Giacobbe Giusti, ANDREA DEL CASTAGNO Madonna and Child with Saints Fresco, Contini Bonacossi Collection, Florence

Giacobbe Giusti, ANDREA DEL CASTAGNO Madonna and Child with Saints Fresco, 290 x 212 cm Contini Bonacossi Collection, Florence

 

Madonna di casa Pazzi Giacobbe Giusti, ANDREA DEL CASTAGNO Madonna and Child with Saints Fresco, 290 x 212 cm Contini Bonacossi Collection, Florence
Autore	Andrea del Castagno
Data	1443
Tecnica	affresco staccato
Dimensioni	290×212 cm
Ubicazione	Uffizi, Firenze

La Madonna di casa Pazzi è un affresco staccato (290×212 cm) di Andrea del Castagno, datato al 1443 e conservato nella Collezione Contini Bonacossi agli Uffizi di Firenze.

https://it.wikipedia.org/wiki/Madonna_di_casa_Pazzi

http://www.giacobbegiusti.com

Giacobbe Giusti, Victorious Youth, Getty Museum

Giacobbe Giusti, Victorious Youth, Getty Museum

 

Giacobbe Giusti, Victorious Youth, Getty Museum

The bronze Victorious Youth at the Getty Museum

Giacobbe Giusti, Victorious Youth, Getty Museum

Height: 1.515 metres (5 feet) NB lower legs and feet missing.

The Victorious Youth, also known as the Getty Bronze or Atleta di Fano, is a Greek bronze sculpture, made between 300 and 100 BCE,^[1] in the collections of the J. Paul Getty Museum, Pacific Palisades, California. On its first rediscovery Bernard Ashmole and other scholars attributed it to Lysippos, a grand name in the history of Greek art; modern concerns are less with such traditional attributions than with the original social context: where the sculpture was made, for what context and who he might be.

Discovery

The sculpture was found in the summer of 1964 in the sea off Fano on the Adriatic coast of Italy, snagged in the nets of an Italian fishing trawler, the Ferri Ferruccio.^[2][3] After some furtive offering on the antiquities gray market and vigorous competition with the Metropolitan Museum of Art, it was acquired by the Getty Museum in 1977.^[4]

The sculpture may have been part of the crowd of sculptures of victorious athletes at Panhellenic Greek sanctuaries like Delphi and Olympia.^[5] His right hand reaches to touch the winner’s olive wreath on his head. The powerful head has led viewers to see it as a portrait; the head was cast separately from the lithe body. The athlete’s eyes were once inlaid, probably with bone, and his nipples are in contrasting copper.

The precise location of the shipwreck, which preserved this object from being melted down like all but a tiny fraction of Greek bronzes, has not been established; it seems most likely that a Roman ship carrying looted objects was on its way to Italy when it foundered. The statue has been roughly broken off its former base, breaking away at the ankles.

The Italian government has made claims for the return of the sculpture, which the museum has rejected as unfounded.^[6]

Controversies with Italy

The Getty Museum is involved in a controversy regarding proper title to some of the artwork in its collection. The Museum’s previous curator of antiquities, Marion True, was indicted in Italy in 2005 along with Robert E. Hecht on criminal charges relating to trafficking in stolen antiquities. The primary evidence in the case came from the 1995 raid of a Geneva, Switzerland warehouse which had contained a fortune in stolen artifacts. Italian art dealer Giacomo Medici was eventually arrested in 1997; his operation was thought to be « one of the largest and most sophisticated antiquities networks in the world, responsible for illegally digging up and spiriting away thousands of top-drawer pieces and passing them on to the most elite end of the international art market ».^[7]

In a letter to the J. Paul Getty Trust on December 18, 2006, True stated that she is being made to « carry the burden » for practices which were known, approved, and condoned by the Getty’s Board of Directors.^[8] True is currently under investigation by Greek authorities over the acquisition of a 2,500-year-old funerary wreath.

On November 20, 2006, the Director of the museum, Michael Brand, announced that twenty-six disputed pieces were to be returned to Italy, but not the Victorious Youth.

In an interview to the Italian national newspaper Corriere della Sera on December 20, 2006 the Italian Minister of Cultural Heritage declared that Italy would place the museum under a cultural embargo if all the 52 disputed pieces would not return home overseas. On August 1, 2007 an agreement was announced providing that the museum would return 40 pieces to Italy out of the 52 requested, among which the Venus of Morgantina, which was returned in 2010, but not the Victorious Youth, whose outcome will depend upon the results of the criminal proceedings pending in Italy. On the very same day the public prosecutor of Pesaro formally requested that the statue be confiscated as it was unlawfully exported out of Italy, giving rise to a dispute that came to the Constitutional Court.^[9]

Notes

1. Jump up^ The consensus is that the sculpture could date anywhere from the late fourth through the second century BCE. Carbon-14 dating does not further narrow the range.
2. Jump up^ Other well-known underwater bronze finds have been retrieved, generally from shipwreck sites, in the Aegean and Mediterranean: the Antikythera mechanism, the Antikythera Ephebe and the portrait head of a Stoic discovered by sponge-divers at Antikythera in 1900, the Mahdia shipwreck off the coast of Tunisia, 1907; the Marathon Boy off the coast of Marathon, 1925; the standing Poseidon of Cape Artemision found off Cape Artemision in northern Euboea, 1926; the horse and Rider found off Cape Artemision, 1928 and 1937; the Riace bronzes, found in 1972; the Dancing Satyr of Mazara del Vallo, near Brindisi, 1992; and the Apoxyomenos recovered from the sea off the Croatian island of Lošinj in 1999.
3. Jump up^ « Archeologia in rete »Archived 2007-10-19 at the Wayback Machine.
4. Jump up^ Though the Greek sculpture is unlikely ever to have touched Italian soil before its modern recovery,^{[citation needed]} Italian authorities have pressed for its return, as part of Italy’s patrimony. In fact, the statue was found by an Italian fishing trawler in international water: the owner of the ship was Italian and the statue was under Italian legislation. But the Italian laws state that every archeological good in Italy belongs to the People and cannot be sold.
5. Jump up^ Analysis of fibres from the core reveal that they are flax; Pausaniasnoted in the second century CE that the only flax being grown in Greece was to be found around Olympia.
6. Jump up^ Saga of the ‘stolen’ gold wreath could loosen British hold on Elgin marbles – Times Online
7. Jump up^ Men’s Vogue, Nov/Dec 2006, Vol. 2, No. 3, pg. 46.
8. Jump up^ LATimes.com ~ « Getty lets her take fall, ex-curator says »
9. Jump up^ (in Italian) Giampiero Buonomo, La richiesta di pubblicità dell’udienza sull’appartenenza dell’atleta di Fano Diritto penale e processo, 2015, n. 9, p. 1173.

• Lysippos
• Fano

References

• Frel, Jiri, 1978. The Getty Bronze (Malibu: The J. Paul Getty Museum).
• Antonietta Viacava, L’ atleta di Fano, edizioni L’Erma di Bretschneider, 1995, ISBN 88-7062-868-X.
• Mattusch, Carol C. 1997. The Victorious Youth (Getty Museum Studies on Art; Los Angeles: The J. Paul Getty Museum). Reviewed in Bryn Mawr Classical Review

• (in Italian) www.lisippo.org – Website of the cultural organisation who want the statue back to Fano, Italy.
• (in Italian) www.patrimoniosos.it
• (in English) (Getty Museum) Victorious Youth
• (in English) NPR, « Italy, Getty Museum at Odds over Disputed Art » 20 December 2006.
• (in English) (Los Angeles Times), Jason Felch, « The Amazing Catch They Let Slip Away »: 11 May 2006
• (in English) (Trafficking Culture Project), Neil Brodie, « The Fano Bronze »

