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Journal articles on the topic 'Classical antiquities'
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1
Gill, David W. J., and Rosalyn Gee. "Classical antiquities in Swansea." Journal of Hellenic Studies 116 (November 1996): 257–61. http://dx.doi.org/10.2307/632025.
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Lyons, Claire L., Elizabeth Angelicoussis, and Andreas Linfert. "The Woburn Abbey Collection of Classical Antiquities." American Journal of Archaeology 98, no. 1 (January 1994): 182. http://dx.doi.org/10.2307/506243.
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Lowenthal, David. "Classical antiquities as national and global heritage." Antiquity 62, no. 237 (December 1988): 726–35. http://dx.doi.org/10.1017/s0003598x00075177.
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The current campaign to return to Athens the Parthenon sculptures that have been in the British Museum since the early 19th century highlights the profoundly dual nature of Greek architectural and sculptural heritage, as emblems of both Greek and global attachment. Classical relics in particular have become symbols of Greek attachment to the homeland; underscoring links between past and present, they confirm and celebrate Greek national identity. Other elements of Greek heritage – language, literature, religion, folklore – likewise lend strength to this identity, but material remnants of past glories, notably temples and sculptures from the times of Phidias and Praxiteles, assume an increasingly important symbolic role (Cook 1984; Hitchens 1987).
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Chippindale, C., D. Gill, E. Salter, and C. Hamilton. "Collecting the classical world: first steps in a quantitative history." International Journal of Cultural Property 10, no. 1 (January 2001): 1–31. http://dx.doi.org/10.1017/s0940739101771184.
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Of the two values of ancient objects, the connoisseur's first concern is with the object today, and the archaeologist's is with its past place and the knowledge it offers about the past. Central to both is provenance, which comprises the 'archaeology' of the item - its story until it went to rest in the ground - and its 'history' - its story once found and brought to human awareness again. Our response to looting of antiquities depends on how serious is the impact on knowledge, so we need a 'quantitative history' of collecting - how much there was to start with, how much has been dug up, how much we know about it, how much remains. Four quantitative histories are reported: on Cycladic figures, on items in recent celebrated classical collections, on antiquities sold at auction in recent decades, and on classical collecting at the Ashmolean Museum, Oxford. These pioneering studies are not yet enough to make a clear overall picture; our preliminary conclusion is a glum view of the damage caused by the illicit pursuit of antiquities.
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Okhotnikov, S. B. "The Odessa Museum of Archaeology." Ancient Civilizations from Scythia to Siberia 1, no. 1 (1995): 75–79. http://dx.doi.org/10.1163/157005794x00345.
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AbstractThe Odessa Museum of Archaeology was founded in 1825 by local antiquarians. The museum's collection grew in part due to excavations of classical sites in the region, in part due to gifts and purchases from dealers in classical antiquities. Up to the Second World War the focus of the Museum's activities was classical archaeology. In the post-war period this expanded to include the whole of the ancient history of the region from the Stone Age to the Middle Ages. The museum now houses one of the best collections of Classical Antiquities in the former Soviet Union and the third-ranking Egyptological collection. The museum formed from 1972 part of the Soviet Academy system and undertook fieldwork on the Lower Dniester at Bronze Age sites, as well as at classical sites such as Tyras, Nikonion, the site of the ancient Odessos, and Leuke and medieval sites such as Belgorod.
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Lane, Andrew. "Emperor's Dream to King's Folly: The Provenance of the Antiquities from Lepcis Magna Incorporated into the ‘Ruins’ at Virginia Water (part 2)." Libyan Studies 43 (2012): 67–80. http://dx.doi.org/10.1017/s0263718900009870.
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AbstractIn the grounds of Windsor Great Park stands an elaborate folly in the form of an idealised classical ruin. Built at the beginning of the nineteenth century, the ruins are constructed almost entirely from reused material. This includes an important assemblage of antiquities from the Roman site of Lepcis Magna, in Libya. Whilst the origin of the collection has never been forgotten, there has been no attempt to establish the provenance of the individual elements. Through a process of comparison, this article establishes where most of the antiquities originated. Increasing our knowledge of both this important folly and the collection of incorporated antiquities, this article also explores the nature of Warrington's work at Lepcis Magna.
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Zapkin, Phillip. "Antipodean Antiquities: Classical Receptions Down Under ed. by Marguerite Johnson." Classical Journal 116, no. 1 (2020): 124–26. http://dx.doi.org/10.1353/tcj.2020.0042.
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Bevilacqua, Livia. "Family Inheritance: Classical Antiquities Reused and Displayed in Byzantine Cities." Actual Problems of Theory and History of Art 5 (2015): 203–9. http://dx.doi.org/10.18688/aa155-2-20.
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Konkin, Denis V. "“…This Area Is almost the only Classical Country in Our Possession”: Baron B. B. Kampengauzen’s Memoir “On the Antiquities in the New Russia Region” (1817)." Materials in Archaeology, History and Ethnography of Tauria, no. XXVI (2021): 528–39. http://dx.doi.org/10.37279/2413-189x.2021.26.528-539.
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This publication introduces into the scholarship Baron B. B. Kampengauzen’s (Campenhausen, 1772–1823) memoir “On the Antiquities in the New Russia Region.” The state controller of the Russian Empire Kampengauzen visited the New Russia Region and the Crimea in summer 1816. In result of this trip, he prepared a long memoir discussing possible transformation of the country. Kampengauzen compiled the part addressing the antiquities of New Russia in a traditional way of the observations of the kind. In the beginning, he stated the general history of the country; later on, he called the reader’s attention to the topical problems of New Russia, discussed the current status of the ancient sites, and expressed his own recommendations for the protection and research of antiquities. This memoir is especially valuable since one of its first readers was the Russian Emperor Alexander I.
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Hamilakis, Yannis, and Eleana Yalouri. "Antiquities as symbolic capital in modern Greek society." Antiquity 70, no. 267 (March 1996): 117–29. http://dx.doi.org/10.1017/s0003598x00082934.
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The Great Powers — starting with ancient Imperial Rome and running up to the present — have valued Classical Greek culture as embodying the founding spirit of their own, our own western world. So where does the modern state of Greece stand? It is, more than most nations, encouraged or required to share what might be its particular heritage with a wider world.
