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Source of a group of Roman and Greek works of art, in particular a group of Greek bronze sculptures and statuettes. In 1900 sponge-divers discovered the remains of an ancient shipwreck in the sea off the Greek island of Antikythera. In one of the first operations of this kind, they salvaged some its cargo. A new investigation of the wreck site took place in 1976 and succeeded in recovering many further objects, as well as (still unpublished) remains of the hull. All the finds are now in the National Archaeological Museum in Athens. The ship, which must have foundered in the second quarter of the 1st century bc, carried a mixed cargo of ‘antique’ and contemporary bronze and marble statuary, as well as luxury products such as bronze furniture attachments, rare and expensive types of glass, gold ingots etc. It also contained the so-called Antikythera Mechanism, an elaborate type of astrolabe....

Roman town in Italy on the southern slope of Mt Vesuvius immediately to the north of Pompeii, sometimes identified with the ancient Pagus Augustus Felix Suburbanus (one of the town's outer districts). Excavations carried out mainly in the later 19th century brought to light some thirty villae rusticae, part of an intense network of smallholdings situated on the lower slopes of the volcano and the adjacent Sarno plain, and plentiful evidence of intense agricultural activity, principally the production of wine and olive oil. Probably due to its fertility, the area was resettled after the eruption; baths dating to the 2nd or 3rd century ad were discovered in Via Casone Grotta. Most of the villas were reburied after the excavations and documentation tends to be sparse. Finds are now mostly in the National Archaeological Museum in Naples, the Louvre in Paris and the Metropolitan Museum in New York, as well as a number of private collections; more recent discoveries are exhibited in a new local museum. The nearby Villa Regina is the only structure that can be visited; it has wine production facilities and large storage areas....

In 55 bc Julius Caesar landed in Britain, and the following year returned with a substantial army. He did not attempt to conquer territory, but on his second expedition he installed a client king, and so inaugurated the process whereby Britain established ever closer political and commercial relations with Rome. Caligula attempted an invasion in ad 39 or 40, but it was aborted before his army left Gaul. In ad 43 the army of Claudius invaded successfully, and gradually large tracts of Britain were conquered and incorporated into the Empire. The Roman province was known as Britannia. The northern limit of Roman expansion was achieved in ad 84, when Agricola defeated the Caledonians at the Battle of Mons Graupius, the location of which is unknown. Thereafter the Romans retreated to the narrow expanse of land between the Clyde and the Forth (later to be fortified with the Antonine Wall). Some 30 years later the Romans retreated south to another isthmus, this time between the Solway and the Tyne. When ...

(b 1872; d Srinagar, 1955).

English art historian, museum curator, educationalist, painter and collector. In 1899, after a short period of training as an archaeologist in Egypt, Brown went to India, where he served as curator of Lahore Museum and principal of the Mayo School of Art, Lahore. While working in these posts, he was also assistant director of the Delhi Exhibition of 1902–3 (see Delhi, §II), under George Watt. In 1909 he took up employment in Calcutta as principal of the Government School of Art and curator of the art section of the Indian Museum. In 1927 he retired from the Indian Educational Service to take up an appointment as secretary and curator of the Victoria Memorial Hall in Calcutta, where he remained until 1947. After this he lived on a houseboat on the Dal Lake in Srinagar, Kashmir.

Brown’s earliest publications included a contribution to the catalogue of the Delhi Exhibition and a descriptive guide to the Department of Industrial Art at Lahore Museum in ...

Italian village in Lazio, north of Rome, known for its church. The church of SS Anastasius and Nonnosus is all that remains of the 6th-century Benedictine monastery, which submitted to Cluny in ad 940. Apart from some re-used fragments, the architecture is Romanesque, with a Cosmati pavement in opus sectile as well as an ambo and ciborium. The church is famous for its wall paintings from the first quarter of the 12th century. The apse and its adjacent walls, showing the 24 elders, are influenced by Romano–Christian motifs. Christ in the middle of the conch is flanked by Peter and Paul in a Traditio legis depiction, with a procession of lambs below. Underneath, Maria Regina has to be reconstructed in the middle, between two conserved angels followed by female saints in a Byzantine manner. No Romano–Christian iconography seems to have influenced the vast apocalyptic cycle painted on the side walls of the transept. A band of prophets runs beneath the roof on all the walls of the transept. An inscription in the apse indicates three Roman painters....

(b Paris, baptAug 28, 1721; d Auteuil, Jan 19, 1820).

