Homer in the City of Erasmus

AJA Online Publications: Museum Review

By h.a. shapiro

Homer: Der Mythos von Troia in Dichtung und by Friedrich Nietzsche) serves as the guiding Kunst, Antikenmuseum Basel und Sammlung spirit of a far less incendiary sequel to the ear- Ludwig, 16 March–17 August 2008, con- lier show. Marshalling a large and diverse team ception and organization by Peter Blome, of archaeologists, classicists, art historians, and Suzanne Greub, and Alfried Wieczorek; museum curators—some of whom participated scholarly direction by Joachim Latacz. in the earlier project, most notably Peter Blome, director of Basel’s Antikenmuseum—Latacz Homer: Der Mythos von Troia in Dichtung und presents an encyclopedic review of “Everything Kunst, Antikenmuseum Basel und Sammlung You (or Your Students) Ever Wanted to Know Ludwig, edited by Joachim Latacz, Thierry About Homer” in a dizzyingly varied assort- Greub, Peter Blome, and Alfried Wieczorek. Pp. ment of 230 objects: from Bronze and Iron Age 508, b&w figs. 101, color figs. 406, maps 14. artifacts, Attic vases, and Roman sculpture to Hirmer, Munich 2008. SFR 76; 45. ISBN Old Master paintings and Hollywood movie 978-3-7774-3965-5 (cloth). posters of the early 20th century. A sumptuous door-stopper of a catalogue provides concise In 2001, an exhibition about Troy presented scholarly entries on each object (something in three German museums provoked a con- missing from the Troia catalogue), along with troversy of epic proportions. Troia–Traum und some 30 essays by prominent scholars sum- Wirklichkeit was organized by the distinguished marizing the current state of our knowledge Homerist Joachim Latacz, together with the on every aspect of the Homeric epic poems, most recent excavator of Bronze Age Troy, their historical and archaeological background, the late Manfred Korfmann, and others.1 It and their reception in art and literature down focused on the results of Korfmann’s excava- to the present day. tions since the early 1980s, the history of Troy The installation, spread out over two floors in its Anatolian context, and the implications of of galleries on the lower level of the Antiken- the new excavations for our understanding of museum, is organized around four overarch- Homer and the Trojan War. Korfmann’s views ing themes: Homer and his time (i.e., the late on the extent and importance of Late Bronze eighth and early seventh centuries B.C.E., Age Troy—later championed by Latacz in a when the poet we call Homer is thought to semipopular book that is also available in an have lived and worked); the “prehistory of English translation2—were challenged by his Homeric poetry” (i.e., the Mycenaean period

merica Tübingen colleague in ancient history, Frank of the later second millennium B.C.E., when Kolb, who questioned whether Troy was the epic poems are ostensibly set); Homer’s as large or as significant an urban center as Iliad and Odyssey; and the transmission and

Online Museum Review Korfmann had claimed, and the whole thing influence of Homeric epic from Roman times escalated into what a recent volume calls Der to the present. Entering the show, the visitor neue Streit um Troia.3 is immediately confronted by a phalanx of

nstitute of A I nstitute rchaeological Seven years later, Latacz, now professor imaginary portraits of the blind poet Homer emeritus of Greek at Basel (the chair once held (fig. 1), mainly in busts and reliefs but also on

