Vasemania: Neoclassical Form and Ornament

Total Page:16

File Type:pdf, Size:1020Kb

Vasemania: Neoclassical Form and Ornament VOLUME: 4 WINTER, 2004 Vasemania: Neoclassical Form and Ornament: Selections from The Metropolitan Museum of Art at the Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture Review by Nancy H. Ramage 1) is a copy of a vase that belonged to Ithaca College Hamilton, painted in Wedgwood’s “encaustic” technique that imitated red-figure with red, An unusual and worthwhile exhibit on the orange, and white painted on top of the “black passion for vases in the 18th century has been basalt” body, as he called it. But here, assembled at the Bard Graduate Center in Wedgwood’s artist has taken all the figures New York City. The show, entitled that encircle the entire vessel on the original, Vasemania: Neoclassical Form and and put them on the front of the pot, just as Ornament: Selections from The Metropolitan they appear in a plate in Hamilton’s first vol- Museum of Art, was curated by a group of ume in the publication of his first collection, graduate students, together with Stefanie sold to the British Museum in 1772. On the Walker at Bard and William Rieder at the Met. original Greek pot, the last two figures on the It aims to set out the different kinds of taste — left and right goût grec, goût étrusque, goût empire — that sides were Fig. 1 Wedgwood Hydria, developed over a period of decades across painted on the Etruria Works, Staffordshire, Britain, France, Italy, Spain, and Germany. back of the ves- ca. 1780. Black basalt with “encaustic” painting. The at the Bard Graduate Center. Pictures courtesy of Stefanie Walker The range of materials, from ceramics to sil- sel.1 The third ver, etchings to paintings, wood and brass to Metropolitan Museum of Art. fabrics and furniture, is wonderfully evocative of the many facets of the widespread interest Fig. 2 Knife box, in vases. English, ca. 1770-80. The collection of vases assembled by Sir Mahogany inlaid with William Hamilton, British envoy to the Court boxwood. The of Naples from 1764 to 1800, provides the Metropolitan Museum opening context for the exhibit. Two of the of Art. vases from his second collection, sold to Thomas Hope in 1801, serve as models in this show. They inspired the kinds of imitations handle on and recreations made by Josiah Wedgwood at the back his firm called Etruria, in Staffordshire, in the of the origi- later 18th century. He reproduced the decora- nal Greek tion and scenes found on both red- and black- pot has been figure pottery, and, like many of his contem- omitted, since Fig. 3 Bowl from poraries, copied the shapes of ancient vases. the piece was meant for Marie Antoinette’s On the other hand, the copies were not made decoration rather than for use as a water jar. dairy at the Château after the original pots, but after the engraved Interestingly, one of Wedgwood’s artists de Rambouillet, ca. plates in the magnificent 4-volume work pub- copied the same scene onto an oval platter, but 1787. Hard-paste lished by Hamilton and written by the anti- this time omitting the two last figures on each porcelain, Sèvres quarian “Baron” d’Hancarville. A hydria (fig. side. Manufactory. Metropolitan Museum of Art. An English knife box (fig. 2) made of pieces, accompanies the show, as well as a mahogany in the 1770s shows to what extent useful Gallery Guide and various flyers and the vase design was adapted for modern brochures. The material for the exhibit is needs. As knives were expensive at the time, mostly culled from the Metropolitan and the steel blades had to be protected, spe- Museum’s storerooms, reminding us of the cial containers were constructed using ancient vast amount of first-rate art in that museum vase shapes as models. that usually does not see the light of day. This A porcelain bowl (fig. 3) from Marie is the first in a series of exhibits that will high- Antoinette’s dairy at her Château de light the Met’s largely unseen material, and Rambouillet was made by the Sèvres factory that will allow the graduate students at Bard to about 1787. Modeled on the kylix shape, and continue to present topics in collaboration decorated with an exquisitely delicate with curators at the museum. The exhibit, at “Etruscan” pattern in light blue, brown, black, 18 West 86th Street, ran through October 17, and white, it again shows how ancient shapes 2004. For further information, call: 212-501- and designs served as models for new purpos- 3123. es. A beautifully produced and illustrated cata- 1 Robin Reilly, Wedgwood, Vol. I (London 1989) fig. logue, with essays and full entries for all 631. Letters to the Editors Roman times. As always, there is no acknowl- I call your attention to a new technique, antiquities: first, by greatly