Greek Art Greek Art of Virginia, and a Fellow of the Society of Antiquaries of London

Total Page:16

File Type:pdf, Size:1020Kb

Greek Art Greek Art of Virginia, and a Fellow of the Society of Antiquaries of London BLACKWELL COMPANIONS TO THE ANCIENT WORLD BLACKWELL COMPANIONS TO THE ANCIENT WORLD the editors A COMPANION TO A COMPANION TO Tyler Jo Smith is Associate Professor of A COMPANION TO Classical Art and Archaeology at the University greek art greek art of Virginia, and a Fellow of the Society of Antiquaries of London. She is the author of E D I T E D B Y Contributors to this COMPANION: Komast Dancers in Archaic Greek Art (2010). tyler jo Smith and EDITED BY smith and plantzos dimitris plantzos Sue Blundell, John Boardman, Jan Bouzek, Lucilla Burn, greek art Dimitris Plantzos is Assistant Professor of Classical Archaeology at the University of François de Callataÿ, Beth Cohen, Dimitris Damaskos, Jill Johnson Deupi, This well-illustrated two-volume set offers a Ioannina, Greece. He is the author of Hellenistic Stephen L. Dyson, Eleni Hasaki, Tamar Hodos, Anthony Kaldellis, EDITED BY tyler jo smith comprehensive, authoritative account of the A COMPANION TO Engraved Gems (1999). Veli Köse, Kenneth Lapatin, Stelios Lekakis, François Lissarrague, development of Greek art through the 1st greek art and dimitris plantzos Kathleen M. Lynch, Eleni Manakidou, Thomas Mannack, millennium bc. While there is no shortage of Clemente Marconi, Timothy J. McNiven, Jenifer Neils, John H. Oakley, introductory handbooks on Greek art, the Olga Palagia, Stavros A. Paspalas, Dimitris Plantzos, H.A. Shapiro, v o lum e I current publication takes a fresh look at the Amy C. Smith, Tyler Jo Smith, Lucie Wall Stylianopoulos, Michael Squire, many facets of the subject, from the basic Delia Tzortzaki, Claudia Wagner, Nicki Waugh, Sabine Weber, forms, materials, and types, to colonization, iconography, and finally the reception of Greek Ruth Westgate, James Whitley, Marina Yeroulanou art in post-classical periods. A Companion to Greek Art is a collaborative ALSO AVAILABLE IN THIS SERIES: effort joining scholars of various nationalities and specializations. The chapter authors are foremost experts in their field, and, being drawn from the ranks of university lecturers and professors, museum curators and field archaeologists, they offer unique perspectives to the collection. As a result, this is an unbiased and inclusive representation of the state of the discipline and the current ways it is being examined by scholars all over the world. A Companion to Greek Art presents a nuanced portrait of the development of Greek art, through a narrative that is factually oriented and technically detailed, as well as thematic, contextual, and historiographical. v o lum e I Jacket image: Athenian red-figure krater. Gods and heroes at rest. 5th c. BC (Musée du Louvre, Paris © 2011. Photo Scala, Florence.) Jacket design by Workhaus SSmith_p01.inddmith_p01.indd 2 22/24/2012/24/2012 99:14:01:14:01 AAMM A COMPANION TO GREEK ART SSmith_ffirs.inddmith_ffirs.indd i 22/24/2012/24/2012 111:46:291:46:29 AAMM BLACKWELL COMPANIONS TO THE ANCIENT WORLD This series provides sophisticated and authoritative overviews of periods of ancient history, genres of classical literature, and the most important themes in ancient culture. Each volume comprises between twenty-five and forty concise essays written by individual scholars within their area of specialization. The essays are written in a clear, provocative, and lively manner, designed for an international audience of scholars, students, and general readers. ANCIENT HISTORY Published A Companion to the Classical Tradition A Companion to the Roman Army Edited by Craig W. Kallendorf Edited by Paul Erdkamp A Companion to Roman Rhetoric A Companion to the Roman Republic