Newspaper articles

• (in English) « The Getty’s mea culpa » by, managing editor of the magazine Archaeology at the UNESCO website
• (in Italian) Il Getty non restituisce le opere. Rutelli: «Cultural embargoe», by Pierluigi Panza, Corriere della Sera, November 14, 2006
• (in Italian) Il Getty Museum non rende le opere richieste, Corriere della Sera, November 23, 2006
• (in Italian) Rutelli attacca il Getty. Dubbi su 250 opere, di Paolo Conti, Corriere della Sera, November 24, 2006
• (in Italian) Rutelli-Getty, secondo round – “Non esponete opere rubate”, La Stampa, November 24, 2006
• (in Italian) Il Getty pronto a restituire la «Venere» Ma non restituirà il Lisippo., Corriere della Sera, November 26, 2006
• (in French) « L’Italie joue le bras de fer avec le Getty Museum », di Richard Heuzé, Le Figaro, December 26, 2006
• (in Italian) « No Lisippo, no Bernini », La Stampa, July 11, 2007

Giacobbe Giusti, RUNNERS, Villa of the Papyri, Herculaneum

Giacobbe Giusti, RUNNERS, Villa of the Papyri, Herculaneum

Giacobbe Giusti, RUNNERS, Villa of the Papyri, Herculaneum

 

Giacobbe Giusti, RUNNERS, Villa of the Papyri, Herculaneum

Giacobbe Giusti, RUNNERS, Villa of the Papyri, Herculaneum

Giacobbe Giusti, RUNNERS, Villa of the Papyri, Herculaneum

 

The Villa of the Papyri(Italian: Villa dei Papiri, also known as Villa dei Pisoni) is named after its unique library of papyri (or scrolls), but is also one of the most luxurious houses in all of Herculaneum and in the Roman world.^[1] Its luxury is shown by its exquisite architecture and by the very large number of outstanding works of art discovered, including frescoes, bronzes and marble sculpture^[2]which constitute the largest collection of Greek and Roman sculptures ever discovered in a single context.^[3]

It is located in the current comune of Ercolano, southern Italy. It was situated on the ancient coastline below the volcano Vesuvius with nothing to obstruct the view of the sea. It was perhaps owned by Julius Caesar‘s father-in-law, Lucius Calpurnius Piso Caesoninus.^[4][5] Barker 1908 suggested Philodemus was owner of the Villa of the Papyri Library.^[6]

In AD 79, the eruption of Vesuvius covered all of Herculaneum with some 30 m of volcanic ash. Herculaneum was first excavated in the years between 1750 and 1765 by Karl Weber by means of underground tunnels. The villa’s name derives from the discovery of its library, the only surviving library from the Graeco-Roman world that exists in its entirety.^[7] It contained over 1,800 papyrus scrolls, now carbonised by the heat of the eruption, the « Herculaneum papyri« .

Most of the villa is still underground, but parts have been cleared of volcanic deposits. Many of the finds are displayed in the Naples National Archaeological Museum. The Getty Villa is a reproduction of the Villa of the Papyri.

1.  Maiuri, Amedeo. Herculaneum and the Villa of the Papyri. Italy (1974): 35-39.
2. Jump up^ https://sites.google.com/site/ad79eruption/herculaneum-1/villa-of-the-papyri
3. Jump up^ The Villa dei Papiri at Herculaneum: Life and Afterlife of a Sculpture Collection, Carol C. Mattusch (Los Angeles, California, 2005, ISBN 0892367229 p 359
4. ^ Jump up to:^a b c Hornblower, Simon and Antony Spawforth. Oxford Classical Dictionary. 3rd ed. New York (1996).
5. Jump up^ « Unlocking the scrolls of Herculaneum ». BBC. 2013.
6. Jump up^ Ethel Ross Barker (1908). « Buried Herculaneum ».
7. Jump up^ « Archived copy ». Archived from the original on October 30, 2015. Retrieved September 8, 2015.
8. ^ Jump up to:^a b c http://www.herculaneum.ox.ac.uk/?q=De%20Simone
9. Jump up^ Stewart, Andrew. Greek Sculpture. Yale University Press (1990).
10. Jump up^ « Buried Herculaneum ». 1908.
11. Jump up^ https://sites.google.com/site/ad79eruption/herculaneum-1/villa-of-the-papyri/catalogue-of-sculptures
12. Jump up^ See Erlend D. MacGillivray, « The Popularity of Epicureanism in Late-Republic Roman Society », The Ancient World XLIII (2012) 151–172.
13. Jump up^ See conservation issues of Pompeii and Herculaneum.
14. Jump up^ Feasibility Study^{[permanent dead link]}
15. Jump up^ In search of Western civilisation’s lost classics Archived 2008-12-29 at the Wayback Machine., The Australian, August 6, 2008
16. Jump up^ Vergano, Dan (January 22, 2015). « X-Rays Reveal Snippets From Papyrus Scrolls That Survived Mount Vesuvius ». National Geographic.
17. Jump up^ Bukreeva, I.; et al. (2016). « Enhanced X-ray-phase-contrast-tomography brings new clarity to the 2000-year-old ‘voice’ of Epicurean philosopher Philodemus ». arXiv:1602.08071 .
18. Jump up^ Mocella V, et al. (2015). « Revealing letters in rolled Herculaneum papyri by X-ray phase-contrast imaging » (PDF). Nature Communications. 6: 5895. Bibcode:2015NatCo…6E5895M. doi:10.1038/ncomms6895.
19. Jump up^ Bukreeva I, et al. (2016). « Virtual unrolling and deciphering of Herculaneum papyri by X-ray phase-contrast tomography ». Scientific Reports. 6. Bibcode:2016NatSR…630364B. doi:10.1038/srep30364.
20. Jump up^ Mocella V, et al. (2015). « Revealing letters in rolled Herculaneum papyri by X-ray phase-contrast imaging » (PDF). Nature Communications. 6: 5. Bibcode:2015NatCo…6E5895M. doi:10.1038/ncomms6895.
21. Jump up^ The Getty. 2005. J. Paul Getty Museum. 11 May 2007 http://www.getty.edu/visit/see_do/architecture.html.
22. ^ Jump up to:^a b c Ethel Ross Barker (1908). « Buried Herculaneum ».

https://en.wikipedia.org/wiki/Villa_of_the_Papyri

http://www.giacobbegiusti.com

Giacobbe Giusti, National Archaeological Museum, Athens

Giacobbe Giusti, National Archaeological Museum, Athens

Fresco from the bronze age at Akrotiri, Santorini

Giacobbe Giusti, National Archaeological Museum, Athens

The boxing boys fresco is one of many well preserved frescoes from the island of Thera

 

Giacobbe Giusti, National Archaeological Museum, Athens

The Mask of Agamemnon is a gold funeral mask discovered at the ancient Greek site of Mycenae. The mask, displayed in the National Archaeological Museum of Athens, has been described by Cathy Gere as the « Mona Lisa of prehistory ».^[1]

 

Giacobbe Giusti, National Archaeological Museum, Athens

The Antikythera Ephebe

 

Giacobbe Giusti, National Archaeological Museum, Athens

Mycenean gold cups from Grave IV and V

 

Giacobbe Giusti, National Archaeological Museum, Athens

The bronze statue of Zeus or Poseidon, the Artemision Bronze in room 15

 

Giacobbe Giusti, National Archaeological Museum, Athens

Attic vase depicting Chimera

 

Giacobbe Giusti, National Archaeological Museum, Athens

So-called Artemision jockey. Bronze, ca. 140 BC. Recovered from the sea near Cape Artemision in Euboea.

 

Giacobbe Giusti, National Archaeological Museum, Athens

Gold elliptical funeral diadems from Shaft Grave III (Grave Circle A, Mycenae)

 

Giacobbe Giusti, National Archaeological Museum, Athens

The Ninnion Tablet, dated to approximately 370 BC, is a red clay tablet depicting the ancient GreekEleusinian Mysteries (religious rites connected to Greek mythology).

