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Examines the Louvre's role in the rise of professional archaeology in the nineteenth century.
A journey across four continents to the heart of the conflict over who should own the great works of ancient art Why are the Elgin Marbles in London and not on the Acropolis? Why do there seem to be as many mummies in France as there are in Egypt? Why are so many Etruscan masterworks in America? For the past two centuries, the West has been plundering the treasures of the ancient world to fill its great museums, but in recent years, the countries where ancient civilizations originated have begun to push back, taking museums to court, prosecuting curators, and threatening to force the return of these priceless objects. Where do these treasures rightly belong? Sharon Waxman, a former culture reporter for The New York Times and a longtime foreign correspondent, brings us inside this high-stakes conflict, examining the implications for the preservation of the objects themselves and for how we understand our shared cultural heritage. Her journey takes readers from the great cities of Europe and America to Egypt, Turkey, Greece, and Italy, as these countries face down the Louvre, the Metropolitan Museum, the British Museum, and the J. Paul Getty Museum. She also introduces a cast of determined and implacable characters whose battles may strip these museums of some of their most cherished treasures. For readers who are fascinated by antiquity, who love to frequent museums, and who believe in the value of cultural exchange, Loot opens a new window on an enduring conflict.
Describes the architectural achievements of the ancient world known as the Seven Wonders of the World: the Pyramids at Giza, the Statue of Zeus at Olympia, the Hanging Gardens of Babylon, the Temple of Artemis at Ephesus, the Lighthouse of Alexandria, the Mausoleum of Halicarnassus, and the Colossus of Rhodes.
"This catalogue accompanies the exhibition Animal-Shaped Vessels from the Ancient World: Feasting with Gods, Heroes, and Kings, on view at the Harvard Art Museums, Cambridge, Massachusetts, from September 7, 2018, through January 6, 2019"--Colophon.
This collection of essays focuses on divination across the Ancient World from early Mesopotamia to late antiquity. The authors deal with the forms, theory and poetics of this important and still poorly understood ancient phenomenon.
This volume contains a series of provocative essays that explore expressions of magic and ritual power in the ancient world. The strength of the present volume lies in the breadth of scholarly approaches represented. The book begins with several papyrological studies presenting important new texts in Greek and Coptic, continuing with essays focussing on taxonomy and definition. The concluding essays apply contemporary theories to analyses of specific test cases in a broad variety of ancient Mediterranean cultures. Paul Mirecki, Th.D. (1986) in Religious Studies, Harvard Divinity School, is Associate Professor of Religious Studies at the University of Kansas. Marvin Meyer, Ph.D. (1979) in Religion, Claremont Graduate School, is Professor of Religion at Chapman University, Orange, California, and Director of the Coptic Magical Texts Project of the Institute for Antiquity and Christianity.
Collectors, Scholars, and Forgers in the Ancient World focuses on the fascination which works of art, texts, and antiquarian objects inspired in Greeks and Romans in antiquity and draws parallels with other cultures and eras to offer contexts for understanding that fascination. Statues, bronze weapons, books, and bones might have been prized for various reasons: because they had religious value, were the work of highly regarded artists and writers, had been possessed by famous mythological figures, or were relics of a long disappeared past. However, attitudes towards these objects also changed over time: sculpture which was originally created for a religious purpose became valuable as art and could be removed from its original setting, while historians discovered value in inscriptions and other texts for supporting historical arguments and literary scholars sought early manuscripts to establish what authors really wrote. As early as the Hellenistic era, some Greeks and Romans began to collect objects and might even display them in palaces, villas, or gardens; as these objects acquired value, a demand was created for more of them, and so copyists and forgers created additional pieces - while copyists imitated existing pieces of art, sometimes adapting to their new settings, forgers created new pieces to complete a collection, fill a gap in historical knowledge, make some money, or to indulge in literary play with knowledgeable readers. The study of forged relics is able to reveal not only what artefacts the Greeks and Romans placed value on, but also what they believed they understood about their past and how they interpreted the evidence for it. Drawing on the latest scholarship on forgery and fakes, as well as a range of examples, this book combines stories about frauds with an analysis of their significance, and illuminates and explores the link between collectors, scholars, and forgers in order to offer us a way to better understand the power that objects held over the ancient Greeks and Romans.
A rich production followed of objects for daily use, ritual, and luxury living, finely carved in various materials or fashioned of clay. Monumental sculpture was made in stone or bronze, and dramatic friezes were composed of brilliantly glazed bricks. Among the discoveries are tiny, intricately carved cylinder seals and splendid jewelry. Clay balls marked with symbols offer fascinating testimony to the very beginnings of writing; clay tablets from later periods bearing inscriptions in cuneiform record political history, literature, business transactions, and mathematical calculations. A very important group of finds from Susa is made up of objects brought back as booty from conquests in Mesopotamia. These works, many of them the royal monuments of Akkadian and Babylonian monarchs - for instance, the great stele of Naram-Sin - are among the best known of all objects from the ancient Near East.
First published in 1988. Can you name the Seven Wonders of the Ancient World? Did they even exist? The Pharos at Alexandria survived into the Middle Ages, but the Hanging Gardens of Babylon exist only in references by ancient authors and the Colossus of Rhodes if too improbable to have existed in the form and place traditionally ascribed to it. The Seven Wonders of the Ancient World sets the record straight, with an attractive account of each Wonder in the context in which it was built. The authors combine ancient sources with the results of modern scholarship and excavations to recreate a vivid picture of the Seven Wonders. All experts in their specialist fields, the contributors bring together facts and background that are remarkably difficult to find from any other single source and establish for the fist time the archaeology and location of each Wonder.
Describes the seven wonders of the ancient world, including the Hanging Gardens of Babylon, the statue of Zeus, the temple of Artemis, the Mausoleum of Halicarnassus, and the colossus of Rhodes.