This book examines the effects of the Peloponnesian War on the arts of Athens and the historical and artistic contexts in which this art was produced. During this period, battle scenes dominated much of the monumental art, while large numbers of memorials to the war dead were erected. The temple of Athena Nike, built to celebrate Athenian victories in the first part of the war, carries a rich sculptural program illustrating military victories. For the first time, the arts in Athens expressed an interest in the afterlife, with many sculptured dedications to Demeter and Kore, who promised initiates special privileges in the underworld. After the Sicilian disaster, a retrospective tendency can be noted in both art and politics, which provided reassurance in a time of crisis. This is the first book to focus on the new themes and new kinds of art introduced in Athens as a result of the thirty-year war.

Welche Funktionen erfullten die Koren, die Madchenstatuen aus Marmor, im Alten Griechenland? Welche Bedeutung wurde ihnen beigemessen? Wen stellen sie dar? Die Autorin beantwortet diese Fragen anhand ihrer ausfuhrlichen Studien. Die uberaus qualitatvoll gearbeiteten Madchenstatuen aus Marmor waren in den Stadten der griechischen Welt in der Zeit vom 7. bis 5. Jahrhundert v. Chr. weitverbreitet. Die Forschung hat sich intensiv mit diesen eindrucksvollen Bildwerken junger Frauen befasst, die sich in aufwendiger Tracht, reich geschmuckt und mit einem Attribut in der Hand prasentieren. Doch ist es bis heute nicht gelungen eindeutig zu klaren, welche Funktionen diese Statuen erfullten. Die Autorin schlagt bei ihrer Suche nach Antworten einen anderen Weg als die bisherige Forschung ein. Zunachst werden alle bekannten Koren mit zum Teil erstmals publizierten Farbaufnahmen vorgestellt, ihre Merkmale im einzelnen aufgefuhrt und in einer synoptischen Darstellung zusammengefasst. Bestimmte Informationen werden sodann isoliert behandelt und in einem tabellarischen System ausgewertet. Auf der Grundlage dieses Kataloges wird der Versuch unternommen, den ehemaligen Aufstellungsort einer jeden Kore zu rekonstruieren und de n historischen und kulturellen Kontext zu bestimmen. Schliesslich widmet sich die Autorin den wesentlichen Fragen nach der Identitat und Bedeutung der Koren, dem Kreis der Auftraggeber dieser prachtvollen Figuren und deren Stellung innerhalb der griechischen Gesellschaft.

References to the past play a significant role on many levels in both modern and ancient societies. What societies choose to remember and how they do it can be seen in relation to their social, religious, and moral world view. Ancient societies invested heavily in remembrance, and the memory of remarkable individuals and significant events was deliberately perpetuated through both literature and material culture. The papers in this volume discuss the topic of the deliberate creation of memory in relation to both literary and material evidence from the Graeco-Roman world. They range in time from the Greek Archaic period to Late Antiquity. A major aim of the collection as a whole is an attempt to cast light on the relationship between an individual's gender and social status and the existence of opportunities for ensuring that he or she would be remembered after death.