French architect, archaeologist and painter. He was an important if controversial figure associated with the development of the Neo-classical style of architecture and interior design and its dissemination throughout Europe and the USA. He studied at the Académie Royale d’Architecture, Paris, under Germain Boffrand and won the Grand Prix in 1746. He spent the years 1749 to 1754 at the Académie Française in Rome but left after an argument with the director Charles-Joseph Natoire over his refusal to make his Easter Communion; this may have been due to his Jansenist sympathies. He nevertheless remained in Italy until 1767. During these years he became a close friend of Piranesi, Winckelmann, Cardinal Alessandro Albani and other members of the international circle interested in the Antique.

In his early student days in Rome, Clérisseau became acquainted in particular with English travellers and began to sell them his attractive topographical drawings of Roman architecture. Initially these were influenced by his studies with ...

Greek city situated at the foothills of Mt Olympus in northern Greece (district of Pieria), 14 km south of modern city of Katerini. It was an important Macedonian political and cultural centre from the Classical to the Roman periods (6th century bc–4th century ad). By the 6th century bc it seems that the Macedonians were gathering at Dion in order to honour the Olympian gods, chiefly Zeus; according to myth, Deukalion, the only man to survive the flood at the beginning of time, built an altar to Zeus as a sign of his salvation. His sons, Macedon and Magnes, lived in Pieria, near Olympus, and became the mythical ancestors of the Macedonians. The altar allegedly erected by Deukalion remained the centre of the cult life at Dion throughout its history.

King Archelaos of Macedon (c. 413–399 bc) organized athletic and dramatic contests in the framework of the religious celebrations, following the practice of the Greeks in the south, such as at the great sanctuaries of Olympia and Delphi. Philip II (...

[Satra]

Greek city situated on the island of Crete, by the north-west foothills of mount Psiloritis (anc. Ida), 30 km south-east of the present-day city of Rethymnon. It was a centre for Aegean and Greek culture from the Prehistoric to the Byzantine periods (4th millennium bc–7th century bc).

Ancient Eleutherna is a typical example of a Cretan polis (city) inhabited continuously from at least from the 9th century bc (the so-called ‘Dark Age’ of Greek history) to the late Roman and Byzantine period (6th–7th century bc). Even before that, archaeological finds suggest the existence of a continuous presence on the site from the late Neolithic (4th millennium bc) through to a flourishing Minoan site of the 3rd to 2nd millennia bc. Although later construction all but eliminated traces of prehistoric architecture, there is still significant evidence to confirm unbroken habitation. In historical times (9th century...

(b London, March 5, 1761; d Rome, Aug 26, 1816).

English painter, archaeologist and dealer, of Irish origin. A Roman Catholic, he was the son of a prosperous London baker, originally from Cork. He entered the Royal Academy Schools in 1781; two years later he travelled to Italy via Flanders and Paris, reaching Rome in January 1784. There, under the influence of Andrea Appiani and François-Xavier Fabre, he evolved an individual and original Neo-classical style of portrait painting, with an emphasis on contour, clear colour and psychological penetration. By the early 1790s he had become a fashionable painter of English visitors and a prominent member of Roman artistic society. His portraits often include evocative Italian landscape settings, as in Elizabeth, Lady Webster (1793; priv. col.), which shows Mt Vesuvius in the background, and the double portrait of his friend Sir Corbet Corbet with his Wife and Dogs in the Roman Campagna (c. 1797; priv. col., see Crookshank and Glin, ...

(b São Paulo, Dec 28, 1928; d Stockholm, Nov 8, 1976).

Swedish painter. Following a childhood spent in Brazil, he moved to Sweden in 1939. He studied archaeology and the history of art, specializing in pre-Columbian manuscripts, and he showed an interest in the theatre. In the early 1950s he worked as a journalist, wrote plays and poems and in 1952 began to paint his first composite pictures. In 1953 Fahlström published a manifesto, Hipy Papy Bthuthdth Thuthda Bthuthdy: Manifesto for Concrete Poetry (Stockholm), which manipulates language irrespective of the meanings of words. He saw an unexploited wealth, both sensual and intellectual, in its phonetic materials and in the distortions that occur when letters are transposed. In the following years he worked mainly on a large painting entitled Ade-Ledic-Nander II (oil, 1955–7; Stockholm, Mod. Mus.), where little hieroglyphic signs are arranged in major, antagonistic groups. Next, he appropriated images from such comic strips as Krazy Kat (for illustration see Comic-strip art...

(b Tuligłowy, nr Lwów [now Lviv, Ukraine], July 30, 1853; d Habelschwerdt, Silesia [now Bystrzyca Kłodzka, Poland], July 9, 1929).

