![]() The narrative is taken into the later 19th and the 20th centuries. Ceserani provides a full analysis of the connection between Hellenic South Italy and the emerging world of scholarly archaeology centered on Eduard Gerhard and the Instituto di Corrispondenza Archeologica. Much useful discussion is devoted to 19th-century regional exploration and to explorers such as Francois Lenormont. She starts with the 18th-century Neapolitan Enlightenment, when local savants and antiquarians debated archaeology with the erudits of the Grand Tour. It is an intellectual journey that takes the reader from the 18th century down to the decades after World War II. Largely forgotten is the sack of Tarentum, which also produced much sculpture and a very live Livius Andronicus, who helped lay the foundations of Latin literature.Ĭeserani sets out to explore this enigma in modern classical and archaeological scholarship. ![]() Well known is the taking of Syracuse, which produced much sculpture and a very dead Archimedes. Representative are the contrasting stories of the sacks of Syracuse and Tarentum in the Second Punic War. Yet the region of Pythagorean Croton, extravagant Sybaris, and opulent Tarentum remain marginal to students of the Greek world. With the collapse of the Soviet Union, the Greek Black Sea has received increasing attention. However, East Greece and Sicily have long held fascinations, especially for archaeologists. Greek archaeology remains focused on the mainland. "About this title" may belong to another edition of this title.Magna Graecia, the Hellenic lands of South Italy, has long been, and to a certain degree remains, the lost stepchild of Hellenic studies. 251 plated, 108 in full color, map, and chronological tables are all included. ![]() Above all, however, superb photos of the buildings that still survive to astound the modern tourist emphasize that it was in the field of architecture that the creative spirit of the age truly excelled. Beautifully illustrated in this book are the dancers, wrestlers, warriors, horsemen, centaurs, gods, goddesses, and other themes that, throughout Antiquity, moved the peoples of the Mediterranean lands to the heights of artistic achievement. The standard of what we now regard as distinctively Roman art spread throughout the Empire, now taking on a classical purity that reflects Greek models, now blossoming with a baroque exuberance into forms that, many generations later, were to delight and inspire Renaissance Europe. ![]() The end of the Roman Republic ushered in an age of imperial grandeur with lavish mosaics and wall paintings, precious cameos and coins, and an outstanding architectural heritage. In bringing about the political unity of Italy, the Romans absorbed the cultural elements of the peoples they conquered-especially the Greeks, and not least through the medium of the mysterious Etruscans-until step by step Italy came to form a single artistic unit with its center at Rome. The Greeks created ceramics, statues, paintings, and buildings worthy of the highest achievements of their homeland before lapsing into barbarism as the Romans embarked on their long climb to world domination and rule. Early on, Greek settlers brought their culture to the welter of small tribes and cities struggling for supremacy in what we now call Italy. ![]()
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