New Trends in the New Books on Ancient Art, 1958-1964 Bieber, Margarete Greek, Roman and Byzantine Studies; Summer 1965; 6, 2; ProQuest pg. 75 New Trends in the New Books on Ancient Art, 1958-1964 Margarete Bieber TABLE OF CONTENTS FOREWORD I PRE-GREEK ART 1. Oriental Art 2. Crete and Mycenae II GREECE 1. Archaic Period 2. Vase Painting 3. Handbooks 4. Architecture III REPRINTS IV ETRURIA V ROMAN ART 1. Comprehensive Books 2. Roman Provinces 3. Architecture 4. Sculpture 5. Painting and Mosaic VI CATALOGUES OF MUSEUMS AND EXHIBITIONS CONCLUSION Foreword Page 76 76 77 78 78 79 82 88 89 93 96 96 100 107 115 116 120 141 THERE HAS BEEN AN ENORMOUS OUTPUT of books on ancient art since I reported on publications appearing between 1952-1957.1 Librarians, classicists, historians, and art lovers have asked me from time to time which of this flood of books they ought to buy for their libraries or their private reading. I thought it desirable, therefore, 1 CW 52 (1958) 72-75. 75 76 NEW TRENDS IN THE NEW BOOKS ON ANCIENT ART, 1958-1964 to compile a kind of critical bibliography of the best books which have appeared in the last six years. In the following survey, I have included those which I consider most important among works available to me, and I have mentioned a few of which I have at least seen a favourable review. I have arranged these books according to subject, giving pre­ ference to good surveys of larger fields. I have excluded encyclopedias, articles in periodicals, and reports on excavations. Individual scholars may take exception to my inclusions and omissions, and I should be happy to see supplements to this necessarily limited review. I. Pre-Greek Art 1. Oriental Art Oriental art has been studied in its own right for a long time, but in contrast to Egyptian art, whose importance to pre-Greek and Greek art has always been stressed, the relations between the Orient and the peoples around the Mediterranean have only recently received due attention. Two books in German are of preeminent importance. The Turkish scholar Ekrem Akurgal has investigated the art of Anatolia from Homer to Alexander the Great.2 This history of Ana­ tolia is well-illustrated, and makes full use of the extensive findings of scientific excavation in the twentieth century. The last part of the book is devoted to Greek art in Anatolia and the interpenetration of Greek and Anatolian civilizations which prepares the way for cultural fusion in the Hellenistic period. Edith Porada, in collaboration with Robert H. Dyson and Charles K. Wilkinson, has written a comprehensive and excellent survey of the pre-Islamic period in Persia from the neolithic period of about 6000 B.C. to the Arab conquest in the seventh century A.D.3 Chrono­ logical tables (pp. 244-251) provide a comparison of the complex his­ tory of Iran with contemporary events in Egypt, Mesopotamia, and Anatolia. of particular importance to classicists are the eighth and seventh centuries B.C., when during the so-called Orientalizing Period I Ekrem Akurgal, Die Kunst Anatoliens von Homer bis Alexander (de Gruyter, Berlin 1961): pp. ix and 380, figs. 264, pIs. 8 with 28 figs. and 12 color reproductions, one map; OM 68= ca. $17. See review by Rodney Young, in AJA 64 (1961) 73-77. 3 Edith Porada, Alt-Iran. Die Kunst in vorislamischer Zeit, unter Mitarbeit von R. H. Dyson, mit Beitragen von C. K. Wilkinson [= Die Kunst der Welt. Die aussereuropiiischen Kulturen. 1] (Holle Verlag, Baden-Baden 1962): pp. 287, 61 color pIs. and 121 drawings. Trans!. into French: Iran ancien (Editions Albin Michel, Paris 1963). MARGARETE BIEBER 77 in Greece as well as in Etruria, stylized animals and plant forms from the Orient began to influence the geometric style. Of equal interest is the period of the Achaemenids, especially from the time of Darius to the Greek conquest (522-330 B.C.), when Greeks and Persians were not only enemies, but in artistic contact and exchange with each other (pp. 134-177). The Seleucids (281-64 B.C.), as inheritors of Alexander the Great, tried to combine Oriental and Greek civiliza­ tions in Asia (pp. 178-180). It is unfortunate that we do not yet know enough of their monuments. Finally, the Romans predominated in Asia and during the later Empire came under the spell of Oriental art. An English edition of this book, incorporating corrections and revisions, has been promised for the near future. 2. Crete and Mycenae We owe our knowledge of pre-Greek art in Crete in large measure to the excavations of Sir Arthur Evans. The six volumes of Evans' publication of The Palace of Minos at Knossos, which appeared between 1921 and 1936, aroused a storm of enthusiasm for this marvelous civilization until then unknown. Cretan art is not only fundamentally different from but aesthetically superior to Egyptian and Oriental art. Georg Karo was from the beginning a close observer of this newly­ discovered civilization and an important contributor to the vast literature which sprang up as a consequence of the many problems surrounding Minoan art. I remember his guided tours for Fellows of the German Archaeological Institute, whose director he became. They introduced us to this new civilization in the same clear and competent manner that I now find in his last book, written when he was 88 years old.' It is the best first introduction to Cretan art I know. The title Griffins at the Throne, taken from the wall-painting of winged griffins flanking an alabaster throne in the so-called throne-room at Knossos (Karo fig. 3), is perhaps too narrow. The book deals with the palace as a whole-its architecture, cult-rooms, and wall paintings-as well as with sculpture, vases, sarcophagi, sealstones, gems, and jewelry. The periods covered extend from ca. 3000 to 1000 B.C., comprising the neolithic down to 2600; early Minoan (2600-2200), middle Minoan (2000-1500), when the earliest palaces were built, wall painting and pottery flourished, and great treasures of ivory and bronze amassed; 4 Georg Karo, Greiftn am Thran, Erinnerungen an Knossas (Bruno Grimm, Baden-Baden 1959); pp. 131,85 ills. from unpublished photographs by Friedrich Hewicker. 78 NEW TRENDS IN THE NEW BOOKS ON ANCIENT ART, 1958-1964 late Minoan (1500-1150), when the palace style of ceramics and writ­ ing developed; and finally, the sub-Minoan period (1150-1100), when the Minoan style was replaced by the Greek geometric style. Time­ tables for Crete and the Greek mainland (pp. 118-119) allow chrono­ logical comparisons between the development of the Minoan and Mycenaean civilizations. Karo deals with all aspects of his subject in a concise and masterly way. While the book is illustrated largely with well-known objects, all photographs have been newly taken, and some of the latest discoveries are included as well. Some more recent bibliography is provided in the notes (pp. 122-126). II. Greece 1. Archaic Period The earliest great era of Greek art, the Archaic period, is now a favorite of archaeologists and art lovers. The first scholarly book to arouse interest in this period was Gisela Richter's book on Kouroi which appeared in 1942 and dealt with the most frequent type of life­ size human figures in early Greek art. It was soon out of print and has been brought out in a new, much enlarged edition with about forty more kouroi added, and a new chapter on the kouroi of the early classical period down to 460 B.C.5 Detailed analysis of the consecutive development of anatomical knowledge, resulting in increasing naturalism in general structure as well as in every part of the body, has been of use in dating not only the kouroi but also related works. Gisela Richter has used a similar method in her examination of archaic Attic gravestones, the Martin Classical Lectures delivered at Oberlin College in 1942 and published in 1944. Her own studies and those of other scholars, particularly the excavations of Georg Karo in the Kerameikos,6 led her to rewrite her book and publish it in a beautiful and enlarged form 7 with an Appendix by Margherita Guarducci devoted to the inscriptions on gravestones. The second most frequent type in archaic sculpture is the kore, the female counterpart of the kouros. The fully dressed female statue is found in Attica and Magna Graecia, but most commonly in Ionia. 5 Gisela M. A. Richter, Kouroi. Archaic Greek Youths, a Study of the Development of the Kouros Type in Greek Sculpture (Phaidon Press, London 1960): pp. 342, 590 ills. 6 Georg Karo, An Attic Cemetery. Excavations in the Kerameikos at Athens (Philadelphia 1943). 