 

Giacobbe Giusti, National Archaeological Museum, Athens

Bust of a statue belonging to a group representing Theseus and the Minotaur, erected on a fountain in Athens near St Demetrios Katéphoris in Plaka. It is a Roman copy of the famous, lost statuary group attibuted to Myron erected on the acropolis that represented Theseus fighting the Minotaur

 

Giacobbe Giusti, National Archaeological Museum, Athens

The Mycenaean Warrior Vase, found by Heinrich Schliemann on the acropolis of Mycenae,

 

National Archaeological Museum

Giacobbe Giusti, National Archaeological Museum, Athens

 

Location within Athens
Established	1829
Location	Patission Street, Athens, Greece
Type	National museum
Public transit access	Victoria station    Omonoia station
Website	www.namuseum.gr

The National Archaeological Museum(Greek: Εθνικό Αρχαιολογικό Μουσείο) in Athens houses some of the most important artifacts from a variety of archaeological locations around Greece from prehistory to late antiquity. It is considered one of the greatest museums in the world and contains the richest collection of artifacts from Greek antiquity worldwide.^[1] It is situated in the Exarcheia area in central Athens between Epirus Street, Bouboulinas Street and Tositsas Street while its entrance is on the Patission Street adjacent to the historical building of the Athens Polytechnicuniversity.

History

Giacobbe Giusti, National Archaeological Museum, Athens

The Museum in 1893

The first national archaeological museum in Greece was established by the governor of Greece Ioannis Kapodistrias in Aigina in 1829. Subsequently, the archaeological collection was relocated to a number of exhibition places until 1858, when an international architectural competition was announced for the location and the architectural design of the new museum.^[2]

The current location was proposed and the construction of the museum’s building began in 1866 and was completed in 1889 using funds from the Greek Government, the Greek Archaeological Society and the society of Mycenae. Major benefactors were Eleni Tositsa who donated the land for the building of the museum, and Demetrios and Nikolaos Vernardakis from Saint Petersburg who donated a large amount for the completion of the museum.

The initial name for the museum was The Central Museum. It was renamed to its current name in 1881 by Prime Minister of Greece Charilaos Trikoupis. In 1887 the important archaeologist Valerios Stais became the museum’s curator.

During World War II the museum was closed and the antiquities were sealed in special protective boxes and buried, in order to avoid their destruction and looting. In 1945 exhibits were again displayed under the direction of Christos Karouzos. The south wing of the museum houses the Epigraphic Museum with the richest collection of inscriptions in the world. The inscriptions museum expanded between 1953 and 1960 with the architectural designs of Patroklos Karantinos.^[3]

The building

The museum has an imposing neo-classical design which was very popular in Europe at the time and is in accordance with the classical style artifacts that it houses. The initial plan was conceived by the architect Ludwig Lange and it was later modified by Panagis Kalkos who was the main architect, Armodios Vlachos and Ernst Ziller. At the front of the museum there is a large neo-classic design garden which is decorated with sculptures.^[2]

Expansions and renovations

Giacobbe Giusti, National Archaeological Museum, Athens

The Antikythera Ephebe

The building has undergone many expansions. Most important were the construction of a new east wing in the early 20th century based on the plans of Anastasios Metaxasand the construction of a two-storeyed building, designed by George Nomikos, during 1932–1939.^[2] These expansions were necessary to accommodate the rapidly growing collection of artifacts. The most recent refurbishment of the museum took more than 1.5 years to complete, during which the museum remained completely closed. It reopened in July 2004, in time for the Athens Olympics and it included an aesthetic and technical upgrade of the building, installation of a modern air-conditioning system, reorganisation of the museum’s collection and repair of the damage caused by the 1999 earthquake. The Minoan frescoes rooms opened to the public in 2005.^[4] On May 2008 the Culture Minister Mihalis Liapis inaugurated the much anticipated collection of Egyptian antiquities and the collection of Eleni and Antonis Stathatos.^[5] Today, there is a renewed discussion regarding the need to further expand the museum to adjacent areas. A new plan has been made for a subterranean expansion at the front of the museum.

Collections

The museum’s collections are organised in sections:^[6]

Collections
Section	Rooms	Sample inventories
Prehistoric Collection (Neolithic, Cycladic, Mycenaean)	3-6 and 48[7]	The Mask of Agamemnon, a gold funeral mask, dated 1550–1500 BC Gold elliptical funeral diadems from Shaft Grave III (Grave Circle A, Mycenae) Mycenean gold cups from Grave IV and V
Sculptures Collection	7-34	The bronze statue of Zeus or Poseidon, the Artemision Bronze in room 15 Varvakeios Athena, replica of Athena Parthenos Statue of Asklepius. Roman copy (c.160 AD), from a 4th-century BC Greek original Marble table support adorned by a group including Dionysos, Panand a Satyr, 170-180 AD
Vase and Minor Objects Collection (Including Stathatos and Vlastos-Serpieris collections)	42[8]and 49-56[9]	Attic vase depicting Chimera Bronze pitchers
Santorini Collection	48	Fresco from the bronze age at Akrotiri, Santorini The boxing boys fresco is one of many well preserved frescoes from the island of Thera Fresco with landscape in spring time at Akrotiri
Metallurgy Collection	36-39	The Antikythera mechanism(main fragment) in room 38 The philosopher’s head from the Antikythera wreck Bronze pitcher
Egyptian and Near EasternAntiquities Collection	40-41	Egyptian funerary mask
Epigraphical Museum	1, 9 & 11	The oldest attic epigraphy, 8th century BC Boustrophédon, in room 11 Detail of a part of the sacred law of the Acropolis and the Hékatompédon, 485/4 BC Honorific decree, 313–312 BC.

Prehistoric collection

The prehistoric collection displays objects from the Neolithic era (6800–3000 BC), Early and Mid-Bronze age (3000–2000 BC and 2000 to 1700 BC respectively), objects classified as Cycladic and Mycenaean art.

Neolithic era and early and mid-Bronze age collection

There are ceramic finds from various important Neolithic sites such as Dimini and Sesclo from middle Helladic ceramics from Boeotia, Attica and Phthiotis. Some objects from Heinrich Schliemann excavations in Troy are also on display.

Cycladic art collection

Cycladic collection features the famous marble figurines from the Aegean islands of Delos and Keros including the Lutist. These mysterious human representations, which resemble modern art and inspired many artists such as Henry Moore,^[10] came from the 3rd millennium BC old cemeteries of Aegean islands along with bronze tools and containers.

Mycenean art collection

Mycenean civilization is represented by stone, bronze and ceramic pots, figurines, ivory, glass and faience objects, golden seals and rings from the vaulted tombs in Mycenae and other locations in the Peloponnese (Tiryns and Dendra in Argolis, Pylos in Messinia and Vaphio in Lakonia). Of great interest are the two golden cups from Vafeio showing a scene of the capture of a bull.

Heinrich Schliemann finds

Mycenean collection includes also the magnificent 19th-century finds of Heinrich Schliemann in Mycenae from the Grave Circle A and the earlier Grave Circle B. Most notable are the golden funerary masks which covered the faces of deceased Mycenean nobles. Among them, the most famous is the one that was named erroneously as the mask of Agamemnon. There are also finds from the citadel of Mycenae including relief stelae, golden containers, glass, alabaster and amber tools and jewels. Other features include an ivory carving of two goddesses with a child, a painted limestone head of a goddess and the famous warrior’s vase dating from the 12th century.

Egyptian Art collection

The Egyptian collection dates back to the last twenty years of the 19th century. Notable is the donation of the Egyptian government which in 1893 offered nine mummies of the era of the Pharaohs. However, the Egyptian collection is mainly by two donors, Ioannis Dimitriou (in 1880) and of Alexandros Rostovic (in 1904). In total the collection includes more than 6000 artifacts, 1100 of which are available presently for the public. The collection is considered to be one of the best collections of Egyptian art in the world. The exhibition features rare statues, tools, jewels, mummies, a wooden body tag for a mummy, a stunning bronze statue of a princess, intact bird eggs and a 3000-year-old loaf of bread with a bite-sized chunk missing. The exhibition centrepiece is a bronze statue of the princess-priestess Takushit, dating to around 670 BC. Standing 70 cm high and wearing a gown covered in hieroglyphs, the statue was found south of Alexandria in 1880.^[11]

Stathatos collection

The Stathatos collection is named for the donors and major Greek benefactors Antonis and Eleni Stathatos. The collection features about 1000 objects, mainly jewels as well as metal objects, vases, and pottery from the Middle Bronze Age to post-Byzantine era. Features of special note are the Hellenistic period golden jewels from Karpenissi and Thessaly.

