© in This Web Service Cambridge University
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Full Thesis Text Only
A DIACHRONIC EXAMINATION OF THE ERECHTHEION AND ITS RECEPTION Alexandra L. Lesk, B.A., M.St. (Oxon.), M.A. Presented to McMicken College of Arts and Sciences and the Department of Classics of the University of Cincinnati in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy 2004 Committee: C. Brian Rose (Chair) Jack L. Davis Kathleen M. Lynch J. James Coulton Abstract iii ABSTRACT “A Diachronic Examination of the Erechtheion and Its Reception” examines the social life of the Ionic temple on the Athenian Akropolis, which was built in the late 5th century B.C. to house Athens’ most sacred cults and relics. Using a contextualized diachronic approach, this study examines both the changes to the Erechtheion between its construction and the middle of the 19th century A.D., as well as the impact the temple had on the architecture and art of these successive periods. This approach allows the evidence to shed light on new areas of interest such as the Post-Antique phases of the building, in addition to affording a better understanding of problems that have plagued the study of the Erechtheion during the past two centuries. This study begins with a re-examination of all the pertinent archaeological, epigraphical, and literary evidence, and proposes a wholly new reconstruction of how the Erechtheion worked physically and ritually in ancient times. After accounting for the immediate influence of the Erechtheion on subsequent buildings of the Ionic order, an argument for a Hellenistic rather than Augustan date for the major repairs to the temple is presented. -
Lord Elgin and the Ottomans: the Question of Permission
Yeshiva University, Cardozo School of Law LARC @ Cardozo Law Articles Faculty 2002 Lord Elgin and the Ottomans: The Question of Permission David Rudenstine Benjamin N. Cardozo School of Law, [email protected] Follow this and additional works at: https://larc.cardozo.yu.edu/faculty-articles Part of the Law Commons Recommended Citation David Rudenstine, Lord Elgin and the Ottomans: The Question of Permission, 23 Cardozo Law Review 449 (2002). Available at: https://larc.cardozo.yu.edu/faculty-articles/167 This Article is brought to you for free and open access by the Faculty at LARC @ Cardozo Law. It has been accepted for inclusion in Articles by an authorized administrator of LARC @ Cardozo Law. For more information, please contact [email protected], [email protected]. LORD ELGIN AND THE OTTOMANS: THE QUESTION OF PERMISSION David Rudenstine* In the early morning light on July 31, 1801, a ship-carpenter, five crew members, and twenty Athenian laborers "mounted the walls" of the Parthenon and with the aid of ropes and pulleys detached and lowered a sculptured marble block depicting a youth and centaur in combatJ The next day the group lowered a second sculptured marble from the magnificent templet Within months, the workers had lowered dozens of additional marble sculptures, and within a few years, most of the rest of the Parthenon's priceless marbles were removed.^ These fabulous marbles, sculptured during the age of Pericles'' under the guiding hand of Phidias' out of fine white Pentelic marble quarried ten miles from Athens and hauled by ox-cart to the Acropolis,® had remained on the Parthenon for 2,200 years before being removed. -
The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts
THE NATURE OF HELLENISTIC DOMESTIC SCULPTURE IN ITS CULTURAL AND SPATIAL CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Craig I. Hardiman, B.Comm., B.A., M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Dr. Mark D. Fullerton, Advisor Dr. Timothy J. McNiven _______________________________ Advisor Dr. Stephen V. Tracy Graduate Program in the History of Art Copyright by Craig I. Hardiman 2005 ABSTRACT This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) Transactions in stone: making sculpture in Athenian society in the sixth and fifth centuries BC Hochscheid, H.K. Publication date 2010 Link to publication Citation for published version (APA): Hochscheid, H. K. (2010). Transactions in stone: making sculpture in Athenian society in the sixth and fifth centuries BC. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:30 Sep 2021 BIBLIOGRAPHY Abraldes, A. M. (1998) Pentethlen: The Export of Pentelic Marble and Its Use in Architectural and Epigraphical Monuments , Ann Arbor MI [diss. reprint] Adam, S. (1966) The Technique of Greek Sculpture in the Archaic and Classical Periods , London Adrados, F. R. (1996) La démocratie Athénienne et les genres littéraires, in Sakellariou 1996, 17-33 Aleshire, S. -