7 Gisela M. A. Richter, The Archaic Gravestones of Attica (Phaidon Press, London 1961): pp. 184,216 ills. She is preparing a book on Korai. MARGARETE BIEBER 79 The excavations of Wiegand, Buschor and other German scholars in Samos, Miletus and Didyma brought to light numerous archaic statues of standing and seated women. Many of these found their way into the Berlin Museum. Carl Blumel, director of the Ancient and the Pergamon Museums, published in 1941 a catalogue comprising twenty archaic sculptures in the Berlin State Museum. Among them are such celebrated masterpieces as the early archaic standing god­ dess from Attica, the late archaic seated goddess from Tarentum, and the head of the little girl from a stele with a boy and his sister in the Metropolitan Museum of Art in New York. A new catalogueS has added much newer literature and about fifty other archaic pieces, many of them from Asia Minor. While some of these have been pub­ lished elsewhere, for example those from Samos in Buschor's Samische Standbilder, the last six items are unpublished fragments from Myus, among them twenty-one fragments from a chariot race dated from the middle of the sixth century B.C. Although the book is essentially a catalogue, it contains careful interpretations and dating, together with such extensive comparisons with other archaic sculpture and such rich bibliographies that it can be used as a handbook for the entire period. 2. Vase Painting Among the greatest achievements of the Greeks are representative drawings on vases. The Mycenaeans decorated their vases with flowers and marine life. During the later geometric style, funeral and battle scenes were added to the repertory of abstract patterns. In the orientalizing period stylized animals were included in addition to stylized rosettes and palmettes, but human figures in scenes from mythology and daily life do not regularly appear until the archaic period in the sixth century on Attic vases decorated in the black­ figured style. The transition to the redfigured style around 530 B.C. further expanded the possibilities of vase-painting and until the end of the fifth century vases probably maintained the same high artistic standard as contemporary wall and panel paintings. The study of Attic Red-Figure Vase-Painters has been a life-long work of the eminent 8 Carl Blume!, Die archaisch griechischen Skulpturen in den Staatlichen Museen zu Berlin [= Abhandlungen der deutschen Akademie der Wissenschaften zu Berlin, Klasse fur Sprachen, Literatur und Kunst, 1962, no. 3] (Akademie-Verlag, Berlin 1963; 2nd ed. 1964): pp. 75, figs. 225; OM 75= ca. $19. See review by Bieber AJA 69 (1965) 186-188. 80 NEW TRENDS IN THE NEW BOOKS ON ANCIENT ART, 1958-1964 scholar Sir John Davidson Beazley, who published in 1942 a monu­ mental two-volume catalogue of these paintings. In 1963 he nearly doubled the size of this epoch-making work to three volumes, and the number of different painters which he distinguishes has grown from about 500 to almost 1000.9 The comprehensive nature of the treatment and the extensive indices make this an indispensable source of reference to anyone concerned with the field. In 1936, Gisela Richter published a model catalogue of the Red­ figured Athenian Vases in the Metropolitan Museum, using the earlier achievements of Beazley in identifying the various artists. The two beautifully illustrated volumes are too extensive and too expensive for general use, and in 1946 Miss Richter published a shorter survey which was replaced in 1958 by a revised edition.10 This is not only a guide to the collection in New York, but includes many other impor­ tant vases in other museums. The illustrations provide in most cases only details, but references are supplied to pictures of the entire vases. There is also an extensive bibliography, a general index, and a museum index. The Introduction discusses the ornaments, shapes, inscriptions, chronology, and technique used by the Athenian potters. The six chapters describe I, the Early Style, about 530-500; II, the ripe archaic style, about 500-475; III, the early Free Style, about 475-450; IV, the Free Style, about 450-420; V, the late fifth century style, about 420- 390; VI, the fourth century. Some black-figured vases, white-ground vases, and vases with relief are also mentioned. The book is most enjoyable and instructive. The works of Beazley and Richter have been followed by a rich crop of books on Greek vase painting. The change of emphasis from an interest in pure content to concern with artistic form is well des­ cribed in a small book by Hellmut Sichterman, who deals with the form, meaning, and artistic worth of the Greek vase.ll The excellent plates are, with the exception of one vase in Athens and one in the art market, all taken from vases in Italy, where Sichterman lives as director of the photographic department of the German Archaeolog- , John Davidson Beazley, Attic Red-Figure Vase-Painters, 2nd ed. (Clarendon Press, Oxford; Oxford University Press, New York 1963): 3 vols., pp. lvi and 2036, no ills.; $64.20. See review by Robert Scranton, CW 57 (1964) 307. 10 Gisela M. A. Richter, Attic Red-Figured Vases, A Survey, rev. ed. (Yale University Press, New Haven 1958). 11 Hellmut Sichterman, Die griechische Vase. Gestalt, Sinn und Kunstwerk (Bruno Hessling, Berlin 1963): pp. 74 with ZZ ills. MARGARETE BIEBER 81 ical Institute at Rome. The text discusses in general the question whether Greek vases are to be considered as works of artists or of artisans. Sichterman gives an historical survey of the attitudes of various individuals, periods, and types of scholars and laymen. In his own opinion the artistic value of a given vase is determined by the llleaning which the artist illlparts to the scenes with which he decor­ ates his vases, and results from the intimate connection between the function of the vase and its artistic intent. Robert M. Cook in his excellent book, Greek Painted Pottery,12 adopts a similar attitude: vase-painting is the creation of a harmonious unity with the pot to whose form it is adapted. The plates provide good illustrations of complete vases and some details and fragments. Cook reviews in detail the history of Greek vase painting from the early geometric of the tenth century B.C. to the Hellenistic period (Chapters I-VII). There follow chapters on the shapes of the vases, technique, inscriptions, chronology, and the pottery industry. Chapter XIII deals with the usefulness of vases for other studies: dating, commercial and political relations, daily life, religion, mythol­ ogy, and literature. The history of the scientific study of vase paint­ ing (Chapter XV, pp. 288-330) extends from the eighteenth century to Beazley. Lists of abbreviations, a good bibliography arranged according to chapters (pp. 334-358), list of museums and their cata­ logues (pp. 359-361), a glossary (pp. 364-370), and an extensive index (pp. 373-391), add to the usefulness of this book. The same period covered by Cook's book is dealt with in A History of 1000 Years of Greek Vase Painting. The text is by Paolo Enrico Arias, photographs and notes are by Max Hirmer.13 This is an imposing volume meant for a wide public of art lovers. The preliminary essay could serve as introduction for those who are new to the field. The beauty of the plates will enchant the layman as well as experts. The commentary, together with a descriptive catalogue, provides informa­ tion about daily life, dress, theater, athletics, manners, religion, heroes, shapes, techniques, craftslllanship and the artistic achieve­ ments of the Greeks. There are extensive notes (pp. 265-392), a select 12 R. M. Cook, Greek Painted Pottery (Methuen, London 1960): pp. xx and 391, figs. 44 in text and pis. 56. 13 Paolo Enrico Arias and Max Hirmer A History of 1000 Years of Greek Vase Painting (Harry N. Abrams, New York 1962): pp. 410; translated by Brian Shefton from the author's TausendJahre griechischer Vasenkunst (Munich 1960) pp. 135, pis. 292 of which 52 in color. 82 NEW TRENDS IN THE NEW BOOKS ON ANCIENT ART, 1958-1964 bibliography, a museum index and a good general index (pp. 397- 410). Martin Robertson has contributed the volume on Greek Painting in the Skira series, "The Great Centuries of Painting."14 His excellent text deals not only with vases, but also with wall paintings from Crete in the second millennium to those of Pompeii in the first century A.D. It is interesting to note that the archaic metopes from Thermon and Kalydon do not show marked differences in style from contemporary Protocorinthian vases. The vases may be ranked aesthetically even higher than the architectural paintings (see pp. 48-57). Some of the extraordinary vase paintings of the fifth century-the two ecstatic maenads of the Kleophrades painter, probably Epiktetos (pp. 100- 103), or the satyr who embraces a maenad on the early classical white­ ground cup in Taranto by the potter Euphronios and the Pistoxenos painter (pp. 112-114), for example, or the white ground lekythoi of the Achilles painter (pp. 136-145)-demonstrate the change from representation of doing to that of being, and a growing interest in space. One misses among the black-figured vase paintings the most important Fran~ois Vase, and among red-figured works the fine ·draftsman Douris. The fourth century might have been enriched by more mosaics from Pella and Olynthos, and the Hellenistic period by those from Pergamon and Pompeii and the pictures on marble from Herculaneum. (The latter, like the Alexander mosaic, are used in the companion volume on Roman Painting.) One regrets that the most important painting from the domed tomb chamber in Kazanlak in Bulgaria (ancient Thrace), although mentioned (p. 172), is not illus­ trated.15 The effective color plates give many details in addition to full views, and are only occasionally marred by an unconvincing garishness. 