When Neapolitans speak of 'the museum' they are referring to the Museo Archeologico Nazionale. Among the marvels that make it the world's greatest collection of classical art, the Alexander mosaic was, from the moment it was brought to the museum in 1843, the 'great mosaic.' Although it is evident that the Pompeian mosaic reproduces a painting, since it was discovered in the House of the Faun on 24 October 1831 the identity of the original has been the subject of an intense debate among scholars. On being shown a drawing of the mosaic, Goethe wrote, 'The present and the future will not succeed in commenting correctly on this artistic marvel, and we must always return, after having studied and explained it, to simple, pure wonder.' Two centuries of archaeological inquiry have not exhausted the profundity of the picture and have not given wholly satisfactory replies to the principal questions regarding it, namely, which episode is being represented here, whether the painting was executed during Alexander's reign or later, and to whom it should be attributed. A new series of photographs-- allowing the most important aspects of the scene to be shown in vivid detail-- facilitates the expounding of a hypothesis that until recently would have seemed improbable, but is justified by a close examination of the literary sources and archaeological finds, as well as by unexpected evidence in the original paintings that have come to light in Macedonia: the attribution to Apelles, the most famous painter of antiquity, whose revolutionary impact is fully described in this fascinating account.
Paolo Moreno was born in Udine in 1934. A pupil of Ranuccio Bianchi Bandinelli in Rome and of Doro Levi inAthens, he was Director of the Institute of Archaeology at the University of Bari, where he founded the series entitled "Studi sull'antico" (1-7, Bari, 1975-85), then he became Professor of the History of Ancient Art at La Sapienza University, Rome. Since 1992 he has been Professor of Greek and Roman Art at the Universita di Roma Tre.
Formerly on the editorial staff of the "Enciclopedia dell'arte antica" at the Istituto dell'Enciclopedia Italiana, he has contributed to the" Lexicon Iconographicum Mythologiae Classicae," numerous journals in Italy and abroad and the series: "Fonti per la Storia dell'arte,"" Monumenti della Pittura antica scoperti in Italia,"" Storia e civilta dei Greci,"" I grandi Musei,"" Guide pratiche,"" Civilta del Mezzogiorno,"" Itinerari de l'Espresso,"" Saggi di Archeologia," "Grandi Libri," "Archivi di Arte antica."
He has made an important contribution to the new direction in the history of ancient art with a continuous series of publications on fundamental themes: the links between the Severe style and Classicism ("I Bronzi di Riace," "Il Maestro di Olimpia e i Sette a Tebe," Milan, 1998; "Les Bronzes de Riace," Paris, 1998; "La bellezza classica," "Guida al piacere dell'antico," Turin, 2001); the original paintings found in Macedonia ("Pittura greca, Da Polignoto ad Apelle," Milan, 1987; "Pintura Griega," Madrid, 1988; "Elementi di pittura ellenistica," Rome, 1998); the greatest Greek bronze sculptor, Lysippus ("Testimonianze per la teoria artistica di Lisippo," Treviso, 1973; "Lisippo," Bari, 1974; "Vita e arte di Lisippo," Milan, 1987; "Lisippo, L'arte e la fortuna," exhibition catalogue, Milan, 1995); the most famous Greek painter, Apelles("Apelle, La Battaglia di Alessandro," Milan, 2000); an analysis of a complex period ("Scultura ellenistica," I-II, Rome, 1994); the transition to Imperial art ("Sabato in museo, Letture di arte ellenistica e romana," Milan, 1999); an overview from the Geometric period to Late Antiquity, in "Arte, Storia universale," Milan, 1997 (also published in installments by the newspaper "La Repubblica," 1997: "Arte, Enciclopedia universale"); observations on those responsible for creating the present archaeological collection at the Galleria Borghese in Rome (in "Galleria Borghese," Milan, 2000, Eng. ed. "The Borghese Gallery").

The volumes of this bibliography show the Egyptologist where to find published and unpublished records of ancient Egyptian monuments which remain in situ, those which have been removed but can be traced to a definite site, as well as those in museums and private collections where the provenance has been lost. Monuments are arranged geographically and there are indices, including kings, deities and private individuals, for each volume. The first two volumes contain the account of the temples and tombs at Thebes. The third volume deals with the monuments of Memphis, with its vast necropolis of pyramids and tombs; the fourth with Lower and Middle Egypt. The fifth and sixth volumes cover the sites and temples of Upper Egypt, and the seventh Nubia, the deserts and finds of Egyptian objects outside Egypt. Monuments of provenance not known are being presented systematically in the eighth volume, parts 1 and 2 of which list statues, and parts 3 and 4 stelae. This second part of Volume III (Memphis: Saqqara to Dahshur) covers the southern section of the Memphite necropolis and the temple and town site of Mit Rahina. It lists published as well as important unpublished sources, such as manuscripts, drawings and photographs. Thirty-six pages of maps and plans accompany the text, and the volume is fully indexed. This is an unchanged reprint of the second edition, originally published in 1981.

