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Visualizzazione post con etichetta Heritage. Mostra tutti i post

venerdì 24 aprile 2015

Bianco Splendente.

La bimillenaria Piramide Cestia (Nota a Roma solamente come: "la Piramide") è stata restaurata ed è tornata al suo pristino bianco splendore di gloria, grazie ad un progetto di finanziamento costato circa due milioni di euro... 






La Piramide, dopo il restauro  [Credit: ANSAmed] 


La tomba in stile egiziano  (una leggenda popolare la voleva smontata, trasportata dall'originario Egitto e poi ricostruita a Roma!) di Gaio Cestio, generale d'epoca augustea, ha riaperto al pubblico nel corso della settimana scorsa, al termine di un lavoro di restauro 
che era iniziato nel marzo del 2013.

Una foto di prima del restauro.



Il mago della moda giapponese Yuzo Yagi, fondatore del progetto, si è dichiarato soddisfatto: "E' una cosa straordinaria restituirla alla città esattamente come era 2.000 anni fa", riferendosi ai risultati del lavoro condotto da due donne, Rita Paris e Maria Grazia Filetici, direttrici della Soprintendenza Archeologica Italiana, che hanno diretto i lavori.

Secondo la Paris, la piramide (che misura 36,5 metri in altezza, 120 piedi) fu costruita in 330 giorni in marmo bianco di Carrara.  Il lavoro di restauro ne ha richiesti 327 (75 in meno di quanto previsti inizialmente).
Yagi ha donato i due milioni di euro perché fossero attuate tutte quelle tecniche - innovative e no - per la rimozione di vegetali parassiti, la protezione della facciata marmorea, la stabilizzazione dei pannelli, la prevenzione di futuri possibili danni e la costruzione di una rampa d'accesso per disabili.
In Giappone il bianco è il colore del lutto: non a caso, forse, Yagi ha fatto la sua scelta, che si conforma fortemente ai gusti tradizionali giapponesi per il colore di una tomba e combina necessità paesaggistiche della Capitale con marketing e pubblicità. Una scelta intelligente.

Il restauro era veramente necessario, dopo anni ed anni di trascuratezza e di danni ambientali da fumi, smog, vibrazioni da traffico, abbandono. Non hanno certo giovato alla piramide l'essere inglobata nella cinta delle mura medievali, i furti d'arte perpetrati nel corso del Medioevo e neppure il 'restauro' della metà del XVII secolo. Nel XIX secolo la piramide è stata usata unicamente come utile punto d'incontro dai romani indifferenti ("Ce vedemo alla piramide!")

    Umberto Vattani, presidente della Italy-Japan Foundation, era presente all'inaugurazione unicamente per inviti,  insieme a Francesca Barracciu, Benedetto Della Vedova, ed il soprintendente per l'eredità culturale capitolina Francesco Prosperetti, oltre naturalmente al sindaco Ignazio Marino. 

Naturalmente, la domanda che tutti hanno posto a Yagi è stata: "Finanzierà il restauro di altre opere italiane?". Il mago della moda ha risposto saggiamente con un sorriso: "Abbiamo una lunga lista di finanziamenti doverosi per riparazione di siti danneggiati dallo Tzunami in Giappone, ma sarò felice di potere ritornare qui negli anni a venire"."  

 [Aprile 21, 2015]


venerdì 30 gennaio 2015

Dopo i Buddha Afgani, Ninive

ISIS destroys large parts of Nineveh historical wall





  A Kurdish official revealed on Tuesday evening that the ISIS organization had bombed large parts and tracts of the ancient Nineveh wall, indicating that such an act violates the right of human culture and heritage. 

The media official of the Kurdistan Democratic Party (KDP) in Mosul, Saed Mimousine said in an interview for IraqiNews.com, “ISIS militants blew up today large parts and expanses of the archaeological wall of Nineveh in al-Tahrir neighborhood,” explaining that, “The terrorist group used explosives in the process of destroying the archaeological fence.” 