3. Handbooks The best and most complete Handbook of Greek Art has been published by Gisela Richter.16 It has replaced, or ought to replace, 14 The Great Centuries of Painting. Greek Painting, text by Martin Robertson (Skira, Geneva 1959): pp. 196 with 100 color pIs. in text, one map of Greek world. 15 Vassil Micoff, Ie Tombeau antique pres de Kazanlak [= Academie Bulgare des Sciences, Monuments de l'art en Bulgarie, I] (Sofia 1954): pp. 36, ills. in text 31, pIs. 35 (24 black and white, 11 in color). 16 Gisela M. A. Richter, A Handbook of Greek Art, 4th ed. (Oxford University Press, New York 1965): pp. 436, with 500 ills., 4 in color, maps ofItaly and Greek lands. MARGARETE BIEBER 83 the Handbook of Greek Archaeology by H. N. Fowler and J. R. Wheeler (1919), in its day the clearest presentation of Greek art in its many different forms but now out of date. The enormous development of archaeology in the last half century of our era has been fully utilized by Miss Richter. The personal styles of more and more Greek artists and schools have been differentiated, and the succession of styles has been correlated with historical events. Gisela Richter tells this story in a clear and fluent form. The illustrations are integrated with the text, and each caption has the exact or approximate date added. Emphasis is laid on chronological development and on the out­ standing specimens in each period. The book is based on an unusually broad and deep knowledge of Greek art in all its branches, from 1100 to 100 B.C. The sixteen chapters discuss 1. The Forerunners in the Stone and Bronze Age; 2. Architecture, divided into Building Materi­ als and Methods; Temples, divided into archaic period about 630-480 B.C., early classical period about 480-450, classical period in the second half of the fifth century, fourth century, and Hellenistic period. There follow altars, treasuries, tholoi, and a host of other architec­ tural forms. Similar completeness and organization appears in Chapter 3: Larger Works of Sculpture. The Sources of information (Pliny, Pausanias) are followed by uses, subjects, materials, techniques, and a chronological account similar to that for architecture but with greater preciSion in the subdivision of archaic art. In Chapter 4, statuettes (mostly bronze) and small reliefs in various materials, are discussed from the geometric period to the first century B.C., and later. Each object finds its exact place in the astonishing development of Greek art. Similar but broader subdivisions are used for Chapter 5, Decorative Metalwork; Chapter 6, Terracotta Statuettes and Small Reliefs; Chapter 7, Engraved gems; Chapter 8, Coins; Chapter 9, Jewelry; Chapter 10, Painting and Mosaic; Chapter 11, Pottery and Vase-Painting; Chapter 12, Furniture; Chapter 13, Textiles; Chapter 14, Glass and Glaze; Chapter 15, Ornament; Chapter 16, Epigraphy. The long Chapter 11 (pp. 279-358), prOVides a good general survey of Greek pottery and vase-painting from the geometric period to the Hellenistic age, but might have been improved by a more precise chronology. South Italian vases of the fifth and fourth centuries are treated by the foremost authority in this field, Arthur Trendall (pp. 347-353, figs. 463-471), who has classified these vases and their painters in the manner of Beazley. 84 NEW TRENDS IN THE NEW BOOKS ON ANCIENT ART, 1958-1964 Scholarly comments and references to the fundamental publica­ tions are found in the notes (pp. 383-387), in bibliographies for indi­ vidual chapters (pp. 388-398), and in the tentative chronology of Greek sculptural works from ca. 850 to 100 B.C. (pp. 399-412). A Glossary explains all technical and foreign words in clear English (pp. 413-414). A list of places with references to the illustrations (pp. 416-418), and an Index of names (pp. 419f) make this book as perfect and indispen­ sable for study, understanding and enjoyment of Greek art as any handbook could be. Three books published between 1959 and 1962 by Rhys Carpenter assume a general knowledge of Greek art. His approach-or rather, his approaches-are original and new. Always humanistic, Carpenter advances from an esthetic to a critical study, and finally to a considera­ tion of the formal evolution of style in Greek art. The Esthetic Basis of Greek Art appeared first in 1921 and has recently been revised and expanded with the addition of eight well-chosen illustrations and a topical index.1? Carpenter discusses in Chapter I the subject matter of Greek art, in II the forms of artistic presentation, III the esthetics of Greek sculpture, and IV the esthetics of Greek architecture. He examines Greek artistic procedures and the intellectual attitude of the ancient artists towards their craft. He defines fundamental esthetic problems and establishes principles which can be used in evaluating sculpture and architecture of all periods. In his book on Greek Sculpture Carpenter regards sculpture as an anonymous product of an impersonal craft.1s He stresses technical processes in various periods, and emphasizes the basic distinction between "plastic," or modelled sculpture, and "glyptic," or carved sculpture. His discussion includes I. The Beginnings; II. The Archaic Phase; III. Early Reliefs and Hollow Cast Bronzes; IV. Toward the Formation of a Classic Style; V. Temple Pediments; VI. High Classic; VII. Sculpture of the Third Century; VIII. The Renaissance of Classic Form; and IX. The Intrusion of Plastic Form. The sequence is not absolutely chronological, for the material discussed in each of the 17 Rhys Carpenter, The Esthetic Basis of Greek Art of the Fifth and Fourth Centuries B.C. (Indiana University Press, Bloomington 1959): pp. 177 with 8 ills.; $1.75 paperbound [= Midland Books, No. 19J, $3.50 clothbound. 18 Idem, Greek Sculpture. A Critical Review (University of Chicago Press, Chicago 1960): pp. xiv and 276, figs. in text 3, pIs. 47; $6.95. See the reviews of Evelyn Harrison, Archaeology 14 (1961) 219, and Margarete Bieber, AjA 66 (1962) 237-244. MARGARETE BIEBER 85 chapters overlaps. The rather difficult material is presented admi­ rably. The book demands and rewards careful reading. Carpenter's latest work on Greek Art is an extensive study of the formal evolution of style.19 As he says in his foreword (p. 7), the title ought to read: HA Study of the Formative Evolution of Artistic Style in the Three Major Arts of Painting, Sculpture and Architecture from their Inception in Greek Classical Times until the Mid-Hellenstic Period." Carpenter excludes the "minor arts" of ornamental metal work, terracotta figurines, coins, jewelry, because they would have obscured the main issue of his book. He is concerned only with the evolutionary phases of stylistic form. He includes, however, Attic Vase Painting, which he rightly considers part of the highest accom­ plishment of Greek art. Carpenter quotes plato and Aristotle for the assertion that sight is the keenest of our senses. He maintains that the Greek artist imitated not merely the image of the visible world, but reshaped it with the help of a remarkable sense for structural form. Carpenter proceeds to describe the following developments: the genesis of graphic form in engraved designs on geometric vases and figured plates; early geometric and archaic bronze figurines; the tectonic form of architecture and vases; the genesis of sculptural form during the archaic period; the early evolution of pictorial style in Attic black-figured vase painting; archaic sculpture in relief; Attic red-figured vase painting; the creation of the formal classical style in sculpture during the fifth century; the further development of pictorial style from the late fifth century to the Hellenistic period; the transition from formal style in sculpture to the naturalism of the Lysippean school; the evolution of architectural form in the Doric order; and finally the evolution of the Ionic order. This book is well illustrated, thoughtfully written, and it, too, rewards serious study. Raymond V. Schoder, S.j., during extensive travels has not only developed a profound love and understanding of Greek art, but has also acquired a large collection of color photographs of Masterpieces of Greek Art, many of which he has published in a most beautiful and enjoyable book.20 One hundred and twelve carefully and tastefully selected objects of major and minor arts, photographed from the 18 Idem, Greek Art. A Study oft/Ie Formal Evolution of Style (University of Pennsylvania Press, Philadephia 1962): pp. 256, figs. in text 54, pIs. 9; $12.50. 