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Steinhauer, George. "Unpublished lists of gerontes and magistrates of Roman Sparta." Annual of the British School at Athens 93 (November 1998): 427–47. http://dx.doi.org/10.1017/s0068245400003555.
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Fourteen unpublished inscriptions from Sparta are discussed in this article. They were found in 1950–1980 by the Fifth Ephorate of Prehistoric and Classical Antiquities and date from the Roman period, first century BC—second century AD. Eight of the inscriptions are lists of gerontes.
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Gill, David, and Christopher Chippindale. "The Illicit Antiquities Scandal: What It Has Done to Classical Archaeology Collections." American Journal of Archaeology 111, no. 3 (July 2007): 571–74. http://dx.doi.org/10.3764/aja.111.3.571.
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Weinberg, Gladys Davidson, and A. J. Heisserer. "Classical Antiquities: The Collection of the Stovall Museum of Science and History." Classical World 82, no. 6 (1989): 476. http://dx.doi.org/10.2307/4350494.
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Khartanovich, Margarita F., and Maria V. Khartanovich. "Museum of Classical Archeology of the 19th-century Imperial Academy of Sciences: The history of organizing and transferring collections to the Imperial Hermitage." Issues of Museology 12, no. 1 (2021): 13–27. http://dx.doi.org/10.21638/spbu27.2021.102.
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The Museum of Classical Archeology of the Imperial Academy of Sciences is the successor to the 18th-century Kunstkamera of the Academy of Sciences in term of collections of classical antiquities. This article discusses in detail the stages of development of the Museum of Classical Archaeology as an institution within the structure of the Academy of Sciences through the Cabinet of Medals and Rarities, Numismatic Museum, and the Museum of Classical Archaeology. The fund of the museum consisted of ancient Greek and Roman coins, ancient Russian coins, coins from oriental cultures, ancient Greek vases, antiquities from ornamental stone, glass, precious metals, impressions of medals and coins, items from archaeological excavations and treasures, manuscripts, drawings of objects and photographs. Special attention is paid to the correlation of the possibilities of museum collections of the Academy of Sciences and the Imperial Hermitage in terms of storage, exhibition, research, and promotion of archaeological collections in the second half of the 19th century. The reasons for the very active transfer of the Academy of Sciences’ archaeological collections to the Hermitage in the 19th century and the types of compensation received by the Academy for the collections are discussed. The first archaeological collections donated from the Academy of Sciences to the Hermitage on the initiative of the chairman of the Imperial Archaeological Commission S. G. Stroganov were the “Siberian collection” of Peter I and the Melgunov treasure. The collection of the Museum of Classical Archeology also attracted the attention of art critic I. V. Tsvetaev when arranging funds for the new Museum of Fine Arts at Moscow University. The article introduces into scientific circulation archival documents, showing the state of the museum work in the 19th century in the institution of the Academy of Sciences, documents depicting the structure of the Museum of Classical Archaeology, and the composition of collections.
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Hepple, Leslie W. "'The Museum in the Garden': Displaying Classical Antiquities in Elizabethan and Jacobean England." Garden History 29, no. 2 (2001): 109. http://dx.doi.org/10.2307/1587366.
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Scott, David A. "Modern Antiquities: The Looted and the Faked." International Journal of Cultural Property 20, no. 1 (February 2013): 49–75. http://dx.doi.org/10.1017/s0940739112000471.
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AbstractThis article discusses some of the issues regarding the acquisition of art and the different philosophical views of some of the main protagonists regarding the reclaiming of art by nation-states, following American museums' acceptance of the 1970 UNESCO Convention, using examples from the Getty Museum and the Metropolitan Museum of Art. The mediation of Native American Graves Protection and Repatriation Act (NAGPRA) claims by conservators is often an important component of the dialogue between museums and native communities. The philosophical and art-historical opinions regarding the value of copies and reproductions of works of art have oscillated from promulgation in the 1860s to outright rejection by the 1920s. In a modernist sense, points of view are once again open to reevaluation as host nations demand back more originals than ever before. Arguments against the claims of nationalist-retentionist countries and those advanced in favor of the claims of nation-states regarding the repatriation of their art are discussed. The problems created by looted art in association with the ever-increasing number of fakes is highlighted, with examples of the issues surrounding pre-Columbian art and some classical antiquities. The utility of copies in relation to the protective value of the authentic piece is discussed in the context of museum examples in which the concept of the utilization of copies for museum display has been accepted in certain cases as desirable.
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Balaskas, Vasileios, and Antonis Kourkoulakos. "The archaeologist king: Paul of Greece and Greek heritage tourism (1952–54)." Journal of Greek Media & Culture 10, no. 1 (June 1, 2024): 17–33. http://dx.doi.org/10.1386/jgmc_00086_1.
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During the early post-war period, American economic intervention in Greece played a central role in transforming the country’s classical past into a modern tourist asset. As a result, Greek institutions and investors used ancient monuments to create the necessary infrastructure for the emerging tourist movement. The Greek monarchy actively participated in this modernization process by engaging in cultural experiences, which aimed to transform Greek heritage into a desirable tourist product for the western camp during the Cold War period. The Greek monarchy was at the centre of this sociocultural development engaging with the nationalist reflexes of Greek society. By embracing the discourse of ethnikofrosyni (‘national mindedness’), King Paul of Greece (1947–64) and Queen Frederica provided royal sanction for the nationalist uses of classical antiquities and Greece as a lieu de mémoire that could offer an exceptional experience to visitors. To strengthen these assertions, Paul assumed the role of the archaeologist and tour guide, showcasing the cosmopolitan allure Greek antiquities radiated and presenting Greece as a fashionable and appealing tourist destination. This article argues that the Greek monarchs’ intervention in the archaeological excavations at Mycenae (1952), as well as the royal cruise around Greek islands and monuments (1954) reflected the sociopolitical developments of the period and the monarchs’ engagement with the country’s cultural affairs.