Mimousine added, “The Wall of Nineveh is one of the most distinctive archaeological monuments in Iraq and the Middle East” adding that, “The fence dates back to the Assyrian civilization.” Mimousine stressed that, “Bombing the archaeological monuments by ISIS is a flagrant violation of the right of human culture, civilization and heritage,” calling the international community to “take a stand to curb the destruction of historic monuments.” 

Source: Iraqi News 

[January 28, 2015]

giovedì 15 gennaio 2015

L'Anello di Teseo

Il famoso "Anello di Teseo", un timbro d'oro montato ad

anello che fu trovato nle 1950 alla Plaka (il distretto in

prossimità del Partenone, che adesso ospita un mercato

delle pulci) e la cui datazione risale al periodo Miceneo è ora

in mostra - dallo scorso lunedì - presso il Museo

Archeologico di Atene.

Nell'anello è rappresentata una scena di "salto del toro", in 

cui compaiono anche marginalmente la figura di un leone e 

di un albero. Inizialmente dichiarato un falso, il reperto del 

XV secolo a.C. fu poi riesaminato da una commissione di 

esperti del Ministero della Cultura e riabilitato come reperto 

autentico.

Sono trascorsi 65 anni dal ritrovamento: questo dimostra che 

gli archeologi greci sono molto più abili di quelli sardi, che 

sono riusciti a tenere nascoste al grande pubblico le statue di 

Monti 'e Prama per molto meno tempo.


Theseus Ring goes on display for the first time 

 The ‘Theseus Ring,’ a gold signet ring unearthed in the Plaka district of Athens in the 1950s and dating back to the Mycenaean period, went on display on Monday for the first time at the Greek capital’s National Archaeological Museum. The ring, which depicts a bull-leaping scene, was initially dismissed as fake before its authenticity was established by a team of Culture Ministry experts. The scene depicted on the 15th century BC artifact also includes a lion and a tree.


 Source: Kathimerini [January 12, 2015]

domenica 30 novembre 2014

Schliemann, originale

E' buffo - in qualche modo - pensare ad un ricco giapponese appassionato d'archeologia europea. Ma costui è esistito davvero: Shozen Nakayama fu il fondatore dell'Università Giapponese Tenri, con annesso loi Shankokan Museum. 
Avido collezionista, egli comprò - in un negozietto londinese dell'usato - 30 dettagliatissimi disegni ad acquerello ed inchiostro, attribuiti all'assistente di Schliemann e recanti annotazioni manoscritte di Heinrich in persona.
Il foglio più grande misura 49 cm per 68.
Una perizia calligrafica tedesca ha accertato l'appartenenza a Schliemann della grafia.
La recente riscoperta dei testi forse permetterà di gettare nuova luce sull'andamento degli scavi di Troia e di Tirinto... 



Heinrich Schliemann (1822-1890) d'umili origini, ricchissimo commerciante, eruditissimo autodidatta,
 scavatore del sito di Tria, avventuriero poliglotta.

Sophie Schliemann, fotografata con i favolosi gioielli in sfoglia d'oro che furono subito sospettati di falso,
 in seguito scomparirono misteriosamente per molti anni ed adesso sono, in piccola parte, esposti in un museo russo.



Museum finds original drawings by Schliemann 


A Japanese museum said it has confirmed 28 original drawings from German archaeologist Heinrich Schliemann’s report on ancient Greek ruins that could shed light on the excavation of a fabled palace.