Artists and artifacts

Some of the ancient artists whose work is presented in the museum are Myron, Scopas, Euthymides, Lydos, Agoracritus, Agasias, Pan Painter, Wedding Painter, Meleager Painter, Cimon of Cleonae, Nessos Painter, Damophon, Aison (vase painter), Analatos Painter, Polygnotos (vase painter), Hermonax.

Collections include sculpture work, Loutrophoros, amphora, Hydria, Skyphos, Krater, Pelike, and lekythos vessels, Stele, frescoes, jewellery, weapons, tools, coins, toys and other ancient items.

Artifacts derive from archaeological excavations in Santorini, Mycenae, Tiryns, Dodona, Vaphio, Rhamnous, Lycosura, Aegean islands, Delos, the Temple of Aphaea in Aegina, the Sanctuary of Artemis Orthia in Sparta, Pylos, Thebes, Athens, Vari Cave, the Antikythera wreck and from various other places in Greece.^[2]

The museum houses the archaic terracota statuette daidala that inspired the designers of the 2004 Athens Olympics maskots Athena and Phevos.

New exhibits

Two of the newest exhibits of the museum include a 4th-century BC golden funerary wreath and a 6th-century BC marble statue of a woman, which were returned as stolen artifacts to Greece in 2007 by the Getty Museum in California, after a 10-year-long legal dispute between the Getty Center and the Greek Government.^[12] One year earlier, the Los Angeles foundation agreed to return a 4th-century BC tombstonefrom near Greek Thebes and a 6th-century BC votive relief from the island of Thassos.^[13]

Museum highlights

Antikythera mechanism Bronze Statuette of Athletic Spartan Girl Nestor’s Cup Mask of Agamemnon Dipylon inscription Poseidon of Cape Artemision Antikythera Ephebe Diadumenos Marathon Boy Lemnos stela Collection of Kouros and Kore (sculpture) Kroisos Kouros Sounion Kouros

Aphrodite of Cnidus Pitsa panels Daidala Ninnion Tablet Theseus Ring Wall frescoes from Tiryns and Santorini Capitoline Venus Poseidon of Milos Rhyton in the shape of a bull head Jockey of Artemision Mycenean Warrior Vase

Library of archaeology

The museum houses a 118-year-old library of archeology with rare ancient art, science and philosophy books and publications. The library has some 20,000 volumes, including rare editions dating to the 17th century.^[14] The bibliography covers archaeology, history, arts, ancient religions and ancient Greek philosophy, as well as Ancient Greek and Latin literature. Of particular value are the diaries of various excavations including those of Heinrich Schliemann. The collection of archaeology books is the richest of its kind in Greece. The Library has been recently renovated with funds from the Alexander S. Onassis Foundation. Its renovation was completed on 26 May 2008 and is now named after Alexander Onassis.^[15]

Museum activities

• Conservation laboratories
• Photographic archive and chemistry laboratories
• Organises temporary exhibitions in the museum and abroad
• Hosts a large number of archaeology related lectures in its lecture-hall annually

Visitors’ information

The museum is accessible by the Athens metro. The nearest stations are Viktoria station and Omonia station. The museum houses a gift shop with artifact replicas and a café in the sculpture garden. The museum is fully wheelchair accessible. There are also facilities and guides for hearing-impaired visitors.

• Ancient Greek sculpture
• Ancient Greek technology and innovation
• Art in Ancient Greece
• Gorgon
• Greek Terracotta Figurines
• Kouros
• List of museums in Greece
• List of museums with major collections of Greek and Roman antiquities
• Pottery of ancient Greece
• Typology of Greek Vase Shapes
• Valerios Stais

References

1. Jump up^ « Ministry of Culture and Sports | National Archaeological Museum ». odysseus.culture.gr. Retrieved 2018-02-28.
2. ^ Jump up to:^a b c d The National Archaeological Museum (2000) Euangelia Kypraiou Archaeological Receipts Fund Direction of Publications, Athens Greece
3. Jump up^ « Ministry of Culture and Sports | Epigraphic Museum ». odysseus.culture.gr. Retrieved 2018-02-28.
4. Jump up^ ekathimerini.com | National Archaeological Museum Archived 2007-11-09 at the Wayback Machine.
5. Jump up^ Egyptian antiquities exhibition
6. Jump up^ Sculpture in the National Archaeological Museum, Athens (2002) Nikolaos Kaltsas Getty Trust Publications: J. Paul Getty Museum, California, USA
7. Jump up^ The Prehistoric Collection, National Archaeological Museum
8. Jump up^ Stathatos Collection, National Archaeological Museum
9. Jump up^ The Vase and Minor Objects Collection, National Archaeological Museum
10. Jump up^ Early cycladic sculpture: its aesthetics and its influences on Henry Moore and Constantin Brâncuși DEB Lercher – 1979 – State University of New York at Binghamton
11. Jump up^ Priceless ancient Egyptian relics go on display^{[dead link]}
12. Jump up^ « BBC NEWS – Europe – Ancient wreath returns to Greece ». Retrieved 21 November2015.
13. Jump up^ CBC.ca Arts – Greece closes net on antiquities smuggling
14. Jump up^ « Rare tomes… – News – ekathimerini.com ». Retrieved 21 November 2015.
15. Jump up^ « This Week – News – ekathimerini.com ». Retrieved 21 November 2015.

National Archaeological Museum of Athens.

• National Archaeological Museum of Athens Official website
• Review of The National Archaeological Museum in Athens at UNRV.com
• Αρχαιολογικό Μουσείο Αθηνών – Archaeological Museum Of Athens Unofficial page on Facebook
• High-resolution 360° Panoramas of Archaeological Museum | Art Atlas

 

https://en.wikipedia.org/wiki/National_Archaeological_Museum,_Athens

http://www.giacobbegiusti.com

Giacobbe Giusti, PAESTUM

Giacobbe Giusti, PAESTUM

 

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Sele metope, two women running

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Detail of one of the bronze vessels from the Heroon, in the museum showing a sheep and a woman

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The ceiling of the Tomb of the Diver, c. 470 BC

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Detail of a Fresco from the North wall of the Tomb of the Diver in Paestum, Italy.

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The symposium on the north wall

 

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Cratere di Assteas(Napoli, Museo archeologico nazionale.)

Michikin – Opera propria

Cratere a campana del ceramografo Assteas, rinvenuto in area archeologica di Saticula (Sant’ Agata de’ Goti, BN), conservato al Museo Archeologico di Napoli (inv. nr. 82258). Mostra Cadmo che assale tenendo una pietra nella mano il dragone che è a guardia della fonte tebana, simboleggiata dall’anfora posta a terra.

 

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Torre di Paestum, ad un chilometro dagli scavi, una delle tante per il controllo del litorale tirrenico

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Krater of about 360 BC, now Getty Villa, California

 

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Odysseus and the Sirens on a Paestum vase in Berlin

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Bell-krater with an Elderly Satyr Followed by Young Dionysos », by the « Python » painter, Los Angeles County Museum of Art

 

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Rape of Europa from a krater, 350–340 BC

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Fresco of chariot race and the winning post, third century BC, in the museum

Carole Raddato from FRANKFURT, Germany –Lucanian fresco tomb painting of a man racing a chariot past the winning post, 3rd century BC, PaestrumPaestum Archaeological Museum

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Sele metope with Heracles killing the giant Alcyoneus

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Fresco from the « Tomb of the Black Rider », Lucanian period

 

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Paestum contains three of the most well-preserved ancient Greek temples in the world; two Hera Temples shown above
Shown within Italy
Location	Paestum, Province of Salerno, Campania, Italy
Region	Magna Graecia
Coordinates	40°25′20″N 15°0′19″ECoordinates: 40°25′20″N 15°0′19″E
Type	Settlement
History
Builder	Colonists from Sybaris and/or Troezen
Founded	Around 600 BC
Periods	Archaic Greece to Middle Ages
Site notes
Management	Soprintendenza per i Beni Archeologici di Salerno, Avellino, Benevento e Caserta
Website	www.museopaestum.beniculturali.it (in Italian) (in English)
UNESCO World Heritage Site
Official name	Cilento and Vallo di Diano National Park with the Archeological Sites of Paestum and Velia, and the Certosa di Padula
Type	Cultural
Criteria	iii, iv
Designated	1998 (22nd session)
Reference no.	842
Region	Europe and North America

Paestum was a major ancient Greek city on the coast of the Tyrrhenian Sea in Magna Graecia(southern Italy). The ruins of Paestum are famous for their three ancient Greek temples in the Doric order, dating from about 600 to 450 BC, which are in a very good state of preservation. The city walls and amphitheatre are largely intact, and the bottom of the walls of many other structures remain, as well as paved roads. The site is open to the public, and there is a modern national museum within it, which also contains the finds from the associated Greek site of Foce del Sele.