ssue 113.1 (January 2009) 2 I Journal of ArchaeologyAmerican C Latacz 2001b, 2004. 2004. American Journal of Archaeology Online Museum Review Copyright © 2009 by the Archaeological Institute of America (Latacz et al. 2008, 320–21, no. 46). 299, no. 13). 2008, al. et (Latacz 144 N inv.ensammlung,no. a sensory almost overload of experience, though never creating objects, the complement Large photograph murals on nearly every wall labels carefully, but that is clearly not the point. readthe to needs one original, arethe herein substituted. Since many equally famous pieces Sperlonga Copenhagen, in cups Hoby Museum, British the in relief Homer of Athens, in jug Dipylon the (e.g., obtained be not could show the of aims When objects deemed essential for the didactic Homer) of derivative later works (e.g., a Wedgwood bust over privileged not are Antiquities abandon. democratic with object of kind every poses juxta and mixes exhibition the inform, and announced at the outset: in its desire to educate coins. Here, one of the premises of the show is cm, Roman copy of a Greek original of ca. of 460 original Greek a cm,of copy Roman Fig.1. 6 5 4 London, British Museum, inv. no. 2191 (Latacz Athens, National Museum, inv. no. 192 (2074) uemlnshf Hse Kse, Antik Kassel, Hessen Museumslandschaft I nstallation view of the exhibition section section “ exhibition the of view nstallation 8 ), modern reproductions have been 4 or originals over reproductions. reproductions. over originals or 7 5 sculptures from sculptures the Apotheosis Apotheosis the B . C H . E omer und seine Zeit”: seine und omer . 6 the the - - (Latacz et al. 2008, 414–15, no. 168). no. 127). nos. dfn. 9/20, dfn. 10/20 (Latacz et al. 2008, 385, et al. 2008, 297–98, no. 11). the between comparison a allows This sruhe. Karl and Basel in museums the from works of astonishing two includes century seventh the period Orientalizing the and time”) er’s to artifacts of the eighth century B.C.E. (“Hom For example, a relatively small gallery devoted museums and collections throughout Europe. 80 than more from drawn value, educational care and thoughtfulness for artistic quality and with international loans, all chosen with great supplemented are These North America. and and quality of much older museums in Europe an encyclopedic collection that rivals the depth Collection, which is unique for Ludwig building in a and mere 50 years Antikenmuseum astonishing riches of its host institution, Basel’s and brilliantlylightedworksofart. grouped carefully the from distracting really 8 7 The show, of course, draws heavily on the Copenhagen,DanishNationalMuseum,inv. prog, ue Acelgc Nazionale Archeologico Museo Sperlonga, foreground , marble portrait head of of head ,portrait marble H omer,ht. 39.7 - - American Journal of Archaeology Online Museum Review Copyright © 2009 by the Archaeological Institute of America Geometric-style bronze tripod cauldron of the his image.” to put into effect the force inherent in the bull and ofthese little bulls’ heads as “a result of the need no. 80/8 (Latacz et al. 2008, 309–10, no. 28). wig, inv. no. Ca 1 (Latacz et al. 2008, no. 14). poems. sent the setting for the performance of Homer’s Attic cups, and a stamnos) are meant to repre two krater, Corinthian (a scenes symposium fifth centuries B.C.E., where several vases with then suddenly moves forward to the sixth and vessels, clay rhyta, a tusk boar’s helmet) metal tablets, B (Linear poems Homeric the to connected loosely be can that objects Age Bronze of handful a present to time in back section (“Prehistory of Homeric Poetry”) goes next the points, thematic making of favor in the endofDark Ages. engulfed the Greek world in the century after course in the explosion of artistic creativity that crash a itself—provide Greece in made some East, the from imported objects—some these short, In bowl). bronze seal, and sword (iron late eighth-century tomb remarkable complex a from Eretria and bucchero, Etruscan early shell, tridacna a and bowls silver Phoenician helmet, Urartian an ivories, Nimrud horses, bronze and vases Geometric Late choice few a are there cauldrons, tripod the with Along eighth. mid the to dated is example Basel century,ninth the to dating the objects, while been attested only for the very earliest of such legs to cauldron. This element had previously of join the below just legs, the of insides the to attached heads bulls’ small the of consists at numbers Olympia. large An in unusual feature found that does been survive have that the full effect of these impressive monuments each topped by a small horse, in order to give handles, round large, two the and legs the lower of addition the with restored, been has feet. for hoofs bulls’ bulls’ with stand three-legged elaborate winged and heads; of protomes three with rim its separately worked, deep bowl; ornamented the orientalizing model of a century later, with object—and single a into fused are bowl and eighth century (fig. 2) 11 10 9 Eschewing a chronological presentation presentation chronological a Eschewing Basel, AntikenmuseumundSammlung Lud SeePapalexandrou (2005, 67–8), whospeaks alrh, aice Lnemsu, inv. Landesmuseum, Badisches Karlsruhe, 14 For many visitors—especially those visitors—especially many For 9 10 — in which the three legs The Geometric tripod tripod Geometric The 12 13 and 11 - -