In March 2009 the international conference for which this volume is named was held in Loutraki by the 37th Ephorate of Prehistoric and Classical Antiquities in collaboration with the Greek Ministry of Culture s Directorate of Prehistoric and Classical Antiquities, and the German Archaeological Institute of Athens. The results of research carried out by international research institutes and individual researchers working in Corinthia, and first and foremost by the Greek Antiquities Service, were presented at the conference."

The fountains of Rome have been beautiful, decorative and functional icons of the Eternal City for centuries. Painters have immortalized them; poets have rhapsodized over them; and composers have translated into music. From the wish-inspiring Trevi to the humblest drinking fountain, the fountains of Rome are as fascinating as they are varied. And ... there are over 2.000 of them. The poet Shelley said, The fountains of Rome are in themselves magnificent combinations of art such as alone, it were worth coming to see. The fountains of Rome are a curious lot. They are a mixture of many different stone, not only of marble; they are also of wood, metal and other materials. They have been shaped and curved and otherwise formed by greats such as Carlo Maderno, Giacomo della Porta, Domenico Fontana, Gian Lorenzo Bernini, Nicola Salvi, Raffaele De Vico and Pietro lombardi., and by unknowns as well. Any intricate history of Rome's various fountains would take many tomes to cover. This is not my work. I present for your pleasure a view of the fountains, with a brief pertinent description where appropriate. Although many dozens of books, each generally titled Le Fontane di Roma, have been written on this subject, none to date has covered in text and photographs together more than several hundred fountains, only a fraction of this book's work. (M. Pulvers).

Roma, la Citta Eterna, racchiude immagini, favole e leggende che riguardano quasi tremila anni di storia. Come orientarsi su un territorio cosi denso di meraviglie? Questa mappa offre una speciale chiave di lettura: il mito di Amore e Psiche, cosi come raffigurato dagli artisti di tutti i tempi, nei capolavori dell'arte antica, moderna e contemporanea, custoditi nelle piu importanti istituzioni museali della citta.

Contents: Mittelalterliche Tafelkreuze. La Croce dipinta nel Medioevo. Akten des Studientags der Bibliotheca Hertziana am 3. und 4. November 2005, hg. v. Katharina Christa Schueppel - K. Chr. Schueppel, Von der Toskana nach Sizilien, von der Ikonographie zur Medialitat. Methoden der Tafelkreuzforschung im Jahrhundert nach Evelyn Sandberg-Vavala - V. Pace, Introduzione al colloquio: contesti di devozione alla Croce e al Crocifisso - L. van Tongeren, The Cult of the Cross in Late Antiquity and the Middle Ages. A Concise Survey of its Origins and Development - K. Chr. Schueppel, Pictae et sculptae. Tafelkreuze und plastische Kruzifixe im lokalen liturgischen Kontext. Die Stadte Lucca, Arezzo und Neapel - M. Bacci, Shaping the Sacred: Painted Crosses and Shrines in 13th Century Pisa - M. V. Schwarz, Intensitat, Differenz, Authentizitat: Zwei Florentiner Tafelkreuze im Vergleich - M. Gaeta, Tafelkreuze des Trecento im Kontext der Orden und privater Stiftung - M. C. Di Natale, Le croci dipinte in Sicilia: dalla devozione alla musealizzazione. - X. Muratova, Le scene della creazione nei mosaici siciliani e gli studi della natura del XII secolo: problemi dell'interpretazione iconografica - W. Wolters, "Al modo veneziano" und nicht "alla moderna." Zu den Anfangen der venezianischen Renaissancebaukunst - L. Sickel, Caravaggio, Lanfranco und Reni in der Sammlung Sannesi. Geschicke einer Familie im Spiegel ihres Kunstbesitzes.