After its foundation by Greek colonists under the name of Poseidonia (Ancient Greek: Ποσειδωνία) it was eventually conquered by the local Lucanians and later the Romans. The Lucanians renamed it to Paistos and the Romans gave the city its current name.^[1] As Pesto or Paestum, the town became a bishopric (now only titular), but it was abandoned in the Early Middle Ages, and left undisturbed and largely forgotten until the eighteenth century.

Today the remains of the city are found in the modern frazione of Paestum, which is part of the comune of Capaccio in the Province of Salerno, Campania, Italy. The modern settlement, directly to the south of the archaeological site, is a popular seaside resort, with long sandy beaches.

Ancient remains

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Aerial view of Paestum, looking northwest; two Hera Temples in foreground, Athena Temple in background, a modern museum on right

Much the most celebrated features of the site today are the three large temples in the Archaic version of the Greek Doric order, dating from about 550 to 450 BC. All are typical of the period,^[2] with massive colonnades having a very pronounced entasis (widening as they go down), and very wide capitals resembling upturned mushrooms. Above the columns, only the second Temple of Hera retains most of its entablature, the other two having only the architrave in place.

These were dedicated to Hera, Athena, and Poseidon (Juno, Minerva, and Neptune to the Romans), although previously they often have been identified otherwise, for example, as a basilica and a temple of Ceres (Greek Demeter), after eighteenth-century arguments. The two temples of Hera are right next to each other, while the Temple of Athena is on the other side of the town center. There were other temples, both Greek and Roman, which are far less well-preserved. Paestum is far from any sources of good marble. The three main temples had few stone reliefs, perhaps using painting instead. Painted terracotta was for some detailed parts of the structure. The large pieces of terracotta that have survived are in the museum.

The whole ancient city of Paestum covers an area of approximately 120 hectares. It is only the 25 hectares that contain the three main temples and the other main buildings that have been excavated. The other 95 hectares remain on private land and have not been excavated. The city is surrounded by defensive walls that still stand. The walls are approximately 4750 m long, 5 – 7 m thick and 15 m high. Positioned along the wall are 24 square and round towers. There may have been as many as 28, but some of them were destroyed during the construction of a highway during the eighteenth century that effectively cut the site in two.

The central area is completely clear of modern buildings and always has been largely so, since the Middle Ages. Although much stone has been stripped from the site, large numbers of buildings remain detectable by their footings or the lower parts of their walls, and the main roads remain paved. A low-built heroon or shrine memorial to an unknown local hero survived intact; the contents are in the museum. Numerous tombs have been excavated outside the walls.

The three Greek Temples

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First temple of Hera, c. 550 BC

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Second temple of Hera, c. 460–450 BC

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Temple of Hera II at night – Paestum

The first Temple of Hera, built around 550 BC by the Greek colonists, is the oldest surviving temple in Paestum. Eighteenth-century archaeologists named it « The Basilica » because some mistakenly believed it to be a Roman building. (The original Roman basilica was essentially a civic form of building, before the basilica plan was adopted by the Early Christians for churches.)

Inscriptions and terracotta statuettes revealed that the goddess worshiped here was Hera. Later, an altar was unearthed in front of the temple, in the open-air site usual for a Greek altar. The faithful could attend rites and sacrifices without entering the cella.

The columns have a very strong entasis or curvature down their length, an indication of an early date of construction. The temple is wider than most Greek temples, probably because there are two doors and a row of seven columns running centrally inside the cella or inner sanctuary, an unusual feature.^[3] This may reflect a dual dedication of the temple. Having an odd number of columns, here nine, across the shorter sides also is very unusual; there are eighteen columns along the longer sides. This was possible, or necessary, because of the two doors, so that neither has a view blocked by a column.

The second Temple of Hera was built around 460–450 BC, just north of the first Hera Temple. It was once mistakenly thought to be dedicated to Poseidon. The columns do not have the typical 20 flutes on each column, but have 24 flutes. The Temple of Hera II also has a wider column size and smaller intervals between columns. The temple was also used to worship Zeus and another deity, whose identity is unknown. There are visible on the east side the remains of two altars, one large and one smaller. The smaller one is a Roman addition, built when a road leading to a Roman forum was cut through the larger one. It also is possible that the temple originally was dedicated to both Hera and Poseidon; some offertory statues found around the larger altar are thought to demonstrate this identification.

Giacobbe Giusti, PAESTUM

Temple of Athena, c. 500 BC

On the highest point of the town, some way from the Hera Temples and north of the center of the ancient settlement, is the Temple of Athena. It was built around 500 BC, and was for some time incorrectly thought to have been dedicated to Ceres.^[4] The architecture is transitional, being partly in the Ionic style and partly early Doric. Three medieval Christian tombs in the floor show that the temple was at one time used as a Christian church.

All three Greek temples have undergone some renovation and repair in recent years.

E

smARThistory – Ancient Greek Temples at Paestum, Italy[5]

Other archaeological features

In the central part of the complex is the Roman Forum, thought to have been built on the site of the preceding Greek agora. On the north side of the forum is a small Roman temple, dated to 200 BC. It was dedicated to the Capitoline Triad, Juno, Jupiter, and Minerva.

To the north-east of the forum is the amphitheater. This is of normal Roman pattern, although much smaller than later examples. Only the western half is visible; in 1930 AD, a road was built across the site, burying the eastern half. It is said by local inhabitants that the civil engineer responsible was tried, convicted and received a prison sentence for what was described as wanton destruction of a historic site. There is also a small circular council hall (bouleuterion) or assembly space (ekklesiasterion), with seats in tiers. It was probably never roofed, but had a wall around it, perhaps with a small arcade round the inside.^[6]This ceased to have a role in Roman times and was filled over.^[7]

Detail of one of the bronze vessels from the Heroon, in the museum showing a sheep and a woman

The heroon, close to the forum and the Temple of Athena, probably celebrated the founder of the city, though constructed around a century after the death of this unnamed figure. It was a low tumulus with a walled rectangular enclosure faced with large stones around it. When it was excavated in 1954 a low stone chamber with a pitched roof was discovered at the centre, half below the surrounding ground leval and half above. This contained several large, rare, and splendid bronze vessels, perhaps not locally-made, and a large Athenian pottery black-figureamphora of about 520–500 BC. The bronze vessels had traces of honey inside. These are all now in the museum.^[7]

Just south of the city walls, at a site still called Santa Venera, a series of small terracottaoffertorymolded statuettes of a standing nude woman wearing the polos headdress of Anatolian and Syrian goddesses, which were dated to the first half of the sixth century BC, were found in the sanctuary. Other similar ones have been excavated at other Paestum sanctuaries during excavations in the 1980s. The figure is highly unusual in the Western Mediterranean.^[8] The open-air temenos was established at the start of Greek occupation: a temple on the site was not built until the early fifth century BC. A nude goddess is a figure alien to Greek culture before the famous Cnidian Aphrodite by Praxiteles in the fourth century: iconographic analogies must be sought in Phoenician Astarte and the Cypriote Aphrodite. « In places where the Greeks and Phoenicians came in contact with one another, there is often an overlapping in the persona of the two deities, » Rebecca Miller Ammerman has explained (Ammerman 1991), in identifying the cult at the site as that of Phoenician Astarte or Cypriot Aphrodite.