20 Raymond V. Schoder, S.J., Masterpieces of Greek Art (New York Graphic Society, Greenwich [Conn.] 1960): pp. 219, color pIs. 96, end paper maps; $12.50. 86 NEW TRENDS IN THE NEW BOOKS ON ANCIENT ART, 1958-1964 originals largely by the author himself, appear in the 96 color plates. only a few of which might be improved upon. In his short preface Schoder calls his book a Hprivate art gallery, with talking guide. It seeks both to delight and to instruct ... the COITlITlentaries discuss the objects' artistic qualities and supply useful background informa­ tion .... The hope is to bring the reader into direct personal experi­ ence of the vitality and beauty of Greek art, and to an understanding of its history" (p. ix). The author has indeed reached this goal. In an introductory essay (pp. 1-13), "Greek art: Its Ancient Story and Modern Relevance," Schoder gives an excellent survey of the scope and range of Greek artistic achievements, and reviews the his­ tory of Greek art from its origins to its decline. He sees the historic role of Greece in the fact that its unified culture of extraordinary quality injected into the life-stream of Western civilization elements which nourished its healthy growth and still contributes much to its vigor. We can, therefore, understand the vital principles of our culture only if we know and understand the fertile Greek element in it. The Greeks enjoyed thinking and honored reason. They admired things of the mind and the world of beauty. Their national ideal emphasized human worth, personal dignity, the joys of freedom, and fairness for all. They are the pioneers in democratic liberty. They sought to find the natural laws by which things exist and function as they do. Balance, clarity of form, beauty and truth were what they sought in life as well as in art. Not all periods reveal these classic qualities in the same way. In a rapid survey Schoder characterizes: the Mycenaean Age; the Geo­ metric Interlude; the Archaic Period; the Age of Transition; the Classical Plateau; the Hellenistic Revolution; Greece Captures Rome; the After-Glow; and finally, Greek Art and Ourselves. A useful com­ parative chronology of historical, literary, and artistic developments from the 29th century B.C. to Augustus (27 B.C.-A.D. 14) appears on pp. 16-20. The examples of architecture, sculpture, vases, painting, and other arts are drawn from the plates which provide a well­ balanced picture of Greek art, with the emphasis on the archaic and classical periods. The commentaries to each plate provide the name of the object, its provenance, date, present location, and a sensitive description of content and form, significance, and in many cases offer comparisons with literature. The general spirit, technique, workmanship, and style MARGARETE BIEBER 87 also are characterized. The author's wide knowledge combined with artistic understanding and love for Greek art make his book out­ standing as an introduction to the greatness and Significance of the unique civilization of the Greeks. The only flaw which I found is his misunderstanding of Greek dress-a defidency which he shares with most male archaeologists. He even manages to confuse the mantle (himation) with the main dress (chiton, see pI. 33). There are no foot­ notes, but a well-selected bibliography (pp. 14-15) can lead to further study. John Boardman has written the definitive modem book on Greek Art.21 This book is well-organized, and gives a comprehensive pic­ ture of the seven main periods of this fountain of European art: I. The beginnings and the geometric period; II. The orientalizing period; III. Archaic art; IV. Classical sculpture and architecture; V. Other arts in classical Greece, (figurines in terracotta and bronze, jewelry, gems, coins, and painting); VI. Hellenistic art; VII. The spread of Greek art to Etruria, Rome, and the other parts of Italy, ending with the Renaissance. Not only is each period excellently characterized, but also changes and the reasons for these changes are discussed. Most of the illustrations are taken from originals, with only a few copies. The text is written in an admirable style, and the material presented in a reliable and instructive form. The illustrations are well chosen and mostly well-reproduced. Elaborate captions supplement the text, and the list of plates (pp. 273-281) gives the present location of each work and the source of the illustrations. It is rare that a book is so perfectly integrated. The illustrations are always near the text in which they are discussed. There are no footnotes, but a well­ chosen select bibliography (pp. 271-272) indicates further reading in general or in special fields. A chronological chart from 1200 B.C., the end of the Mycenaean empire, to the foundation of the Roman Empire gives a concise survey of the geometric, orientalizing, archaic, classical, and Hellenistic periods for sculpture, architecture, vase painting, and other arts (pp. 268-269). A map of the Greek world shows the most important findspots of Greek art, and a good index is added (pp. 282-286). This fine book is the best choice for students and art-lovers who wish to gain a clear and comprehensive picture of Greek art. 21 John Boardman, Greek Art (Praeger, New York 1964): pp. 286, ills. in text 251 of which 38 are in color, one map; cloth $7.50, paper $3.95. 2-C.R.B.S. 88 NEW TRENDS IN THE NEW BOOKS ON ANCIENT ART, 1958-1964 The best and longest part of the book are the first three chapters (pp. 21-118). Here the author uses the special knowledge which he has demonstrated in a book on The Greeks Overseas.22 In this latter work he deals with the archaeological and literary evidence for the Greek colonies in foreign lands during the eighth, seventh, and sixth centuries B.C. He discusses separately the Mycenaean background, the adventures of the Greeks in the East, the Greeks in Egypt, in Italy, Sicily and the West, and finally in the North and on the Black Sea. The text is a mine of information for specialists in this field and is illustrated by line drawings and 24 plates. A comparison between the two books shows how much better a popular book is when based on research and solid scholarship. The same is true of teaching. Professor Boardman exemplifies the im­ portance of combining research and teaching, a phenomenon un­ fortunately all too rare. 4. Architecture A beautiful companion volume to the Arias-Hirmer book on Greek vase painting has appeared devoted to the history of Greek archi­ tecture: Greek Temples, Theaters and Shrines,23 with text by Helmut Berve and Gottfried Gruben and photographs and a foreword (pp. 7f) by Max Hirmer. Berve deals with the historical background of the architectural sites (pp. 9-122), dividing the material into I. Pan­ Hellenic Sanctuaries; II. Regional Sanctuaries; and III. Urban Sanc­ tuaries. Gruben, after I. an Introduction on the Doric Temple (pp. 303-315), deals with the specific features of the architecture itself in various parts of the Greek world: II. The Greek Mother Country; III. Magna Graecia; IV. Ionia and V. Pergamon (pp. 303-493). Between these two parts the 176 monochrome plates are printed as pp. 123- 300. They comprise general views of sites and detailed photographs of the remains, and include architectural sculptures from Athens, Aegina, Delphi, Olympia, the Argive Heraion, the temples of Athena Alea at Tegea and Apollo Epicurius at Bassae, Epidauros, Delos, .selinus, Akragas, Ephesos, and Pergamon. The purpose of the book, ,according to Hirmer, is not only to show the monuments which still ;:12 Idem, The Greeks Overseas [Pelican Original] (Penguin Books, Harmondsworth [Eng.] and Baltimore 1964): pp. 288, pIs. 24, ills. in text 75, maps 7; $1.45. 