Edited by William Dominik and Jon Hall Edited by Nathan Rosenstein and Robert Morstein- A Companion to Greek Rhetoric Marx Edited by Ian Worthington A Companion to the Roman Empire A Companion to Ancient Epic Edited by David S. Potter Edited by John Miles Foley A Companion to the Classical Greek World A Companion to Greek Tragedy Edited by Konrad H. Kinzl Edited by Justina Gregory A Companion to the Ancient Near East A Companion to Latin Literature Edited by Daniel C. Snell Edited by Stephen Harrison A Companion to the Hellenistic World A Companion to Greek and Roman Political Edited by Andrew Erskine Thought A Companion to Late Antiquity Edited by Ryan K. Balot Edited by Philip Rousseau A Companion to Ovid A Companion to Ancient History Edited by Peter E. Knox Edited by Andrew Erskine A Companion to the Ancient Greek Language A Companion to Archaic Greece Edited by Egbert Bakker Edited by Kurt A. Raaflaub and Hans van Wees A Companion to Hellenistic Literature A Companion to Julius Caesar Edited by Martine Cuypers and James J. Clauss Edited by Miriam Griffin A Companion to Vergil’s Aeneid and its Tradition A Companion to Byzantium Edited by Joseph Farrell and Michael C. J. Putnam Edited by Liz James A Companion to Horace A Companion to Ancient Egypt Edited by Gregson Davis Edited by Alan B. Lloyd A Companion to Families in the Greek and Roman A Companion to Ancient Macedonia Worlds Edited by Joseph Roisman and Ian Worthington Edited by Beryl Rawson A Companion to the Punic Wars A Companion to Greek Mythology Edited by Dexter Hoyos Edited by Ken Dowden and Niall Livingstone A Companion to Augustine A Companion to the Latin Language Edited by Mark Vessey Edited by James Clackson A Companion to Marcus Aurelius A Companion to Tacitus Edited by Marcel van Ackeren Edited by Victoria Emma Pagán A Companion to Women in the Ancient World Literature and Culture Edited by Sharon L. James and Sheila Dillon Published A Companion to Sophocles A Companion to Classical Receptions Edited by Kirk Ormand Edited by Lorna Hardwick and Christopher Stray A Companion to the Archaeology of the Ancient A Companion to Greek and Roman Near East Historiography Edited by Daniel Potts Edited by John Marincola A Companion to Roman Love Elegy A Companion to Catullus Edited by Barbara K. Gold Edited by Marilyn B. Skinner A Companion to Greek Art A Companion to Roman Religion Edited by Tyler Jo Smith and Dimitris Plantzos Edited by Jörg Rüpke A Companion to Greek Religion Edited by Daniel Ogden SSmith_ffirs.inddmith_ffirs.indd iiii 22/24/2012/24/2012 111:46:301:46:30 AAMM A COMPANION TO GREEK ART Volume I Edited by Tyler Jo Smith and Dimitris Plantzos A John Wiley & Sons, Ltd., Publication SSmith_ffirs.inddmith_ffirs.indd iiiiii 22/24/2012/24/2012 111:46:301:46:30 AAMM This edition first published 2012 © 2012 Blackwell Publishing Ltd. Blackwell Publishing was acquired by John Wiley & Sons in February 2007. Blackwell’s publishing program has been merged with Wiley’s global Scientific, Technical, and Medical business to form Wiley-Blackwell. Registered Office John Wiley & Sons, Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK Editorial Offices 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford, OX4 2DQ, UK The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK For details of our global editorial offices, for customer services, and for information about how to apply for permission to reuse the copyright material in this book please see our website at www.wiley.com/wiley-blackwell. The right of Tyler Jo Smith and Dimitris Plantzos to be identified as the authors of the editorial material in this work has been asserted in accordance with the UK Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs and Patents Act 1988, without the prior permission of the publisher. