Classical Archaeologists, art historians and artists consider the Role of the Artist' in the rediscovery of the past.

The creation of the “Greek style” and its pervasive impact in England and on the Continent during the third quarter of the eighteenth century was largely due to James Stuart’s landmark multi-volume publication Antiquities of Athens, coauthored with Nicholas Revett. Stuart, subsequently known as “Athenian” Stuart, went on to a highly influential career that spanned the fields of architecture, interior decoration, furnishings, sculpture, and metalwork. This lavishly illustrated book is the first to examine Stuart’s multi-dimensional career and the full scope of his contributions as designer, artist, and tastemaker. An international team of scholars consider each area of Stuart’s work, his early training, interest in archaeology, unique network of patrons, poor record for completing projects, and legacy. With illustrations and discussion of the stunning neo-classical furnishings he created at Spencer House, the Greek Doric Temple at Hagley, and numerous other remarkable projects, the book brings Stuart’s achievements to light more clearly than ever before.

By reconstructing it and tracing its vicissitudes, David Conway rehabilitates a time-honoured conception of philosophy, originating in Plato and Aristotle, which makes theoretical wisdom its aim. Wisdom is equated with possessing a demonstrably correct understanding of why the world exists and has the broad character it does. Adherents of this conception maintained the world to be the demonstrable creation of a divine intelligence in whose contemplation supreme human happiness resides. Their claims are defended against various latter-day scepticisms.

In 1345, when Petrarch recovered a lost collection of letters from Cicero to his best friend Atticus, he discovered an intimate Cicero, a man very different from either the well-known orator of the Roman forum or the measured spokesman for the ancient schools of philosophy. It was Petrarch’s encounter with this previously unknown Cicero and his letters that Kathy Eden argues fundamentally changed the way Europeans from the fourteenth through the sixteenth centuries were expected to read and write. The Renaissance Rediscovery of Intimacy explores the way ancient epistolary theory and practice were understood and imitated in the European Renaissance.Eden draws chiefly upon Aristotle, Cicero, and Seneca—but also upon Plato, Demetrius, Quintilian, and many others—to show how the classical genre of the “familiar” letter emerged centuries later in the intimate styles of Petrarch, Erasmus, and Montaigne. Along the way, she reveals how the complex concept of intimacy in the Renaissance—leveraging the legal, affective, and stylistic dimensions of its prehistory in antiquity—pervades the literary production and reception of the period and sets the course for much that is modern in the literature of subsequent centuries. Eden’s important study will interest students and scholars in a number of areas, including classical, Renaissance, and early modern studies; comparative literature; and the history of reading, rhetoric, and writing.

"For the thinkers, artists and scholars of the Renaissance, antiquity was a major source of inspiration; it provided renewed modes of scholarship, led to corrections of received doctrine and proved a wellspring of new achievements in almost every area of human life. The 130 articles in this volume cover not only well known figures of the Renaissance such as Copernicus, Dürer, and Erasmus but also overall themes such as architecture, agriculture, economics, philosophy and philology as well as many others."--Provided by publisher.

Empires of Antiquities' is a history of the rediscovery of the imperial civilizations of the ancient Near East in a modern imperial order that evolved between the outbreak of the First World War and the decolonization of the British Empire in the 1950s. It explores the ways in which near eastern antiquity was redefined and experienced, becoming the subject of imperial regulation, modes of enquiry, and international and national politics. 0Billie Melman follows a series of globally publicized spectacular archaeological discoveries in Iraq, Egypt, and Palestine, which made antiquity material visible and accessible as never before. She demonstrates that the new definition and uses of antiquity and their relations to modernity were inseparable from the emergence of the post-war international imperial order, transnational collaboration and crises, the aspirations of national groups, and collisions between them and the British0mandatories. This study uniquely combines a history of the internationalization of archaeology and the rise of a new 'regime of antiquities', under the oversight of the League of Nations and its institutions, a history of British attitudes to, and passion for near eastern antiquity and on the ground, colonial policies and mechanisms, as well as nationalist claims on the past. It points at the centrality of the new mandate system. Drawing on an unusually wide range of materials collected in archives in six countries, as well as on material and visual evidence, this volume weaves together imperial, international and national histories, and the history of archaeological discovery which it connects to imperial modernity.

How did the statues of ancient Greece wind up dictating art history in the West? How did the material culture of the Greeks and Romans come to be seen as "classical" and as "art"? What does "classical art" mean across time and place? In this ambitious, richly illustrated book, art historian and classicist Caroline Vout provides an original history of how classical art has been continuously redefined over the millennia as it has found itself in new contexts and cultures. All of this raises the question of classical art's future. What we call classical art did not simply appear in ancient Rome, or in the Renaissance, or in the eighteenth-century Academy. Endlessly repackaged and revered or rebuked, Greek and Roman artifacts have gathered an amazing array of values, both positive and negative, in each new historical period, even as these objects themselves have reshaped their surroundings. Vout shows how this process began in antiquity, as Greeks of the Hellenistic period transformed the art of fifth-century Greece, and continued through the Roman empire, Constantinople, European court societies, the neoclassical English country house, and the nineteenth century, up to the modern museum. A unique exploration of how each period of Western culture has transformed Greek and Roman antiquities and in turn been transformed by them, this book revolutionizes our understanding of what classical art has meant and continues to mean.