Polish painter. He studied (1869–71) at the Kraków School of Fine Arts before working as a draughtsman for the archaeologist Stanisław Krzyżanowski (1841–81) on excavations in the Ukraine, then for the architect Feliks G̨siorowski. With the latter’s support, Fałat was able to study architecture in Zurich and Munich, but he gave up his studies to work as a technical draughtsman in Zurich. He continued with his painting studies in Munich (1877–80) under Alexander Strähuber (1814–82) and Georg Raab (1821–85). Fałat’s early work shows the influence of the watercolourists Hubert von Herkomer and Ludwig Passini (1832–1903), and of Eduard Grützner (1846–1925). Fałat’s own watercolour work was soon acclaimed both by the large group of Polish painters in Munich and also by those at home. In 1882–6 Fałat lived in Warsaw painting realistic genre scenes and landscapes and contributing illustrations to Polish and German periodicals, such as the Viennese Secession journal ...

(b Christchurch, July 12, 1939; d Waitangi, Feb 7, 1990).

New Zealand painter. After graduating in sculpture from the University of Canterbury in 1961, he began to paint seriously. He was involved professionally in archaeology, including recording early Maori rock drawings. In 1963 he travelled to Europe, returning to Christchurch in 1967. He extended his use of photographic sources for his work from the Old Masters to medical and often grotesque images, as in No! (Christchurch, NZ, McDougall A. G.). He moved to Auckland in 1973 and from then Polynesian culture and imagery dominated his work. From these sources he built up his distinctive symbolic vocabulary, for example in Too Late (1986; Rotorua, A. G.). In 1994 Fomison’s work toured throughout New Zealand in the exhibition Fomison: What Shall We Tell Them?

[ Yeh Kung-ch’uo ; zi Yufu, Yuhu ; hao Xiaan, Juyuan ]

(b Panyu, Guangdong Province, 1881; d 1968).

Chinese calligrapher, painter, archaeologist, collector, poet and government official. He was born into a wealthy, scholarly family, received a classical education and as a youth of 16 founded a school in Guangzhou (Canton) and a publishing company in Shanghai; at 17 he enrolled in law school at the Imperial University in Beijing. His studies were interrupted two years later by the Boxer Rebellion of 1900, whereupon Ye moved to Wuchang, Hubei Province, and taught history, geography and modern languages for four years. In 1906 he began his official career as a specialist in railways and communications. After 1911, Ye held various positions in the Republican government and was instrumental in the establishment of Jiaotong University in Shanghai; he also served as director of classics for several years at Peking [Beijing] University. After the Sino-Japanese War (1937–45), he gave up his government career and devoted himself to the arts and research, although he continued to serve on educational and cultural committees for the rest of his life. In particular, he became involved in the committee to organize the simplification of Chinese characters. In ...

[Edhem, Osman HamdiHamdi Bey]

(b Istanbul, Dec 30, 1842; d Eskihisar, Gebze, nr Istanbul, Feb 24, 1910).

Turkish painter, museum director and archaeologist. In 1857 he was sent to Paris, where he stayed for 11 years, training as a painter under Gustave Boulanger and Jean-Léon Gérôme. On returning to Turkey he served in various official positions, including two years in Baghdad as chargé d’affaires, while at the same time continuing to paint. In 1873 he worked on a catalogue of costumes of the Ottoman empire, with photographic illustrations, for the Weltausstellung in Vienna. In 1881 he was appointed director of the Archaeological Museum at the Çinili Köşk, Topkapı Palace, in Istanbul. He persuaded Sultan Abdülhamid II (reg 1876–1909) to issue an order against the traffic in antiquities, which was put into effect in 1883, and he began to direct excavations within the Ottoman empire. As a result he brought together Classical and Islamic objects for the museum in Istanbul, including the Sarcophagus of Alexander, unearthed in Sidon in ...

(b Murdieston, Lothian, 1723; d Rome, Jan 4, 1798).

Scottish painter, archaeologist and dealer, active in Italy. He was educated at Glasgow University and in 1748 arrived in Rome to study portrait painting under Agostino Masucci. He lodged with the architects James Stuart and Nicholas Revett; they probably encouraged him to visit Herculaneum and the recently discovered archaeological site of Pompeii, which had a profound effect on his subsequent career. Convinced that ‘the ancients have surpassed the moderns, both in painting and sculpture’, Hamilton undertook a systematic study of Classical antiquities during the 1750s and 1760s. In 1751 he was briefly in Scotland, where he painted a full-length portrait of Elizabeth Gunning, Duchess of Hamilton (Lennoxlove, Lothian), in a conventional style derived from van Dyck. He returned to Rome in 1752 and remained there, with the exception of short visits to England, for the rest of his life. In 1755 he was introduced by Anton Raphael Mengs to Johann Joachim Winckelmann, who was to become one of the leading theorists of Neo-classicism. In the same year Hamilton entertained Robert Adam (i), who studied in Rome from ...

