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.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1883 edition. Excerpt: ...Polycleitos represented twice, --once as a leader (Hagctcr) seizing his weapons, and, again, as fighting the Hydra.?26 Of his statue of an Amazon we know somewhat more. The story is, that statues of the Amazons were required for the Temple of Artemis at Ephesos, that spot where the conquered heroines had taken refuge in mythic ages, when hard pressed by Dionysos.?2? The most celebrated artists came together with their statues, to select from among them the best. According to Pliny's anecdote, each gave the preference to his own work; but, after that, all agreed first upon the Amazon by Polycleitos, --the one by Pheidias taking the second, that of Cresilas the third, and that of Phradmon the fourth place. Whatever credence may be given to this tradition, it may contain a kernel of truth, indicating the superiority of Polycleitos' representation of these masculine females. Several types of wounded and fatigued Amazons, incorrectly restored, exist, which doubtless go back to celebrated originals of the time of Pheidias and Polycleitos.?28 Among them three distinct types are evident, illustrated in statues in Rome, Berlin, and Paris. One represents an Amazon, who wears a large mantle, and seems to be staying the blood trickling from her wounded breast, with one end of her chiton caught up in the left hand. Her head is dropped slightly; and the arm, restored as raised, should, according to a gem now in Paris, be resting on a long spear, which supports the unhappy, conquered woman. The second type shows us, not a wounded, but a wearied, Amazon. She stands resting, with the right hand on some object, now gone, possibly her battle-axe; while her left is placed on her head, in the attitude so often employed to express repose in Greek art. This type...

Excerpt from A History of Ancient Sculpture Fragments of a great artistic past have come down to us, now torn from their original surroundings, and wrapped in mystery to our changed modern world. For centuries these monuments have lain buried beneath the soil, or, when visible, have too often suffered sadly from neglect. Sundering from this vast treasure what belongs to the plastic art, we find the sculptural monuments widely scattered, and often hopelessly isolated, so that a feeling of discouragement will sometimes come over one attempting to solve the riddles propounded. Here it is that the archaeologist comes to our aid, with his new-born science, which dates hardly farther back than the days of Winckelmann; and bringing to bear upon his subject the patient labor of the excavator and of the conscientious collector, the resources of profound learn ing and of a comparative spirit, and the breadth of a scientific vision which is able to classify and group the sundered fragments, he makes the dis jointed members more and more parts of an organic whole. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

A History of Roman Art provides a wide-ranging survey of the subject from the founding of Rome to the rule of Rome's first Christian emperor, Constantine. Incorporating the most up-to-date information available on the topic, this new textbook explores the creation, use, and meaning of art in the Roman world. Extensively illustrated with 375 color photographs and line drawings Broadly defines Roman art to include the various cultures that contributed to the Roman system Focuses throughout on the overarching themes of Rome's cultural inclusiveness and art's important role in promoting Roman values Discusses a wide range of Roman painting, mosaic, sculpture, and decorative arts, as well as architecture and associated sculptures within the cultural contexts they were created and developed Offers helpful and instructive pedagogical features for students, such as timelines; key terms defined in margins; a glossary; sidebars with key lessons and explanatory material on artistic technique, stories, and ancient authors; textboxes on art and literature, art from the provinces, and important scholarly perspectives; and primary sources in translation A book companion website is available at www.wiley.com/go/romanart with the following resources: PowerPoint slides, glossary, and timeline Steven Tuck is the 2014 recipient of the American Archaeological Association's Excellence in Undergraduate Teaching Award.

Roman sculpture was an integral part of Roman life, and the Romans placed statues and reliefs in their flora, basilicas, temples and public baths as well as in their houses, villas, gardens and tombs.