post

Eicha museum Bergeijk

A small museum, located in the southern part of the Netherlands, displays some artefacts of the long history of the region. From neolitic, Celt, Roman to Medieval.
 

LVR-Landesmuseum Bonn

From Neanderthal Man to the Present: Time Travel across 400,000 Years Cultural History in the Rhineland

Due to its superb collection as the only museum of cultural history in the Rhineland, the LVR-LandesMuseum shows the development of the region from its beginnings to the present day. In the permanent exhibition, the visitor is greeted with an eventful journey through time, from the Stone Age up to today. Not only is the world-famous original Neanderthal man (40,000 years B.C.) on display here, but also the world’s largest Neolithic well. Further highlights are the Fritzdorf gold beaker from the Bronze Age, the Pfalzfeld Column dating from Celtic times, and a treasure that had once belonged to a Celtic princess from Waldalgesheim. Roman times may be discovered in one of the best Roman provincial collections in all of Germany. Highlights from Frankish times are the splendid grave of the Lord von Morken and what is most likely the best collection of Frankish gold disc fibulae clasps in all of Europe. A zenith in art of the 12th century, the Romanesque sculpture frieze from Gustorf brings us into Christian Europe. Landscape painting from the Renaissance to well into the 19th century is a further emphasis in the collection. Modern painting from Expressionism and the New Objectivity, by way of Informel, and up to recent contemporary art round out what all the museum has to offer. The important Photograph Collection and Department of Prints and Drawings are introduced with ever new thematic emphases. The LVR-LandesMuseum presents its important holdings with seven thematic tours ranging from the Stone Age to the Present Day.

  Celtic objects

  Roman glass objects

  Mosaics

  Statues

  Small objects

  Roman objects

post

Mainz Landesmuseum

Pre-Historic and Roman Departments

Antiquities from the Mainz area, including a Venus-like statue from 23,000 BC; stone axes from the Late Stone Age; Roman stone memorials; busts of bronze and marble; a 1st-century Roman Jupiter Column; a 3rd-century Roman arch.

post

Cordoba Alcazar

CORDALC2240Alcázar de los Reyes Cristianos MOSAICS HALL

In a hall which housed the former chapel of the Inquisitions there are exhibited a magnificent collection of Roman mosaic art from the 2nd and 3rd century AD. The collection was discovered under Corredera Square in the city in 1959 and once belonged to a wealthy Roman Mansion.CORDALC2182CORDALC2180 CORDALC2178 CORDALC2177a CORDALC2177 CORDALC2176 CORDALC2175 CORDALC9061 CORDALC9054 CORDALC9052 CORDALC2183June 2013, Canon G1 X

post

Museo dell’ Accademia Etrusca e città di Cortona

CORTONA_IMG_0529The Etruscan Academy Museum of the city of Cortona

MAEC’s history stretches back to 1727 when the Accademia Etrusca (Etruscan Academy) was founded; the academy’s statutory goals included the dissemination of historical and artistic culture through key-tools such as the Library and the Museum both of which were public right from the earliest stages; over the past three centuries the Museum has undergone extraordinary development all the way to its final re-arrangement in 2008 The museum currently consists of two main sections respectively devoted to the Accademia Etrusca and the Etruscan and Roman city of Cortona; the former section accommodates materials providing a unique testimony to the life and continuing efforts of the best known cultural institution in town; such materials range from the earliest bequests from academicians in the 1700 and 1800s to materials acquired over the centuries: the most valuable pieces – real “symbols” of the Cortonese culture – include the Etruscan bronze lamp, the so-called Musa Polimnia, a fine collection of Etruscan and Roman ceramics and bronzes as well as the Corbelli collection including materials from the Egyptian civilization; more recent materials include an imposing collection of art objects and furnishings formerly owned by the Tommasi-Baldelli family, one of the most prominent families in town, as well as a series of works by Cortona-born painter Gino Severini, one of the founders of Futurism, bequeathed to the town of Cortona by the Maestro himself. Other exhibits include archaeological finds from the city and its surroundings providing a link to the modern section devoted to the development of the latter.