23 Helmut Berve and Gottfried Gruben, Greek Temples, Theaters and Shrines, photographs by Max Hirmer (Harry N. Abrams, New York [1963].): pp. 508, 154 line drawings in text. 36 color and 176 monochrome pIs. Cf n.13 above. MARGARETE BIEBER 89 stand as an expression of a living art, but also to reveal their actual purpose and to reconstruct them with words and in drawings. He emphasizes the fact that one must know the history, religion and mythology of the periods to which the buildings belong. The book amply meets all these requirements. Berve describes the religion, festivals, contests, usages and long history of the panhellenic sanc­ tuaries at Olympia, the international political importance of Delphi, and the contests at the Isthmus of Corinth, Nemea and Argos. There follow the regional sanctuaries: Eleusis with its mysteries, Dodona with its oracle of Zeus, the temples of Hera at Argos and Samos. The Apollo-sanctuaries of Delos and Didyma and the sanctuaries of Asklepios at Epidauros, Kos and Pergamon are compared. There fol­ low the local sanctuaries-Aegina, Bassae and Sunion-and the urban sanctuaries, providing an excellent introduction to the golden age of Greece: the Acropolis of Athens, citadel temples in Akragas (Agri­ gentum), Syracuse, Selinus, and such town sanctuaries as the Hephais­ teion and Olympieion of Athens, the temple of Apollo at Corinth, the temples at Paestum, at Foce del Sele, in Tegea, Sardis, Ephesos, and others in Selinus besides the citadel temples. Gruben, in the second part of the book, describes the architecture of temples, theaters and shrines in detail, with excellent and useful maps, and clear drawings of plans, restorations, elevations, and architectural details. The bibliography (pp. 495-499) includes important older as well as newer publications and the text shows that the author is familiar with both. Thus, for Eleusis not only Noack's study of Eleusis (1927) is used, but also the newest book by Mylonas, Eleusis and the Eleusinian Mysteries (1961). For Priene, Wiegand and Schrader's fundamental publication of 1904 and Gerkan's study of the theater (1921) are used, as well as Kleiner's article on Priene in RE XXIV (1960). For Pergamon, besides the monumental publication of Die Altertiimer von Pergamon, the newest book by E. Rohde, Der Altar von Pergamon (1960) is used as well as Boehringer, Neue deutsche Ausgrabungen in Mittelmeergebiet (1959). A glossary (pp. 500-502) of architectural and technical terms and an index (pp. 503-508) conclude this fine book. III. Reprints The great demand for good books on ancient art has led to the reprinting of some of the older standard books. The Schriftquellen, 90 NEW TRENDS IN THE NEW BOOKS ON ANCIENT ART, 1958-1964 ancient literary sources for the art history of the Greeks, collected by Johannes Overbeck almost a century ago, was reprinted without change in 1959. U Although additions would be desirable, the task of making this collection complete would require the collaboration of several philologists and archaeologists with specialized knowledge. In our period of specialization there is hardly anyone who could match the breadth of learning and interest cultivated by scholars of the nineteenth century. The courageous and enterprising new publishing house Argonaut, Inc., in Chicago, under the leadership of A. N. Oikonomides, has undertaken the task of republishing Furtwangler's Meisterwerke, using the English edition of 1895 translated by Mrs. Eugenie Sellers­ Strong.25 Oikonomides has added new photographic illustrations and a bibliography. On the other hand, he has deleted the appendix dealing with the topography and temples of the Acropolis, since more recent studies and discoveries have given us quite a different picture of this center of Greek art. The other standard work by Furtwangler is the monumental study, in three volumes, of ancient gems published in 1900 in Leipzig. This complete history of the art of gem-cutting in antiquity is now in the process of being reprinted in Holland. Vol. I has appeared, II and III are in preparation.26 Another celebrated book which has been recently reprinted is Heinrich Schliemann's Mykena, a report on his research and discover­ ies not only in Mycenae but also in Tiryns. Mycenae was excavated in 1876, and in 1878 the book appeared in German in Leipzig, and at the same time in English in London and New York, and in French U Johannes Overbeck, Die antiken Schriftquellen zur Geschichte der bildenden Kunste bei den Griechen (Leipzig 1868, reprinted Georg Olms, Hildesheim 1959). 25 Adolf Furtwangler, Meisterwerke der griechischen Plastik (Kunstgeschichtliche Unter­ suchungen, Leipzig-Berlin 1893): pp. 768, figs. in text 140. Transl. by Eugenie Sellers, Master­ pieces of Greek Sculpture (London 1895): pp. xxiii and 487, figs. in text 185, pIs. 18; Master­ pieces of Greek Sculpture, a Series of Essays on the History of Art by Adolf Furtwangler, ed. by A. N. Oikonomides, with 24 full-page plates and more than 280 text illustrations, new and enlarged ed. (Argonaut, Chicago 1964): pp. xvi and 439, ills. in text 176, pIs. 24 with 88 figs.; $20. 26 Adolf Furtwangler, Die antiken Gemmen, Geschichte der Steinschneide-Kunst im Altertum, 3 vols. (Adolf M. Hakkert, Amsterdam 1964-): I. Preface and plates, pp. xvi, pIs. 67; cloth­ bound, Hfl. 182. II. Beschreibung und Erklarung der Tafeln, pp. 300 with ills. III. Geschichte der Steinschneidekunst im klassischen Altertum, pp. xiii and 464, pIs. 3, in preparation. Complete set Hfl. 546. MARGARETE BIEBER 91 in Paris. The whole world was excited by news of these sensational discoveries, and the British politician Gladstone contributed a fore­ word to Schliemann's account. The reprint was published in Darm­ stadt in 1964 with a foreword by E. Meyer.27 Coins were for a long time of interest only to a small group of specialists and collectors, while philologists and archaeologists relied largely on Pausanias' Description of Greece for their information on many artists and their works. Two British scholars, F. Imhoof-Blumer and Percy Gardner, collaborated to produce a Numismatic Commentary to Pausanias, illustrating with representations on coins the statues of gods and heroes mentioned in the text. This prompted other archae­ ologists to study not only the statues but also portraits, altars, temples and other buildings on the coins in order to equate them with existing or lost monuments. The commentary first appeared as three articles in the Journal of Hellenic Studies, and was re-issued in a small edition which was soon exhausted due to the growing interest in ancient art. The same editor who has reissued Furtwangler's Masterpieces has also revised, enlarged and reissued this book.28 He has added a commentary on the coins of Athens, and has trans­ lated into English the quotations from Pausanias used by the older book. A good example of the usefulness of coins in art history is the little book by Edward Newell on Royal Greek Portrait Coins, published in 1937. This is an illustrated treatise on the portrait coins of the various Hellenistic kingdoms, containing historical discussions of the rulers, their coinage and mints. A reprint appeared in 1960, and is invaluable for the study of Hellenistic Portraiture from Philip of Macedon to the last descendants of the Ptolemies.29 Coins were used by Lady Evans to illustrate hairdress in the last 27 Heinrich Schliemann, Mykenii. &richt aber meine Forschungen und Entdeckungen in Mykenii und Tiryns, mit einer Vorrede von W. E. Gladstone, nebst zahlreichen Abbil­ dungen, PHinen und FarbendrucktafeIn, mehr ais 700 Gegenstande darstellend (Leipzig 1878). Reprinted with preface and bibliographical table by E. Meyer (Darmstadt 1964): pp. xxx and 447, ills. 549, pis. 21, 5 maps; DM 23.80= ca. $6. 28 F. Imhoof-Blumer and Percy Gardner, Numismatic Commentary to Pausanias [reprinted from articles injHS, 1885-1887] (London 1887): pp. 167, pis. 30. Reprinted as Ancient Coins Illustrating Lost Masterpieces of Greek Art, A Numismatic Commentary on Pausanias [Argonaut Library of Antiquities, ed. and enlarged by A. N. Oikonomides] (Argonaut, Chicago 1964): pp. Ixxx and 176, pIs. 32; $10. 29 Edward T. Newell, Royal Greek Portrait Coins (Wayte Raymond, New York 1937). Reprint published by Wehman Brothers, Hackensack, N.]. 