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Bronzebearbeitung.
This book explores the interconnections and differentiations between artisanal workshops and alchemical laboratories and between the arts and alchemy from Antiquity to the eighteenth century. In particular, it scrutinizes epistemic exchanges between producers of the arts and alchemists. In the fifteenth and sixteenth centuries the term laboratorium uniquely referred to workplaces in which ‘chemical’ operations were performed: smelting, combustion, distillation, dissolution and precipitation. Artisanal workshops equipped with furnaces and fire in which ‘chemical’ operations were performed were also known as laboratories. Transmutational alchemy (the transmutation of all base metals into more noble ones, especially gold) was only one aspect of alchemy in the early modern period. The practice of alchemy was also about the chemical production of things--medicines, porcelain, dyes and other products as well as precious metals and about the knowledge of how to produce them. This book uses examples such as the Uffizi to discuss how Renaissance courts established spaces where artisanal workshops and laboratories were brought together, thus facilitating the circulation of materials, people and knowledge between the worlds of craft (today’s decorative arts) and alchemy. Artisans became involved in alchemical pursuits beyond a shared material culture and some crafts relied on chemical expertise offered by scholars trained as alchemists. Above all, texts and books, products and symbols of scholarly culture played an increasingly important role in artisanal workshops. In these workplaces a sort of hybrid figure was at work. With one foot in artisanal and the other in scholarly culture this hybrid practitioner is impossible to categorize in the mutually exclusive categories of scholar and craftsman. By the seventeenth century the expertise of some glassmakers, silver and goldsmiths and producers of porcelain was just as based in the worlds of alchemical and bookish learning as it was grounded in hands-on work in the laboratory. This book suggests that this shift in workshop culture facilitated the epistemic exchanges between alchemists and producers of the decorative arts.
This beautifully illustrated book represents the first full publication of the most elaborate metal vessel from the ancient world yet discovered. Found in an undisturbed Macedonian tomb of the late 4th century B.C., the volute krater is a tour de force of highly sophisticated methods of bronze working. An unusual program of iconography informs every area of the vessel. Snakes with copper and silver inlaid stripes frame the rising handles, wrapping their bodies around masks of underworld deities. On the shoulder sit four cast bronze figures: on one side a youthful Dionysos with an exhausted maenad, on the other a sleeping Silenos and a maenad handling a snake. In the major repousse frieze on the body a bearded hunter is associated with Dionysian figures. What was the function of this extraordinary object? And what is the meaning of the intricate iconography? The krater is placed in its Macedonian archaeological context as an heirloom of the descendants of the man named in the Thessalian inscription on its rim, and in its art-historical context as a highly elaborated, early-4th-century version of a metal type known in Athens by about 470 B.C.
This volume focuses on a formative period in the history and archaeology of northern Greece. The decade following 1912, when Thessaloniki became part of Greece, was a period marked by an extraordinary internationalism as a result of the population movements caused by the shifting of national borders and the troop movements which accompanied the First World War. The papers collected here look primarily at the impact of the discoveries of the Army of the Orient on the archaeological study of the region of Macedonia. Resulting collections of antiquities are now held in Thessaloniki, London, Paris, Edinburgh and Oxford. Various specialists examine each of these collections, bringing the archaeological legacy of the Macedonian Campaign together in one volume for the first time. A key theme of the volume is the emerging dialogue between the archaeological remains of Macedonia and the politics of Hellenism. A number of authors consider how archaeological interpretation was shaped by the incorporation of Macedonia into Greece. Other authors describe how the politics of the Campaign, in which Greece was initially a neutral partner, had implications both for the administration of archaeological finds and their subsequent dispersal. A particular focus is the historical personalities who were involved and the sites they discovered. The role of the Greek Archaeological Service, particularly in the protection of antiquities, as well as promoting excavation in the aftermath of the 1917 Great Fire of Thessaloniki, is also considered.
This book contains articles concerning relationship between the 'imperial' culture of the Achaemenids and local traditions, including a publication of the unique painting from Tatarl? in Western Anatolia and the results of recent excavations in the Southern Caucasus and Iran. Originally published as issue 3-4 of Volume 13 (2007) of Brill's journal "Ancient Civilizations from Scythia to Siberia," For more details on this journal, please click here.
Replete now with its own scholarly traditions and controversies, Roman slavery as a field of study is no longer limited to the economic sphere, but is recognized as a fundamental social institution with multiple implications for Roman society and culture. The essays in this collection explore how material culture – namely, art, architecture, and inscriptions – can illustrate Roman attitudes towards the institution of slavery and towards slaves themselves in ways that significantly augment conventional textual accounts. Providing the first interdisciplinary approach to the study of Roman slavery, the volume brings together diverse specialists in history, art history, and archaeology. The contributors engage with questions concerning the slave trade, manumission, slave education, containment and movement, and the use of slaves in the Roman army.
This book offers a new approach to the history of Greek portraiture by focusing on portraits without names. Comprehensively illustrated, it brings together a wide range of evidence that has never before been studied as a group. Sheila Dillon considers the few original bronze and marble portrait statues preserved from the Classical and Hellenistic periods together with the large number of Greek portraits known only through Roman 'copies'. In focusing on a series of images that have previously been ignored, Dillon investigates the range of strategies and modes utilized in these portraits to construct their subject's identity. Her methods undermine two basic tenets of Greek portraiture: first, that is was only in the late Hellenistic period, under Roman influence, that Greek portraits exhibited a wide range of styles, including descriptive realism; and second, that in most cases, one can easily tell a subject's public role - that is, whether he is a philosopher of an orator - from the visual traits used in this portrait. The sculptures studied here instead show that the proliferation of portrait styles takes place much earlier, in the late Classical period; and that the identity encoded in these portraits is much more complex and layered than has previously been realized. Despite the fact that these portraits lack the one feature most prized by scholars of ancient portraiture - a name - they are evidence of utmost importance for the history of Greek portraiture.