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Mulvin, Lynda S. "An Unknown Collection of Preliminary Drawings and Extra Illustrations Prepared for The Arabian Antiquities of Spain by James Cavanah Murphy in the Gennadius Library, Athens." Muqarnas Online 35, no. 1 (October 3, 2018): 301–48. http://dx.doi.org/10.1163/22118993_03501p014.
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Abstract In the Gennadius Library of the American School of Classical Studies at Athens, Greece, is a heretofore unknown large-format volume that contains many extra illustrations, original drawings, and proofs of plates for The Arabian Antiquities of Spain by James Cavanah Murphy (1760–1814). Based on research conducted between 1802 and 1809, The Arabian Antiquities of Spain features engravings of major monuments of Hispano-Islamic architecture, including the Alhambra, the Great Mosque at Cordoba, and the Generalife at Granada; the work was published posthumously in 1816. Since the Gennadius volume also includes sketches of Islamic monuments from Malaga, Seville, and Xeres, it appears that Murphy originally intended to publish a complete survey of Hispano-Islamic monuments in southern Spain. In the Gennadius volume, grangerized drawings are placed opposite published engravings for comparative purposes; the drawings include notes written by Murphy to the engravers, and several are hand-tinted, which reveal Murphy’s interest in polychromy. This article presents the newly discovered drawings in the Gennadius volume, which adds to our understanding of the monuments depicted in the published plates of Arabian Antiquities, and serves to position Murphy’s pioneering efforts in the context of architectural scholarship, chromolithography, and the book trade in the early nineteenth century.
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Burns, Dylan, and Almut-Barbara Renger. "Introduction." International Journal for the Study of New Religions 8, no. 2 (December 6, 2018): 103–14. http://dx.doi.org/10.1558/ijsnr.37400.
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The myriad and potent effects of Mediterranean antiquity in a diversity of cultural and social contexts constitutes a field of research which for some decades has been known as “(Classical) reception studies.” The two special issues of IJSNR introduced here (and the consolidated book volume which follows) contain the fruits of the 2014 workshop “New Antiquities”, which departed from this scholarly enterprise in examining what we have called “Transformations of Ancient Religion.”
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Hamilakis, Yannis, and Eleana Yalouri. "Sacralising the Past." Archaeological Dialogues 6, no. 2 (December 1999): 115–35. http://dx.doi.org/10.1017/s138020380000146x.
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AbstractThe paper discusses the religious undertones classical Greek heritage is vested with in Greece. Drawing on the argument that nationalism and religion need to be seen as similar cultural systems, we show that classical antiquities have become powerful emotive icons for performances of national memory in the process ot imagining thetoposof the Hellenic nation. This process is open to all social actors and not simply to State bureaucrats and intellectuals. We offer an explanation of this phenomenon by examining the position of antiquity in the construction of the imagined community of the Hellenic nation, as well as the ways by which Orthodoxy and classical antiquity became enmeshed in the formation of Hellenic national identity.We finally explore some of the implications that this phenomenon has for archaeology as a discipline and as social practice.
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Schlueter, June. "‘His Best Part Lies Hidden in His Learned Heart’." Early Modern Low Countries 6, no. 1 (June 29, 2022): 36–50. http://dx.doi.org/10.51750/emlc12170.
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This article proposes that the historian Aernout van Buchell was a cultural go-between, quietly engaged in a transnational project of globalization. The young van Buchell’s first album amicorum, begun in 1584, reveals an intellectually restless young man who was given to depression and even attempted suicide but who discovered the study of antiquities on his year-long stay in Paris. His second album reveals an older, settled, purposeful historian whose album friends were scholars and artists of considerable reputation. At least since his year in Paris, van Buchell was committed to obliterating the boundaries of space and time and removing the intellectual limits of his mind. As with the antiquities he studied, van Buchell’s alba endorse a common heritage and offer to posterity the wisdom of the ancients and that of the many contributors to his album. His stance was that of a humanist, which, in the early modern period, entailed a revival of classical languages, literature, and moral precepts.
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Maslennikov, A. A. "Classical Antiquities of the Crimean Azov Sea Coast: A View After Half a Century." Anthropology & Archeology of Eurasia 47, no. 1 (July 2008): 36–56. http://dx.doi.org/10.2753/aae1061-1959470102.
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Vazquez, Adriana. "Antiquities and Classical Traditions in Latin America ed. by Andrew Laird and Nicola Miller." American Journal of Philology 141, no. 1 (2020): 136–39. http://dx.doi.org/10.1353/ajp.2020.0008.
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Barker, Graeme. "Regional archaeological projects." Archaeological Dialogues 3, no. 2 (December 1996): 160–75. http://dx.doi.org/10.1017/s138020380000074x.
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Explicitly regional projects have been a comparatively recent phenomenon in Mediterranean archaeology. Classical archaeology is by far the strongest discipline in the university, museum and antiquities services career structures within the Mediterranean countries. It has always been dominated by the ‘Great Tradition’ of classical art and architecture: even today, a university course on ‘ancient topography’ in many departments of classical archaeology will usually deal predominantly with the layout of the major imperial cities and the details of their monumental architecture. The strength of the tradition is scarcely surprising in the face of the overwhelming wealth of the standing remains of the Greek and Roman cities in every Mediterranean country. There has been very little integration with prehistory: early prehistory is still frequently taught within a geology degree, and later prehistory is still invariably dominated by the culture-history approach. Prehistory in many traditional textbooks in the north Mediterranean countries remains a succession of invasions and migrations, first of Palaeolithic peoples from North Africa and the Levant, then of neolithic farmers, then metal-using élites from the East Mediterranean, followed in an increasingly rapid succession by Urnfielders, Dorians and Celts from the North, to say nothing of Sea Peoples (from who knows where?!). For the post-Roman period, church archaeology has a long history, but medieval archaeology in the sense of dirt archaeology is a comparatively recent discipline: until the 1960s in Italy, for example, ‘medieval archaeology’ meant the study of the medieval buildings of the historic cities, a topic outside the responsibility of the State Archaeological Service (the Superintendency of Antiquities) and within that of the parallel ‘Superintendencies’ for monuments, libraries, archives and art galleries.
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Leighton, Robert. "Antiquarianism and Prehistory in West Mediterranean Islands." Antiquaries Journal 69, no. 2 (September 1989): 183–204. http://dx.doi.org/10.1017/s0003581500085401.