reducing the edgment that Tuscan pot designs are likely which I first learned about when it was report- appeal of private collecting.” Alas, vilifying Splendid idea to offer EtrNews also as a copies that Romans made of the Etruscan ed in the New Scientist journal of the 12th of collectors, antiquities dealers and museums website (hopefully with links to other designs (perhaps an Etruscan adaptation of July, 2003, which described how very small has been – is being – tried, and has had no Etruscan websites (soprintendenze, institutes, Greek terra cotta pots, like the vases, or their objects such as vases, regularly shaped objects appreciable effect on the scourge of looting. etc.) There should be also an Etruscan website own unique creations?). like some cippi, house foundations, city walls, Indeed, it has proved counter-productive. It for scientific communication like RomArch, Yours in passion for all things Etruscan, buried at depths up to 6 meters under (dry) simply diverts us from considering market- GreekArch, Ostia, etc. so that Etruscologists Pam MacFarland ground, can be detected apparently with cer- based solutions that might actually reduce, if can exchange ideas easily. Providence, RI tainty from the air (aeroplanes or helicopters) not eliminate, looting. It also sends the market Bouke van der Meer using microwave radar technology. The feasi- underground so that looted objects go into pri- University of Leiden Writing Etruscan both RTL and LTR is bility of the technique was demonstrated vate hands where we will never see them. Leiden, Netherlands indeed possible, at least in MAC OS X, if recently in Israel. We all hate looters and wish they would be Mellel is used: it allows custom RTL and/or I hope that Richard Daniel De Puma jailed. (The then-head of the Carabinieri once Etruscan News has been a joy to receive LTR. I think this may be good news for the will write an article concerning Etruscan for- told me that getting caught looting in Italy is because it presents such a thoughtful and use- Old Italic studies at large. My key layout and geries, and make mention of the (fraudulent?) like getting a parking ticket.) So let’s concen- ful combination of different kinds of informa- documentation may be downloaded free from Etruscan Golden Book conserved in the trate on doing things that might be productive tion. I can’t think of another publication that my web pages below as well as versiontrack Bulgarian National History Museum: – like advances in electronic fences, greater so imaginatively mixes articles with scholarly er.com/macosx/ and redlers.com. (http://news.bbc.co.uk/1/hi/world/europe/293 efforts locally to catch looters by involving content, serious reviews, information on the Sorin Paliga 9362.stm). locals, tougher looting laws with stiffer penal- state of museums and archaeological sites, University of Bucharest Jeff Hill ties and strict enforcement, regulated excava- and every other kind of material likely to be of Slavic Department University of New South Wales tions financed by sharing finds, etc. It is not a interest to anyone curious about Etruscan civ- Web: (Romanian) http://www.unibuc.ro/ro/ Sydney, Australia question of what’s good and what’s bad, but ilization. My main interest in the history of cd_sorpaliga_ro [email protected] what are the realistic alternatives. The moral Italy concerns Imperial Rome, but I want to (English) http://www.unibuc.ro/en/ posturing reflected in Dr. Sokal’s position is keep up with developments in the study of cd_sorpaliga_en> In “The Plundering of Etruscan Sites: Some fine if it would work. It won’t. That’s already earlier periods and expand my knowledge of Progress Toward a Solution,” (Spring 2003. been proven. That is why I want to try other them and of the people and institutions pro- page 9), Marina Papa Sokal writes that “It is means. ducing and communicating that knowledge. imperative to consider additional measures to Hershel Shanks Etruscan News is an essential tool for me in reduce the total global demand for purchase of Editor, Archaeology Odyssey trying to do that. Thank you for continuing to make this essential publication available. Thomas R. Martin Letter to our Readers Chair, Dept. of Classics A Tablet Winter 2004 Holy Cross Dear Readers, Worcester, MA 01610 As promised in our last issue, we offer our readers Etruscan news from across the Atlantic. We are grateful to our correspondents abroad who send us these reports: Luciana Aigner- I was very interested to see Etruscan News Foresti, president of the Vienna section, Bouke van der Meer, Stephan Steingräber, Maurizio when I went to the Etruscan Study Day at the Sannibale. In the last issue, Dominique Briquel, president of the Paris section, sent us news British Museum earlier this year.
