The museum is displaying original antiquities and other objects as one of the sources of Western tradition to put the present in a culture-historical perspective by means of insight in and understanding of the past.
The Allard Pierson Museum is the Archaeology Museum of the University of Amsterdam, and shows the significance of ancient civilizations to contemporary European culture n a challenging way. We do this for the widest possible interested public, on the basis of an archaeological top collection in collaboration with talented students, excellent researchers and fellow institutions.
The ancient civilisations of ancient Egypt, the Near East, the Greek World, Etruria and the Roman Empire are revived in this museum. Art-objects and utensils, dating from 4000 B.C. till 1000 A.D. give a good impression of everyday-life.
Het Allard Pierson Museum is het archeologisch museum van de Universiteit van Amsterdam. Het museum werd in 1934 geopend. De collectie bestond toen uit ca. 5000 oudheden, afkomstig uit de verzameling van dr. C.W. Lunsingh Scheurleer. Deze collectie was aangekocht door de Allard Pierson Stichting met steun van de Vereniging Rembrandt en vele particulieren en geschonken aan de Universiteit. Inmiddels telt het museum meer dan 16.000 voorwerpen, waarvan een belangrijk deel is geschonken door particulieren.
In het Allard Pierson Museum komen de antieke beschavingen uit het Oude Egypte, het Nabije Oosten, de Griekse wereld, Etrurië en het Romeinse Rijk opnieuw tot leven.
Kunst- en gebruiksvoorwerpen uit de periode van 5000 voor Chr. tot 500 na Chr. geven een beeld van het dagelijks leven, mythologie en godsdienst in de antieke Oudheid.
>Allard Pierson (Amsterdam, 8 april 1831 – Almen, 27 mei 1896) was een Nederlandse predikant, theoloog, geschied- en taalkundige. Allard Pierson was lid van de familie Pierson en een zoon van de koopman Jan Lodewijk Gregory Pierson en de schrijfster Ida Oyens (lid van de familie Oijens). Hij kwam uit een aanzienlijke Amsterdamse koopmansfamilie, die tot de kringen rond het Réveil behoorde. Hij was een broer van Nicolaas Pierson en Hendrik Pierson; hij was een zwager van de kunstschilder Herman ten Kate die met zijn zus getrouwd was. Pierson trouwde met Pauline Hermine Elizabeth Gildemeester (Amsterdam, 7 maart 1831 – Scheveningen, 6 september 1900). Uit dit huwelijk werden zes kinderen geboren, onder wie Jan Lodewijk Pierson sr.. Zij bewoonden Huize Velhorst in Almen (vlak bij Zutphen), waar Pierson op 65-jarige leeftijd is overleden.
Pierson werd predikant te Leuven, maar legde dit ambt neer vanwege zijn modernistische inzichten. In 1870 werd hij hoogleraar theologie te Heidelberg. Pierson was van 1877-1895 de eerste hoogleraar in kunstgeschiedenis, esthetica en moderne talen en letteren aan de Universiteit van Amsterdam. Het archeologie museum van de Universiteit van Amsterdam is naar hem vernoemd omdat hij in 1877 de eerste hoogleraar archeologie aan de Universiteit van Amsterdam werd. Hij behoorde tot de fijnzinnigste geesten uit het Nederlandse culturele leven van de 19e eeuw. Tijdens zijn hoogleraarschap in Amsterdam legde hij een verzameling gipsafgietsels aan. Het Allard Pierson Museum van de Universiteit van Amsterdam draagt zijn naam.
The Archeological Museum of Seville (Spanish: Museo Arqueológico de Sevilla) is a museum in Seville, southern Spain, housed in the Pabellón del Renacimiento, one of the pavilions designed by the architect Aníbal González[1]. These pavilions at the Plaza de España were created for the Ibero-American Exposition of 1929.
The museum’s basement houses the El Carambolo treasure, discovered in Camas (3 km NW of Seville) in 1958. The treasure comprises 2950 grams of 24 carat gold and consists of golden bracelets, a golden chain with pendant, buckles, belt- and forehead plates. Some regard the El Carambolo treasure as proof of the Tartessian roots of Seville. This is, however, disputed because the treasure includes a small figurine of Astarte, a Phoenician goddess.
Other halls of the museum contain findings from the Roman era, many of which are from the nearby Roman city of Itálica. The Itálica exhibits include mosaics, statues (including the famous Venus of Itálica, and busts of the emperors Augustus, Vespasianus, Trajan and Hadrian.
The Roman-Germanic Museum (RGM, in German: Römisch-Germanisches Museum) is an archaeological museum in Cologne, Germany. It has a large collection of Roman artifacts from the Roman settlement of Colonia Claudia Ara Agrippinensium, on which modern Cologne is built. The museum protects the original site of a Roman town villa, from which a large Dionysus mosaic remains in its original place in the basement, and the related Roman Road just outside. In this respect the museum is an archaeological site.
The museum also has the task of preserving the Roman cultural heritage of Cologne, and therefore houses an extensive collection of Roman glass from funerals and burials and also exercises archaeological supervision over the construction of the Cologne underground.
Most of the museum’s collection was housed at the Wallraf-Richartz Museum in Cologne until 1946. In the front of the museum the former northern town gate of Cologne with the inscription CCAA (for Colonia Claudia Ara Agrippinensium) is on display in the building. Section of the Dionysus mosaic (220 through 230) in the Römisch-Germanisches Museum Cologne.
