The nineteen papers in this volume stem from a symposium that brought together academics, archaeologists, museum curators, conservators, and a practicing marble sculptor to discuss varying approaches to restoration of ancient stone sculpture. Contributors and their subjects include Marion True and Jerry Podany on changing approaches to conservation; Seymour Howard on restoration and the antique model; Nancy H. Ramage’s case study on the relationship between a restorer, Vincenzo Pacetti, and his patron, Luciano Bonaparte; Mette Moltesen on de-restoring and re-restoring in the Ny Carlsberg Glyptotek; Miranda Marvin on the Ludovisi collection; and Andreas Scholl on the history of restoration of ancient sculptures in the Altes Museum in Berlin. The book also features contributions by Elizabeth Bartman, Brigitte Bourgeois, Jane Fejfer, Angela Gallottini, Sascha Kansteiner, Giovanna Martellotti, Orietta Rossi Pinelli, Peter Rockwell, Edmund Southworth, Samantha Sportun, and Markus Trunk. Charles Rhyne summarizes the themes, approaches, issues, and questions raised by the symposium.

"Few decorative crafts can claim to be more ancient than stone carving, with the earliest carved objects being dated well into prehistory. The greatest monuments to human civilization, from the temples of ancient Mesopotamia and Egypt to the great cathedrals of Medieval Europe, are richly ornamented with decorative relief and sculpture carved in stone. Alan Micklethwaite, a stone carver with many years' experience in the conservation of historic monuments and sculpture, introduces the reader to the techniques and methodology of restoration stone carving, from simple relief to complex sculpture in the round, set against a sound conservation philosophy. The book provides a thorough understanding of stone as a material and describes its use in sculpture and the agents of its decay, as well as the method by which disfigured carvings can be forensically reconstructed, resulting in the re-emergence of beautifully carved historic architectural sculpture. The book is intended as a detailed introduction to restoration stone carving, and is aimed at those who are learning to carve stone or have an interest in pursuing a career in the conservation of stone sculpture and ancient monuments. While having a depth of detail which will allow it to serve as a reference manual for the professional, it will also inspire the beginner and fuel the interest of those who harbour a desire to pursue traditional crafts."--Front jacket flap.

Situates the study of Roman sculpture within the fields of art history, classical archaeology, and Roman studies, presenting technical, scientific, literary, and theoretical approaches.

The archaeological finds at Herculaneum and Pompeii have rendered Naples an especially rich field for the study of the history of restorations, particularly of ancient bronzes. Bringing together the research of an international group of curators, conservators, archivists, and scientists, this extensively illustrated online volume examines the evolving practice of bronze restoration in Naples and other European centers from the eighteenth century to today. Presenting the results of new investigations, this collection of essays and case studies addresses the contexts in which the restorations took place, the techniques and materials used, the role of specialists, and changing attitudes to the display of these statues. Along with a rich selection of images, these texts offer a significant contribution to the history of restoration and conservation, providing valuable information regarding the evolution of taste and museum practices at a formative stage of modern archaeology. The essays collected here were written following a series of presentations at a one-day conference, “Restoring Ancient Bronzes in the Nineteenth Century,” held at the J. Paul Getty Museum on May 6, 2011. Each illustrated essay is accompanied by a separate gallery of large-format images to facilitate study and analysis. Edited by Erik Risser, associate conservator in the Department of Antiquities at the J. Paul Getty Museum, and David Saunders, assistant curator in the Department of Antiquities at the J. Paul Getty Museum, this collection is part of the Getty’s ongoing commitment to the online publication of scholarly conferences and symposia.

Many new and fruitful avenues of investigation open up when scholars consider forgery as a creative act rather than a crime. We invited authors to contribute work without imposing any restrictions beyond a willingness to consider new approaches to the subject of ancient fakes, forgeries and questions of authenticity. The result is this volume, in which our aim is to display some of the many possibilities available to scholarship. Following Splendide Mendax, this is the latest installment of an ongoing inquiry, conducted by scholars in numerous countries, into how the ancient world-its literature and culture, its history and art-appears when viewed through the lens of fakes and forgeries, sincerities and authenticities, genuine signatures and pseudepigrapha.

With a focus on the underwater context of sculptures retrieved from beneath the sea, this volume examines where, when, why and how sculptures were transported on the Mediterranean Sea during Classical Antiquity through the lenses of both maritime and classical archaeology.