Recommended publications
  • Art of Byzantium from Greek Collections October 6, 2013 - March 2, 2014
    Updated Tuesday, December 31, 2013 | 1:38:43 PM Last updated Tuesday, December 31, 2013 Updated Tuesday, December 31, 2013 | 1:38:43 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Heaven and Earth: Art of Byzantium from Greek Collections October 6, 2013 - March 2, 2014 To order publicity images: Publicity images are available only for those objects accompanied by a thumbnail image below. Please email [email protected] or fax (202) 789-3044 and designate your desired images, using the “File Name” on this list. Please include your name and contact information, press affiliation, deadline for receiving images, the date of publication, and a brief description of the kind of press coverage planned. Links to download the digital image files will be sent via e-mail. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Important: The images displayed on this page are for reference only and are not to be reproduced in any media. Cat. No. 1A / File Name: 3514-117.jpg Statuette of Europa, 1st or early 2nd century marble height: 34.5 cm (13 9/16 in.) Archaeological Museum of Ancient Corinth Cat. No. 1B / File Name: 3514-118.jpg Head of Pan, 2nd century (?) marble height: 14.4 cm (5 11/16 in.) Archaeological Museum of Ancient Corinth Cat.
    [Show full text]
  • Touring a Unified Italy, Part 2 by John F
    Browsing the Web: Touring A Unified Italy, Part 2 by John F. Dunn We left off last month on our tour of Italy—commemo- rating the 150th Anniversary of the Unification of the na- tion—with a relaxing stop on the island of Sardinia. This “Browsing the Web” was in- spired by the re- lease by Italy of two souvenir sheets to celebrate the Unifi- cation. Since then, on June 2, Italy released eight more souvenir sheets de- picting patriots of the Unification as well as a joint issue with San Marino (pictured here, the Italian issue) honoring Giuseppe and Anita Garibaldi, Anita being the Brazilian wife and comrade in arms of the Italian lead- er. The sheet also commemorates the 150th Anniversary of the granting of San Marino citizen- ship to Giuseppe Garibaldi. As we continue heading south, I reproduce again the map from Part 1 of this article. (Should you want Issue 7 - July 1, 2011 - StampNewsOnline.net 10 to refresh your memory, you can go to the Stamp News Online home page and select the Index by Subject in the upper right to access all previous Stamp News Online ar- ticles, including Unified Italy Part 1. So…moving right along (and still in the north), we next come to Parma, which also is one of the Italian States that issued its own pre-Unification era stamps. Modena Modena was founded in the 3rd century B.C. by the Celts and later, as part of the Roman Empire and became an important agricultural center. After the barbarian inva- sions, the town resumed its commercial activities and, in the 9th century, built its first circle of walls, which continued throughout the Middle Ages, until they were demolished in the 19th century.
    [Show full text]
  • Catalogue-Guided-Tours-Kids.Pdf
    C A T A L O G U E G U I D E D T O U R S K I D S E D I T I O N The Colosseum, the largest amphitheater in the world Duration: 2 hours Our guide will be waiting for you in front of the Colosseum, the largest and most famous amphitheater in the world. You will discover together what happened inside this "colossal" building where about 50,000 spectators could enter to watch the gladiator shows offered by the Roman emperors until the fifth century. Place of incredible fun for the ancient Romans. Exotic animals, gladiators acclaimed and loved as heroes, spectacular death sentences and grandiose naumachiae. We will unveil many curiosities and false legends about the largest amphitheater in the world. The Palatine, from the Hut of Romulus to the Imperial Palace Duration: 2 hours A long time ago, between history and legend, Rome was born ... but where exactly?! On the Palatine Hill! We will start from the mythical origin of the Eternal City, when the two brothers Romulus and Remus fought for its dominion, discovering that everything started from small wooden huts, to arrive in an incredible journey through time and archaeology to the marbles and riches of the imperial palaces, admired throughout the ancient world. You will meet kings and emperors, but also shepherds and farmers! Castel Sant'Angelo, the Mausoleum of Hadrian Duration: 2 hours Our guide will be waiting for you in front of the Castle's main door to let you discover the secrets of one of the most famous monuments of ancient Rome.