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. Designations used by companies to distinguish their products are often claimed as trademarks. All brand names and product names used in this book are trade names, service marks, trademarks or registered trademarks of their respective owners. The publisher is not associated with any product or vendor mentioned in this book. This publication is designed to provide accurate and authoritative information in regard to the subject matter covered. It is sold on the understanding that the publisher is not engaged in rendering professional services. If professional advice or other expert assistance is required, the services of a competent professional should be sought. Library of Congress Cataloging-in-Publication Data A companion to Greek art / edited by Tyler Jo Smith, Dimitris Plantzos. p. cm. – (Blackwell companions to the ancient world ; 90) Includes bibliographical references and index. ISBN 978-1-4051-8604-9 (hardback) 1. Art, Greek–History. I. Smith, Tyler Jo. II. Plantzos, Dimitris. N5630.C716 2012 709.38–dc23 2011046043 A catalogue record for this book is available from the British Library. Set in 11/13.5pt Galliard by SPi Publisher Services, Pondicherry, India 1 2012 SSmith_ffirs.inddmith_ffirs.indd iivv 22/24/2012/24/2012 111:46:301:46:30 AAMM Contents Volume I List of Illustrations ix List of Color Plates xix List of Maps xxi Notes on Contributors xxii Preface xxvii PART I Introduction 1 1. The Greeks and their Art 3 Tyler Jo Smith and Dimitris Plantzos PART II Forms, Times, and Places 15 2. Chronology and Topography 17 Nicki Waugh 3. Greek Decorated Pottery I: Athenian Vase-painting 39 Thomas Mannack 4. Greek Decorated Pottery II: Regions and Workshops 62 Stavros A. Paspalas 5. Free-standing and Relief Sculpture 105 Dimitris Damaskos 6. Architecture in City and Sanctuary 132 Marina Yeroulanou 7. Architectural Sculpture 153 Olga Palagia 8. Wall- and Panel-painting 171 Dimitris Plantzos SSmith_ftoc.inddmith_ftoc.indd v 22/24/2012/24/2012 112:06:202:06:20 PPMM vi Contents 9.
Recommended publications
  • Arcl0017 Greek Art and Architecture Ucl - Institute of Archaeology
    ARCL0017 GREEK ART AND ARCHITECTURE UCL - INSTITUTE OF ARCHAEOLOGY Coordinator: Dr. Eva Mol Office hours: weekly chat sessions Wed 12-1pm or by appointment between Mon-Wed 9-17pm. Email: [email protected]; Year 2/3 BA Module, 15 credits Please see the online IoA Student Handbook for instructions on coursework submission, IoA referencing guidelines and marking criteria, as well as UCL policies on penalties for late submission. ARCL0017 1. OVERVIEW&SCHEDULE Introduction This module introduces Greek art and architecture in the period 2500-50 BC. In the context of a broad chronological survey, the focus is on three main themes: (1) the relationship between Greek art and society (2) addressing current problems in Greek art history and contemporary society, and (3) extensive training in visual analysis and the different lenses to look at Greek art. This year, as the course will be taught remotely, it will consist of different modes of online teaching that contain individual creativity, group fun, and lively discussions using famous objects and buildings belonging to the so-called ‘Greek canon’, and lesser known or even excluded object categories that will expand our idea of what Greek art is. Normally, we would go to the British Museum together, and look at all the incredible objects up close. This is not possible for the semester, but that does not mean we cannot discuss or study them. In fact, teaching the module online will provide us with the great opportunity to look beyond the British Museum (or any museum for that matter) and the Classical canon, and discuss together what Greek Art is right now, and how make it more relevant in the future.