CORTONA_IMG_0618After a first room providing an insight into local paleontology the subsequent rooms house orientalizing and archaic grave-goods from burials in the Valle Tiberina and the Valdichiana, at the edge of the Cortona sphere of influence, and, remarkably, valuable finds from Etruscan burials located in the close surroundings of Cortona, the so-called “Meloni” of Sodo and Camucia. An accurate reconstructive image is provided for all displayed finds including the well-known jewels found in the 1990s as well as sacred structures associated with the cult and burial of the dead. Particularly interesting is the display of grave-goods recently uncovered from a series of orientalizing circular burials affording a new and fascinating insight into the remotest Cortonese history. Significant testimony to the town’s great Hellenistic development is provided by a bronze tablet bearing one of the longest known inscriptions in the Etruscan language as well as by finds from suburban sanctuaries and monumental burials. The tour ends with exhibits from the Roman period (a period of extraordinary complexity and high-profile) including finds from the large Roman villa (currently under excavation) unearthed in Ossaia as well as from the vast network of roads connecting the major centres in ancient times. The tour then resumes, ensuring an ideal continuity with the lower section, with the medieval section housed on the upper floors devoted to the Accademia.

BOXCORTONA_IMG_0537

CORTONA_IMG_0613 CORTONA_IMG_0612 CORTONA_IMG_0597

CORTONA_IMG_0595 CORTONA_IMG_0594 CORTONA_IMG_0593

CORTONA_IMG_0590 CORTONA_IMG_0588 CORTONA_IMG_0587 CORTONA_IMG_0584

CORTONA_IMG_0583 CORTONA_IMG_0580 CORTONA_IMG_0576 CORTONA_IMG_0575 CORTONA_IMG_0574 CORTONA_IMG_0572 CORTONA_IMG_0556 CORTONA_IMG_0539 CORTONA_IMG_0636 CORTONA_IMG_0632

CORTONA_IMG_0616 CORTONA_IMG_0615

post

Museo archeologico Arezzo

AREZZO_IMG_9830The Museo Archeologico is housed in the former Olivetan convent, founded in 1323, that was built directly over the ruins of the Roman Amphitheatre: hence, the curios curved design.
Damages by bombs during the Second World War, in its modern re-systemisation it offers a picture of ancient history of the city and the territory.
The Crater of Euphronios, an Attic vase of the end of the 6th c. BC, is remarkable: it testified to the wealth and high cultural level reached during that age by the wealthy classes of the Arezzo area, who were in a position to appreciate and acquire a work realised by one of the greatest pottery decorators of the age. The crater is a capacious vase with a wide mouth, made for mixing wine and water in accordance with the Greek usage of the symposium: the presence of such a precious vase and one for such a specific use indicates that the practice of the symposium was present in the high society of the area, as an occasion of encounter and also as a stutus symbol.
Of great artistic quality and also linked to the symposium is the Attic amphora of the school of the Painter of Dinos from Casalta (end of the 5th c. BC). Together with the somewath older Attic stamnos of the Painter of Danae from Alberoro, it testifies to the continuing wealth of the land-owner classes of the fertile Valdichiana. It is very probable that these and other Attic products were imported through the Greco-Etruscan port of Spina, on the Po delta, and from there arrived overland in Arezzo across the Apennine passes.
AREZZO_IMG_9751The large disk inscribed in stone that can be seen in the following rooms constitutes an additional indication of the vitality of these activities: it comes from the Estruscan sanctuary of Pieve a Socana, in the Casentino, is datable to the 5th c. BC, and bears an Etruscan inscription that says it was offered by an exponent of a gens (family) the founder of which had himself called ”the Greek”.
Of great interest is the collection of Aretine ceramics, the so-called ”coralline”: a typical product of the city which, between the 1th century BC and 1th century AD, flooded the market of the entire Roman empire with clay vases that imitaded those made of metal (silver) in shape, relief decoration, polish and perhaps even sound.
In the display cabinets can be seen the punches and dies utilised for realising the mass-production of these items: industrial products, but of extraordinary refinement.
The fragments of Arezzo ceramics decorated in relief were sougth after by artists already in the Middle Ages, and Donatello probably had the idea of his stiacciato relief from them.
The Toga-clad Fifure (1th c. BC) also speaks of the Roman city. It decorated a monumental tomb recently discovered along Via Vittorio Veneto.
Lastly, a Chrysographic Male Portrait deserves careful examination: this is a miniature realised on very thin gold and silver foil, and sealed between two pieces of glass (third quarter of the 3nd c. AD).AREZZO_IMG_9776AREZZO_IMG_9799

