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This book examines the ancient origins of debate about art as
cultural property. What happens to art in time of war? Who should
own art, and what is its appropriate context? Should the victorious
ever allow the defeated to keep their art? These questions were
posed by Cicero during his prosecution of a Roman governor of
Sicily, Gaius Verres, for extortion. Cicero's published speeches
had a very long afterlife, affecting debates about collecting art
in the 18th century and reactions to the looting of art by
Napoleon. The focus of the book's analysis is theft of art in Greek
Sicily, Verres' trial, Roman collectors of art, and the later
impact if Cicero's arguments. The book concludes with the British
decision after Waterloo to repatriate Napoleon's stolen art to
Italy, and an epilogue on the current threats to art looted from
archaeological contexts. Margaret M. Miles is an archaeologist and
art historian, now Professor of Art History and Classics at the
University of California, Irvine. She has held fellowships at the
American School of Classical Studies in Athens, the Institute for
Advanced Study in Princeton, and the American Academy in Rome. She
has excavated at Corinth and Athens, and did architectural
fieldwork at Rhamnous in Greece and at Selinunte and Agrigento in
Sicily. Her earlier publications include a study of the Temple of
Nemesis at Rhamnous (Hesperia, 1989) and a volume in the Agora
excavation series on the City Eleusinion, the downtown Athenian
branch of the Eleusinian Mysteries (The Athenian Agora, Vol. 31:
The City Eleusinion, 1998).
This is an exciting time to study in Athens. The "rescue"
excavations of recent years, conducted during construction of the
Metro system and in preparation for the 2004 Olympic Games,
combined with major restoration projects and a new enthusiasm for
fresh examination of old material, using new techniques and
applications, brings new perspectives and answers on many aspects
of the ancient city of Athens and life, politics and religion in
Attica. The 15 papers presented here contribute new findings that
result from intensive, first-hand examinations of the
archaeological and epigraphical evidence. They illustrate how much
may be gained by re-examining material from older excavations, and
from the methodological shift from documenting information to
closer analysis and larger historical reflection. They offer a
variety of perspectives on a range of issues: the ambience of the
ancient city for passers-by, filled with roadside shrines;
techniques of architectural construction and sculpting; religious
expression in Athens including cults of Asklepios and Serapis; the
precise procedures for Greek sacrifice; how the borders of Attica
were defined over time, and details of its road-system. In
presenting this volume the contributors are continuing in a long
tradition of autopsy - in the sense of 'personal observation' - in
Athens, that began even in the Hellenistic period and has continued
through the writings of centuries of travellers and academics to
the present day.
Cleopatra - a brave, astute, and charming woman who spoke many
languages, entertained lavishly, hunted, went into battle,
eliminated siblings to consolidate her power, and held off the
threat of Imperial Rome to protect her country as long as she could
- continues to fascinate centuries after she ruled Egypt. These
wide-ranging essays explore such topics as Cleopatra's
controversial trip to Rome, her suicide by snake bite, and the
afterlife of her love potions. They view Cleopatra from the
Egyptian perspective, and examine the reception in Rome of Egyptian
culture, especially of its religion and architecture. They discuss
films about her, and consider what inspired Egyptomania in early
modern art. Together, these essays illuminate Cleopatra's legacy
and illustrate how it has been used and reused through the
centuries.
This book examines the ancient origins of debate about art as
cultural property. What happens to art in time of war? Who should
own art, and what is its appropriate context? Should the victorious
ever allow the defeated to keep their art? These questions were
posed by Cicero during his prosecution of a Roman governor of
Sicily, Gaius Verres, for extortion. Cicero's published speeches
had a very long afterlife, affecting debates about collecting art
in the 18th century and reactions to the looting of art by
Napoleon. The focus of the book's analysis is theft of art in Greek
Sicily, Verres' trial, Roman collectors of art, and the later
impact if Cicero's arguments. The book concludes with the British
decision after Waterloo to repatriate Napoleon's stolen art to
Italy, and an epilogue on the current threats to art looted from
archaeological contexts. Margaret M. Miles is an archaeologist and
art historian, now Professor of Art History and Classics at the
University of California, Irvine. She has held fellowships at the
American School of Classical Studies in Athens, the Institute for
Advanced Study in Princeton, and the American Academy in Rome. She
has excavated at Corinth and Athens, and did architectural
fieldwork at Rhamnous in Greece and at Selinunte and Agrigento in
Sicily. Her earlier publications include a study of the Temple of
Nemesis at Rhamnous (Hesperia, 1989) and a volume in the Agora
excavation series on the City Eleusinion, the downtown Athenian
branch of the Eleusinian Mysteries (The Athenian Agora, Vol. 31:
The City Eleusinion, 1998).
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