A painting of a mural unearthed at the remains of the Tiryns palace is used  as the front cover of Heinrich Schliemann’s report released in 1885 
 [Credit: Tenri University Sankokan Museum] 


Schliemann (1822-1890), who won fame for his discovery of the legendary city of Troy in Greek mythology, is also known for his unearthing of the remains of a Greek palace named Tiryns

The Tenri University Sankokan Museum said Nov. 26 the original drawings contain notes handwritten by Schliemann. 
A report on the discovery of Tiryns featured drawings and other materials and was released in 1885. 
However, journals and other information describing the excavation of the ancient palace do not exist. 
Museum officials said the drawings they possess are precious primary historical materials that can explain what happened during the excavation process. 
“The drawings depict the remains and relics with extreme accuracy in terms of scale and other aspects. 
Their quality reaches the most advanced level in the 19th century, a developing era for archaeology,” said Yoshiyuki Suto, a professor of Greek archaeology at Nagoya University Graduate School. 
“Because they include detailed instructions for publishing the report, we can learn what processes the drawings underwent until the release of the report,” he added. 
The largest drawing is 49 centimeters by 68 cm. 




A picture of earthenware shaped like animals.Names and publishing instructions  in the margin were written by Heinrich Schliemann 
 [Credit: Tenri University Sankokan Museum] 


When Tiryns, located on the Peloponnesus Peninsula, was unearthed by Schliemann in 1884 and 1885, his German assistant, Wilhelm Doerpfeld, drew accurate ground plans for the remains. 
In addition to the ground plans, the original drawings contain paintings of a mural featuring a performer riding a cow, as well as relics, such as earthenware shaped like animals. 
They were all painted with ink and watercolors
The ancient palace is famous for its castle walls dating to the Mycenaean Culture (late 17th century B.C.-12th century B.C.), and has been designated a World Heritage site along with the remains of Mycenae. 
Ancient Greek poet Homer praised the massive walls in his work. 

Shozen Nakayama, the founder of Tenri University who was an avid collector, bought 30 original drawings from Schliemann’s report around 1960 at a secondhand bookshop in London. 
A friend of Nakayama’s donated two of the drawings to Tokyo’s Middle Eastern Culture Center in Japan. 
The remaining 28 are currently owned by the Tenri University Sankokan Museum. 
The Nara museum in 2008 asked the museum of prehistory and early history in Germany for a handwriting analysis of the 28 drawings. 
The study confirmed that some notes in the margins of the drawings were written by Schliemann. 
The drawings will go on display from April through June at the Tenri University Sankokan Museum, together with the Tenri Central Library’s first edition of Schliemann’s report on the discovery of Troy. 

Author: Yoshiko Aoyama 
Source: The Asahi Shimbun [November 27, 2014]



sabato 29 novembre 2014

Autentico Shakespeare

 - In una città portuale del nord della Francia, presso Calais, è stata casualmente rinvenuta una copia del 'First Folio', la prima lista delle opere del Bardo pubblicata nel 1623, uno dei libri più desiderati esistenti al mondo, pubblicato circa 7 anni dopo la morte di Shakespeare.
Il valore commerciale di un libro intatto del genere (ne esistono altre copie) è compreso tra i 2,5 ed i 5 milioni di euro. 
- La copia francese è mancante delle pagine iniziali e del titolo e dell'intero testo dei "Due gentiluomini di Verona", pertanto la Biblioteca si dovrà accontentare di una valutazione bassa, intorno ai soli 2 milioni: ma come si dice di solito, chi si contenta...


Rare first Shakespeare edition found in 

French library 



A copy of William Shakespeare's First Folio, the first-ever compilation of the Bard's plays published in 1623, has been discovered in the library of an ancient port town in northern 
France.



Remy Cordonnier, librarian in the northern French town of Saint-Omer, carefully shows  on November 25, 2014 a valuable copy of William Shakespeare's First Folio, a collection  of some of his plays dating from 1623 
[Credit: AFP/Denis Charlet] 


One of the world's most valuable and coveted books, the First Folio was uncovered when librarian Remy Cordonnier dusted off a copy of Shakespeare's works dating to the 18th century for an exhibition on English literature in the town of Saint-Omer near Calais. 