92 NEW TRENDS IN THE NEW BOOKS ON ANCIENT ART, 1958-1964 of her six Chapters on Greek Dress (1893).30 Lady Evans included discussion on I. Homeric Dress; II. Dress in Historic Greece, Under­ garments of the Women; III. Dress of the Female Figures in the Acropolis Museum (meaning the archaic Korai); IV. Undergarments of the Men; V. Outergarments of Men and Women of Greece in Historic Times; VI. Girdles (meaning belts), Fabrics, Coverings for the Head and Feet, etc. Neither text nor illustrations show chrono­ logical sequence. In contrast, a book which appeared 15 years later by Ethel B. Abrahams on Greek Dress is a continuous account of the costume worn in ancient Greece from pre-Hellenic times to the Hellenistic Age.3! The illustrations are mostly from photographs, and there are some good diagrams of the basic form of Greek gar­ ments. The nine chapters deal with I. Pre-Hellenic; II. Homeric; ID. Doric; IV. Ionic Dress; V. discusses the development of the Ionic Himation on the basis of the Maidens of the Acropolis; VI. Materials and Ornamentation; VII. Hair and Head-Dress; VIII. Footgear; IX. The Toilet (grooming, cosmetics, ointment, vessels, mirrors, etc.). There are English and Greek indices. Both books have been combined in the Argonaut Library of Anti­ quities into one book: Ancient Greek Dress.32 Dr. Marie Johnson has added further photographs of sculpture and vase painting, a new introduction and bibliography. The older works, although out of date, are more useful than the new book by Iris Brooke, an authority on English clothing, entitled Costume in Greek Classic Drama (1962), which is illustrated only with drawings by the author.33 The drawings, taken directly from ancient vases and statuettes, are not only in bad style, but also contain many errors. While they are suggested as models for stage costume in presentations of ancient dramas, for which the author has a sincere admiration, they do not equal the fine and informative detail of the original Greek vases and paintings. Further, the author fails to dis­ tinguish the styles of the fifth century, the real classical period of drama, from fashions of earlier Homeric and archaic or later periods. 30 Maria Millington Evans, Chapters on Greek Dress, illustrated (Macmillan, London and New York 1893): pp. 84, ills. 74. 31 Ethel B. Abrahams, Greek Dress (John Murray, London 1908): pp. 135, figs. 54. 32 Maria Millington Evans and Ethel Abrahams, Ancient Greek Dress, ed. by Marie Johnson (Argonaut, Chicago 1964): pp. 256, ills. 127, pIs. 48; $7.50. 83 Iris Brooke, Costume in Greek Classic Drama (Theatre Arts Books, New York 1962): pp. 112, figs. 52; $6. MARGARETE BIEBER 93 In our time good photographs are indeed the only admissible illus­ trations, together with clear diagrams for the basic forms and drap­ ings of the garments. This reviewer has followed such a procedure in her two German books on ancient clothing, of which the Entwick­ lungsgeschichte, dealing with dresses from the pre-Greek to the Roman iITlperial age, is scheduled to be reprinted in 1965.34 Her two books on the theater, a systematic treatment in German and a historical one in English, The History of the Greek and Roman Theater (first published in 1939), provide, in my humble opinion, more authentic information on the different stage costumes worn in various periods of the long history of the Greek theater than Miss Brooke's Chapters IV-VI on dramatic costume, footwear, masks, headdress, etc.3S Another valuable reprint is Alois Riegl, Spatromische Kunstindustrie, published originally as a sumptuous folio in Vienna in 1901, and reissued in a more modest but handy edition in 1927. The later edition was reprinted in Germany in 1964.36 The book was planned as a publication of works of industrial art found in Austria-Hungary belonging to the period from Constantine the Great (A.D. 306-337) to Charlemagne (768-814). Riegl used this material to discuss in breadth and depth the problems oflate antique art. He saw a develop­ ment according to changing "Kunstwollen": that is, according to the changing objectives of artistic representation in various periods. He refused to admit any artistic decadence, even in products of the darkest periods. IV. Etruria Etruscan art has claimed the interest of an ever widening circle of scholars and art lovers in many countries. Tobias Dohrn has discussed the main features of Etruscan art.37 Luisa Banti has utilized purely 34 Margarete Bieber, Griechische Kleidung (Walter de Gruyter, Berlin 1928): pp. 100, pIs. 64. Idem, Entwicklungsgeschichte der griechischen Tracht (Gebruder Mann, Berlin 1934): pp. 64, pIs. 54,12 ills. in text. To be reprinted by the same publishers in 1965. 86 Margarete Bieber, Die Denkmiiler zum Theaterwesen im Altertum (Berlin und Leipzig 1920): pp. 212, figs. in text 142, pIs. 109. Idem, The History of the Greek and Roman Theater (Princeton University Press, Princeton 1939) with 566 ills.; 2nd ed. (Princeton 1961): pp. xiv and 343, with 866 ills., reprinted with a few corrections in 1964. 36 Alois RiegI, Spiitromische Kunstindustrie (Hof- und Staatsdruckerei, Wien 1901) with 23 color pIs. Reprinted by the Oesterreichische Staatsdruckerei, Wien 1927; reprinted in Darmstadt, 1964: pp. xiv and 420, ills. 116, pIs. 23, 2 of which are in color; DM 66= ca. $17. 37 T. Dohrn, Grundzuge etruskischer Kunst (Baden-Baden 1958). 94 NEW TRENDS IN THE NEW BOOKS ON ANCIENT ART, 1958-1964 archaeological evidence to reconstruct the world of the Etruscans.3S Knowing the field as no other scholar does, she distinguishes sharply the styles developed in the various Etruscan dties. Another Italian, C. M. Lerid, has collected new evidence for the art and dvilization of the Etruscans in a picture book.39 He describes and illustrates the more recent finds made at Cerveteri, Yuki, Tarquinia, and other sites. The French scholar, J. Heurgon, uses literary references, inscrip­ tions and monuments for presenting the daily life of the Etruscans.4o Axel Boethius and other members of the Swedish Institute in Rome describe in a beautifully illustrated volume the research conducted in San Giovenale and its environs.41 W. Llewelyn Brown in a book devoted to The Etruscan Lion, deals also with Etruscan sculpture as a whole.42 Georg Karo published two "wonder-birds" in private col­ lections in NewYork.43 They are among the most original creations of the Orientalizing period in Etruria. One in bronze is a rhyton and carries a centaur on its back; the other in terra cotta is a box and carries a rider on its cover. Among the earlier books on Etruscan civilization, the best is Etruscologia by Massimo Pallottino. Published first in 1942, a fourth edition was required by 1957, and the text has now been revised and enlarged with expanded critical notes and illustrations.u It deals with I. the position of the Etruscans in the history ofItaly and the Mediter­ ranean; II. various aspects of Etruscan dvilization: dties, cemeteries political and sodal organization, literature, art, life and dress; III. the problem of language. The most recent and, in my opinion, the best book on Etruscan art and dvilization is by Mrs. Emeline Hill Richardson.45 I consider this the definitive work on the Etruscans at the present time. It is in any case the most comprehensive general book written on the sub- 38 Luisa Banti, Il mondo degli Etrusci (Roma 1960). 3D C. M. Lerici, Nuove testimonianze dell' arte e della civilttl etrllsca (Milano 1960). 40 J. Heurgon, La Vie quotidienne chez les Etrusques (Paris 1961). 41 A. Boethius and other members of the Swedish Institute in Rome, Etruscan Cultllre, Lands and People (Columbia University Press, New York 1963). 42 W. Llewelyn Brown, The Etruscan Lion (Oxford 1960). 43 Georg Karo, Zwei etruskische WlIndervogel aus dem 8/7 Jahrhllndert (Bruno Grimm, Baden-Baden 1958): pp. 22, figs. 9. U Massimo Pallotino, Etrusco!ogia, 5th rev. and enlarged ed. (Ed. Ulrico Hoepli, Milano 1963): pp. 458, figs. 93 on 80 pis., 6 figs. in text; Lire 3000 paperbound, 3500 in hard cover. 45 Emeline Hill Richardson, The Etruscans. Their Art and Civilization (University of Chicago Press, Chicago 1964): pp. 286, figs. in text 5, pIs. 48; $7.95. MARGARETE BIEBER 95 jecr in English. The author uses all available source material: inscrip­ tions, ancient authors (see pp. xv-xvii and p. 278), monuments of every sort, such as sculpture in stone, terracotta and bronze, decorative art, mural and vase painting, architecture, and jewelry. She describes and illustrates the prehistoric Villanovan civilization which the Etruscans found flourishing when they emigrated into Toscana and Latium (pp. 28-42, pIs. I-VII); the Orientalizing period of the late eighth and seventh centuries (pp. 43-62, pIs. VIII-XV); the Archaic period, which is the purest and best Etruscan period, 600-470 B.C. (pp. 88-124, pIs. XVI-XXXV); Classical art, 470-300 B.C. (pp. 125-133, pIs. XXXVI-XLIV); and the Hellenistic period, 300-30 B.C. (pp. 154-178, pIs. XLV-XLVIII). The illustrations are well-chosen and excellently reproduced. Maps of Etruria and Italy (figs. 1-2, pp. 21ff), make it easy to follow her text. The author discusses the history of Etruria, and also throws many sidelights on the contemporary history of Egypt, the Orient, Greece and Rome. The early history of Rome in the time of the Etruscan kings from Tarquinia and of the Republic to Augustus is fully illuminated (pp. 63-87). The monuments are des­ cribed, as well as the Etruscan language, literature, music, games and religion (pp. 179-249). Mrs. Richardson does not claim that she can solve all the problems of this mysterious people, but she presents them in an illuminating manner-for example the question of the origin of Etruscan civilization or of the use the Romans made of it, particularly in their cult rites and their art. We find pithy and start­ ling statements, such as the assertion that the arch did not originate in Etruria but in Hellenistic Asia Minor. The author offers as proof the dates of arches in Priene (300 B.C.) and in the Roman colony in Cosa (273 B.C.), excavated by Frank Brown, Mrs. Richardson and her husband, Lawrence Richardson. (Indeed many examples of Hellen­ istic architecture in Etruria are taken from this site [pp. 170f, 185f, figs. 3-4]') The first triumphal arch was not built in Rome until 196 B.C. Another startling remark, with which this reviewer agrees, concerns portraiture (p. 165): "There has been a good bit of nonsense talked about Etruscan portraiture, but there was no portrait likeness of a man in Etruria before the Etruscans learned from the Greeks how to produce them. Their methods are the same, the type being created before the individual." 