AREZZO_IMG_9801

AREZZO_IMG_9802AREZZO_IMG_9804AREZZO_IMG_9805AREZZO_IMG_9806AREZZO_IMG_9808AREZZO_IMG_9811AREZZO_IMG_9812AREZZO_IMG_9813AREZZO_IMG_9814AREZZO_IMG_9819AREZZO_IMG_9824


AREZZO_IMG_9826AREZZO_IMG_9762AREZZO_IMG_9764AREZZO_IMG_9765AREZZO_IMG_9768AREZZO_IMG_9769AREZZO_IMG_9770AREZZO_IMG_9771AREZZO_IMG_9775AREZZO_IMG_9830Museo Archeologico is housed in the former Olivetan convent, founded in 1323, that was built directly over the ruins of the Roman Amphitheatre: hence, the curios curved design.

Damages by bombs during the Second World War, in its modern re-systemisation it offers a picture of ancient history of the city and the territory.

The Crater of Euphronios, an Attic vase of the end of the 6th c. BC, is remarkable: it testified to the wealth and high cultural level reached during that age by the wealthy classes of the Arezzo area, who were in a position to appreciate and acquire a work realised by one of the greatest pottery decorators of the age. The crater is a capacious vase with a wide mouth, made for mixing wine and water in accordance with the Greek usage of the symposium: the presence of such a precious vase and one for such a specific use indicates that the practice of the symposium was present in the high society of the area, as an occasion of encounter and also as a stutus symbol.

Of great artistic quality and also linked to the symposium is the Attic amphora of the school of the Painter of Dinos from Casalta (end of the 5th c. BC). Together with the somewath older Attic stamnos of the Painter of Danae from Alberoro, it testifies to the continuing wealth of the land-owner classes of the fertile Valdichiana. It is very probable that these and other Attic products were imported through the Greco-Etruscan port of Spina, on the Po delta, and from there arrived overland in Arezzo across the Apennine passes.

The large disk inscribed in stone that can be seen in the following rooms constitutes an additional indication of the vitality of these activities: it comes from the Estruscan sanctuary of Pieve a Socana, in the Casentino, is datable to the 5th c. BC, and bears an Etruscan inscription that says it was offered by an exponent of a gens (family) the founder of which had himself called ”the Greek”.
Of great interest is the collection of Aretine ceramics, the so-called ”coralline”: a typical product of the city which, between the 1th century BC and 1th century AD, flooded the market of the entire Roman empire with clay vases that imitaded those made of metal (silver) in shape, relief decoration, polish and perhaps even sound.

AREZZO_IMG_9755In the display cabinets can be seen the punches and dies utilised for realising the mass-production of these items: industrial products, but of extraordinary refinement.

The fragments of Arezzo ceramics decorated in relief were sougth after by artists already in the Middle Ages, and Donatello probably had the idea of his stiacciato relief from them.

The Toga-clad Fifure (1th c. BC) also speaks of the Roman city. It decorated a monumental tomb recently discovered along Via Vittorio Veneto.

Lastly, a Chrysographic Male Portrait deserves careful examination: this is a miniature realised on very thin gold and silver foil, and sealed between two pieces of glass.