"It occurred to me that it could be an unidentified First Folio, with historic importance and great intellectual value," he told AFP. 
The book, published seven years after Shakespeare's death, was authenticated on Saturday by First Folio expert Eric Rasmussen from the University of Nevada. 
Rasmussen, who has written a book about his riveting two-decade hunt to catalogue all 232 existing copies of the book, said the 233rd copy was the first new version unearthed in a decade. 
He told AFP the book was "immediately identifiable" as an original due to its watermarks, the paper used and the fact that errors were still present that would have been corrected in later copies. 
He said the book was missing title pages as well as the whole text of the play The Two Gentlemen of Verona
"What is really interesting is that it clearly came from the college of Jesuits in Saint-Omer, founded in the late 16th century during Queen Elizabeth's reign when it was illegal for Catholics to go to college," said Rasmussen.



Close- up of The Hamlet.
Remy Cordonnier, librarian in the northern French town of Saint-Omer, carefully shows  a valuable copy of William Shakespeare's First Folio, a collection of some of his  plays dating from 1623, on November 25, 2014 [Credit: AFP/Denis Charlet] 

The book was heavily annotated, with words corrected to more modern versions and with the part of a hostess in Henry IV turned into a male part, with words such as "wench" crossed out and replaced with "fellow". 
He highlighted the "really good survival rate" of an estimated 750 original prints of First Folio. 
The massive book of 36 plays was published at a time when printed plays were not considered literature, and sold for one pound at a time when a skilled worker could perhaps hope to earn four pounds a year, said Rasmussen. 
Rasmussen told AFP his favourite story, which he stumbled upon in his hunt for First Folios, was of the time the Royal Shakespeare Company took their copy to Rome for a papal performance. 
"After they performed they brought it out and the pope was supposed to bless it. He hadn't been adequately briefed so he accepted it as a gift. You can almost see the tug of war going on on stage." 
In Japan, where many copies were snapped up in the 70s and 80s, he once found a copy with a musket bullet piercing it all the way to the tragedy Titus Andronicus. "Somebody had to be holding it up," said Rasmussen, speculating that it may even have saved somebody's life.
 "We find copies that have wine stains on them, that have been left open and have cat prints across them. It humanises them in a way... they are not just priceless artefacts." 



A copy of William Shakespeare's First Folio, a collection of some of his plays  published in 1623 is displayed in the library in the northern French town  of Saint-Omer, November 25, 2014 [Credit: AFP/Denis Charlet] 

Rasmussen said the largest number of First Folios, 82 in total, were snapped up by American Henry Clay Folger and are now housed in the Folger Shakespeare Library in Washington. 
He explains that the First Folio was the only source for about half of Shakespeare's plays such as Macbeth and Julius Caesar, that had never been published in his lifetime. 
He said people began to "fetishise" the work and in the 19th century it became the must-have collector's item for the super-wealthy. 
In 2006 Microsoft billionaire Paul Allen bought one for $6 million dollars. Saint-Omer library director Francoise Ducroquet said that while most First Folio copies were valued at between 2.5 and five million euros, the damaged version found in her library would probably be worth less. 
However she said the newest discovery would be stored in the library's safe with other precious items. Saint-Omer is an ancient port town that bustled with economic and cultural activity in the Middle Ages.
 Its library has 800 important manuscripts, 230 incunabula -- books printed in Europe before 1501 -- as well as a Gutenberg Bible. 


Authors: Benjamin Massot with Fran Blandy | Source: AFP [November 25, 2014]

martedì 11 novembre 2014

Generosità e larghezza di vedute.