    [Show full text]
  • And KEEPING up with the PERSIANS Some Reflections on Cultural Links in the Persian Empire
    Working draft, not for distribution without permission of the author 1 ‘MANNERS MAKYTH MAN’ and KEEPING UP WITH THE PERSIANS Some reflections on cultural links in the Persian Empire Christopher Tuplin (University of Liverpool) Revised version: 9 June 2008 The purpose of the meeting (according to the web site) is to explore how ancient peoples expressed their identities by establishing, constructing, or inventing links with other societies that crossed traditional ethnic and geographic lines. These cross-cultural links complicates, undermine, or give nuance to conventional dichotomies such as self/other, Greek/barbarian, and Jew/gentile In the Achaemenid imperial context this offers a fairly wide remit. But it is a remit limited – or distorted – by the evidence. For in this, as in all aspects of Achaemenid history, we face a set of sources that spreads unevenly across the temporal, spatial and analytical space of the empire. For what might count as an unmediated means of access to a specifically Persian viewpoint we are pretty much confined to iconographically decorated monuments and associated royal inscriptions at Behistun, Persepolis and Susa (which are at least, on the face of it, intended to broach ideological topics) and the Persepolis Fortification and Treasury archives (which emphatically are not). This material is not formally or (to a large extent) chronologically commensurate with the voluminous, but unevenly distributed, Greek discourse that provides so much of the narrative of Achaemenid imperial history. Some of it may appear more commensurate with the substantial body of iconographically decorated monuments (most not associated with inscriptions) derived from western Anatolia that provides much of the material in the two papers under discussion.
    [Show full text]
  • The Parthenon and Its Sculptures
    P1: FCH/J-SPH P2: FCH/J-SPH QC: FCH/J-SPH T1: FCH CB720-FM CB720-Cosmopoulos-v1 July 2, 2004 15:49 The Parthenon and its Sculptures Edited by Michael B. Cosmopoulos University of Missouri–St. Louis iii P1: FCH/J-SPH P2: FCH/J-SPH QC: FCH/J-SPH T1: FCH CB720-FM CB720-Cosmopoulos-v1 July 2, 2004 15:49 published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru, uk 40 West 20th Street, New York, ny 10011-4211, usa 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Cambridge University Press 2004 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2004 Printed in the United Kingdom at the University Press, Cambridge Typefaces Adobe Garamond 11.25/15 pt. and Lithos System LATEX 2ε [tb] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication Data is available. isbn 0 521 83673 5 hardback iv P1: FCH/J-SPH P2: FCH/J-SPH QC: FCH/J-SPH T1: FCH CB720-FM CB720-Cosmopoulos-v1 July 2, 2004 15:49 Contents List of Figures page vii On Abbreviations and Transliteration xiii List of Contributors xv Introduction: The Methodological Framework of Parthenon Studies 1 Michael B.
    [Show full text]
  • A Reappraisal of J. Paul Getty's Ancient Art Collecting by Kirsten Gabrielle Desperrier a Thesis Subm
    Collection and Identity: A Reappraisal of J. Paul Getty’s Ancient Art Collecting by Kirsten Gabrielle Desperrier A Thesis submitted to Sonoma State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS in History Dr. Steve Estes, Jr. Dr. Michelle Jolly Dr. Samuel Cohen Copyright 2018 By Kirsten Gabrielle Desperrier Authorization for Reproduction of Master’s Thesis I grant permission for the print or digital reproduction of this thesis in its entirety, without further authorization from me, on the condition that the person or agency requesting reproduction absorb the cost and provide proper acknowledgment of authorship. iii Collection and Identity: A Reappraisal of J. Paul Getty’s Ancient Art Collecting Thesis by Kirsten Gabrielle Desperrier ABSTRACT Purpose of Study: To examine J. Paul Getty’s ancient art collection that he acquired within in his life-time. The motivation behind Getty’s art collecting and philanthropy are examined and reassessed, as well as his inspiration for the founding of his museum the Getty Villa. The history of ancient Greco-Roman art collectors from ancient Rome, 17th- 19th century Britain, and 20th century American collectors are analyzed in relation to Getty’s place in the history of ancient art collectors. The influence of the Getty Villa on the intellectual identity of Los Angeles is explored, as is Getty’s lasting legacy on the museum landscape of the area. Procedure: To assess J. Paul Getty as a collector and philanthropist by using his autobiographies and personal journals from 1938-1976. The Getty Family Papers include the history of Getty’s ancient art collecting, and provided documents, such as receipts, customs documents, inventory lists and correspondence between Getty and art dealers.