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In the West Mediterranean islands before the mid-nineteenth century, discoveries of fossil bones, prehistoric deposits in caves and megalithic monuments stimulated ideas about the remote past, as in other parts of Europe where similar phenomena were observed. Many of these ideas were characteristic of a pre-scientific age and their sources are sometimes obscure. Their inspiration can often be traced to the Bible, classical texts, folklore, as well as to advances in palaeontology and direct observation of antiquities. The study of fossils and prehistoric remains progressed gradually, following a similar pattern elsewhere. Two lines of enquiry emerged, one closely linked with progress in the natural sciences and the other concerned with ancient monuments and the background to the classical world.
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Albani, Jenny P. "Palimpsests of memory: the medieval city of Athens in modern and postmodern contexts." Historical Review/La Revue Historique 16 (April 1, 2020): 89. http://dx.doi.org/10.12681/hr.22821.
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This article addresses attitudes towards the medieval past of Athens from modern to postmodern times. Athens, a symbol of classical civilisation, had become a provincial Byzantine centre. From the proclamation of Athens in 1833 as the capital of the modern Greek state to about 1880, archaeological research in Athens focused on classical antiquities at the expense of the preservation of monuments of the Middle Ages, which was regarded as a period of decline. The historical and artistic value of Athenian medieval monuments has been acknowledged since the late nineteenth century. The international progress of Byzantine studies, the national narrative on the continuity of Greek history, the political concept of the megali idea (“Great Idea”), and contemporary state policies based on “diachrony and synergy” contributed to this significant ideological shift. Athens is, however, still renowned and admired worldwide for its classical past, with its medieval cultural heritage less highlighted.
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Cannavò, Anna, and Luca Bombardieri. "Cesnola Collection at the Turin University Museum of Anthropology and Ethnography." Kadmos 55, no. 1-2 (May 24, 2016): 37–48. http://dx.doi.org/10.1515/kadmos-2016-0003.
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Abstract A previously unpublished marble fragment from the Cesnola collection at the Turin University Museum of Anthropology and Ethnography bears an incomplete Phoenician inscription, a dedication to Eshmun-Melqart considered lost since 1869 (CIS I 26). The inscription allows to interpret the object bearing the dedication as a votive stone bowl from the late Classical Phoenician sanctuary of Kition-Batsalos in Cyprus, and it provides the opportunity to retrace the history of the Cesnola collection of Cypriote antiquities at the University Museum of Turin.
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Pugachenkova, G. A. "The Antiquities of Transoxiana in the Light of Investigations in Uzbekistan (1985-1990)." Ancient Civilizations from Scythia to Siberia 2, no. 1 (1996): 1–38. http://dx.doi.org/10.1163/157005795x00010.
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AbstractThe archaeological study of pre-Islamic Uzbekistan (Bactria, Sogdiana) has been intensified since. World War II and this survey presents the most important recent results of this work. Bronze Age sites show a process of cultural change in Bactria, particularly the settlement of the area by farmers and the emergence in proto-cities of new urban forms of social organisation and systems of belief. The Iron Age sees the assimilation of new ethnic groups into the region, the expansion of a strong (Achaemenid) state, the development of defended cities and administrative centres and the beginnings of specialised craft industries. In the Classical period the Macedonian conquest brought about the sharp decline of existing urban centres, but the centralised states that followed were able to establish (e.g. through irrigation projects) new cities in new agricultural zones. Excavation into the lower levels of medieval cities has revealed several previously unknown ancient cities, many of which seem to have been derelict in the period before or during the Arab conquest. Bactrian cities of the Classical period have been shown to be extensive in area, well defended by strong walls and a citadel, and to have performed administrative, economic, religious as well as military functions. Cult buildings discovered show the presence of Avestan religion (although not the orthodox Zoroastrianism of Iran), cults of the Great Mother Goddess, and Buddhism (though limited to a few remarkable centres), and in the North of Sarmatian totemic cults using zoomorphic representations, finds of art, sculpture and wall-painting reveal a process in Bactria in which a native substratum was synthesized with Hellenistic, Indian and Sako-Sarmatian elements to produce work of high quality and originality. Epigraphical finds include ostraca, graffiti, inscriptions, and even papyri, representing scripts and languages from Bactrian to Pahlavi, to Greek and Latin. Finds of coins, including Greco-Bactrian and Parthian, help to date archaeological layers and produce accurate chronologies. Scholars from Uzbekistan have also contributed to the "Great Silk Road" programme, which is showing that routes crossing the region were formed in the 1st mill. B.C. and constituted a dense branched network by the end of the Classical period.
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Uhlenbrock, Jaimee P. "The reception of Greek figurative terracottas in the Age of Enlightenment1." Journal of the History of Collections 32, no. 1 (December 20, 2018): 25–38. http://dx.doi.org/10.1093/jhc/fhy058.
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Abstract While figurative terracottas from Greco-Roman antiquity were brought to light in considerable numbers from sites on the Italian mainland and in Sicily in the seventeenth century, they were consistently overlooked as important and representative examples of classical art. It was only in the later eighteenth century in Sicily that important collections of Greek figurative terracottas were assembled that began to attract the attention of northern Europeans. A demand for these accessible examples of miniature Greek sculpture arose that ultimately contributed to the formation of some of the most important antiquities collections in Europe.
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Diamanti, E., and F. Vlachaki. "3D RECORDING OF UNDERWATER ANTIQUITIES IN THE SOUTH EUBOEAN GULF." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XL-5/W5 (April 9, 2015): 93–98. http://dx.doi.org/10.5194/isprsarchives-xl-5-w5-93-2015.
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An underwater archaeological survey was initiated in 2006 by the Hellenic Institute of Marine Archaeology in collaboration with the Ephorate of Underwater Antiquities of Greece, in the South Euboean Gulf. The survey is being conducted under the direction of the archaeologist Dr G. Koutsouflakis and in the course of the project important shipwrecks of Classical, Roman, and Byzantine periods have been brought to light, adding tangible evidence on ancient seafaring and maritime trade. The South Euboean Gulf archaeological survey has presented many challenges to the documentation team of H.I.M.A, and has served as a case-study for 3D recording applied on ancient wrecks, found at medium depths (22-47m) and under the conditions that are imposed during an archaeological survey of a certain geographical region. This paper focuses on the implementation of photogrammetric and geodetic techniques used for acquisition and processing of collected data, in order to generate 3D models for six different wrecks, resulting in a fast, reliable and cost efficient method to record underwater archaeological sites.