Il Direttore del British Museum (del quale taccio con disprezzo il nome) ha risposto negativamente alla richiesta ufficiale pangreca (e non solo greca) di restituire i marmi del Partenone che ancora detiene. 
Pudicamente ed ipocritamente questi marmi sono denominati 'marmi di Elgin' dal nome del Lord Inglese che li fece traslare - secondo lui - del tutto legalmente e con massimo profitto per la cultura mondiale.
Il giornale che pubblica la notizia - meritandosi  di essere rifiutato come cartoccio anche da un pesce marcio - s'affretta a dichiarare che " Un terzo circa dei marmi si trova  a Londra, un altro terzo in Grecia, il restante terzo è andato perduto. Pertanto non esistendo la possibilità di ricostituire l'intera entità artistica perduta, non si vede perché riportarli nell'edificio in rovina dal quale provengono". 


British Museum director says "No" to return of 

Parthenon Sculptures 


 MacGregor said that the efforts of the Greek government to claim the return of the Elgin marbles is not going to bear any fruitful results.



Disputed: The Parthenon Sculptures, which reside  in the British Museum [Credit: TOC] 


In a very provocative way, the Director of the British Museum in London, Neil MacGregor reiterated today to British media that there is absolutely no intention from the British side to return the Parthenon marbles to Greece. 

Speaking today, “he repeated the museum's long-held position that the acquisition of the famous sculptures by Lord Elgin at the start of the 19th century was legal and that there was 'maximum public benefit' in them remaining in London where they were seen in the context of world culture,” the Evening Standard, a British newspaper reports. 

According to the newspaper, MacGregor said that the efforts of the Greek government to claim the return of the Elgin marbles is not going to bear any fruitful results. 

“Yet the museum is coming under the most sustained attack for decades from the Greek government whose call for the works to be repatriated is now being fought by a team including the lawyers Geoffrey Robertson and Amal Clooney,” it mentions. 

The newspaper further mentions that approximately one third of the marbles from the Parthenon marbles is in London, while about the same number remains in Greece. 
"Quite a lot of them no longer exist. So there's no possibility of recovering an artistic entity and even less of putting them back in the ruined building from which they came," he said.


 Source: Times of Change [November 07, 2014]


lunedì 27 ottobre 2014

DOMUS AUREA

La Domus Aurea di Roma riaprirà la domenica.

Dopo sei lunghi anni, la Domus sarà riaperta al pubblico solo nel fine settimana, per permettere agli archeologi di continuare i loro lavori (inclusi in un programma di 4 anni) lungo la settimana, che prevedono l'apertura di nuove aree della Domus stessa.


Ai visitatori saranno inoltre spiegate le tecniche di restauro impiegate (che possono anche essere seguite on line sull'Internet).

E' stato annunciato lo scorso venerdì, dai portavoce del Ministero dei Beni Culturali, che saranno necessari 31 milioni di euro per il completo restauro.

La Domus si estendeva inizialmente per una superficie di circa tre campi da calcio, ma i suoi giardini avevano un'estensione molto maggiore: la costruzione dell'intero ricchissimo complesso aveva richiesto l'abbattimento di moltissime modeste costruzioni degli abitanti stessi di Roma (che anche per questo motivo odiavano Nerone e sparsero la voce del famoso incendio provocato da lui). Alla sua morte, in segno di disprezzo e di 'damnatio memoriae' la casa fu abbattuta e sepolta. Anche per queti motivi ora si trova sotto terra e solo una piccola parte di essa è oggi visitabile.
La Domus Aurea fu aperta al pubblico nel 1999, ma alcuni crolli ne consigliarono ripetutamente la chiusura per motivi di sicurezza.

Nel nuovo progetto, per cui la direttrice dei lavori, Fedora Filippi, chiede la partecipazione della cittadinanza, saranno messi in sicurezza e ridisegnati anche i giardini pubblici soprastanti alla villa.


Nero’s Domus Aurea to reopen on Sunday in Rome 




The remains of the Domus Aurea, or Golden House, the opulent villa that the Emperor Nero built for himself in the center of Rome, will reopen to guided visits on Sunday six years after it was closed because of collapses and safety concerns. 