    [Show full text]
  • The Nereid Monument
    XA NTHI A N MA RBLE S T H E N E R E I D M O N U M E N T ; AN HISTORICAL AND MYTHOLOG ICAL Y ESSA . B Y WI L LIAM WATKI SS LLOYD . A L D I LON D O N W I LLI A M P I C K E RI N G . 1 845 . l l l l l Den Zusamm nhan und G ist des alten G laubens e g e , Dichwns und Bildens zu erforschen und in den W rk n dos Alterthums den reli iosen Mitwl unkt e e g p , w orin sie sich vereini en nacbzuw eisen . g , F n . C B E U Z ER . S I R C H A R L S F L L O W S E E , H E S E P E S E I N S B D T A G A R C RI E , H I S O B L I G E D F R I E N D , WI LLI A M WA TK I SS LLOYD . N E R E I D M O N U M E N T. THA OOEN EK ATKI HZ E AN OOT AI I O I E TO , A N H N E . X A N TH I A N M A R B L E S I T THE NERE D MONUMEN . N the course of a review of the relics and records of n n a o n ou n of m n a cie t Lyci , the heter ge e s ess the ele e ts that encountered w ithin its bo undaries is very striking n mo so om n on w a s om eve re , the c pact ati ality that c patible w —if not u f om — m u u n u n ith, it did res lt r , their t al i fl e ces a nd reactions .
    [Show full text]
  • Maussollos'mnema
    Maussollos’mnema Elisabeth Mcgowan To cite this version: Elisabeth Mcgowan. Maussollos’mnema. 2èmes Rencontres d’archéologie de l’IFEA : Le Mort dans la ville Pratiques, contextes et impacts des inhumations intra-muros en Anatolie, du début de l’Age du Bronze à l’époque romaine., Nov 2011, Istanbul, Turkey. pp.157-174. halshs-00808257 HAL Id: halshs-00808257 https://halshs.archives-ouvertes.fr/halshs-00808257 Submitted on 5 Apr 2013 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. MAUSSOLLOS’S MNEMA An iconographical approach to the architecture of the Maussolleion at Halikarnassos Elizabeth McGowan Williams College [email protected] Abstract Undoubtedly the most renowned example of intramural burial in antiquity was the Maussolleion at Halicarnassus. Since its rediscovery within the writing of Vitruvius, Pliny and other ancient authors by Renaissance architects its form has been a frequent subject of speculation. The results of the archaeological campaigns of the 19th and 20th centuries have allowed the discussion to encompass an aesthetic evaluation of the temple-tomb’s actual remains. The Maussolleion’s seemingly disparate assortment of architectural forms, which samples motifs from prominent Mediterranean cultures (Lykian podium, Greek temple, and Egyptian pyramid) has been characterized as the ultimate statement in bad taste by a self-aggrandizing satrap.
    [Show full text]
  • Ground Floor Level 2 95 67 Toilets Level 2 Only Down to 33 North Level 2 Stairs Accessible Toilet
    Ground floor Level 2 95 67 Toilets Level 2 Only down to 33 North Level 2 stairs Accessible toilet Don’t miss Level 1 33a 33 C 33 B Baby changing Level 1 Only up to 95 and 67 A The Holy Thorn Reliquary, North Level 1 stairs Room 2a Baby feeding A medieval masterpiece Members’ Montague cloakroom Place entrance Montague B Tang dynasty figures, Level -1 Anthropology Library Café 33b Shop Room 33 and Research Centre From the tomb of a general North stairs Level Up to 24 and Great Court or down -1 & 0 to the Montague Place entrance Great Court Restaurant C Shiva Nataraja Level 0 (Lord of the Dance), Room 33 30 A remarkable bronze sculpture Café from south India West 24 26 27 D Up to 20a stairs Hoa Hakananai’a, Room 24 Information Desk A colossal ancestor figure from Level 0 29a 29b East D Down stairs Rapa Nui/Easter Island 20 to 25 Up to Members’ Room via Court Café Tickets & Membership Desk E The Rosetta Stone, Room 4 21 West stairs & lift The key to deciphering 18 19 Great Court hieroglyphs Shop 9 4 Level 0 Level 0 1 F Families Desk Court (weekends and school holidays only) F Assyrian Lion Hunt reliefs, 22 Café Room 10 18b Cloakroom An ancient king’s triumph over G E nature 18 17 23 8 4 Collections Book 1 Shop Shop Audio guide G Parthenon sculptures, 18a Down to 91 Room 18 F Level 5 16 94 93 92 Iconic sculpture from ancient Stairs Greece 10 7 4 1 North stairs 18 15 Great Court Level 5 F Lift Down to Down to Level 0 14 Clore Centre Clore Centre South Grenville Level access lift 13 6 stairs Room 2 12 6 3 A Up to 94 Please note that some 2a Level 4 55 91a 91 90 90a galleries may be closed Pizzeria at short notice due to North Levels unforeseen circumstances Forecourt 3 & 4 Level 0 Main entrance stairs or refurbishment.