96 NEW TRENDS IN THE NEW BOOKS ON ANCIENT ART, 1958-1964 The modern viewer who likes primitive art sometimes prefers Etruscan provincial art to original Greek art. The Etruscans were no more copyists than were the Greeks. The Greeks transformed Egyptian and Oriental patterns and motifs into something different and purely Greek. The Etruscans also stamped their borrowed types and motifs with a distinctive provincial character; but the author, despite her interest in the Etruscans, sees clearly that they never attained the beauty and originality which distinguish Greek creations. Mrs. Richardson recognizes the fact that Etruscan works are often out of proportion and involve serious distortion of their harmonious Greek models. This is the book of a scholar who has studied the Etruscans thoroughly, has lived in their country and loves it, yet is not blind to their shortcomings. She describes the beautiful landscape of Toscana and gives occasional glimpses of present-day life there. A bibliography (pp. 251-264) and separate indices of subjects, proper names and places (pp. 265-277) enhance the usefulness of a book which provides information about most sides of Etruscan art and civilization and will incite further research in various fields. V. Roman Art 1. Comprehensive Books Our attitude towards Roman art has in recent years undergone a greater change than our response to any other period of art. Two hundred years ago Winckelmann in his History of Andent Art46 considered it as a decadent form of Greek art. Thus the Roman period became a short appendix in subsequent histories of ancient art. Then the Austrian Wickhoff, in his monumental publication of the minia­ tures in a manuscript of the Book of Genesis in Vienna, the Wiener Genesis,47 astonished art historians by the assertion that Roman imperial art was just as individual and independent an art as were all earlier and later periods. The epoch-making preface to this publica­ tion was translated into English by Eugenie Sellers-Strong,4S who 46 Johannes Winckelmann, Geschichte der Kunst des Altertums (Dresden 1764). (7 Franz WickhofI und Wilhelm Ritter von Hartel, Die Wiener Genesis [Jahrbuch der Kunstsammlungen des Allerhochsten Kaiserhauses] (Wien 1895). '8 Franz WickhofI, Roman Art, trans. and ed. by Mrs. S. Arthur Strong (Heinemann, London 1900). MARGARETE BIEBER 97 became the greatest authority in this field until her death. She herself described her own comprehensive book on Art in Ancient Rome,49 as Ha connected account of what is known of the subject as a whole ... a first modest endeavour in this direction" (vol. I, p. vii). It was the best work of its period. Meanwhile, however, the genetal handbooks continued to treat Roman art as a stepchild and continued to rate it very low. Thus even in the much-used handbook by Lubke on the Art of Antiquity (Kunst des Altertums), edited by Pernice, Roman art is neglected. Therefore Berta Sarlle in 1958 had to remodel entirely the section on the art of the Romans and to complete it with the results of the excavations and research of the last decades of our era.50 These new studies extend not only to Rome but to Etruscan art, including the time of the kings and the early Roman Republic; to Greek art in Magna Graecia, the Greek mainland, and Asia Minor; finally, to Egypt and all the countries conquered by the Romans during the later Republican and imperial periods, when Africa, the Middle East, and northern Europe accepted Roman art on becoming pro­ vinces of the Roman Empire. Provincial Roman art was eventually explored by eminent local scholars, particularly in Great Britain, France, Germany, Austria, and Switzerland. Berta Sarne has made good use of all these researches. She has kept the division of the old Lubke into architecture, sculpture, and painting, but she has added further subdivisions and many new illustrations. She has included chapters on provincial sculpture and Roman mosaics. New problems and suppositions are mentioned. It is regrettable that foot­ notes were not allowed, but there is a select bibliography (pp. 450- 454). The text shows careful and sober consideration of all factors and solid scholarship. The illustrations are well-chosen, although few are unknown. A thorough contemporary survey of the art of the ancient Romans appeared in 1964 by George Hanfmann.51 This work traces Roman 49 Eugenie Sellers-Strong, Art in Ancient Rome [in Ars Una, Species Mille, General History of Art] 2 vols. (Heinemann, London 1929). I, from the earliest times to the Principate of Nero: pp. xvi and 199, ills. 248; II, from the Flavian Dynasty to Justinian, with chapters on Paint­ ings and Minor Arts in the first century A.D.: pp. viii and 221, figs. 249-584. 50 Lubke-Pernice, Die Kunst der Romer, vollstandig neubearbeitet und erganzt von Berta Same (Paul Neff Verlag, Wien-Berlin-Stuttgart 1958): pp. 456, ills. in text 420, color pIs. 8. 51 George M. A. Hanfmann, Roman Art. A Modern Survey of the Art of Imperia I Rome (New York Graphic Society, Greenwich [Conn.] 1964): pp. 320, ills. 145, color pIs. 52, chronological charts, end paper maps, select bibliography; $15. 98 NEW TRENDS IN THE NEW BOOKS ON ANCIENT ART, 1958-1964 architecture, sculpture and painting in relationship to the growth of Roman civilization in general. The subtitle, A Modern Survey of the Art of Imperial Rome, needs modification. The typography and design of the book are certainly modern, and the printing is beautifully done. The text shows that the author knows the most recent as well as the earlier literature. But unfortunately the book's modernity often takes the form of a mannered and journalistic style. I give some examples of captions which appear at the head of sections of the text describing the black and white illustrations (pp. 59-126, figs. 1-145): no. 59 "The Last Pagan" (p. 87) for Symmachus (34~02); no. 76 "An Emperor Condemned" (p. 94) for Domitian; no. 83 "Lucius Verus-Playboy or Philosopher" (p. 97); no. 119 "Murder over the Grave" (p. 113) for the Niobid sarcophagus. Again, the chapters of the introduction are headed by unnecessarily pretentious titles: I. The Problem of Roman Art; II. Magnus Nascitur Ordo; III. Pax Romana; IV. Nutans Mundus (translated as "A World Shaken in Its Foundations"); V. Vicisti Galilaee. The excellent text itself occasionally indulges in a certain pseudo-sophistication, for example the description of fig. 80 (p. 96): ~. 74 British Museum, Department of Greek and Roman Antiquities, An Historical Guide to the Sculptures of the Parthenon (London 1962): pp. 48. Nicholas Yalouris, Classical Greece. The Elgin Marbles of the Parthenon, photographed by F. L. Kenett [Acanthus History of Sculpture, ed. Sir Herbert Read and H. D. Molesworth] (New York Graphic Society, Greenwich [Conn.] 1960): pp. xv, pIs. 32 and frontispiece, draWings in text 4; $8.95. MARGARETE BIEBER 125 an enchanting book, which transmits in a remarkable manner the grandeur, harmony, and beauty of these originals of the art of Phidias in the golden age of Perikles. There are ten photographs of the pediments, 19 of the frieze, and four of the metopes-perhaps not enough to give an idea of the whole series with its many different motifs and its deep meaning. The text gives the historical background, a description of the building, its sculptural decoration, and the significance of the sculpture. This is a book any art lover will cherish. The Alte Museum (Ancient Museum) of the State Museum of Berlin was divided as a result of the Occupation following World War II. The Russian sector has been sealed off by the ill-famed wall between East and West Berlin. The Pergamon Altar and the sculptures of the Alte Museum were carried off in 1945 to Russia. Professor Blumel, director of the Alte Museum, stayed on at his post, and it is due to his efforts that the great altar and the sculptures of the Ancient Museum were returned to the museum in East Berlin. The smaller objects of the