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Foss, Clive. "Sites and Strongholds of Northern Lydia." Anatolian Studies 37 (December 1987): 81–101. http://dx.doi.org/10.2307/3642891.
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A remote mountainous region of Lydia, rarely visited and hardly known to history, contains antiquities which form the subject of the present study. This was an area where classical culture was slow to penetrate, but when it did take root, it produced a remarkable number of inscriptions which are comprised in an exemplary modern corpus. The inscriptions illustrate conditions in Hellenistic and especially Roman times, with only an occasional glimpse into later ages. Their relative abundance has made the country better known to epigraphists than others, but remains of a different kind, worthy of a closer examination, also exist. Some of these are Hellenistic, but most are late, reaching far beyond the bounds of classical Antiquity, yet by their nature illustrating the change and decline which that culture underwent in this corner of Lydia.
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Vetushko-Kalevich, Arsenii. "Nordic Gods in Classical Dress." Journal of Latin Cosmopolitanism and European Literatures, no. 2 (November 13, 2019): 57–71. http://dx.doi.org/10.21825/jolcel.v2i0.8303.
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The 19th century in Sweden, like in many other European countries, saw a large decline in the quantity of Neo-Latin literary production. However, a range of skillful Latin poets may be named from this period: Johan Lundblad, Johan Tranér, Emil Söderström, Johan Bergman and others, engaged as well in translating from Swedish into Latin as in composing poems of their own. It was also in the 19th century that the longest Latin poem ever written in Sweden came out – “De diis arctois libri VI” by Carl Georg Brunius (1792–1869), remarkably neglected by the scholars, although it was published twice during the lifetime of its author (1822 and 1857).
The subject of the poem fits perfectly in the intellectual movement of the period, namely national romantic interest in the Nordic antiquities. The six books represent a summary of Eddaic mythology from the creation of the Universe until the Ragnarök.
Brunius’ admiration for the Scandinavian Middle Ages is apparent; later it turned out to be productive in architecture, the field in which Brunius is most remembered nowadays. Brunius does not seek to turn Scandinavian gods into Greek ones. He accurately follows his sources (both the prosaic and, to a somewhat smaller extent, the poetic Edda) in content, sometimes even in wording. However, it should be born in mind that the writer was a classicist by his education. Although many compositional traits of ancient epos are lacking in the poem, it is full of the allusions to classical authors at the phrasal level. Some of them are formulaic verse elements, others deliberate and exquisite quotations. It is this elegant combination of close adherence to the sources with the use of the ancient authors (Virgil, Lucretius, Ovid, Horace) that the paper is mainly focused on.
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Bukina, A. G. "Corinthian and Italo-Corinthian Vases in the «Сatalogue of Classical Antiquities Possessed by Cavaliere Pizzati»." Izvestiya of Saratov University. History. International Relations 12, no. 1 (2012): 42–49. http://dx.doi.org/10.18500/1819-4907-2012-12-1-42-49.
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This article deals with one manuscript in the archive of The State Hermitage museum. It is entitled “Catalogo della cospicua collezione de’Vasi antichi Italo-greci, de’ vetri, delle terre cotte e de’ bronzi di proprieta del Sig. Cav. Pizzati”. The piece has been written ca 1833 by the outstanding Neapolitan antiquarian and connoisseur Raffaele Gargiulo. The author of present article considers the entries on the Corinthian and Italo-Corinthian vases. These texts give us an idea, how the pieces of this kind have been described and interpreted during the early period of its collecting and study.
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Duthie, Emily. "The British Museum: An Imperial Museum in a Post-Imperial World." Public History Review 18 (December 31, 2011): 12–25. http://dx.doi.org/10.5130/phrj.v18i0.1523.
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This article examines the British Museum’s imperialist attitudes towards classical heritage. Despite considerable pressure from foreign governments, the museum has consistently refused to return art and antiquities that it acquired under the aegis of empire. It is the contention of this article that the British Museum remains an imperialist institution. The current debates over the British Museum’s collections raise profound questions about the relationship between museums and modern nation states and their nationalist claims to ancient heritage. The museum’s inflexible response to repatriation claims also encapsulates the challenges inherent in presenting empire and its legacy to contemporary, post-imperial audiences.
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Kolia, Erophile. "A SANCTUARY OF THE GEOMETRIC PERIOD IN ANCIENT HELIKE, ACHAEA." Annual of the British School at Athens 106 (November 2011): 201–46. http://dx.doi.org/10.1017/s0068245411000098.
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The article presents an apsidal temple excavated by the 6th Ephorate of Prehistoric and Classical Antiquities at Nikoleika, in the chora of ancient Helike. The building was erected at the end of the eighth century, after levelling which probably destroyed a Protogeometric construction. A mudbrick altar erected in the first half of the eighth century lay buried beneath the temple floor: offerings and faunal remains from the altar area are presented, noting evidence for ritual dining. A terminus ante quem for the abandonment of the Geometric temple is provided by mid sixth-century architectural terracottas, presumably from its successor.
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Roubien, Denis. "The origins of the ‘monumental axis’ of neo-classical Athens and its relationship with the antiquities." Journal of Architecture 18, no. 2 (April 2013): 225–53. http://dx.doi.org/10.1080/13602365.2013.791337.
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Meadows, A. R. "Pausanias and the historiography of Classical Sparta." Classical Quarterly 45, no. 1 (May 1995): 92–113. http://dx.doi.org/10.1017/s0009838800041720.