    [Show full text]
  • ITP 2019 Final Report
    ITP 2019 Final Report Asuman Alpagut, Museum Researcher and Anthropologist, Anatolian Civilization Museum 16 Sept. 2019 Supported by the de Laszlo Foundation Since 2000, I have been a museum researcher and an anthropologist at the Anatolian Civilizations Museum. In the Museum of the Anatolian Civilizations, the protection of the artefacts that belong to Paleolithic, Neolithic and Chalcolithic Age sections for inventory, security, identification and exhibitions are among my responsibilities. Also, I am responsible for the inventory, security, data and the identification of the collections in storage. This includes the cleaning process and reporting stages as well. In the museum education section, I'm managing both daily and long-term projects which are created by me with the school groups. I never really thought I would go to the British Museum as an ITP member. Like my colleague Okan Cinemre, who participated in this programme last year, it was like dreaming of being a member of this family. This dream came to life in February 2019 with an e-mail from Claire Messenger (British Museum International Training Programme, Manager). I would like to express my gratitude to the ITP team, including Claire Messenger, for their great contribution to the realisation of this dream. I would also like to thank the de Laszlo Foundation for supporting me to become a member of this important training programme. As I mentioned in my blog, me and my ITP colleagues, we were amazed to be in the garden in front of the British Museum on the 8th July. Yes, there was the gorgeous British Museum building where tons of cultural heritage from many places around the world sit together.
    [Show full text]
  • Museum Is the World Magnólia Costa
    Museum is the world Magnólia Costa Introduction In 1966, Brazilian artist Hélio Oiticica wrote: “Museum is the world”.1 This phrase could be part of the definition of ‘universal museum’ – a place where cultural assets produced in every area of the planet are preserved, studied and exhibited, in a wide temporal arch. Considering that ‘universal museums’ generate knowledge that subsidises the narratives of many different peoples, the relationships between universal museums and Brazilian museums may elucidate common points and emphasise differences. If ‘museum is the world’, then it reflects the manner in which cultures are understood and presented among themselves. The concept of universal museum has been debated since the publication of Declaration on the Importance and Value of Universal Museums.2 This document was signed by many different museums; among them the ‘Big Five’ – three of which are located within the European Community: the Louvre, the Berlin State Museums and the British Museum, which was responsible for composing the text. Heritage and legitimacy In the Declaration, the self-denominated universal museums affirm their right of ownership over archaeological, artistic and ethnical artefacts of exogenous cultures that were incorporated into their collections. This affirmation is supported by two series of arguments: one regarding the legitimisation of actions that resulted in the incorporation of such artefacts; the other exalting their historic role as their preservers. 1 Oiticica, Hélio (1966). From the series Programa ambiental. Typed document, dated and preserved: 0253/66. Available at http://www.itaucultural.org.br/aplicexternas/enciclopedia/ho/detalhe/docs/dsp_imagem.cfm?name=Normal/0253.66%2 0p03%20-%20235.JPG (accessed on 9 July 2013).