Inscriptions make clear that during Roman times, the cult was reserved to Venus.

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  The roof of the heroon chamber, after the tumulus was removed

   

• Giacobbe Giusti, PAESTUM
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  The ekklesiasterion or council chamber

   

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  A ruined tower on the city wall

   

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  The Via Sacra, main street of the Roman city

Painted tombs

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The ceiling of the Tomb of the Diver, c. 470 BC

Main article: Tomb of the Diver

Paestum also is renowned for its painted tombs, mainly belonging to the period of Lucanian rule, while only one of them dates to the Greek period. However, this is the Tomb of the Diver (Italian: Tomba del tuffatore), which is the most famous. It is named after the enigmatic scene, depicted on the underside of the covering slab, of a young man diving into a stream of water. It dates to the first half of the fifth century BC (about 470 BC), the Golden Age of the Greek town. It was found, on 3 June 1968, in a small necropolis some 1.5 km south of the ancient walls. The paintings have now been transferred to the museum. The tomb is painted with the true fresco technique and its importance lies in being « the only example of Greek painting with figured scenes dating from the Orientalizing, Archaic, or Classical periods to survive in its entirety. Among the thousands of Greek tombs known from this time (roughly 700–400 BC), this is the only one found to have been decorated with frescoes of human subjects. »^[9]

The symposium on the north wall

The remaining four walls of the tomb are occupied by symposium-related scenes, an iconography far more familiar from Greek pottery than the diving scene. All the five frescoes are displayed in the museum, together with other cycles from Lucanian painted tombs. In contrast to earlier Greek tomb paintings, these later scenes have many figures and a high proportion of scenes including horses and equestrian sports.

Sele complex

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The Sele metopes as displayed in the Paestum museum

Sele metope, two women running

Main article: Foce del Sele

A few kilometres from Paestum there was a temple complex at the mouth of the Sele river(Foce del Sele in Italian) dedicated to Hera. The temple is now all but destroyed, and little remains of several other buildings. About 70 of the sixth-century BC Archaicmetope relief panels on the temple and another building at the site were recovered, however. These fall into two groups, the earlier of which shows the story of the life of Heracles in 38 surviving reliefs; the later group, of about 510 BC, shows pairs of running women. The earlier cycle forms the centrepiece of the Paestum museum, set in place around walls of the original height. At the site there is a museo narrante with video displays, but no original artefacts.^[10]

Art from Paestum

The Paestum archaeological museum holds the largest collection, but there are many significant pieces that were removed from the site before modern controls, and they are in a number of collections around the world. The National Archaeological Museum of Spain in Madrid has especially rich holdings, with two important Imperial Roman statues and many, very fine vases (see below). Other pieces, mostly painted pottery, are in the Louvre, the Antikensammlung Berlin, and other museums in Europe and America.

In the case of painted pottery, a number of individual artists, especially from the fourth century BC, have been identified and given notnames whose work has been found in tombs around the city and the region, and sometimes further afield. It has been presumed that these artists were based in the city.

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  Statues of Livia and Tiberius, c. 30 AD, now in the National Archaeological Museum of Spain

   

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  Odysseus and the Sirens on a Paestum vase in Berlin

   

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  Krater of about 360 BC, now Getty Villa, California

   

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  « Bell-krater with an Elderly Satyr Followed by Young Dionysos », by the « Python » painter, Los Angeles County Museum of Art

National Archaeological Museum at Paestum

The highlights of the national museum at Paestum are mentioned above: the Sele metopes, the Tomb of the Diver, and the contents of the Heroon. The displays also show a number of large painted terracotta architectural fragments from the temples and other buildings, many Greek terracotta figurines, and incomplete larger terracotta statues, and pottery including painted vases.

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  Sele metope with Heracles killing the giant Alcyoneus

   

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  Head of a lioness, Temple of Hera

   

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  Painted terracotta from the Temple of Athena

   

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  Hellenistic Greek terracotta figurines

History

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Overview of Paestum, 1769

Foundation

According to Strabothe city was founded as Poseidonia (named after the Greek deity of the sea) by Greek Achaeans from Sybaris. The colonists had built fortifications close to the sea, but then decided to found the city farther inland at a higher elevation.^[11] The fortifications might have been built to the south of Poseidonia on the promontory where Agropoli is now. According to the historical tradition the sanctuary to Poseidonwas located there, after which the city would have been named. The date of Poseidonia’s founding is not given by ancient sources, but the archaeological evidence gives a date of approximately 600 BC.^[12]

Alternatively in fact, the Sybarites may have been Troezenians. Aristotle wrote that a group of Troezenians was expelled from Sybaris by the Achaeans after their joint founding of that city.^[13]Gaius Julius Solinus calls Paestum a Doriancolony^[14] and Strabo mentions that Troezen once was called Poseidonia.^[15] As a consequence it has been argued that Paestum was founded by the Troezenians referred to by Aristotle.^[16]Another hypothesis is that the Sybarites were aided by Dorians in their founding of Poseidonia.^[12]

Greek period

Rape of Europa from a krater, 350–340 BC

Archaeological evidence from Paestum’s first centuries indicates the building of roads, temples, and other features of a growing city. Coinage, architecture, and molded votive figurines all attest to close relations maintained with Metaponto in the sixth and fifth centuries.^[17]

It is presumed that Poseidonia harbored refugees from its mother city, Sybaris, when that city was conquered by Croton in 510 BC. In the early fifth century, Poseidonia’s coins adopted the Achaean weight standard and the bull seen on Sybarite coins. A. J. Graham thinks it was plausible that the number of refugees was large enough for some kind of synoecism to have occurred between the Poseidonians and the Sybarites, possibly in the form of a sympolity.^[18]

Poseidonia might have had a major share in a new foundation of Sybaris, which lasted from 452/1 BC until 446/5 BC. This is suggested by the great resemblance of the coins of Sybaris to those of Poseidonia during this period. Possibly a treaty of friendship between Sybaris, its allies, and the Serdaioi (an unknown people) dates to this new foundation, because Poseidonia was the guarantor of this treaty.^[19][20]

Lucanian period

Fresco of chariot race and the winning post, third century BC, in the museum

It is not until the end of the fifth century BC that the city is mentioned, when according to Strabo, the city was conquered by the Lucanians. From the archaeological evidence it appears that the two cultures, Greek and Oscan, were able to thrive alongside one another.

Roman period and abandonment

What is known is it later became the Roman city of Paestum in 273 BC after the Graeco-Italian Poseidonians sided king Pyrrhus of Epirus, who lost in his war against republican Rome during the first quarter of the third century BC.

During the Carthaginian invasion of Italy by Hannibal, the city remained faithful to Rome and afterward, was granted special favours such as the minting of its own coinage. The city continued to prosper during the Roman imperial period and became a bishopric as the Roman Catholic Diocese of Pesto around 400 AD.

It started to go into decline between the fourth and seventh centuries AD, and was abandoned during the Middle Ages. The bishopric was suppressed in 1100. Like Naples and most of the surrounding region, the inhabitants presumably spoke a Greek dialect throughout its history. The decline and desertion were probably due to changes in local land drainage patterns, leading to swampy malarial conditions. Raids by « Saracen » pirates and slavers also may have been a deciding factor. The remaining population seems to have moved to the more easily defended cliff-top settlement at Agropoli (i.e. « acropolis » or « citadel » in Greek), a few kilometres away, although this settlement became a base for Muslim raiders for a period. The Paestum site became overgrown and largely forgotten, although some stone spolia were collected and used in Salerno Cathedral by Robert Guiscard (d. 1085).