67). wig,inv. no.Lu 35(Latacz etal. 2008, 334–35, no. et al. 2008, 334, no. 66). (but beardedboy serving nude one with men Epeleios the B.C.E.; 510 ca. of by Painter cup archaic an on hetaira B.C.E.; hetairai on the Corinthian krater seminude of ca.their 600–575 with klinai the sharing men iconography over symposium a century of and a development half: the bearded of glimpse fascinating a give vases four the the specialist, for and splendid, are themselves vases the But puzzling. be may detour abrupt this texts— explanatory German the read unable S L A 750 ca.cm, 100 restorations) (with ht.workshop, Fig. 2. Greek bronze tripod cauldron, probably from a atacz et al.2008,no. et 14; courtesy atacz ammlung ammlung ntikenmuseum und und ntikenmuseum 16 15 14 13 12 Paris, Musée du Louvre, inv. no. E 629 (Latacz Latacz et al. 2008, 334–36. Latacz et al. 2008, 324–33. Latacz et al. 2008, 300–18. Basel, Antikenmuseumund Sammlung Lud 15 two young male drinkers with a nude L udwig). S ammlung ammlung 16 L A a gathering of five of gathering a udwig, inv. no.inv. udwig, ntikenmuseum ntikenmuseum B C C . B C a 1 (after (after 1 a orinthian asel und und asel . E . B asel, - American Journal of Archaeology Online Museum Review Copyright © 2009 by the Archaeological Institute of America no women) on one side of the Late Archaic Late the of side one on women) no in a recentina exhibition inMunich (Wünsche 2006). jects from periods later than antiquity, was covered 336, no. 69). Glyptothek, inv. no. 33.8 (2410) (Latacz et al. 2008, 335–36, no. 68; Weiss 1990, pls. 30–2). ( 70/395 no. suggests he could be a typical Athenian citizen god. The catalogue entry, by Andrea Bignasca, a knotty staff and who looks more mortal than beardedais manwithattributeno otherthan the Trojan War (fig. 3). The one enigmatic figure andoccasionally participants in,theevents of who play such important roles as observers of, gods Olympian many of gathering extensive literarysources, convenienta is pretext anfor though not specifically recounted in surviving chariotfromOlympus.Mount by departure Zeus’ depicts ostensibly which Painter from the Antikenmuseum’s collection, Berlinthe attributedtosplendiddinos the by enough, appropriately prefaced, is section art. Western later in adaptations to vases Greek archaic from arts, visual the through TrojanCycle the of retelling by-step Latin from earlychildhood. sium of Nietzsche’s era, steeped in Greek and a in pupil a like feels new Latacz’s with and newer editions of the bard’s works, along German and glance and at a Greek display in case read with Homer older from passages to and headphones. One can relax while listening chairs some of effectedway is by level, lower the on show, the of core larger the to leries integral elementsintheexhibition. soon become more like colorful wallpaper thanThey reconstruction. watercolor famous a in Throne Room of the palace at Knossos shown so-called the and Circle Mycenae, AGrave at cenae, the theater at Delphi, Troy’s landscape, photograph murals is also somewhat odd: My nude slaveboyexchangeglances. the and youth second a while player), (aulos female a to listen they as B.C.E. 430 ca. of stamnos Classical High the on couch one of bearded and beardless male lovers sharing B.C.E.; 480 ca. of Douris by cup 20 19 18 17 Most of the lower level is dedicated to a step- gal preliminary these from transition The of sequence the galleries, early these In Much of the same ground, though without ob Latacz 2000. Munich, Staatliche Antikensammlungen und alrh, aice Lnemsu, inv. Landesmuseum, Badisches Karlsruhe, BAPD n. 74 Ltc e a. 2008, al. et Latacz 4704; no. , Iliad humanistisches commentary. 21 This episode,This 17 20 18 and a pair a and This large This Gymna 19 aulete One One - - - -