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The Periegesis of Pausanias has finally entered the world of serious literature. Long after the way was first shown, the Magnesian has arrived and duly taken his place in the intellectual world of the second century: a pilgrim to the past. Yet he was no bookish, library-bound bore. Recent studies have transformed our opinion of him as a recorder of the sites and treasures of what was, even to him, antiquity, ‘His faithfulness in reporting what he saw has, time and time again, been proven at a large number of sites and could easily be demonstrated at a good many others.’ ‘The very fact that the second-century A.D. traveller Pausanias wrote at such length about the sites and monuments of Greece is itself indicative of his most important attitude towards antiquities. That is, he thought them of sufficient value to be worth recording and thought it worth travelling extensively in mainland Greece over a period of many years to see them for himself.’ And so inevitably, as respect for the author has grown, the desire to lay bare his soul has followed. Critics are unanimous in their view of a man sensitive to the resonance of the ancient and power of the past. On occasion a Herodotean fascination with the mutability of man's lot bubbles to the surface, indeed we may surmise Herodotus to have been an important influence on the Periegesis in several fundamental respects. Above all he was a man of deep learning and keen interest in the past and a faithful recorder of its remains. Archaeologists and art-historians concur.
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Holt, Sharon Ann, Sophie Kazan, Gloriana Amador, Joanna Cobley, Blaire M. Moskowitz, Elena Settimini, Angela Stienne, Anna Tulliach, and Olga Zulabueva. "Exhibitions." Museum Worlds 6, no. 1 (July 1, 2018): 125–57. http://dx.doi.org/10.3167/armw.2018.060110.
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Exhibition Review EssaysThe National Museum of African American History and Culture, Washington, D.C.After Darkness: Social Impact and Art InstitutionsExhibition ReviewsBehind the Red Door: A Vision of the Erotic in Costa Rican Art, The Museum of Costa Rican Art, San José“A Positive Future in Classical Antiquities”: Teece Museum, University of Canterbury, ChristchurchHeavenly Bodies: Fashion and the Catholic Imagination: The Metropolitan Museum of Art, New YorkAnche le Statue Muoiono: Conflitto e Patrimonio tra Antico e Contemporaneo, Museo Egizio, Fondazione Sandretto Re Rebaudengo, Musei Reali, TurinRethinking Human Remains in Museum Collections: Curating Heads at UCLRitratti di Famiglia, the Archaeological Museum, Bologna100% Fight – The History of Sweden, the Swedish History Museum, Stockholm
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Stavitsky, Vladimir Vyacheslavovish. "Findings on the local version of Elshanskaya culture." Samara Journal of Science 5, no. 4 (December 15, 2016): 74–77. http://dx.doi.org/10.17816/snv20164201.
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The article deals with the problem of the local variants allocation of Elhanskaya culture. The question of the local variants allocation was first raised and substantiated in the dissertation of K.M. Andreev. Based on the analysis of ceramic traditions, he distinguished two variants of the Elshanskaya culture: the east and the west. To the east variant he attributed the settlements of Samara-Volga, the Middle Posur and the basin of the Sviyaga, to the west - the settlements of the Upper Primokshanye and Prihoperya. The uniting of elshansky monuments of Samara-Volga and Central Posur seems inappropriate. Pottery from these settlements has a number of significant differences in the ornamentation of the vessels and the technology of preparation of clay dough. By its appearance ceramics of Prisursky settlements are closer to the Antiquities of Primokshanye. Primokshansky settlements materials should be seen as a part of one-time pulse at the end of the VII Millennium BC. The further development of the local population traditions, apparently, was no longer associated with the classical antiquities of the Elshanskaya culture. The late materials of the Alatyrsky Posur settlements, related to the mid-VI millennium BC, apparently, should be considered in the context of the cultural tradition of the Lugovoye III - the Krasny gorodok settlements.
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La Follette, Laetitia. "Looted Antiquities, Art Museums and Restitution in the United States since 1970." Journal of Contemporary History 52, no. 3 (July 27, 2016): 669–87. http://dx.doi.org/10.1177/0022009416641198.
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US attitudes towards restitution and the problem of looted antiquities have shifted since 1970, as pressure builds to change norms for the acquisition of unprovenanced artefacts that have fueled a transnational trade in stolen objects and the depredation of archaeological sites worldwide. This article traces several triggers for change and initial steps towards a revised policy while also cataloguing areas of resistance. It examines the mechanisms of US government policy for international heritage protection and suggests that domestic legislation of the 1990s protecting the heritage of Native Americans has played a significant role in changing museum attitudes and policies. The new transparency for indigenous artifacts has produced museum displays that address their ownership history, larger social context and the distinctly different values assigned them by various groups. For classical antiquities, in contrast, attention to aesthetics still trumps such vital contextual information. This article suggests a different approach, one that showcases the biography of the object, its various lives or contexts, and the way different stakeholders have valued it over time. By drawing attention to restitution and the looting of heritage sites, such an approach better explains the history of the work of art and the continued importance of antiquity today.
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Bevan, Andrew, Evangelia Kiriatz, Carl Knappett, Evangelia Kappa, and Sophia Papachristou. "Excavation of Neopalatial deposits at Tholos (Kastri), Kythera." Annual of the British School at Athens 97 (November 2002): 55–96. http://dx.doi.org/10.1017/s0068245400017342.
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Several rock-cut features, exposed on the surface of a trackway in the Tholos area of Kastri, Kythera, were excavated in July–August 2000 as a synergasia between Kythera Island Project and 2nd Ephoria of Prehistoric and Classical Antiquities. Although the surviving deposits were extremely shallow, they produced large quantities of conical cups and other pottery of Late Minoan I date. Further comparative analysis of the features themselves and their finds suggests that these are the remains of tomb chambers similar to those excavated in the area in the 1960s. These tombs and their assemblages show extremely strong cultural connections with Crete, but also idiosyncrasies that probably reflect the particular mortuary customs of the island.
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Plantzos, Dimitris. "Behold the raking geison: the new Acropolis Museum and its context-free archaeologies." Antiquity 85, no. 328 (May 2011): 613–25. http://dx.doi.org/10.1017/s0003598x00068009.