The Monopteros in the Athenian Agora
THE MONOPTEROS IN THE ATHENIAN AGORA (PLATE 88) O SCAR Broneerhas a monopterosat Ancient Isthmia. So do we at the Athenian Agora.' His is middle Roman in date with few architectural remains. So is ours. He, however, has coins which depict his building and he knows, from Pau- sanias, that it was built for the hero Palaimon.2 We, unfortunately, have no such coins and are not even certain of the function of our building. We must be content merely to label it a monopteros, a term defined by Vitruvius in The Ten Books on Architecture, IV, 8, 1: Fiunt autem aedes rotundae, e quibus caliaemonopteroe sine cella columnatae constituuntur.,aliae peripteroe dicuntur. The round building at the Athenian Agora was unearthed during excavations in 1936 to the west of the northern end of the Stoa of Attalos (Fig. 1). Further excavations were carried on in the campaigns of 1951-1954. The structure has been dated to the Antonine period, mid-second century after Christ,' and was apparently built some twenty years later than the large Hadrianic Basilica which was recently found to its north.4 The lifespan of the building was comparatively short in that it was demolished either during or soon after the Herulian invasion of A.D. 267.5 1 I want to thank Professor Homer A. Thompson for his interest, suggestions and generous help in doing this study and for his permission to publish the material from the Athenian Agora which is used in this article. Anastasia N. Dinsmoor helped greatly in correcting the manuscript and in the library work. -
The Pedimental Sculpture of the Hephaisteion
THE PEDIMENTALSCULPTURE OF THE HEPHAISTEION (PLATES 48-64) INTRODUCTION T HE TEMPLE of Hephaistos, although the best-preserved ancient building in Athens and the one most accessible to scholars, has kept its secrets longer than any other. It is barely ten years since general agreement was reached on the name of the presiding deity. Only in 1939 was the evidence discovered for the restora- tion of an interior colonnade whicli at once tremendously enriched our conception of the temple. Not until the appearance of Dinsmoor's study in 1941 did we have a firm basis for assessing either its relative or absolute chronology.' The most persistent major uncertainty about the temple has concerned its pedi- mental sculpture. Almost two centuries ago (1751-55), James Stuart had inferred 1 The general bibliography on the Hephaisteion was conveniently assembled by Dinsmoor in Hesperia, Supplement V, Observations on the Hephaisteion, pp. 1 f., and the references to the sculpture loc. cit., pp. 150 f. On the sculpture add Olsen, A.J.A., XLII, 1938, pp. 276-287 and Picard, Mamtel d'Archeologie grecque, La Sculpture, II, 1939, pp. 714-732. The article by Giorgio Gullini, " L'Hephaisteion di Atene" (Archeologia Classica, Rivista dell'Istituto di Archeologia della Universita di Roma, I, 1949, pp. 11-38), came into my hands after my MS had gone to press. I note many points of difference in our interpretation of the sculptural history of the temple, but I find no reason to alter the views recorded below. Two points of fact in Gullini's article do, however, call for comment. -
The Stones and the Bones: Contemporary Issues in Cultural Property
University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2007 The Stones and the Bones: Contemporary Issues in Cultural Property Christopher Michael Blocker Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Recommended Citation Blocker, Christopher Michael, "The Stones and the Bones: Contemporary Issues in Cultural Property" (2007). Honors Theses. 1950. https://egrove.olemiss.edu/hon_thesis/1950 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. The Stones and the Bones: Contemporary Issues in Cultural Property By Christopher Michael Blocker A thesis submitted to the faculty of The University of Mississippi in paitial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College Oxford May 2007 Approved by Advisor: Professor Aileen Ajootian Reader: Professor Matthew Murray Reader: Professor Nancy Wicker Reader: Professor Charles Gates ackn()wu:d(;i:mi:nts I would like lo lhaiik Dr. Ailccn Ajootian for her help these past four years, as well as Dr. Matthew Murray. Dr. Nauey Wieker. and Dr. Charles Gates, my thesis readers. Ytuir insight has been invaluable. IV ! I How can we live without our lives? How will we know it's us without our past? John Steinbeck—The Grapes of Wrath V ABSTRACT CHRISTOPHER MICHAEL BLOCKER: The Stones and the Bones: Modern Issues in Cultural Property (Under the direction of Aileen Ajootian) Cultural property has recently become an important issue in the international community. -
