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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This volume provides a striking account of the life, destruction, rediscovery, and cultural significance of the ancient Roman town of Herculaneum and one of its grandest residences—the House of the Bicentenary. This volume vividly recounts, for general readers, the Roman town of Herculaneum, destroyed by the eruption of Mount Vesuvius in 79 CE and uniquely preserved for nearly two thousand years. Initial chapters offer an engaging historical overview of the town during antiquity, including the riveting story of its rediscovery in the eighteenth century, excavation in the nineteenth and twentieth centuries, and broad cultural significance in modern times. Subsequent chapters offer an interpretive tour of the ancient town, then focus on one of Herculaneum’s grandest and most beautifully decorated private residences, known as the House of the Bicentenary. Located on the town’s main street, it has a range of features—original rooms, magnificent wall paintings and mosaics, and remarkable documents—that illuminate daily life in the ancient world. Final chapters bring the story up to date, including recent discoveries about the site and its famous papyrus manuscripts, as well as ongoing conservation initiatives.
"In AD 79, the volcano Vesuvius erupted, burying the towns of Pompeii and Herculaneum under ash and rock, and leaving them remarkably well preserved for centuries. While Pompeii has been extensively written about and popularized, the remains of Herculaneum are less widely known, but they have yielded spectacular archaeological evidence. This is the first major study of Herculaneum since that of Joseph Jay Deiss, published in 1966 and last revised in 1993. ... Andrew Wallace-Hadrill revisits the evidence to unpick what is known from the speculation and fanciful invention, building a far richer impression of the town: its population, its public and private spaces and its place in the Roman world. He points up the similarities and differences between Herculaneum and its more famous neighbour, decodes the confusing mix of different types of people apparently living closely along side each other, examines the extensive documentary evidence and tackles head-on the complexities of excavating, preserving, restoring and presenting this priceless archaeological resource."--Jacket.
This new translation brings to light the early days of scientific archaeology and the unearthing and study of Herculaneum and Pompeii as observed by the erudite and acerbic art historian Johann Joachim Winckelmann (1717-1768). His Letter, published in German in 1762, displays his extensive knowledge of geology, ancient literature, and art while offering a scathing critique of the Spanish Bourbon excavations around the Bay of Naples and of the officials involved. He further discusses these topics in his equally controversial Report of 1764. The introduction describes the context in which these texts were written, identifies various politicians, academics, and collectors, and elucidates topics of particular interest to Winckelmann, from artifacts to local customs to the contents of ancient papyri. The illustrations, particularly those from the Bourbon publication--Le Antichità di Ercolano (1757-92)--illuminate how these monuments influenced contemporary perception of the ancient world.
A vivid portrayal of life in Pompeii's sister city, this book includes a detailed description of the ancient Villa dei Papiri, on which the present Getty Museum in Malibu is modeled. This vivid re-creation of life in Pompeii's sister city includes a detailed description of the ancient Villa dei Papiri, on which the present Getty Museum in Malibu is modeled. Library Journal called the first edition "a fascinating book. The daily life of the Romans, rich and poor, has been wonderfully re-created." And the New York Times pronounced it "exciting reading . . . a spirited guide."
Few sources reveal the life of the ancient Romans as vividly as do the houses preserved by the eruption of Vesuvius. Wealthy Romans lavished resources on shaping their surroundings to impress their crowds of visitors. The fashions they set were taken up and imitated by ordinary citizens. In this illustrated book, Andrew Wallace-Hadrill explores the rich potential of the houses of Pompeii and Herculaneum to offer new insights into Roman social life. Exposing misconceptions derived from contemporary culture, he shows the close interconnection of spheres we take as discrete: public and private, family and outsiders, work and leisure. Combining archaeological evidence with Roman texts and comparative material from other cultures, Wallace-Hadrill raises a range of new questions. How did the organization of space and the use of decoration help to structure social encounters between owner and visitor, man and woman, master and slave? What sort of "households" did the inhabitants of the Roman house form? How did the world of work relate to that of entertainment and leisure? How widely did the luxuries of the rich spread among the houses of craftsmen and shopkeepers? Through analysis of the remains of over two hundred houses, Wallace-Hadrill reveals the remarkably dynamic social environment of early imperial Italy, and the vital part that houses came to play in defining what it meant "to live as a Roman."
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The Villa dei Papiri at Herculaneum-buried during the eruption of Mt. Vesuvius in A.D. 79, then rediscovered in 1750-contained a large collection of bronze and marble statuary and busts. Before they were published or exhibited, the sculptures were restored so as to appear whole: it is thus that they helped to shape early modern tastes in classical sculpture. The book describes the nature of the ancient sculptures and their impact on the modern public. Their chance discovery affected the interpretation of the statues-their styles and subjects-over the course of the next 250 years. The ancient sculptures were copied extensively in reproductions of various sizes and patinas. The author traces the popularity of these copies in Europe and America. Also presented in the book is a technical study of the production techniques and materials of the sculptures, as well as of their modern restoration history. Scientific analyses and detailed photographs reveal both how the pieces were cast and pieced together in antiquity and how they were restored in the eighteenth century. Even though this collection has been known for two and a half centuries, this book covers for the first time the eclectic nature of the sculptures, their acutual condition, and their quality, pointing in some cases to mass production.