2008, 338–39, no. 70). ( 39 inv.Luwig, no. women ( exhibitions. The most recent one, on ancient Greek ensammlungenandGlyptothek thatare notloan casingtheextensive holdings Munich’sof Antik This is one of a series of thematic exhibitions show amples: all the episodes treated in the first part ex obvious some giveTo himself. Homer to attributed poems epic surviving two the in muchwiderstoriesrangeofathanthose told convenientforsynonym a becomes “Homer” times dons in this period. be the hero in the “civilian” dress that he some apotheosis, introduction of Herakles to Olympus after his the by motivated are vases Archaic Late on ( I had earlier argued that most such gatherings to whom the gods appear in a kind of epiphany. A L the to perhaps and gods Fig. 3. Götterversammlungen udwig,inv. no. ntikenmuseum ntikenmuseum 22 21 At this point in the exhibition, the name name the exhibition, the in point this At Shapiro 1989, 135–39. Basel, Antikenmuseumund Sammlung Lud thenian red-figure dinos with a gathering of Olympian of Olympian a with dinos gathering red-figure Athenian B erlin Painter. erlin Starke Frauen 22 L u 39 (after (after 39 u and I wonder if this could indeed B H asel und und asel erakles, erakles, ht. cm,32.5 ca. 480 B asel, BAPD ), opened in June 2008. L S A ) of the Olympian gods Olympian the of ) atacz et al. et 2008, no. atacz 70; courtesy ammlung ammlung ntikenmuseum und und ntikenmuseum , no. 308; Latacz et al. etLatacz 308; no. , L udwig). B . C . S ttributed Attributed ammlung ammlung - - - - - American Journal of Archaeology Online Museum Review Copyright © 2009 by the Archaeological Institute of America of this section—the Judgment of Paris, Helen’s 172 (Latacz et al. 2008, 417, no. 170). 19.1 (Latacz et al. 2008, 348, no. 81). no. 162). Glyptothek,inv. 8696(Lataczno.2008,al.410,et as well as Old Masters of various nationalities (1827–1901), Böcklin Arnold and 1741–1825) work of Henry Fuseli ( they betray a local Swiss pride in favoring the show, the throughout number in few tively will find amusing, others disorienting. is left with remarkable juxtapositions that some is reserved for the catalogue, while the viewer say,artistsof, NorthernRenaissance.theThis reachedmythsthese form what in or periods of how classical themes were reworked in later seriously engage with the art historical question porcelaingroup. cut after Raphael and an 18th-century German mirror, and an Attic black-figure cup to a woodshow the pair eloping in his ship, an Etruscan mous Late Geometric bowl in London that may even more heterogeneous, moving from the fa 1600. early 1500s, and another German painting of ca. painting by Lucas Cranach the Elder from the Italian vases, an Etruscan mirror, a woodcut, a Judgment of Paris, for example, Attic and South examplestheorganizersas couldfind: for the assortmentof disparatean as likelooks what representedby is episode eachinstead, Here, continuity,the the or “coda” at the end of the installation, to illustratereserved wouldbea art Antiqueforworksof of ancient art exhibitions of this thematic kind, a most small In selection of post-principles. historical art conventionalmore trump again Literarypedagogicaland considerations once sections. these of each in objects of grouping tion to set the scene for the the Epic Cycle, they are necessary in the exhibi Iliad ofbeforeAchilles—took handsthewell place hood of Achilles, and the death of Troilos at the birth and her abduction from Sparta, the child 30 29 28 27 26 25 24 23 lhuh uoen anig ae rela are paintings European Although the is however, surprising, more is What Infra n. 47. Latacz et al. 2008, 410–11. Latacz et al. 2008, 347–50. Latacz et al. 2008, 339–46. Munich, Staatliche Antikensammlungen und London, British Museum, inv. no. GR 1899.2- begins. Although told in now-lost parts of Chiusi,MuseoArcheologico Nazionale,inv. oe Msi aioii iv n. Castellani inv. no. Capitolini, Musei Rome, 23 The next section, on Helen and Paris, is 24 Yet the exhibition does not Yetdoesexhibition the Nachleben