Part of the Domus Aurea in Rome, which will reopen to guided tours on Sunday  
[Credit Fabio Campana/European Pressphoto Agency] 


The visits will take place on weekends so that archaeologists and restorers can continue to work on the four-year project, which will open new areas of the monument. Visitors can tour the work site and learn about techniques used in the restoration, which can be followed online. 

Culture Ministry officials on Friday announced a campaign to help raise the 31 million euros ($39 million) needed for the restoration. 

Only a small amount of the villa remains visible; it once covered an area as large as three soccer fields. 

“This has been a tenacious and silent restoration,” the culture minister, Dario Franceschini, told reporters on Friday. 

“As people strolled in the gardens above, below ground, dozens of people continued the restorations.” 
The villa first opened to the public in 1999, but it was closed several times after collapses. It then closed for the long term in 2005 but restorations continued, stymied partially by infiltrations of water and roots from the garden that covers the structure. 

In the new project, the garden would be redesigned to safeguard the building. 

“We don’t want people to think that we’ve resolved all the problems of the Domus Aurea,” said Fedora Filippi, the scientific director of the site. 

“But we wanted to explain to people what we’re doing so that they can participate.” 


Author: Elisabetta Povoledo | Source: Arts Beat/NY Times [October 24, 2014]

domenica 29 giugno 2014

Falso?

Uno 'stencil', rappresentante una mano aborigena australiana antica, si è rivelato essere solamente vecchio circa 4 anni. Lo scopritore che lo individuò lo scorso aprile è un prospector, Chris Jonkers, che si cura della qualità delle acque e del suolo e delle piante, non un esperto di arte aborigena o di archeologia.
Lo stencil si trova in una zona nella quale vorrebbe estendersi (non senza controversie) una società di ricerca ed estrazione del carbone. Per tale motivo l'area era già stata supervisionata dagli archeologi nel 2010: lo stencil, semplicemente, non c'era.
In più, esso non possiede affatto le qualità che dovrebbero essere presenti in una genuina opera aborigena antica: i ricercatori - per non dare troppe istruzioni ai falsari - ne hanno citata una sola, ad esempio. Lo stencil è stato fatto con uno strato troppo spesso di vernice ed è troppo visibile.
Chris Jonkers ha dichiarato: "Non pensavo vhe qualcuno potesse volere falsificare una cosa così!".
Venga in Sardegna, signor Jonkers!



Aboriginal cave art 'only few years old' 


 A piece of cave art resembling an ancient Aboriginal hand stencil, found near a controversial Australian coalmine project, has turned out to be less than four years old, it's been reported. 

Aboriginal hand stencil [Credit: The Australian] 


The drawing was found by environmentalist Chris Jonkers in a cave in the Ben Bullen forest west of Sydney in April. 

Mr Jonkers is non-committal on the possible origins of the painting. "We're not experts on Aboriginal heritage," he told The Australian newspaper. 
"We're sort of plant people, interested in water quality and environment, but the Aboriginal heritage stuff is not our forte." 
The Australian coal-mining company Coalpac is trying to expand the operations of the Invincible Colliery and Cullen Valley Mine in the area, a project opposed by some environmentalists and Aboriginal groups. 
The Lithgow Environment Group, which has Mr Jonkers as its vice-president, says it has serious concerns that the proposed highwall mining practices would destabilise the cliffs and lead to a "permanent loss of irreplaceable cave art" and yet-to-be-discovered archaeological sites. 
The report assessing the stencil as a modern replica was written by the engineering consultancy firm Aecom Australia for Coalpac. 
It says the "questionable" hand stencil has none of the hallmarks of genuine traditional stencils, and that its colour pigment has been applied too thickly and is easy to see.

The "now obvious" rock stencil was not there when the site was previously inspected by archaeologists in December 2010, the paper reports. But Mr Jonkers says he did not think the stencil would be so young. 
"I didn't think anyone would do such a thing," he says. "I must admit I didn't look all that carefully." 