    [Show full text]
  • Exhibiting Ancient Greek Architectural Sculpture: a Comparison of The
    EXHIBITING ANCIENT GREEK ARCHITECTURAL SCULPTURE: A COMPARISON OF THE HERITAGESCAPE AND VISITOR RESPONSES IN TEN EUROPEAN COLLECTIONS by LAURA JANE CAROLINE SNOOK A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Institute of Archaeology and Antiquity College of Arts and Law University of Birmingham April 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines the exhibitions of Greek architectural sculpture in ten European collections. The exhibitions used as case studies display both original sculptures and plaster copies. These displays can be found in the Acropolis Museum, Athens; the British Museum, London; the Musée du Louvre, Paris; the Archaeological Museum of Olympia, Olympia; Delphi Archaeological Museum, Delphi; the Museum of Classical Archaeology, Cambridge; the Ashmolean Museum of Art and Archaeology, Oxford; the Kongelige Afstøbningssamling, Copenhagen; and the Skulpturhalle, Basel. These exhibitions are assessed using the heritagescape methodology, considering the boundaries, visibility and cohesion within the displays. This assessment is then compared with the results of a survey of visitors to the same exhibitions, asking for their responses to interpretive material within the exhibitions, specifically, tours, models, pictures, information labels and videos.
    [Show full text]
  • Penelope's Geese
    Penelope’s Geese Pets of the Ancient Greeks by kenneth kitchell ost people are familiar with the strong character of Penelope, who waited at Ithaca while her husband Odysseus was away 20 long years. In Homer’s Odyssey we watch in admiration as she holds together MOdysseus’ kingdom and keeps a horde of suitors at bay until he returns. But many readers quickly pass over the fact that she kept a flock of geese to help ease her heart. Indeed, later Greek art often shows women in domestic situations with geese or ducks. Penelope’s geese are just one example of the importance of pets to the ancient Greeks. As illustrated on vases, bowls, jugs, reliefs, figurines, and even funerary stelae, pets and people enjoyed a strong emotional bond. I have twenty geese here about the house, and they feed on Grains of wheat from the water trough. I love to watch them. Odyssey 19.535-37, trans. Lattimore A red figure amphora dating to 470–460 BC shows a woman spending her leisure time playing ball (a ball is in each hand) while a goose looks on (1). A Hellenistic terracotta of the late 4th century BC (2) shows another woman looking into a mirror as she adjusts her dress with the help of an atten- dant. At her feet sits a goose whose head has unfortunately been lost. Such scenes may have been commonplace in Greek households, with pets nearby during many domestic activities. British Museum 1836,0224.140 1 (ca. 470–460 BC) 14 volume 53, number 3 expedition Another pet in the Odyssey is justifiably famous— British Museum 1982,0729.83 Odysseus’ long-suffering dog.
    [Show full text]
  • The British Museum
    A TOUR OF BIBLE RELATED ITEMS IN THE BRITISH MUSEUM Last Updated, March 2012, by Stafford North, Jo Anne North, and David North Oklahoma Christian University Galleries are open daily from 10 a.m. to 5:30 p.m. Friday until 8:30. The Great Court (shops and information in the center of the building) is open daily from 9 a.m. to 6 p.m. and until 8:30 on Fridays. Either of these tube stops is about four blocks away: Holborn or Tottonham Court Road (Exit 3). Look for signs to the Museum as you leave the Underground Station for the street outside. The British Museum is on Great Russell Street. The British Museum is sometimes working in certain galleries. You can call at +44 (0) 20 7323 8000 for information. Most Bible related items are connected with the Department of Western Asiatic Antiquities. On the Internet, the British Museum homepage is at www.britishmuseum.org. This site provides a great amount of useful information such as special exhibits, hours the museum is open, a map on getting to the museum, and explanations of some of the items on exhibit. It also provides color-coded floor plans of each of the three floors. For these look under “visit” and then under “floor plans.” The British Museum is truly one of the world’s great collections of artifacts. It contains remains dating back over four thousand years. The Bible, likewise, is 1 one of the world’s great books of history. Unlike the foundation book of any other of the world’s great religions, the Bible relates the history of mankind from human beginnings through the times of the great world empires to the establishing of God’s great kingdom which, the Bible says, will outlast and outshine all earthly kingdoms.
    [Show full text]