Johann Heinrich Füssli, Iliad , of the theme. the of , episodes. - - - - - inv. no. 20113 (Latacz et al. 2008, 367–68, no. 102). 126). Beazley Addenda ensammlung, inv. no. IV 3710 ( 154; Latacz et al. 2008, 372, no. 108). as the sole survivor of a shipwreck (Hom. oinochoe in Munich that may show Odysseus tions, such as the well-known Late Geometric for some extremely odd and jarring juxtaposi across the road. This eclectic technique makes literally Basel, Kunstmuseum the from have come Cranach, by works two the like who, inv.2278no.F( Latacz et al. 2008, 432–33, no. 192). no. 62705 ( to Troy where theyare received bythefamily Odysseus and Menelaos of embassy cessful with unique Apulia subjects on in both sides (the Gravina unsuc from Painter Eretria the battle; for out ting arrowsset and bow a holding delicately fromPainter les Paris depicts that Metaponto Achil the by amphora an as such museums, out-of-the-way from pieces fine seeing very is some pleasure added an specialist, the Hektor, of ransom the with Vienna from Painter Brygos the by tending Patroklos’ wound, sides, with skyphos Chiusi Knight Zewadski and the video installation installation video the and Zewadski Knight William collector Florida, Tampa, the from this country are the Hollywood movie posters (but not the United States—the only loans from Europe over all from loans by supplemented the collection of Basel’s Antikenmuseum, here Attic) vases. This is one of the great strengths of phy is, not surprisingly, Greek (and especially the backbone of the show’s Homeric iconogra eerie Fuselipaintingof1805–1810. Ino- (Hom. Leukothea nymph sea the by rescue his episode: 12.420–25) Rome with the blinding of Polyphemos, of blinding the with Rome just mentioned, bowl Geometric Late the space: one in pieces show is seeing the so many much-loved textbook of pleasures great the of one art, Greek mentioned below). 33 32 31 But setting such odd combinations aside, combinations odd such setting But For anyone who has taught (or studied) studied) (or taught has who anyone For Berlin, Staatliche Museen, Antikensammlung, Metaponto, Museo Archaeologico Nazionale, ina Kntitrshs uem Antik Museum, Kunsthistorisches Vienna, 30 the Berlin Sosias cup with Achilles Achilles with cup Sosias Berlin the ARV 25 alongside the epic poem’s next next poem’s epic the alongside

2 2 ARV , 1300, no. 2; 227; Latacz et al. 2008, 384–85, no. 28 the Aristonothos krater from 33 Od 27

2 an unusual kantharos by kantharos unusual an 32 , 21,no.1;, and many others. For For others. many and . 5.333–50), as told in an in told as 5.333–50), . Odyssey Beazley Addenda 31 the great skyphos ARV scenes on both on scenes BeazleyAddenda

2 , 380, no. 171; 26 29

2 360; the Od

------2 .