Rediscovery

One of Giovanni Battista Piranesi‘s etchings, 1778

Part of the wall and the three temples, 1837

Despite stray mentions such as that in the history of Pietro Summonte in 1524, who correctly identified the three Doric temples as such, its ruins only came to wide notice again in the eighteenth century,^[21]following the rediscovery of the Roman cities of Pompeii and Herculaneum, and during the construction of a new coastal road south from Naples. The modern settlement had begun to revive by at least the sixteenth century, to the side of the ancient ruins. After a complicated start, the rediscovery of the three relatively easily accessible, and early, Greek temples created huge interest throughout Europe. Prints of artworks by Giovanni Battista Piranesi (1778) and others were widely circulated.^[22] The complete and relatively simple form of the temples became influential in early Greek Revival architecture.

In 1740 a proposal was made, but not executed, to remove columns for the new Palace of Capodimonte in Naples. Initially, eighteenth-century savants doubted that the structures had been temples, and it was suggested variously, that they included a gymnasium, a public basilicaor hall, or a « portico« .^[21] There also was controversy and misunderstanding of their cultural background. Alessio Simmaco Mazzocchi, a clergyman and antiquarian, « the founder of the modern study of Magna Graecia » (the ancient Greeks in Italy),^[23] thought they were Etruscan, in line with his theories that Greek colonists merely had joined existing cultures in Italy, founded by peoples from farther east.^[24] He derived the etymology of « Poseidonia » from an invented Phoenician sea deity.^[25]

The first modern published account of the ruins was Les Ruines de Paestum in 1764, by G. P. M. Dumont, who had been taken to the site in 1750, along with the architect Jacques-Germain Soufflot, by Count Gazzola, an engineer for the government in Naples. Gazzola had drawn or commissioned measured drawings, to which Dumont added his own, as well as, more artistic plates. There was an expanded edition in 1769, the same year when a still more extensive account was published by the Englishman Thomas Major. By 1774 there were nine different illustrated publications on the site.^[26]

Second World War

A company of soldiers set up its office between the columns (Doric) of the Temple of Hera II (c 1943)

On September 9, 1943, Paestum was the location of the landing beaches of the U.S. 36th Infantry Division during the Alliedinvasion of Italy. German forces resisted the landings from the outset, causing heavy fighting within and around the town. Combat persisted around the town for nine days before the Germans withdrew to the north. The Allied forces set up their Red Cross first aid tents in, and around, the temples since the Temples were « off limits » to bombing by both sides.^[27]

Coins

Giacobbe Giusti, PAESTUM

Nomos of Poseidonia, c. 530–500 BC. Poseidon is seen wielding a tridentwith a chlamys draped over his arms.

The coins of Paestum begin about 550 BC. These early issues were perhaps all festival coins. They usually have Poseidon with upraised trident. Issues continue until the reign of Tiberius. For unknown reasons Paestum alone of all the smaller Italian mints, was allowed to continue minting bronze coins by a Senatorial decree of about 89 BC, after this had been centralized. Later coins carry « P. S. S. C. », standing for « Paesti Signatum Senatus Consulto » to reflect this.^[28]

In fiction

Fresco from the « Tomb of the Black Rider », Lucanian period

• Gate to the Sea, a historical novel by Bryherpublished in 1958, portrays the flight of Harmonia, a Greek high priestess, from Poseidonia (Paestum), where the Greek inhabitants have been enslaved and culturally dominated by the Lucani since the death of Alexander the Great in 323 BC
• In the novel My Antonia by Willa Cather, the professor Gaston Cleric contracts a fever after spending the night outdoors admiring « the sea temples at Paestum »
• In the film Mare Nostrum (film) by Rex Ingram (director), they visit Paestum
• In the 2007 video game Medal of Honor: Airborne, the second mission takes place in Paestum
• Jason and the Argonauts (1963 film)

• Architecture of Ancient Greece
• Roman Catholic Diocese of Pesto
• Greek temple
• List of ancient Greek temples
• List of Greco-Roman roofs
• List of archaeological sites sorted by country

References

1. Jump up^ Cancik, Hubert; Schneider, Helmuth (eds.). « Poseidonia, Paistos, Paestum ». Brill’s New Pauly. Brill Online. Retrieved 5 November 2013.
2. Jump up^ Indeed, they very often are used to illustrate the style in architectural books.
3. Jump up^ « The early temple of Hera, known as the ‘Basilica’ »
4. Jump up^ « The temple of Athena »
5. Jump up^ « Ancient Greek Temples at Paestum, Italy ». smARThistory at Khan Academy. Retrieved December 18, 2012.
6. Jump up^ Two possible reconstructions here
7. ^ Jump up to:^a b « The Greek town at Paestum »
8. Jump up^ Rebecca Miller Ammerman, « The Naked Standing Goddess: A Group of Archaic Terracotta Figurines from Paestum », American Journal of Archaeology 95.2 (April 1991), pp. 203–230.
9. Jump up^ Holloway, R. Ross (2006). « The Tomb of the Diver ». American Journal of Archaeology. 110(3): 365–388. JSTOR 40024548.
10. Jump up^ http://www.paestum.org.uk « The Sanctuary at the mouth of the River Sele »
11. Jump up^ Strabo, Geographica 5.4.13
12. ^ Jump up to:^a b Cerchiai, Jannelli & Longo 2004, p. 62.
13. Jump up^ Aristotle, Politics, 5.1303a.20
14. Jump up^ Gaius Julius Solinus, De mirabilibus mundi2.10
15. Jump up^ Strabo, Geographica 8.6.14
16. Jump up^ Hall, Jonathan M. (2008). « Foundation Stories ». In Tsetskhladze, Gocha R. Greek Colonisation: An Account of Greek Colonies and Other Settlements Overseas. 2. Leiden: Brill. p. 391. ISBN 978-90-04-15576-3.
17. Jump up^ Ammerman, Rebecca Miller (2002-01-01). Il Santuario Di Santa Venera a Paestum. University of Michigan Press. p. 48. ISBN 0472108999.
18. Jump up^ Graham, A. J. (1999). Colony and Mother City in Ancient Greece. Manchester, England: Manchester University Press. p. 114. ISBN 978-0-7190-5739-7.
19. Jump up^ Diodorus Siculus (2006). Green, Peter, ed. Books 11–12.37.1: Greek History 480-431 B.C., the Alternative Version. Austin, Texas: University of Texas Press. p. 173. ISBN 978-0-292-71277-5.
20. Jump up^ Rutter, N. K. (1970). « Sybaris—Legend and Reality ». Greece and Rome. 17 (2): 168–176. doi:10.1017/S0017383500017836. JSTOR 642759.
21. ^ Jump up to:^a b Ceserani, 60
22. Jump up^ Piranesi’s full title was Differentes vues de quelques restes de trois grands édifices qui subsistent encore dans le milieu de l’ancienne ville de Pesto autrement Possidonia, et qui est située dans la Lucanie, 1778
23. Jump up^ Ceserani, 49–66, 49 quoted
24. Jump up^ Ceserani, 52–59, 62
25. Jump up^ Ceserani, 62
26. Jump up^ Wilton-Ely, 118; Ceserani, 60–65
27. Jump up^ Photo
28. Jump up^ « Poseidonia » in Historia Numorum

Sources

• Cerchiai, Luca; Jannelli, Lorena; Longo, Fausto, eds. (2004). The Greek Cities of Magna Graecia and Sicily. Translated from Italian by the J. Paul Getty Trust. Los Angeles, CA: Getty Publications. ISBN 978-0-89236-751-1.
• Ceserani, Giovanna, Italy’s Lost Greece: Magna Graecia and the Making of Modern Archaeology, 2012, Oxford University Press, ISBN978-0-19-987679-2, Google books
• Wilton-Ely, John, The Mind and Art of Giovanni Battista Piranesi, 1978, Thames & Hudson, London, ISBN0-500-09122-6