Thessaly and Macedon at Delphi
ELECTRUM * Vol. 19 (2012): 41–60 doi: 10.4467/20843909EL.12.002.0743 THESSALY AND MACEDON AT DELPHI Emma M.M. Aston Abstract: The Daochos Monument at Delphi has received some scholarly attention from an art- historical and archaeological perspective; this article, however, examines it rather as a refl ection of contemporary Thessalian history and discourse, an aspect which has been almost entirely ne- glected. Through its visual imagery and its inscriptions, the monument adopts and adapts long- standing Thessalian themes of governance and identity, and achieves a delicate balance with Mac- edonian concerns to forge a symbolic rapprochement between powers and cultures in the Greek north. Its dedicator, Daochos, emerges as far more than just the puppet of Philip II of Macedon. This hostile and largely Demosthenic characterisation, which remains infl uential even in modern historiography, is far from adequate in allowing for an understanding of the relationship between Thessalian and Macedonian motivations at this time, or of the importance of Delphi as the pan- Hellenic setting of their interaction. Looking closely at the Daochos Monument allows for a rare glimpse into the Thessalian perspective in all its complexity. Keywords: Daochos, Philip II of Macedon, the Daochos Monument, Delphi, Thessaly. Introduction Reconstructing Thessaly’s early involvement in Delphi and its Amphiktyony draws the scholar towards the shimmering mirage of Archaic Thessalian history. Like all mirages, it is alluring, and represents something which the viewer wishes keenly to fi nd: in this case an ambitious, powerful, energetic Thessaly extending its infl uence outside its own borders and claiming a stake in wider Greek affairs.1 Also in the nature of mirages, when grasped it proves insubstantial. -
Philip II, Alexander the Great, and the Rise and Fall of the Macedonian
Epidamnus S tr Byzantium ym THRACE on R Amphipolis A . NI PROPONTIS O Eion ED Thasos Cyzicus C Stagira Aegospotami A Acanthus CHALCIDICE M Lampsacus Dascylium Potidaea Cynossema Scione Troy AEOLIS LY Corcyra SA ES Ambracia H Lesbos T AEGEAN MYSIA AE SEA Anactorium TO Mytilene Sollium L Euboea Arginusae Islands L ACAR- IA YD Delphi IA NANIA Delium Sardes PHOCISThebes Chios Naupactus Gulf Oropus Erythrae of Corinth IONIA Plataea Decelea Chios Notium E ACHAEA Megara L A Athens I R Samos Ephesus Zacynthus S C Corinth Piraeus ATTICA A Argos Icaria Olympia D Laureum I Epidaurus Miletus A Aegina Messene Delos MESSENIA LACONIA Halicarnassus Pylos Sparta Melos Cythera Rhodes 100 miles 160 km Crete Map 1 Greece. xvii W h i t 50 km e D r i n I R. D rin L P A E O L N IA Y Bylazora R . B S la t R r c R y k A . m D I A ) o r x i N a ius n I n n ( Epidamnus O r V e ar G C d ( a A r A n ) L o ig Lychnidus E r E P .E . R o (Ochrid) R rd a ic s u Heraclea u s r ) ( S o s D Lyncestis d u U e c ev i oll) Pella h l Antipatria C c l Edessa a Amphipolis S YN E TI L . G (Berat) E ( AR R DASS Celetrum Mieza Koritsa E O O R Beroea R.Ao R D Aegae (Vergina) us E A S E on Methone T m I A c Olynthus S lia Pydna a A Thermaic . -
Lord Elgin and Ancient Greek Architecture: the Elgin Drawings at the British Museum Luciana Gallo Index More Information