American Journal of Archaeology Online Museum Review Copyright © 2009 by the Archaeological Institute of America of Antenor, and Hektor and Paris departing Paris and Hektor and Antenor, of 139–41). eringsonMt. Olympus (e.g., Himmelmann 1998, citedas the best visual parallel for Homer’s gath alwaysexterior, theis which on gods ofsembly playedsothat one cannot see the magnificent as al. 2008, 395–96, no. 140). wig, inv. no. HC 1738 ( et al. 2008, 378–79, no. 117). tomasi, inv. no. Ta 177009 ( ment of objects than that on the an even more shockingly miscellaneous assort by aphilologist. designed exhibition art an be to seems show theme. Homeric the to pertain they when even vases, some of reverse the of illustrations omits inexplicably catalogue the elsewhere but stamnos, the of sides two the of images juxtaposed good for catalogue the to turn to need We Patroklos. that, moved to action by the death of his friend sits opposite him), he has now done precisely pose and refusal to engage with Odysseus who rejoin the battle (symbolized by his abstracted the embassy, nothing could induce Achilles to on the other side of the vase. Whereas during embassy the to response direct a represents reverse the on Hektor,scene of the hands the at Patroklos of death the after Hektor and les logue entry, the two warriors should be Achil as Peter Blome tentatively suggests in the cata ram that seems to be labeled as Patroklos. reverse with two warriors fighting over a dead enigmatic the not but obverse the on Achilles to embassy the only see we that so displayed stamnos Basel attributed to the Triptolemos Painter (fig. 4) is remarkable the pair: matic program of kind a form surely and relevant even happens to one vase where both sides are to the Homeric theme, it cannot be seen. directlyrelatednot is side one If vases. the of making wall, it impossible to the see both to sides of some close too are galleries spacious of Achilles. arms the for contest the (possibly) and tetes, of the Euaion Painter, with the story of Philok masterpiece the called be fairly may that cup ing sponsor of the Antikenmuseum), such as a collection of the late Herbert A. Cahn (a found the from fragments little-known of number a Apollo and Kassandra with battle for 36 35 34 The section on the One minor quibble: several vitrines in these Gravina di Puglia, Fondazione Pomarici San Basel, Antikenmuseum und Sammlung Lud E.g., the Berlin Sosias cup (supra n. 31) is dis 35 38 At times like this, the Basel the this, like times At BAPD Odyssey BAPD , no. 43268; Latacz et has, if anything, , no. 8063; Latacz Iliad , from the 34 36 ); and ); This 37 If, ------183). no. 426, 2008, al. et (Latacz 425 BS inv. no.wig, must be Priam (Oakley 1997, pls.who man7A, oldworried 7B). a showsreverse The 33). al. 2008, 369, no. 104). wig,inv. no.BS477 ( Odyssey the while vase, the of surface the of most up Athena—takesof eyewatchful the under dra pal scene—Herakles and Iolaos fighting the Hy Basel’s own vase collection. episode (fig. 5); it is also one of the treasures of Sirens the of and version problematic early somewhat very a with B.C.E., 590 ca. of los highlight is the remarkable Corinthian arybal droll take on the Sirens (1875). shipwrecked Odysseus the (perhaps) with oinochoe Geometric Late und (after B ca.cm,480 ht.35.6 in book 9 of the Fig. 4. asel, A 41 40 39 38 37 S Latacz et al. 2008, 428, no. 186. Supra n. 25. Basel, Antikenmuseum und Sammlung Lud Basel, Antikenmuseumund Sammlung Lud A E.g., the AchillesthePainterE.g.,amphoran.(supra Latacz et al. 2008, no. 104; courtesy ammlung ammlung thenian red-figure stamnos: ntikenmuseum und S und ntikenmuseum scenerelegatedis handlethetozone. Iliad L udwig). B ; bottom . C . A ttributed to the the to ttributed BAPD , warriors fighting overa dead ram, ammlung L ammlung 39 to Böcklin’s bizarrely , no.,203796; Latacz et top 41 , the embassy to Here, the princi A udwig, inv. no. BS 40 ntikenmuseum ntikenmuseum T An exhibition riptolemos Painter. riptolemos A chilles B 477 477 asel - - - - - American Journal of Archaeology Online Museum Review Copyright © 2009 by the Archaeological Institute of America al. 2008, 440, no. 199). printed books. early and manuscripts,illuminatedmedieval from papyri to codices, Byzantine and Western tion features texts of Homer in every medium of Troy on this example. Sack the of bird’s-eyeview the as suchrelief, low in scenes of friezes superimposed with from the episodes summarizing text of chunks large combine that B.C.E. century first the of slabs of the Tabulae Iliacae, those remarkable marble opens with one of the finest and best preserved treasures.individualItsome has butsections of the coherence of the earlier, more structured tion on transmission and reception loses some other than Odysseus. gestures with his arms could hardly be anyone the towering figure astride the ship’s mast who interpretation, the of convinced not a Siren—is scattered over the vase. Amyx was owl, and a large bird that does not appear to be a menagerie of other creatures—two lizards, an is placed far from the ship of Odysseus, while unmistakableSiren,hoveringbehind Athena, unrelated pictures is difficult to explain: the one The narrative continuity of these two seemingly L und museum Fig. 5. udwig). 