A distinctively Macedonian type of monumental chamber-tomb, consisting of a built chamber roofed with a barrel-vault, sometimes also preceded by an antechamber, and covered by an earth tumulus. The type emerged some time in the 4th century bc, and was widely used in Macedonia and its sphere of influence well into the Hellenistic period (323–27 bc).

Inhumations and cremations were practised contemporaneously in Macedonia, and are often found in the same tomb; it seems that the choice was a matter of personal preference or family tradition. Cremated remains were deposited inside a chest (larnax) made of stone, metal or wood, or a metal or clay hydria (water-jug). The tombs were furnished with couches, thrones, stools, chests, tables, benches etc reproducing actual interiors. The furniture presumably had a practical as well as symbolic role as it may have been used in funerary rituals. Movable offerings were also deposited to accompany the deceased in the afterlife, offering a glimpse into a world of skilful extravagance and sophisticated luxury....

Often highly individualistic portraits painted on wood or canvas that were positioned over the head of a mummy. They came into use in Egypt during the Roman Imperial period and partly replaced the more traditional, idealized masks. Some 900 to 1000 examples are currently known; particularly significant collections are in the British Museum and Petrie Museum in London, the Louvre in Paris, the Staatliche Museen in Berlin and the Egyptian Museum in Cairo. Mummy portraits were found throughout Egypt from the delta to Nubia, but were concentrated in a few cemeteries in the Nile valley, such as Akhmim and Antinoöpolis, and particularly in the Faiyum (er-Rubayat and Hawara), so that they are sometimes also known as ‘Faiyum-portraits’.

The portraits were sometimes painted using very elaborate encaustic techniques, involving layers of coloured, heated wax that produced vivid chromatic tones, but cheaper versions in tempera on white backgrounds and even watercolour also occur. The insufficient state of publication of many portraits has generally not been conducive to studies into workshop connections or the isolation of individual painters; more detailed research on these aspects exists only for examples from Antinoöpolis....

[now Torre Annunziata]

Roman settlement on the seaward slopes of Mt Vesuvius about five km north-west of Pompeii, in what is now Torre Annunziata. The name Oplontis is attested in the Tabula Peutingeriana, a 13th-century copy of an ancient map of the Roman Empire (Vienna, Österreich. Nbib., Cod. 324). Baths were discovered at the locality of Punta Oncino in 1834 while systematic excavations between 1964 and 1984 unearthed two villas and remains of a portico in the nearby area of Mascatelle.

Villa A is a grand residence with origins in the 1st century bc and extended in the Claudian period (mid-1st century ad). It is also known as Villa of Poppaea, after Poppaea Sabina, second wife of the Roman emperor Nero (an amphora inscribed with the name of one of her freedmen was found on the site). The villa was empty and undergoing restoration work at the time of the eruption of Mt Vesuvius in ...

(b London, July 28, 1866; d Near Sawrey, Cumbria, Dec 22, 1943).

English painter, draughtsman and writer. A lonely child, she sought solace in botany, zoology, mycology and archaeology, learning to observe and to record. In the 1880s and 1890s she systematically studied fungi, mosses, lichens, fossils and Roman antiquities; her watercolours of these, such as the collection in the National Art Library (London, V&A), combine broad washes with acutely observed detail in elegant compositions. Pets such as rabbits, mice and hedgehogs provided company and inspired stories to entertain her ex-governess’s children. She published The Tale of Peter Rabbit privately in December 1901 (R London, 1902) with her own illustrations. Publication gave her independence from the family wealth. She purchased Hill Top Farm, Near Sawrey (NT), and set her best-loved books in the vicinity (original drawings: Hawkshead, Beatrix Potter Gal.). From 1913 Beatrix Potter was occupied as a sheep farmer.

(b Cali, Sept 2, 1955).

Colombian painter, sculptor, illustrator, and collage and installation artist. Roldán graduated in architecture from the Pontificia Universidad Javeriana in Bogotá in 1979, then moved to Paris to study art history at the Ecole du Louvre and La Sorbonne and modern engraving at Stanley W. Hayter’s Atelier 17.

Defying the use of signature themes or motifs, Roldán draws on a broad pool of references, from mythology to art history and literature, to create works that reflect on the transitory nature of life cycles, engaging with intimate processes of the passage of time and everyday detritus in order to create rich palimpsests and repurposed objects. His early paintings, such as Reflections (1989, 1990, and 1991), embraced abstraction, amorphous forms, bold color, and strong lines, that suggest the influence of the American abstract painters whose work he encountered after moving to Milwaukee, USA, in 1981. Quotidian experiences and recycled materials are recurrently present in such works as the time-based ...