Cambridge University Press 978-0-521-88163-0 - Lord Elgin and Ancient Greek Architecture: The Elgin Drawings at the British Museum Luciana Gallo Index More information Index Illustrations are indicated by italic page numbers Accademia del Disegno (Naples), 34 Theatre and Odeion, 137 Accademia della Pace (Rome), 35, 40, 309n85, 89, 310n94; 36, 37 Temple of Hera, 75 Accademia di S. Luca (Rome), 8, 34, 35, 299n29, 308n81, 309n86, 87, Arundel, Thomas Howard, 2nd earl of, 8, 298n24 310n105 Athens Acrocorinth, 71, 73, 74 Choiseul-Gouffier in, 14–16 Acropolis (Athens) Ciriaco d’Ancona in, 4 Elgin’s artists access to, 59, 60, 65 Le Roy in, 13–14 See also Athens Nointel in, 8–9 Aegina, 30, 50, 51, 52, 55, 71, 72, 79, 84, 125, 318n9 Spon and Wheler in, 9–11 Temples of Aphaia, 52, 75, 83, 313n9, 318n14; 76–78 StuartandRevettin,12–13 Temple of Apollo, 75, 83; 76 under Turkish rule, 5–6 Port, 75, 83, 125, 316n9, 323n135; 135 Venetian occupation of, 6, 298n22 Aglauros, Temple of. See Athens Buildings and Monumental Sites Agrigentum (Sicily), 11, 58 Acropolis, 6, 7, 10, 11, 12, 49, 59, 60, 65, 67, 69, 70, 84, 85, 88, 89, 94, Oratory of Phalaris, 59, 85; 59 148, 159, 319n28 Roman sarcophagus, in the cathedral, 51, 58, 167, 313n27, 314n38; Cave of Pan, 67, 69; 7 167 Choragic Monument of Lysicrates (Lantern of Demosthenes), 10, 44, Temple of Concord, 51, 58, 59, 141; 58 51, 58, 59, 60, 65, 84, 88, 123, 125, 143, 158, 167; 87, 130–134, 164–165 Temple of Juno Lacinia, 59 Choragic Monument of Thrasyllus, 44, 58, 60, 84, 106, 107; 46, Temple of Zeus Olympios, 59, 84 113–115 Agrippa, Marcus Vipsanius, Monument of. -
Tales of Philip II Under the Roman Empire
Tales of Philip II under the Roman Empire: Aspects of Monarchy and Leadership in the Anecdotes, Apophthegmata , and Exempla of Philip II Michael Thomas James Welch BA (Hons. Class 1) M.Phil. A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Philosophical and Historical Inquiry P a g e 1 | 270 Abstract This thesis examines the role anecdotes, apophthegmata , and exempla play in the historiography of the Macedonian king Philip II in the Roman world - from the first century BCE to the fourth century CE. Most of the material examined comes from moral treatises, collections of tales and sayings, and military works by Greek and Latin authors such as Plutarch, Valerius Maximus, Aelian, Polyaenus, Frontinus, and Stobaeus (supplemented with pertinent material from other authors). This approach will show that while many of the tales surely originate from the earlier Greek world and Hellenistic times, the use and manipulation of the majority of them and the presentation of Philip are the product of a world living under Roman political and cultural domination. This thesis is divided into six chapters. Chapter one defines and discusses anecdotal material in the ancient world. Chapter two examines two emblematic ancient authors (Plutarch and Valerius Maximus) as case studies to demonstrate in detail the type of analysis required by all the authors of this study. Following this, the thesis then divides the material of our authors into four main areas of interest, particularly concerning Philip as a king and statesman. Therefore, chapter three examines Philip and justice. -
Roofkunst En Rechtvaardigheid
Roofkunst en Rechtvaardigheid De Elgin Marbles als voorbeeld van een moreel dilemma Ellen Taal Master Kunstgeschiedenis: Beeldende Kunst tot 1850 Universiteit Utrecht Roofkunst en Rechtvaardigheid De Elgin Marbles als voorbeeld van een moreel dilemma Door Ellen Taal Schieland 122 1274 LE Huizen 0616576636 [email protected] Studentnummer: 3014290 Masterthesis Kunstgeschiedenis Beeldende Kunst tot 1850 Faculteit Geesteswetenschappen Begeleidend docent: Dr. K.A. Nieuwenhuisen Tweede lezer: Dr. H. Henrichs Maart 2011 Universiteit Utrecht 1 Inhoudsopgave VOORWOORD ..................................................................................................................................................... 4 INLEIDING .......................................................................................................................................................... 5 HOOFDSTUK 1 - KUNSTROOF ........................................................................................................................ 5 1.1 Kunstroof in het verleden ............................................................................................................................. 9 1.2 Regelgeving in oorlogstijd ........................................................................................................................... 12 1.3 Tweede Wereldoorlog ................................................................................................................................ 13 1.4 Het UNESCO-verdrag uit 1970 .............................................................................................................