    [Show full text]
  • Kapitel 2 Bauwissen Im Italien Der Frühen Neuzeit Hermann Schlimme, Dagmar Holste, Jens Niebaum
    Kapitel 2 Bauwissen im Italien der Frühen Neuzeit Hermann Schlimme, Dagmar Holste, Jens Niebaum Das Bauwesen der Frühen Neuzeit in Italien ist ein sehr großes sowie gut dokumentiertes und bearbeitetes Forschungsfeld. Der vorliegende Beitrag versucht, einen Überblick über das Bauwissen dieser Epoche zu geben. Die Texte wurden von drei Autoren erstellt.1 2.1 Die Frühe Neuzeit in Italien 2.1.1 Naturräumliche Bedingungen Italien ist mit Ausnahme der Po-Ebene und Teilen Apuliens eine bergige bis hochgebirgi- ge Halbinsel. So prägen sich die Regionen kulturell unterschiedlich aus. Die Topographie bringt zudem reiche Natursteinvorkommen mit sich, die sich von Region zu Region un- terscheiden und die regionale Architektur maßgeblich beeinflussen. Die Verwendung von Marmor ist für ganz Italien charakteristisch. In der Po-Ebene, wo es keinen Naturstein gibt, entwickelte sich dagegen eine auf Ziegelstein beruhende Baukultur. Holz ist in ganz Italien vorhanden. Eine für Italien typische Ansiedlungsform sind Bergdörfer und Bergstädte, die auf die geographischen Vorgaben reagieren und sich gleichzeitig gut verteidigen lassen. Da die Schifffahrt entlang der Küsten und auf den Flussunterläufen eine große Bedeutung hatte, 1Hermann Schlimme erstellte folgende Textteile: Abschnitt 2.1: „Die Frühe Neuzeit in Italien“ (vollständig); Ab- schnitt 2.2 „Bauverwaltung“, einleitender Absatz und Unterabschnitt „Städtische Statuten und Bauvorschriften“, „Capitolati, cottimo und andere bauspezifische Organisationsformen“, „Die Capitani di Parte Guelfa und die Uffi-
    [Show full text]
  • (1990). Lithological Analysis of Material Used for the Sacred Area of Saidu Sharif I (Swat Valley, N.W.F.P., Pakistan) and Their Origins
    Claudio Faccenna Curriculum Vitae Publication list 1 Di Florio R., Faccenna C., Lorenzoni S. & Lorenzoni Zanettin E. (1990). Lithological analysis of material used for the sacred area of Saidu Sharif I (Swat Valley, N.W.F.P., Pakistan) and their origins. In"Saidu Sharif I (Swat, Pakistan). The Buddhist sacred area: the stupa terrace - Appendix D-" edito da Faccenna D., Reports and Memoires IsMEO, vol. XXIII.2, 317-340. 2 De Vittorio P., Faccenna C. & Praturlon A. (1991). Monte Velino-Monti della Magnola- Monte Sirente. In Damiani et al. "Elementi litostratigrafici per una sintesi delle facies carbonatiche meso-cenozoiche dell'Appennino centrale". Studi Geologici Camerti, vol. sp. 1991/2, 203-205. 3 Di Florio R., Faccenna C., Lorenzoni S. & Lorenzoni Zanettin E. (1993). Lithological analysis of material used for the sacred area of Panr I (Swat valley, Northern Pakistan) and their origins. In "PanrI, Swat, Pakistan-Appendix D-" edita da Faccenna D., Nabi Khan A. & Nadiem I.H. Reports and Memoires IsMEO, 357-372. 4 De Vittorio P. & Faccenna C. (1990). Ulteriori dati sulla tettonica da thrust presente nell’area Sirente-Magnola. Geologica Romana, vol. XXVI (1987), 287-291. 5 Faccenna C. & Funiciello R. (1993). Tettonica pleistocenica tra il Monte Soratte e i Monti Cornicolani. Il Quaternario, 6 (1), 103-118. 6 Faccenna C., Olivieri L., Lorenzoni S. & Lorenzoni Zanettin E. (1993). Geo-archeology of the Swat Valley (N.W.F.P. Pakistan) in the Charbag-Barikot stretch. Preliminary note. East and West (IsMEO), vol. 41, 1-4, 257-270. 7 Faccenna C., Florindo F., Funiciello R. & Lombardi S. (1993).