Ancient Museum were taken to Celle for safe­ keeping before the Russians took Berlin. Unfortunately about 230 objects, mostly gold jewelry, were stolen there in 1946-48. After almost two decades, the remaining treasures have been brought back to Berlin, where an excellent museum has been installed in a building created by Schuler at Charlottenburg. The director, Adolf Greifen­ hagen, has had these treasures cleaned and restored with the help of the Italian restorer, Ernesto Italiano of Naples, and several assistants. Greifenhagen plans large catalogues of this western part of the Ancient Museum. In the meantime he has published a choice selec­ tion of a few sculptures of the archaic and Roman periods, some bronzes, many Attic vases, a few Hellenistic vases, five glasses (only 130 survived the bombing of Berlin by the Russians), one ivory, and a few pieces of exquisite jewelry.75 Most of the published works are well­ known, for example, the fragment with a little girl belonging to the large stele in New York (figs. 2-3), or the wonderful series of Attic vases, which are the main part of the catalogue (figs. 17-77). Many of them are newly restored and are better reproduced than ever before. The concise catalogue (pp. 5-46) gives subject, provenance, material, inventory number, measurements, date and bibliography. It is a de- 75 AdolfGreifenhagen, Antike Kunstwerke [Ehemals Staatliche Museen, Berlin, Antikenab­ teilung] (Walter de Gruyter, Berlin 1960): pp. 46, ills. 100; $8. 126 NEW TRENDS IN THE NEW BOOKS ON ANCmNT ART, 1958-1964 light to study the one hundred fine pictures, particularly the red­ figured masterpieces by the Andokides painter, Euphronios, the Berlin painter, Epiktetes, Peithinos, Sosias, the Brygos painter, Douris, Hieron the potter and Makron the painter, the Eretria painter, the white ground lekythos by the Achilles painter, and others. Greece has become the goal for travellers of many countries, and, as a consequence, the rich treasures of the National Museum of Archaeology at Athens are visited not only by professionals, who use the older scientific catalogues by Svoronos, Stais, and Papaspyridi, but also by many lovers of art who need a popular guidebook to the most important exhibits in the Museum. This need has been met by Spyros Meletzis and Helen Papadakis, with the cooperation of the curators, Christos Karouzos and Semni Karouzou Papaspyridi. 76 Their cata­ logue is devoted to six periods represented by outstanding examples from the Museum's rich holdings: 1. Cycladic art, three examples, among them the statuette of a harpist found on the island of Keos (pI. 10); 2. Mycenaean art, including the gold death-mask «of Agamem­ non" (pI. 7), the two celebrated gold cups found in a tomb at Vapheio, depicting the hunting and taming of wild bulls (pIs. 4-5), and details of the fresco from Tiryns depicting a boar hunt (pIs. 6-7); 3. the geo­ metric style, represented by two sepulchral amphorae from the Kerameikos (pIs. 13 and 58); 4. the archaic style, comprising several well known Kouroi, early stelae (for example the youth with discus (pI. 18) and the Aristion stele (pI. 20), the bronze statuettes of a Doric horseman (pI. 49) and of Athena Promachos (pI. 50), and the rare gold mask inside a bronze helmet from Macedonia (pI. 12); and 5. the classical style, with many of the beautiful gravestones and votive reliefs, the grandiose early classical bronze statue of Poseidon found in the sea near Cape Artemisium (pIs. 32-33), and the late classical bronze statues of the youths of Antikythera (pIs. 66-67) and of Marathon (pIs. 68-69). Some good marble copies are also included: the copy of the Athena Parthenos found in the Varvakeion (pI. 39), the Diadumenos ofPolycleitos (pIs. 42-43), and the Hermes of Andros (pIs. 44-45). We return to originals with 6. the Hellenistic style, represented by nine objects, four of them delightful statuettes of 78 Spyros Meletzis and Helen Papadakis. APXAIOAOrIKO MOYIEIO A8HNfJN Athens 1963). Transl. into English by D. M. Senft·Howie. National Museum of Archae­ ology. Athens [Art Guide Series vols. 40-41] (Schnell and Steiner. Munich and Zurich 1963): pp. 11. pIs. 80. MARGARETE BIEBER 127 children, for example, the jockey found in the sea near Artemisium (pIs. 52-53), and three bronze portrait heads (pIs. 64, 70-71). A wel­ come bonus are the bronzes recently found in the Piraeus: the large archaic Apollo (pIs. 59-61), the early Hellenistic statues of Athena (pIs. 76-77), and of "Kore" (probably Artemis, pIs. 78-79), and the colossal tragic mask (pI. 80). In the short text (pp. 4-8) and the list of illustrations (pp. 9-11) object, provenance and dates are indicated. This guidebook is very suitable for introducing the layman to Greek art and for providing experts and laymen with a fine souvenir book. Since 1891 the Guide Book for the public collections of classical anti­ quities in Rome by Wolfgang Helbig, has been used by many archae­ ologists. In the third edition (1913) Walter Amelung remodelled and enlarged the book to two volumes. Now, after half a century, Her­ mine Speier, since 1940 curator of antiquities and head of the Photo­ graphic Department at the Vatican, has edited the fourth edition of the first volume,77 which contains the sculptures of the Vatican and Lateran Museums. The author has made use of the new catalogues of the Vatican by Lippold, of the Lateran by Giuliano, of the magazines of the Vatican by Kaschnitz, and much other research, including that by Ludwig Curtius and Reinhard Herbig. Dr Speier has been able to assemble an excellent staff of nine specialists, who have worked on the sculptures in their fields: Bernard Andreae on Roman sarcophagi and wall-painting; Tobias Dohrn on Etruscan art; Werner Fuchs and Hans von Steuben on Greek sculp­ ture (originals and copies); Helga von Heintze on Greek and Roman portraits; Ekkehard Meinhardt on inscriptions; Klaus Parlasca on mosaics and Roman-Egyptian monuments; Helmut Sichtermann on Greek vases; and Erika Simon on monuments of Roman history and religion. Two more volumes will follow. The extension to a third volume is made necessary by the mass of new finds, by new museums, and by the ever swelling stream of archaeological research. For each monument are provided measurements, state of preservation, and 77 Wolfgang Helbig, Fuhrer durch die offentlichen Sammlungen klassischer AlterWmer in Rom, vierte, vollig neu bearbeitete Auflage herausgegeben von Hermine Speier: Deutsches archaologisches Institut, 1. Die piipstlichen Sammlungen im Vatikan und Lateran (Verlag Ernst Wasmuth, Tiibingen 1963): pp. xxiii and 844. The 2nd ed. in 2 vols. was trans!' into English by James F. and Findlay Muirhead, Guide to the Public Collections of Classical Antiquities in Rome (Baedeker, Leipzig 1895-1896). 128 NEW TRENDS IN THE NEW BOOKS ON ANCIENT ART, 1958-1964 new bibliography. The result is a work indispensable for scholars as well as for interested laymen who visit Rome, and others can make use of the references to good illustrations of each monument. The National Museum of Naples is the richest and most diversified museum in Italy. This is due to three factors. The collection of the Italian family Farnese assembled in Rome was brought here, including not only the great statues found during the excavations on the Pala­ tine and the baths of Caracalla, but also the collection of gems in­ herited from the Medici of Florence. Further, the results of the dis­ coveries of Herculaneum, Pompeii and Stabiae brought an endless stream of marble statues, bronzes, mosaics, wall paintings, silver and other metalware first to Portici, whence the treasures were brought in 1822 to the present museum in Naples. Since then, the continued and ever more scientific excavations in the cities destroyed by Vesu­ vius in A.D. 79 have contributed more and more riches to the museum. The recent directors of the museum and superintendents of the anti­ quities of Campania, particularly Amadeo Maiuri, who was active for about 25 years, added many finds from Cumae and other sites in Campania and Apulia, particularly jewelry, Oscan paintings, and vases. Bianca Maiuri has written the history of the museum for a beauti­ fully illustrated catalogue 78 (pp. 3-8) which has been issued with text in French and English. On each page (9-164), there is at least one picture, and on twelve there are two pictures. The text contains pleasant descriptions but has no scholarly value. Like many similar picture books, this is a souvenir for art lovers, not for professionals. The English is sometimes inexact, and certain assertions of the author are misleading. She thinks, for example, that the silver treasure found in the House of Menander (so-called from a portrait of the playwright painted on one of the interior walls) belonged to