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In December 1834 Athens became the capital city of the newly founded Hellenic Kingdom. King Otto, the Bavarian prince whose political and cultural initiative shaped much of what modern Greece is today, sought to design the new city inspired by the heavily idealised model of Classical Hellas (see Bastea 2000). The emerging capital was from the outset conceived as aheterotopiaof Hellenism, a Foucauldian 'other space' devoted to Western Classicism in view of the Classical ruins it preserved. The Acropolis became, naturally, the focal point of this effort. At the same time, however, and as Greek nationalist strategies were beginning to unfold, Classical antiquity became a disputedtopos,a cultural identity of sorts contested between Greece on the one hand and the 'Western world' on the other (see Yalouri 2001: 77–100). Archaeological sites thus became disputed spaces, claimed by various interested parties of national or supra-national authority wishing to impose their own views on how they should be managed — and to what ends (Loukaki 2008). The Acropolis was duly cleansed from any non-Classical antiquities and began to be constructed as an authentic Classical space, anationalproject still in progress. As Artemis Leontis has argued in her discussion of Greece as a heterotopic 'culture of ruins', the Acropolis of Athens, now repossessed by architectural renovation and scholarly interest, functions'as a symbol not of Greece's ancient glory but of its modern predicament'(Leontis 1995: 40–66; see also McNeal 1991; Hamilakis 2007: 85–99).
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Bjørnerud Mo, Gro. "Collecting uncollectables: Joachim Du Bellay." Culture Unbound 9, no. 1 (September 4, 2017): 23–37. http://dx.doi.org/10.3384/cu.2000.1525.179123.
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Lists of wonders have circulated for millennia. Over and over, such inventories of spectacular man made constructions have been rewritten, re-edited and reimagi-ned. Both the wonders and the lists of wonders, preferably of the seven, have had a profound and long-lasting effect, and have been abundantly imitated, copied and reworked. Renaissance creative thinking was obsessed with the seven wonders of the ancient world, and early-modern Europe experienced a surge of visual and verbal depictions of wonders. This article is about a remarkable list of seven wonders, included in one of Joachim Du Bellay’s canonical poems on Roman antiquities (Antiquités de Rome), published in Paris in 1558. Du Bellay shapes his list of wonders by exploring pat-terns of both repetition and mutability. Almost imperceptibly, he starts suggesting connections between 16th-century Rome and distant civilizations. Through the eyes of a fictive traveller and collector, the poet venerates the greatness and la-ments the loss of ancient buildings, sites and works of art, slowly developing a ver-bal, visual and open-ended gallery, creating a collection of crumbling or vanished, mainly Roman, architecture. This poetic display of ruins and dust in the Eternal City is nourished by the attraction of the inevitable destruction of past splendour and beauty. In the sonnets, Du Bellay imitates classical models and patterns. Whi-le compiling powerful images and stories of destruction, he combines techniques associated with both a modern concept of copy and more ancient theories of co-pia. In this context, this article also explores whether Pliny’s Natural History might be a source for the imaginary collection of lost sites and wonders in Du Bellay’s Antiquités.
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Ilina, Kira. "Behind the Facade of Uvarov’s Classicism: Career Strategies of Classical Philologists at Russian Universities." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 2 (June 2020): 80–92. http://dx.doi.org/10.15688/jvolsu4.2020.2.6.
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Introduction. The article is focused on reconstruction of the practices of forming a disciplinary group of classical philologists in the Russian Empire universities in the 1830s – 1850s. Methods. For this purpose, the archival materials of the Ministry of Education, as well as Saint Petersburg, Moscow, Kazan and Kiev Universities are considered. The research methodology is based on a combination of both traditional general historical methods and methods of classical source studies, and approaches developed in the framework of the history of science, the sociology of knowledge and the history of disciplines. Analysis and results. It is important to analyze three points: the political context, practices in building career trajectories and academic networks of professors of Greek and Roman literature and antiquities at Russian universities. The transformation of the existing network of universities into the system of public education was carried out by the Minister of Public Education Sergey Uvarov in the 1830s. Transferring to Russia the European model of secondary education based on the study of classical languages, Uvarov created a system of general education and relentlessly promoted antiquity studies in the Russian Empire. Teaching classical disciplines was expanded at gymnasiums and universities. Following the academic personnel reform of the late 1830s, a number of “antiquity chairs” at universities was headed by young philologists and historians who had spent two or three years of training at universities in Germany, mainly in Berlin, attending lectures and seminars of leading German classical philologists. In the 1840s – 1850s, an artificially constructed group of classical philologists gradually transformed into a disciplinary community.
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Bugaj, Ewa. "Archeologia klasyczna w poszukiwaniu swej tożsamości. Między przeszłością, teraźniejszą a historią sztuki." Folia Praehistorica Posnaniensia 16 (November 1, 2018): 255–79. http://dx.doi.org/10.14746/fpp.2011.16.09.
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The article defines classical archaeology as one of the first and oldest branches of archaeology practised in Europe by stressing that interests in the relics of ancient civilisations have been deeply embedded in the cultural self-identification of various peoples of Europe. The author aims to recognize how the modern world values contribute to interpretation and conservation of the classical past, especially Greek art and architecture, alongside other ancient objects, and how the Western elites treated them in the past centuries. The issue of common roots of classical archaeology and history of art as well as their long-lasting relationships are also thoroughly discussed. Discrepancies between major research procedures of classical archaeology and art history are scrutinized, especially in terms of an arguable irrelevance of modern concept of art in relation to archaeological evidence. The role of museums in relation to art and antiquities trade is also raised. Furthermore, the author discusses classical archaeology within broader issues of contemporary archaeology. It is recognized that classical archaeology has certainly changed by resigning from the previously dominant connoisseur knowledge approach to artefacts, concentrated solely on the works of art often seen as autonomous entities devoid of the context of their production, meaning and perception. Finally, the author defines contemporary classical archaeology as a rapidly changing discipline, reformulating its research agenda and opening up to cooperation with numerous other disciplines. Nevertheless, this should not mean a wholesale rejection of its great legacy of being a history of ancient art. On the contrary, this traditions ought to be redefined and incorporated into contemporary research agenda of the discipline.
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Kotansky, Roy, and Jeffrey Spier. "The “Horned Hunter” on a Lost Gnostic Gem." Harvard Theological Review 88, no. 3 (July 1995): 315–37. http://dx.doi.org/10.1017/s0017816000030832.