Further reading

• Amato, Vincenzo (2009). « Geomorphology and geoarchaeology of the Paestum area: modifications of the physical environment in historical times ». Méditerranée (112). doi:10.4000/mediterranee.3376.
• Bunbury, Edward Herbert (1854). « Paestum ». In Smith, William. Dictionary of Greek and Roman Geography.
• Cipriani, Marina (1996). The Lucanians in Paestum. Sirene. 1. Paestum: Fondazione Paestum. ISBN 978-88-86884-02-0.
• Greco, Emanuele (2006). Archaeological and Historical Guide to the Excavations, the Museum and the Antiquities of Poseidonia and Paestum. Taranto: Scorpione editrice.
• Greco, Emanuele (1993). Paestum: A Guide with Reconstructions of Ancient Monuments. Past & Present (in Italian). 171. Vision SRL. ISBN 978-88-8162-016-6.
• Higginbotham, James (2012). « Paestum (Poseidonia) ». The Encyclopedia of Ancient History. Blackwell Publishing Ltd. doi:10.1002/9781444338386.wbeah16104. ISBN 978-1-4443-3838-6. Retrieved 5 November 2013.
• Horsnaes, Helle W. (2002). The Cultural Development in North Western Lucania c. 600–273 BC. Analecta Romana Instituti Danici Supplementum. 28. Rome: L’Erma di Bretschneider. ISBN 978-88-8265-194-7.
• Pedley, John Griffiths (1990). Paestum: Greek and Romans in Southern Italy. New Aspects of Antiquity. London, England: Thames & Hudson. ISBN 978-0-500-39027-6.
• Strabo, Geographica6.1
• Wonder, John W. (2002). « What Happened to the Greeks in Lucanian-Occupied Paestum? Multiculturalism in Southern Italy ». Phoenix. 56(1/2): 40–55. JSTOR 1192469.

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Giacobbe Giusti, パエストゥム

パエストゥム Paestum
行政
国:	イタリア
州:	カンパニア
県:	サレルノ
コムーネ:	カパッチョ＝ペストゥム
市外局番:	0828
CAP（郵便番号）:	84063
人口
人口:	1,000 (概算)人 ()
文化
住人の呼称:	Pestani
地理
座標:	北緯40度25分0秒東経15度0分0秒座標: 北緯40度25分0秒 東経15度0分0秒
標高:	海抜 6 m
パエストゥムの位置
ポータル イタリア
テンプレートを表示 Giacobbe Giusti, パエストゥム

パエストゥム ネプトゥヌスの神殿

パエストゥム (Paestum) は、イタリア南部カンパーニア州サレルノ県カパッチョ＝ペストゥムにある古代ギリシア、古代ローマ遺跡。 1998年には、ユネスコ世界遺産に登録された。

パエストゥムとはポセイドニア（Poseidonia）が訛ったもので、イタリア読みでは「ペストゥム」が近い。

ポセイドニアは、海の神ポセイドンの町の意味である。紀元前550年ごろゼウス神の伴侶でオリュンピアの女王ヘラのための神殿建築が行なわれた。このヘラ神殿は古典的周柱式神殿のひとつである。その100年後ぐらいに町の主神ポセイドンのための神殿が建てられた。

ポセイドニアの発掘調査で出土したケイロンの石柱は古代ギリシア美術では見られないほど粗削りで古風である。この石柱は香を焚いたり、捧げものを焼いたりする台またはその一部分であったと考えられる。

イタリアのサレルノ湾の南端に、のちになってローマ時代にパエストゥムと呼ばれるようになるポセイドニアのギリシャ植民都市の遺構がたっている。この町平面は直交格子によって構成ており、この格子の中央の大きな長方形の中に、アゴラといくつかの聖域とがあった。例外的なほど保存のよい三つのドリス式神殿が今でもたっている。南の方は土地が低く、そこにヘーラー女神に捧げられた二つの建物が同じ方向を向いてたがいに接近しておかれている。土地が高まっている北方にはアテーナー女神に捧げられた神殿がある諸神殿の方向は都市の格子と平行でない。スカリは二つのヘーラー神殿の方向のわずかなずれを海岸平野の東にある錐状をなす険しい丘に合わせたのであると、たくみに分析している。彼は二つの神殿がどのように「聖なる景観に向かって特別なパースペクティヴを創造している」かを示し、「しかしこのように、ヘーラーの諸神殿はこの都市の、大地および女神との結合を祝おうとしたのである」とのべている。他方、アテーナー神殿は景観の上方にたち上がっている。そして町に近づく船から見ると、もっとも高い所にあってもっとも顕著に上方を志向しているアテーナー神殿は、ほかの諸神殿以上に山なみに対抗し、この都市が、、、このポリスが、暗黒の諸力に満ち諸法則で限られた自然界の恐怖から人々を解放する手助けをしたのであろうという事実を言明している。

ウィキメディア・コモンズには、パエストゥムに関連するメディアがあります。

表 話 編 歴 イタリアの世界遺産 文化遺産 ヴァルカモニカの岩絵群 ローマ歴史地区、教皇領とサン・パオロ・フオーリ・レ・ムーラ大聖堂（バチカン市国と共有） レオナルド・ダ・ヴィンチの『最後の晩餐』があるサンタ・マリア・デッレ・グラツィエ教会とドメニコ会修道院 フィレンツェ歴史地区 ヴェネツィアとその潟 ピサのドゥオモ広場 サン・ジミニャーノ歴史地区 マテーラの洞窟住居と岩窟教会公園 ヴィチェンツァ市街とヴェネト地方のパッラーディオのヴィッラ シエーナ歴史地区 ナポリ歴史地区 クレスピ・ダッダ フェラーラ：ルネサンス期の市街とポー川デルタ地帯 カステル・デル・モンテ アルベロベッロのトゥルッリ ラヴェンナの初期キリスト教建築物群 ピエンツァ市街の歴史地区 カゼルタの18世紀の王宮と公園、ヴァンヴィテッリの水道橋とサン・レウチョの邸宅群 サヴォイア王家の王宮群 パドヴァの植物園（オルト・ボタニコ） ポルトヴェーネレ、チンクエ・テッレと小島群（パルマリア島、ティーノ島、ティネット島） モデナの大聖堂、トッレ・チヴィカとグランデ広場 ポンペイ、ヘルクラネウム及びトッレ・アンヌンツィアータの遺跡地域 アマルフィ海岸 アグリジェントの考古的地域 ヴィッラ・ロマーナ・デル・カサーレ スー・ヌラージ・ディ・バルーミニ アクイレイアの遺跡地域と総大司教座聖堂のバシリカ ウルビーノ歴史地区 パエストゥムとヴェーリアの考古遺跡群やパドゥーラのカルトゥジオ修道院を含むチレントおよびヴァッロ・ディ・ディアーノ国立公園 ヴィッラ・アドリアーナ (ティヴォリ) ヴェローナ市街 アッシジ、フランチェスコ聖堂と関連修道施設群 ティヴォリのエステ家別荘 ヴァル・ディ・ノートの後期バロック様式の町々 ピエモンテ州とロンバルディア州のサクリ・モンティ ヴァル・ドルチャ チェルヴェーテリとタルクイーニアのエトルリア墓地遺跡群 シラクサとパンターリカの岩壁墓地遺跡 ジェノヴァのレ・ストラーデ・ヌオーヴェとパラッツィ・デイ・ロッリ制度 レーティッシュ鉄道アルブラ線・ベルニナ線と周辺の景観（スイスと共有） マントヴァとサッビオネータ イタリアのロンゴバルド族:権勢の足跡 (568-774年) アルプス山脈周辺の先史時代の杭上住居群（ほか5か国と共有） トスカーナ地方のメディチ家の邸宅群と庭園群 ピエモンテのブドウ畑の景観:ランゲ＝ロエーロとモンフェッラート パレルモのアラブ＝ノルマン様式建造物群およびチェファル大聖堂（英語版）、モンレアーレ大聖堂 15世紀から17世紀のヴェネツィア共和国防衛施設群 : スタート・ダ・テーラと西スタート・ダ・マール（ほか2か国と共有） 自然遺産 エオリア諸島 ドロミーティ サン・ジョルジョ山（スイスと共有） エトナ山 カルパティア山脈などの欧州各地のブナ原生林群（ほか11か国と共有） 世界遺産 危機遺産一覧 抹消 締約国の地域区分と一覧 ヨーロッパの世界遺産 イタリアの世界遺産 五十音順  ウィキメディア・コモンズには、イタリアの世界遺産に関するカテゴリがあります。

 

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http://www.giacobbegiusti,com