    [Show full text]
  • Storia Pittorica Della Italia Dell'abate Luigi Lanzi
    STORIA PITTORICA DELLA ITALIA DELL’ABATE LUIGI LANZI ANTIQUARIO DELLA R. CORTE DI TOSCANA TOMO SECONDO PARTE SECONDA OVE SI DESCRIVONO ALTRE SCUOLE DELLA ITALIA SUPERIORE , LA BOLOGNESE , LA FERRARESE , E QUELLE DI GENOVA E DEL PIEMONTE BASSANO A SPESE REMONDINI IN VENEZIA 1795 - 1796 [1] DELLA STORIA PITTORICA DELLA ITALIA SUPERIORE LIBRO TERZO SCUOLA BOLOGNESE Abbiam osservato nel decorso di questa opera che la gloria del dipingere, non altrimenti che quella delle lettere e delle armi, è ita di luogo in luogo; e ovunque si è ferma ha perfezionata qualche parte della pittura meno intesa da' precedenti artefici o meno curata. Quando il secolo sestodecimo eclinava all'occaso non vi era oggimai in natura o genere di bellezza, o aspetto di essa, che non fosse stato da qualche professor grande vagheggiato e ritratto; talché il dipintore, voless'egli o non volesse, mentre era imitatore della natura, dovea esserlo a un tempo de' miglior maestri, e il trovar nuovi stili dovea essere un temperare in questo o in quell'altro modo gli antichi. Adunque la sola via della imitazione era aperta per distinguersi all'umano ingegno; non sembrando poter disegnar figure più maestrevolmente di un Bonarruoti o di un Vinci, o di aggraziarle meglio di Raffaello, o di colorirle più al vivo di Tiziano, o di muo[2]verle più spiritosamente che il Tintoretto, o di ornarle più riccamente che Paolo, o di presentarle all'occhio in qualunque distanza e prospetto con più arte, con più rotondità, con più incantatrice forza di quel che già facesse il Coreggio. Questa via della imitazione batteva allora ogni Scuola; ma veramente con poco metodo.
    [Show full text]
  • Ebook Download Greek Art 1St Edition
    GREEK ART 1ST EDITION PDF, EPUB, EBOOK Nigel Spivey | 9780714833682 | | | | | Greek Art 1st edition PDF Book No Date pp. Fresco of an ancient Macedonian soldier thorakitai wearing chainmail armor and bearing a thureos shield, 3rd century BC. This work is a splendid survey of all the significant artistic monuments of the Greek world that have come down to us. They sometimes had a second story, but very rarely basements. Inscription to ffep, else clean and bright, inside and out. The Erechtheum , next to the Parthenon, however, is Ionic. Well into the 19th century, the classical tradition derived from Greece dominated the art of the western world. The Moschophoros or calf-bearer, c. Red-figure vases slowly replaced the black-figure style. Some of the best surviving Hellenistic buildings, such as the Library of Celsus , can be seen in Turkey , at cities such as Ephesus and Pergamum. The Distaff Side: Representing…. Chryselephantine Statuary in the Ancient Mediterranean World. The Greeks were quick to challenge Publishers, New York He and other potters around his time began to introduce very stylised silhouette figures of humans and animals, especially horses. Add to Basket Used Hardcover Condition: g to vg. The paint was frequently limited to parts depicting clothing, hair, and so on, with the skin left in the natural color of the stone or bronze, but it could also cover sculptures in their totality; female skin in marble tended to be uncoloured, while male skin might be a light brown. After about BC, figures, such as these, both male and female, wore the so-called archaic smile.