45 44 43 42 The large and very miscellaneous final sec Rome, Musei Capitolini, inv. no. 316 (Latacz et Amyx 1988, 1:180–81. Latacz et al. 2008, 462–63, no. 226. Latacz et al. 2008, 440–55. C orinthian aryballos: aryballos: orinthian Iliad S ammlung ammlung and other parts of the Epic Cycle 44 Three Daumier lithographs on L udwig,inv. no. left , H 43 erakles fighting the the fighting erakles The transmission sec BS 425 (after (after 425 42 though H ydra; L atacz et al.2008, no. et 183;courtesy atacz right - - , the and Odysseus January 2009. Engelhorn-Zentrum,Curt September13 2008–18 our of state current the to us bring to past the in most the done have who scholars the by often another, or place one in addressed iconographical—is historical, philological, Every conceivable topic in Homeric studies— catalogue. and exhibition earlier the in did it as dominate not does but throughout felt is inspiration Wolf-DeitrichLatacz’s Niemeier). Simon, (Erika archaeologists distinguished equally some as well as Jong), West,de Irene Martin West, (Stephanie beyond and Bierl) Bernd Seidensticker, Arbogast Schmitt, Anton of classicists from Germany (Hellmut Flashar, group stellar a include essays of contributors fall and winter of 2008–2009) the during Mannheim in venue second a has (which show the after long work reference beyond its title, “Odysseus in Ithaca.” theme the to much contribute not does rage, ga parkingempty an in set Rose,Peter artist ful. Traumdes Menelaos I–IV German artist Sigmar Polke at the very end ( quasi-abstractcontemporarythepaintings by (1842) are charming, Odyssey 48 47 46 The catalogue is destined to be a standard a be to destined is catalogue The 46 Latacz et al. 2008, 467, no. 229. Latacz et al. 2008, 467–71, no. 230. A video installation by the Philadelphiathe byinstallation videoA anem RisEglonMse mit Reiss-Engelhorn-Museen Mannheim, themes from his S irens, ht. cm, 14.5 ca. 590 A ntikenmuseum ntikenmuseum 45 while a cycle of four large , 1982), isquite power Histoire ancienne 48 B has closed. The B asel und und asel . C . E . B asel, S 47 ammlung ammlung A series ntiken Der - - - American Journal of Archaeology Online Museum Review Copyright © 2009 by the Archaeological Institute of America knowledge. Nevertheless, whole schools of of schools whole Nevertheless, knowledge. [email protected] baltimore, maryland 21218 johns hopkinsuniversity department ofclassics new generation of students and scholars. showing his enduring appeal to virtually every again front and once center in Homer the Western putting tradition in and lead in the take great center of Renaissance humanism, should children to scholars. It seems fitting that Basel, a should captivate visitors that ranging from school language universal a speak objects the devoting at least an entire day to the show. But withoutenjoy German-speaking canvisitor a out the exhibition are probably more than even long passages from Homer scattered through multilingualcosmopolitanand the Basel,and labeling and wall texts are a little surprising in Basel and Mannheim. The exclusively German tohappen, asthe exhibition’s only venues are unlikely seems but scholars and students of anenormously valuable tool forwide a range Englishcataloguetranslationthebewould of of internationalism provided by the Wests). An scholarshipof offertothinveneerhas (witha sents the best that the German-speaking world repreproject this for assembled team dream and text criticism, history, and mythology. The history,philology,papyrology art and ology archae in specialistsmany ofcollaboration a single individual could master it all. It requires no that multifaceted and vast so is influence catalogueis that the subject of Homer and his ence. One lesson of both the exhibition and the experigreatlywithoutbeingtheenriched by the placetorefight thosebattles. represented. But an exhibition catalogue is not bibliography) 21-page the in cited is Nagy’s country (Gregory Nagy, Richard Janko—only this in based especially scholarship, Homeric 49 No one will come away from this exhibition Nagy 1990. E.g., Janko 1982; most recently, Nagy 2004. Pindar’s Homer Pindar’s and nothing of Janko of nothing and 49 are not are - - - - - ———. 2004. 2004. ———. 2001b. ———. 2001a. ———. 2000. ed. J., Latacz, Kolb, F. 2004. “Troy VI: A Trading Center and Com 1982. R. Janko, to Response “A 2004. Rose. C.B. P.,and Jablonka, Himmelmann, N. 1998. “The Divine Assembly on the 1988. D.A. Amyx, Wünsche, R. 2006. Wünsche,R. Weiss, C. 1990. Ulf, C., ed. 2003. Shapiro, H.A. 1989. Papalexandrou, N. 2005. Oakley, J.H. 1997. 2004. ———. 1990. Nagy,G. Ireland. Oxford: Oxford UniversityPress. Mystery Old an eines altenRätsels Landesmuseum andK.Theiss. Würtemburgisches Stuttgart: catalogue. tion Vol. 1.Munich:K.G.Sauer. mmercial City?” bridge: CambridgeUniversityPress. Frank Kolb.” Princeton: PrincetonUniversityPress. Himmelmann laos Sosias Cup.” In California Press. Period Archaic tion withHirmer. Antikensammlungen und Glyptothek, in associa C.H. Beck. 60. Karlsruhe 3: Badisches Landesmuseum. Munich: C.H.Beck. Athens. ham, Md.:LexingtonBooks. Warriors, Youths, and Tripods in Early Greece von Zabern. University ofIllinoisPress. University Press. Past Epic an of Mainz: PhilippvonZabern. 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