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The noted Provencal antiquarian Nicolas-Claude Fabri de Peiresc (1580-1637), perhaps the most dedicated of an international circle of acquaintances studying and collecting classical antiquities in the early seventeenth century, took an especially keen interest in ancient gems. With his friend, the painter Peter Paul Rubens (1577-1640), he planned an extensive publication on the subject that unfortunately never saw completion. Although Peiresc focused most of his attention on collecting Roman gems portraying classical iconography, he was also intrigued by the enigmatic series of magical gems—as were many others in the Renaissance, who considered the gems to be the products of early Gnostic heretics. A correspondence between Peiresc and Rubens in 1623, frequently cited in the modern literature, discusses the putative meaning of an amulet in Rubens's collection depicting a bell-shaped object thought to represent the “divine womb.” The gem is a Renaissance forgery based on genuine ancient examples; the concurrent—and correct—identification of this puzzling type as a uterus, however, contrasts markedly with the fanciful interpretations later fashionable in the nineteenth century.
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Abramzon, Mikhail, and Irina Tunkina. "Visitors to Leuke Island." Ancient Civilizations from Scythia to Siberia 27, no. 2 (December 15, 2021): 193–267. http://dx.doi.org/10.1163/15700577-12341393.
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Abstract This article is the publication of the plates compiled by N.N. Murzakevich, secretary of the Odessa Society for History and Antiquities. It contains tracings of 241 Classical coins and lists of coin finds from the island of Fidonisi (known as Leuke in antiquity), which had been excavated in the 1840s and early 1850s. Recent data have led to a doubling of the list of Greek centres (up to 202) and the rulers of a number of states and peoples, whose coins made their way to the island. Details of these finds and the dates of the emissions illustrate clearly the development and chronological framework of the religious and economic ties between the northern coast of Pontus with the various regions of the Classical oikumene. The geographical range of the coin finds (from Magna Graecia, Sicily and the Levant to the Aegean, the Balkans, the Pontic region and Asia and as far away as Mesopotamia) demonstrates that the sanctuary of Achilles on the island of Leuke situated at a meeting point of Black Sea trade routes, enjoyed enormous popularity in the Classical world. The publication of these plates compiled by N.N. Murzakevich makes available new information on the maritime trade in the Pontus area between the 5th century BC and the 5th century AD.
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Kool, Sharon. "At the Still Point of the Turning World: Freud's Reception of Winckelmann's Greece." Psychoanalysis and History 16, no. 2 (July 2014): 137–52. http://dx.doi.org/10.3366/pah.2014.0149.
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Freud's theory is primarily concerned with memory, about the present contained within the past. It is also rooted to the past in another way; Freud's reception of the Greek classical tradition played a vital role in the genesis of his oeuvre. Winckelmann's revival of ‘Greece’ dominated German culture up to the late nineteenth and early twentieth century, yet besides the importance of Bildung in shaping Freud's early Gymnasium experience, his influence upon Freud is often neglected. While Freud's debt to German Hellenism is clearly demonstrated in his library of classical literature and his collection of Greco-Roman antiquities, the afterlife of Winckelmann's legacy is more subtly inscribed upon psychoanalysis. This paper focuses on Winckelmann's aesthetic reconstruction of classical Greece which made beauty, self-restraint and repression a cultural ideal to be imitated and admired. It is argued that hysteria provided one of the most powerful challenges to this ideal. Psychoanalysis can thus be seen as developing out of a milieu that was still overshadowed by Winckelmann's idealization of Greece. Further, it is argued that Winckelmann advanced a homoerotic tradition in German culture and the sedimentation of this tradition can be discerned in Freud's response to hysteria, his privileging of the masculine and his theory of bisexuality.
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Vinokurov, Nikolai I., Vadim V. Maiko, and Leonid Yu Ponomarev. "New Settlements of the Golden Horde Period and Ottoman Time near Classical Antiquity Settlement Artesian in Eastern Crimea." Povolzhskaya Arkheologiya (The Volga River Region Archaeology) 4, no. 42 (December 23, 2022): 172–84. http://dx.doi.org/10.24852/pa2022.4.42.172.184.
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The paper presents the results of archaeological survey in 2018–2021, related to the study of antiquities of the 14th –15th centuries and the epoch of the Crimean Khanate nearby and on the territory of the classical antiquity settlement Artesian, that is located in the north-west of the Kerch Peninsula on the territory of the Chistopolye rural settlement of the Lenino district in the Republic of Crimea. The Saltovo-Mayaki horizons of this settlement were almost completely introduced into scientific use, while the Golden Horde and late medieval time materials were only mentioned in publications and are generalized for the first time. Analysis of ceramic material found during reconnaissance works is given. Special attention is paid to Christian cultic finds unique to the region, represented by a fragment of the ancient Russian engolpion and a large iron cross. Information about synchronous nearby sites of the northern part of the Kerch Peninsula is briefly analyzed and the historical situation is considered roughly.
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Gedo, John E. "Art Alone Endures." Journal of the American Psychoanalytic Association 40, no. 2 (April 1992): 501–16. http://dx.doi.org/10.1177/000306519204000209.
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Sigmund Freud, a passionate collector of antiquities, often treated these objects as animate beings. He described such blurring of boundaries between persons and things in the protagonist of W. Jensen's novella, Gradiva. Freud began collecting when his father died, but his unusual attitude toward artefacts was established much earlier, presumably as a consequence of repeated early disappointments in human caretakers. It is postulated that this adaptive maneuver was not simply a displacement of love and hate, but a turning away from vulnerability in relationships, toward attachments over which he might retain effective control. The Freud Collection is largely focused on Greco-Roman and Egyptian objects. Freud's profound interest in classical civilization was established in childhood; he was particularly concerned with the struggle between Aryan Rome and Semitic Carthage, a conflict in which he identified with both sides. This ambivalence reflected growing up within a marginal Jewish family in a Germanic environment. Commitment to classical ideals represented an optimal manner of bridging these contrasting worlds. Egyptian artefacts were, for Freud, links to the prehistory of the Jewish people; they also represent an era when maternal deities found their proper place in man's pantheon—an echo of Freud's prehistoric past.