Source: BBC News Website [June 24, 2014]

Read more at: http://archaeologynewsnetwork.blogspot.it/2014/06/aboriginal-cave-art-only-few-years-old.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed:+TheArchaeologyNewsNetwork+(The+Archaeology+News+Network)#.U7Bb-yh7DfV
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venerdì 6 giugno 2014

Riapre la 'Tomba Bella' di Cerveteri

Cerveteri si prepara al rilancio, offrendo al pubblico di visitatori anche alcune tombe che erano state chiuse (nella figura la Tomba dei Rilievi, o Tomba Bella, non tomba dei leoni come specificato nella didascalia in inglese: si tratta della tomba dei Matunas, del IV secolo a.C. splendidamente decorata con stucchi in rilievo ancora portanti il colore originale). Anche la sbiadita Tomba dei Leoni dipinti sarà in mostra.
Il sito di Cerveteri è uno dei più grandi siti archeologici del mondo (supera in dimensioni persino la Valle dei Re Egizia) e si spera di riuscire a rilanciarlo dopo un massiccio investimento di riorganizzazione, pulizia, restauro ed incremento delle protezioni dai furti (illuminazione, telecamere) da parte dell'Unione Europea.

Cerveteri's Etruscan city of dead set to wow visitors 

 UNESCO world heritage site the Etruscan Necropolis of Banditaccia at Cerveteri north of Rome is gearing to amaze visitors with a July inauguration showcasing previously closed tombs and a new welcome center, officials told ANSA this week. 



Previously closed Tomb of the Painted Lions to open to public [Credit: ANSA] 





Thanks to a 2.3-million-euro collaborative investment of European Union and Italian State funds, the three-millennia-old Banditaccia is getting an upgrade and plans to show off the latest renovations at the July 4 inauguration of its new Visitor Center. 

One July highlight will be the re-opening of the Tomb of the Painted Lions, a 7th-century BC tomb once frescoed with lions, which have since faded away due to exposure, along with other previously closed tombs. 
Additionally, Banditaccia's long-neglected pedestrian paths have been cleaned up for the upcoming inauguration, including 'La Passeggiata di Lawrence', a pathway named after writer DH Lawrence whose book Etruscan Places inspired the site's rediscovery. 

Both weather and grave robbers have repeatedly contributed to the site's degradation over the decades, which the Banditaccia project aims to rectify with the addition of 80 surveillance cameras and an evening illumination. 
Over the next 18 months, the Banditaccia project also will add an interactive multi-media experience, new itineraries, and visitor facilities upgrades such as a restaurant and bathrooms. 





Etruscan site at Cerveteri [Credit: Mike Wilson]





 Lorenzo Croci, Cerveteri's sustainable-development councilor, hopes that the upgrades will double visitors to the heritage site, considered the cradle of Etruscan civilization with its more than 1000 tombs. 
"Few people know this but this is the largest archaeological site in the world, even bigger than the Valley of the Kings in Egypt", Croci told ANSA, adding "today we have 65,000 annual visitors. 
"We want double that, and for the site to receive the recognition it deserves," he said. 
The Etruscans lived mainly between the rivers Tiber and Arno in modern-day Umbria, Lazio and Tuscany, in the first millennium BC. 
By the sixth century BC they had become the dominant force in central Italy, but repeated attacks from Gauls and Syracusans later forced them into an alliance with the embryonic Roman state, which gradually absorbed Etruscan civilization. 
Most of what is known about the Etruscans derives from archaeology as the few accounts passed down by Roman historians tend to be hostile, portraying them as gluttonous and lecherous. 
This problem is compounded by the fact that Etruscan cities were built almost entirely of wood and so vanished quickly, leaving little for archaeologists to investigate. 