    [Show full text]
  • Statistical Bulletin 20 17 1 - Quarter Quarter 1
    quarter 1 - 2017 Statistical Bulletin quarter 1 Statistical Bulletin Statistical publications and distribution options Statistical publications and distribution options The Bank of Italy publishes a quarterly statistical bulletin and a series of reports (most of which are monthly). The statistical information is available on the Bank’s website (www.bancaditalia.it, in the Statistical section) in pdf format and in the BDS on-line. The pdf version of the Bulletin is static in the sense that it contains the information available at the time of publication; by contrast the on-line edition is dynamic in the sense that with each update the published data are revised on the basis of any amendments received in the meantime. On the Internet the information is available in both Italian and English. Further details can be found on the Internet in the Statistics section referred to above. Requests for clarifications concerning data contained in this publication can be sent by e-mail to [email protected]. The source must be cited in any use or dissemination of the information contained in the publications. The Bank of Italy is not responsible for any errors of interpretation of mistaken conclusions drawn on the basis of the information published. Director: GRAZIA MARCHESE For the electronic version: registration with the Court of Rome No. 23, 25 January 2008 ISSN 2281-4671 (on line) Notice to readers Notice to readers I.The appendix contains methodological notes with general information on the statistical data and the sources form which they are drawn. More specific notes regarding individual tables are given at the foot of the tables themselves.
    [Show full text]
  • Map 44 Latium-Campania Compiled by N
    Map 44 Latium-Campania Compiled by N. Purcell, 1997 Introduction The landscape of central Italy has not been intrinsically stable. The steep slopes of the mountains have been deforested–several times in many cases–with consequent erosion; frane or avalanches remove large tracts of regolith, and doubly obliterate the archaeological record. In the valley-bottoms active streams have deposited and eroded successive layers of fill, sealing and destroying the evidence of settlement in many relatively favored niches. The more extensive lowlands have also seen substantial depositions of alluvial and colluvial material; the coasts have been exposed to erosion, aggradation and occasional tectonic deformation, or–spectacularly in the Bay of Naples– alternating collapse and re-elevation (“bradyseism”) at a staggeringly rapid pace. Earthquakes everywhere have accelerated the rate of change; vulcanicity in Campania has several times transformed substantial tracts of landscape beyond recognition–and reconstruction (thus no attempt is made here to re-create the contours of any of the sometimes very different forerunners of today’s Mt. Vesuvius). To this instability must be added the effect of intensive and continuous intervention by humanity. Episodes of depopulation in the Italian peninsula have arguably been neither prolonged nor pronounced within the timespan of the map and beyond. Even so, over the centuries the settlement pattern has been more than usually mutable, which has tended to obscure or damage the archaeological record. More archaeological evidence has emerged as modern urbanization spreads; but even more has been destroyed. What is available to the historical cartographer varies in quality from area to area in surprising ways.
    [Show full text]
  • Dossier Museo E Parco Archeologico Delle Navi Antiche Di Pisa
    DOSSIER MUSEO E PARCO ARCHEOLOGICO DELLE NAVI ANTICHE DI PISA 1. INQUADRAMENTO TERRITORIALE Superficie e confini Pisa si trova ad una decina di chilometri dal mare sulle rive del fiume Arno, ad un’altezza di 4 metri s.l.m.; la posizione geografica particolarmente favorevole fa sì che la città sia un nodo di comunicazione (viaria, ferroviaria e aeroportuale) fondamentale a livello regionale e nazionale. L’estensione territoriale del Comune di Pisa è 187,1 Kmq con una densità di popolazione pari a 488,89 abitanti per Kmq (di cui il 52,64% donne e 47,36% uomini); per quanto riguarda il centro storico la sua estensione è pari a 8 Kmq con una densità di popolazione di 1625,35 abitanti per Kmq (di cui il 53,35% donne e il 46,64% uomini). Il Cantiere delle Navi Antiche di Pisa è ubicato poco all'esterno delle mura della città medievale, in direzione del mare. Qui nel 1998, in occasione della costruzione di un centro direzionale delle Ferrovie dello Stato, in seguito al rinvenimento di manufatti lignei, si decise di procedere, nel minor tempo possibile, all'esplorazione del sito e fu quindi allestito un cantiere di carattere estensivo, corrispondente all'area interessata. Il ritmo incalzante dei rinvenimenti (con 16 relitti, interi o parzialmente conservati, individuati in pochi mesi) portò nell'estate nel 1999 alla decisione di destinare il sito alla ricerca. Dal dicembre dello stesso anno, stipulato l'accordo che passava alla Soprintendenza ai Beni Archeologici per la Toscana la piena responsabilità dell'area, si è proceduto con una nuova strategia di intervento che, secondo i principi della stratigrafia archeologica, permettesse il recupero e il trasferimento dei relitti individuati in luoghi adatti alla conservazione e al restauro.
