Art History and Classics

Heritage Matters is a series of edited and single-authored volumes which addresses the whole range of issues that confront the cultural heritage sector as we face the global challenges of the twenty-first century. The series follows the ethos of the International Centre for Cultural and Heritage Studies (ICCHS) at Newcastle University, where these issues are seen as part of an integrated whole, including both cultural and natural agendas, and thus encompasses challenges faced by all types of museums, art galleries, heritage sites and the organisations and individuals that work with, and are affected by them.

Cicero's speeches and essays-especially the Verrines-were widely read in France and England during the late eighteenth and early nineteenth centuries, when they were used in public debates about the fate of art in wartime. The early development of the concept of "cultural property" owed much to careful readings and citations of Cicero's views. The main charge brought against Verres in 70 B.C. was extortion during his term as governor of Sicily, but in the course of his prosecution Cicero depicts Verres as a rapacious collector of art who even took cult statues from temples for his private collection. This portrait of a "collector" who felt entitled to anything he could get and who abused his official authority to acquire works of art was recalled and used in debates about "collecting" many centuries later. This paper examines how Ciceronian views contributed to the development of the concept of art as cultural property.

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Abstract This paper is an architectural study of the propylon to the Sanctuary of Demeter Malophoros at Selinous, built in the later fifth century B.C. A new actual-state plan and reconstructions of the blocks of the architrave, frieze, and geison courses are presented. The propylon is the only building of its type known in Sicily and stands as an unusual example of the Doric style in small scale. The building is of special interest for its eclectic combination of local forms and styles together with borrowed forms such as an Athenian profile for the Doric capitals and Periclean proportions for the elevations. Pythagorean associations and Athenian influence make the propylon an exemplar of internationalism in later fifthcentury Greek architecture.* In memoriam W.B. Dinsmoor, Jr. The location of Selinous in a fertile area on the coast of southwestern Sicily, near the Carthaginian base at Motya and the towns of the Elymians, guaranteed the Greek city constant international contact.' Only some nine days' sail from mainland Greece, Selinous was a major port of call for travelers between the eastern and western parts of the Mediterranean. The advantage and prosperity reaped from this superb location are reflected in the extensive building program of seven large Doric temples during the sixth and fifth centuries B.C., in number and size rivaled within all of the Greek world only by the neighboring city Akragas. In keeping with their . With the exception of figure 1, all photographs were taken by myself. The following abbreviations are used: Bell M. Bell, "Stylobate and Roof in the Olympieion at Akragas," AJA 84 (1980) 359-72. Gabrici E. Gabrici, "Il santuario della Malophoros a Selinunte," MonAnt 32 (1927) 6-419. Jameson et al.

This monographic article presents a course-by-course reconstruction of the entablature of the Temple of Nemesis, with original illustrations of how the blocks should fit together, and a description and discussion of the other parts of the temple. The temple is dated to the 420s and compared in detail with other Attic temples dating to the second half of the 5th century BC. The question of authorship or architectural “hands” is investigated, and the attribution to the so-called “Theseum Architect” is shown to be incorrect. The historical context of the construction at Rhamnous during the Peloponnesian War is discussed with references to many other contemporary building projects. Some attention is given also to the rebuilding of the east façade in the Roman period.

To the left of the Panathenaic Way as it winds up the steep northern slope of the Athenian Akropolis lies the City Eleusinion, a sanctuary of Demeter and Kore, linked ritually with Eleusis. When the Eleusinian Mysteries were held each September, the Sacred Objects brought on foot by priestesses from Eleusis were deposited in the City Eleusinion and kept there while the festival began and during the initial rituals in the Agora and in Piraeus. The Eleusinion and its Temple of Triptolemos are noted by Pausanias (although he was forbidden in a dream to describe it thoroughly). Excavations by the American School of Classical Studies in Athens during the late 1930s and 1950s uncovered the forecourt of the sanctuary, and the architecture, inscriptions, sculpture and other finds are presented in this volume. The book includes a chapter on the plemochoe, a ritual vessel used in the Eleusinian Mysteries.

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 in speeches he gave in 70 BCE, when he prosecuted the Roman governor of Greek Sicily, Gaius Verres, for extortion during his time in office. 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 this book is on those speeches by Cicero, and what they reveal about the context of Verres’ trial, Roman attitudes toward Greek art, and how the text illuminates the history of Greek Sicily. The subsequent impact of Cicero’s arguments on legal thinking about cultural property is also discussed, concluding with the decisions made by the Duke of Wellington after Waterloo in Paris in autumn, 1815.

Just as Shakespeare asserted she always would, the fascinating Cleopatra VII, Queen of Egypt, continues dazzle us. This book presents papers that consider Cleopatra and her legacies by scholars working in archaeology, art history, history and literary and film studies. The papers include discussion of Cleopatra’s obelisks; her use of traditional Egyptian imagery in sculpture; her time in Rome; her death; Egyptian themes in Augustan Rome; Cleopatra in Renaissance Rome; the afterlife of her love potions; how she is depicted by Sir Alma-Tadema; Cleomania in mass culture; and an overview of Cleopatra’s images in western painting.  The book concludes with a wonderful poem by Peter Green.

Egyptian mummies, Scythian gold, and Chinese terracotta soldiers in blockbuster exhibits and permanent galleries all attest to widespread public interest in museum-going, in seeing visible remains of the past in well-lit, attractive, and gently didactic settings. Yet many of our prestigious art museums have come under intense and uncomfortable scrutiny because of their practices. Their purchases, gifts, and loans of antiquities have raised ethical and moral questions. To what extent have public (and private) collections been formed as a result of the looting of archaeological sites? Do museums exercise due diligence in background checks on their purchases? Do such purchases encourage looters to destroy yet more archaeological sites so as to make more sales? Under what circumstances should the looted art be repatriated to its presumed source country? What about older collections, formed before international laws restricted such purchases? Should they be returned? Do the various missions of museums (to educate the public, to preserve and conserve items) trump all other concerns? To whom should we entrust the remains of the past?

This paper analyzes why Herodotus mentions burnt temples so often in the context of the Persian Wars. Greek temples burnt by advancing Persians becomes an important theme in adversarial confrontations, and it was a way of summing up the horrors of war.

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. This content downloaded from 128.195.64.2 on Wed

The focus of this paper is the modern commentary on an unusual double stoa at Thorikos in Attica, built in the late 5th century BC. Modified drawings are presented here with a new detail reconstructed:  a central doorway in the crosswall.  Parts of this stoa were taken into the Agora of Athens and re-used in a Roman temple; they provide the architectural details of the superstructure of the original building. The stoa is then considered within the development of ancient Greek stoas.

This paper argues that the rebuilding of the forecourt at Eleusis under Marcus Aurelius reflects the cultural currents of the Second Sophistic. The arrangement of the buildings, the close copies of 5th century BC originals, and Roman aesthetic values contribute to this effect. Celebration of the Eleusinian Mysteries was Athens’ most prestigious festival and the continuity demonstrated here projected the Athenian past forward even under Roman rule.