the great earth itself as a story-book, as a keeper of records buried one beneath the other, confused and half obliterated, yet not wholly beyond our comprehension, now the historian may fairly be allowed to speak of a far earlier day. For unmeasured and immeasurable centuries man lived on earth a creature so little removed from "the beasts that die," so little superior to them, that he has left no clearer record than they of his presence here. From the dry bones of an extinct mammoth or a plesiosaur, Cuvier reconstructed the entire animal and described its habits and its home. So, too, looking on an ancient, strange, scarce human skull, dug from the deeper strata beneath our feet, anatomists tell us that the owner was a man indeed, but one little better than an ape. A few æons later this creature leaves among his bones chipped flints that narrow to a point; and the archæologist, taking up the tale, explains that man has become tool-using, he has become intelligent beyond all the other animals of earth. Physically he is but a mite amid the beast monsters that surround him, but by value of his brain he conquers them. He has begun his career of mastery.