    [Show full text]
  • HCS — History of Classical Scholarship
    ISSN: 2632-4091 History of Classical Scholarship www.hcsjournal.org ISSUE 1 (2019) Dedication page for the Historiae by Herodotus, printed at Venice, 1494 The publication of this journal has been co-funded by the Department of Humanities of Ca’ Foscari University of Venice and the School of History, Classics and Archaeology of Newcastle University Editors Lorenzo CALVELLI Federico SANTANGELO (Venezia) (Newcastle) Editorial Board Luciano CANFORA Marc MAYER (Bari) (Barcelona) Jo-Marie CLAASSEN Laura MECELLA (Stellenbosch) (Milano) Massimiliano DI FAZIO Leandro POLVERINI (Pavia) (Roma) Patricia FORTINI BROWN Stefan REBENICH (Princeton) (Bern) Helena GIMENO PASCUAL Ronald RIDLEY (Alcalá de Henares) (Melbourne) Anthony GRAFTON Michael SQUIRE (Princeton) (London) Judith P. HALLETT William STENHOUSE (College Park, Maryland) (New York) Katherine HARLOE Christopher STRAY (Reading) (Swansea) Jill KRAYE Daniela SUMMA (London) (Berlin) Arnaldo MARCONE Ginette VAGENHEIM (Roma) (Rouen) Copy-editing & Design Thilo RISING (Newcastle) History of Classical Scholarship Issue () TABLE OF CONTENTS LORENZO CALVELLI, FEDERICO SANTANGELO A New Journal: Contents, Methods, Perspectives i–iv GERARD GONZÁLEZ GERMAIN Conrad Peutinger, Reader of Inscriptions: A Note on the Rediscovery of His Copy of the Epigrammata Antiquae Urbis (Rome, ) – GINETTE VAGENHEIM L’épitaphe comme exemplum virtutis dans les macrobies des Antichi eroi et huomini illustri de Pirro Ligorio ( c.–) – MASSIMILIANO DI FAZIO Gli Etruschi nella cultura popolare italiana del XIX secolo. Le indagini di Charles G. Leland – JUDITH P. HALLETT The Legacy of the Drunken Duchess: Grace Harriet Macurdy, Barbara McManus and Classics at Vassar College, – – LUCIANO CANFORA La lettera di Catilina: Norden, Marchesi, Syme – CHRISTOPHER STRAY The Glory and the Grandeur: John Clarke Stobart and the Defence of High Culture in a Democratic Age – ILSE HILBOLD Jules Marouzeau and L’Année philologique: The Genesis of a Reform in Classical Bibliography – BEN CARTLIDGE E.R.
    [Show full text]
  • From Boston to Rome: Reflections on Returning Antiquities David Gill* and Christopher Chippindale**
    International Journal of Cultural Property (2006) 13:311–331. Printed in the USA. Copyright © 2006 International Cultural Property Society DOI: 10.1017/S0940739106060206 From Boston to Rome: Reflections on Returning Antiquities David Gill* and Christopher Chippindale** Abstract: The return of 13 classical antiquities from Boston’s Museum of Fine Arts (MFA) to Italy provides a glimpse into a major museum’s acquisition patterns from 1971 to 1999. Evidence emerging during the trial of Marion True and Robert E. Hecht Jr. in Rome is allowing the Italian authorities to identify antiquities that have been removed from their archaeological contexts by illicit digging. Key dealers and galleries are identified, and with them other objects that have followed the same route. The fabrication of old collections to hide the recent surfacing of antiquities is also explored. In October 2006 the MFA agreed to return to Italy a series of 13 antiquities (Ap- pendix). These included Attic, Apulian, and Lucanian pottery as well as a Roman portrait of Sabina and a Roman relief fragment.1 This return is forming a pattern as other museums in North America are invited to deaccession antiquities that are claimed to have been illegally removed from Italy. The evidence that the pieces were acquired in a less than transparent way is beginning to emerge. For example, a Polaroid photograph of the portrait of Sabina (Appendix no. 1) was seized in the raid on the warehousing facility of Giacomo Medici in the Geneva Freeport.2 Polaroids of two Apulian pots, an amphora (no. 9) and a loutrophoros (no. 11), were also seized.3 As other photographic and documentary evidence emerges dur- ing the ongoing legal case against Marion True and Robert E.
    [Show full text]