Campana, a businessman from Rome, formed one of the most important private collections of antiquities of the 19th century yet it has been little studied. This thesis examines Campana's private life, his role as patron of the arts, archaeologist and collector and his trial for fraud, ending in exile.
The historiography of the Italian Renaissance has been much studied, but generally in the context of a few key figures. Much less appreciated is the extent of the enthusiasm for the subject in the 19th and early 20th centuries, when the subject was 'discovered' by travellers and men and women of letters, historians, artists, architects and photographers, and by collectors on both sides of the Atlantic. The essays in Victorian and Edwardian Responses to the Italian Renaissance explore the breadth of the responses stimulated by the encounter between the British, the Americans and the Italians of the Renaissance. The volume approaches the subject from an interdisciplinary perspective. While recognising the abiding importance of the familiar 'great names', it seeks to draw attention to a wider cast of people, many of whom led colourful, energetic lives, knew Italy well, and wrote eloquently about the country and its Renaissance. Several essays show that 'Renaissance studies' became a field in which female historians could explore areas of relevance to the 'New Woman'. Other chapters examine the aims and politics of collecting and the place of the collector in literature and in the rediscovery of Renaissance artists. The contribution of teachers and other less formal champions of the Italian Renaissance is explored, as is the role of photographers who re-framed and re-viewed Florence - the Renaissance city - for Victorian and later eyes.
Published papers whose appeal lies in their subject-matter rather than their technical statistical contents. Medical, social, educational, legal, demographic and governmental issues are of particular concern.
"A major, on-the-ground look at antiquities looting in Italy. More looting of ancient art takes place in Italy than in any other country. Ironically, Italy trades on the fact to demonstrate its cultural superiority over other countries. And, more than any other country, Italy takes pains to prevent looting by instituting laws, cultural policies, export taxes, and a famously effective art-crime squad that has been the inspiration of novels, movies, and tv shows. In fact, Italy is widely regarded as having invented the discipline of art policing. In 2006 the then-president of Italy declared his country to be "the world's greatest cultural power." Why do Italians believe this? Why is the patria, or "homeland," so frequently invoked in modern disputes about ancient art, particularly when it comes to matters of repatriation, export, and museum loans? Fiona Greenland's Ruling Culture addresses these questions by tracing the emergence of antiquities as a key source of power in Italy from 1815 to the present. Along the way, it investigates the activities and interactions of three main sets of actors: state officials (including Art Squad agents), archaeologists, and illicit excavators and collectors"--
Drawing on evidence from archaeology, art history, and textual sources to contextualize Greco-Scythian metalwork in ancient society, Meyer offers unique introductions to the archaeology of Scythia and its ties to Asia and classical Greece, modern museum and visual culture studies, and the intellectual history of classics in Russia and the West.
"Between c. 900-400 BC the Etruscans were the innovative, powerful, wealthy, and sophisticated elite of Italy. Their archaeological record is both substantial and fascinating, including tomb paintings, sculpture, jewellery, and art."
Columbarium tombs are among the most recognizable forms of Roman architecture and also among the most enigmatic. The subterranean collective burial chambers have repeatedly sparked the imagination of modern commentators, but their origins and function remain obscure. Columbarium Tombs and Collective Identity in Augustan Rome situates columbaria within the development of Roman funerary architecture and the historical context of the early Imperial period. Contrary to earlier scholarship that often interprets columbaria primarily as economic burial solutions, Dorian Borbonus shows that they defined a community of people who were buried and commemorated collectively. Many of the tomb occupants were slaves and freed slaves, for whom collective burial was one strategy of community building that counterbalanced their exclusion in Roman society. Columbarium tombs were thus sites of social interaction that provided their occupants with a group identity that, this book shows, was especially relevant during the social and cultural transformation of the Augustan era.
Of all civilizations of the ancient Mediterranean, it is perhaps the Etruscans who hold the greatest allure. This is fundamentally because, unlike their Greek and Latin neighbours, the Etruscans left no textual sources to posterity. The only direct evidence for studying them and for understanding their culture is the archaeological, and to a much lesser extent, epigraphic record. The Etruscans must therefore be approached as if they were a prehistoric people; and the enormous wealth of Etruscan visual and material culture must speak for them. Yet they offer glimpses, in the record left by Greek and Roman authors, that they were literate and far from primordial: indeed, that their written histories were greatly admired by the Romans themselves. Applying fresh archaeological discoveries and new insights, A Short History of the Etruscans engagingly conducts the reader through the birth, growth and demise of this fascinating and enigmatic ancient people, whose nemesis was the growing power of Rome. Exploring the 'discovery' of the Etruscans from the Renaissance onwards, Corinna Riva discusses the mysterious Etruscan language, which long remained wholly indecipherable; the Etruscan landscape; the 6th-century growth of Etruscan cities and Mediterranean trade. Close attention is also paid to religion and ritual; sanctuaries and monumental grave sites; and the fatal incorporation of Etruria into Rome's political orbit.
This volume consists consists of forty contributions written by an internationally renowned selection of scholars. The authors adopt an interdisciplinary methodology, examining both literary and archaeological sources, and a comparative perspective that transgresses national, chronological, and cultural boundaries, in order to investigate the nature of the links between text and image. This multifaceted approach to the study of ancient artifacts enables the authors to treat art and artistic production as activities that do not merely mirror social or cultural relationships but rather, and more significantly, as activities that create social and cultural relationships. The essays in this book are motivated by their authors' belief that there is no simple direct link between art and myths, art and text, or art and ritual, and that art should not be delegated to the role of a by-product of a literate culture. Instead, the contextual and symbolic analyses of artifacts and representations offered in this volume elucidate how art actively shaped myth, how it changed texts, how it transformed ritual, and how it altered the course of local, regional, and Mediterranean histories.