Author: Erica Firpo

Source: ANSA [June 05, 2014] 

Read more at: http://archaeologynewsnetwork.blogspot.it/2014/06/cerveteris-etruscan-city-of-dead-set-to.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed:+TheArchaeologyNewsNetwork+(The+Archaeology+News+Network)#.U5HpK3J_uSo
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mercoledì 4 giugno 2014

Quanti anni?

Howard Carter scoprì la tomba KV62 nel 1922 (KV sta per Kings Valley, Valle dei Re). 
...Sono trascorsi 92 anni...

I finimenti dei cavalli del carro, le decorazioni stesse del carro da guerra ed i foderi delle armi del giovane Faraone sono di grandissimo interesse, perché rappresentano il risultato 
della fusione di motivi Levantini ed Egizi nell'arte quotidiana del XIV secolo a.C.
Tali oggetti d'arte non sono mai stati visti prima dal pubblico e pochissimi sono gli archeologi che li hanno potuto avvicinare.
Una cooperazione Egizio-Tedesca collaborerà al restauro dei pezzi archeologici e fra circa tre anni sarà possibile esporli in un museo del Cairo.
Sono tutti d'accordo, nel mondo, che questa è una bella notizia!

(Per fortuna non si tratta delle statue di Monte 'e Prama, altrimenti, sai che cagnara da parte della setta shardanista!)...


Restored gold objects from the tomb of Tutankhamun 

to be 

displayed for first time.


Even the tomb of Tutankhamun holds virtually unknown treasures. A group of decorated gold leaf-on-leather objects is currently under restoration by an Egyptian-German team in the Egyptian Museum, Cairo, to be displayed for the first time. 




Gold-leaf decoration showing a hunting-scene (a dog and a griffin attacking an ibex)  using motifs from levantine art [Credit:: Christian Eckmann] 



The objects which formed part of Tutankhamun's war chariots, the trappings of their horses and the sheaths of weapons are since their time of discovery in 1922 in a bad condition and were never studied adequately. 
However their decoration is of unusual beauty and decisive historical significance. 
The combination of Egyptian and Levantine motifs bears witness to the political and cultural interconnections between Egypt and the city-states of the Levant in the 14th century BCE. 



The restoration lab in the Egyptian Museum Cairo 
[Credit: Christian Eckmann] 



A team of restoration specialists and archaeologists from the Egyptian Museum Cairo, the Römisch-Germanisches Zentralmuseum Mainz (the leading German Institution for scientific restoration), the Institute of Near Eastern Archaeology of the University of Tübingen (which excavated and studied similar objects at the site of ancient Qatna in Syria) and the German Archaeological Institute Cairo embarked now on a project to carry out a full archaeological and technological analysis of this group of objects and to restore them so that their value and importance can be appreciated for the first time. 



H.E. the Minister of State for Antiquities, Prof. Dr. Mohamed Ibrahim, the representative  of H.E. the ambassodor of Germany in Egypt, Chargé d'Affaires Kai Boeckmann  and Christian Eckmann, restoration expert from the Römisch Germanisches Zentralmuseum  Mainz discussing the work of the project 
[Credit: Christian Eckmann] 



Thanks to special funding by the Federal Republic of Germany and investing a sum exceeding 1 million Egyptian Pounds, a specialized restoration lab could be equipped at the Egyptian Museum Cairo. 
To support professional capacity building in the context of this project, scholarships are extended to Egyptian restorers to receive high-level specialized training at the Römisch-Germanisches Zentralmuseum Mainz.
 The project was inaugurated on the 6th of April 2014 in the presence of H.E. the Minister of State for Antiquities, Prof. Dr. Mohamed Ibrahim, the representative of H.E. the German Ambassador to Egypt, Chargé d'Affaires Kai Boeckmann and the representatives of the research institutions involved. 
It is planned that the project, which is supported also by funds of the German Research Council (DFG), will be concluded after three years with a first public exhibition of the objects in the Egyptian Museum. 

Source: Deutsches Archäologisches Institute [June 01, 2014]