The Römisch-Germanisches Museum, which opened in 1974, is near the Cologne Cathedral on the site of a 3rd-century villa. The villa was discovered in 1941 during the construction of an air-raid shelter. On the floor of the main room of the villa is the renowned Dionysus mosaic. Since the mosaic could not be moved easily, the architects Klaus Renner and Heinz Röcke designed the museum around the mosaic. The inner courtyards of the museum mimic the layout of the ancient villa.
In addition to the Dionysus mosaic, which dates from around A.D. 220/230, there is the reconstructed sepulcher of legionary Poblicius (about A.D. 40). There is also an extensive collection of Roman glassware as well as an array of Roman and medieval jewellery. Many artifacts of everyday life in Roman Cologne — including portraits (e.g., of Roman emperor Augustus and his wife Livia Drusilla), inscriptions, pottery, and architectural fragments — round out the displays.
Around 15 BC the Roman camp Castra Vetera was created on the Fürstenberg near modern-day Birten. It was intended as a base for campaigns into Germania and until its destruction during the Revolt of the Batavi in 70 AD it was occupied by 8,000 to 10,000 legionaries, and was the main base of the Classis germanica.
After the destruction of Castra Vetera a second camp became established at the Bislicher Insel, named Castra Vetera II, which became the base camp of Legio VI Victrix. A nearby created settlement, which was inhabited by 10,000 to 15,000 former legionaries and others, was given the rights of a colonia in 110 by the Roman emperor Marcus Ulpius Traianus, who renamed the city Colonia Ulpia Traiana. The colonia was a completely new city with a city wall and other buildings like an amphitheater. For this city the old settlement was destroyed completely. The colonia became the second most important commercial post in the province of Germania Inferior, surpassed only by Colonia Agrippinensis (today’s Cologne). In 122, Vetera II became the camp of Legio XXX Ulpia Victrix, replacing VI Victrix which had moved to Britannia.
In 275 the colonia was almost destroyed by Germanic tribes. Subsequently, in AD 310 in the area of the colonia a new city was established, named Tricensimae (“of the Thirtieth”), which was built on the nine central insula of the former colonia but fortified and more easily defended. At the beginning of the 5th century, assaults by Germanic tribes rapidly increased, with the result that Tricensimae was finally given up.
In 1975, the Archäologischer Park Xanten (Xanten Archaeological Park), a partial reconstruction of the Roman Colonia Ulpia Traiana, was established and opened for tourism. It is built on the site of the Roman town. Today it is one of the most frequently visited parks in Germany. Among other events there, even the popular TV show Wetten dass..? has taken place in the APX. In 2012, the Archaeological Park was expanded to nearly the whole area of the Roman Colonia after the Bundesstraße 57 moved away from the middle of the area.
Die Römische Villa Borg ist ein archäologisches Freilichtmuseum im Ortsteil Borg der saarländischen Gemeinde Perl im Landkreis Merzig-Wadern. Das Freilichtmuseum besteht aus einer freigelegten und rekonstruierten römischen Villa rustica. Die Anlage wird von der Kulturstiftung Merzig-Wadern getragen. Der Archäologiepark Villa Borg ist eine Station der Straße der Römer.
Nachdem vor nahezu 100 Jahren archäologische Funde in Borg auf eine Villa rustica hindeuteten, wurden 1987 planmäßige Ausgrabungen begonnen. Nach Auswertung und Bewertung der Grabungsbefunde wurde 1994 beschlossen, die gesamte historische Anlage gemäß der Befunde zu rekonstruieren. Insgesamt hat die bauliche Anlage, die sich inkl. Hofareal über eine Fläche von 7,5 ha ausbreitet, drei Flügel. Die ersten Gebäude, die Taverne und das Villenbad, wurden 1997 fertiggestellt. Das Herrenhaus mit der musealen Einrichtung sowie der Innenhof konnten 1999 der Öffentlichkeit übergeben werden. Der dritte Gebäudeflügel mit Wohn- und Wirtschaftsbereichen wurden 2001 fertiggestellt. Das Torhaus wurde ebenfalls wieder aufgebaut.
Das Herrenhaus, dessen Rekonstruktion auch als Regionalmuseum für archäologische Funde genutzt wird, liegt quer zur Mittelachse der Anlage. Es besitzt eine große Empfangshalle mit einer Fläche von 100 m²; die Ausstattung wurde anhand vorgefundener Überreste aus Borg sowie des allgemeinen Wissensstands über derartige römische Gebäude vorgenommen. Das Mobiliar sowie Türen, Fenster und der Warmwasserkessel des Heizraums sind nach antiken Vorlagen gebaut. Das rekonstruierte römische Bad demonstriert unter anderem die Funktion eines Hypokaustums. Das Lokal in der römischen Taverne bietet Speisen nach Rezepten des Apicius an.
Im Jahr 2000 wurde im Zuge des Projekts Gärten ohne Grenzen ein ebenfalls der Öffentlichkeit zugänglicher Garten nach römischem Muster in die Anlage integriert.
Von Juli bis September 2013 wurde eine römische Glaswerkstatt rekonstruiert, die folgend im Oktober 2013 erstmals als ‘Borg Furnace Project’ experimentell betrieben wurde. Forschungsprojekte mit römischem Glas fanden im Juni 2014 und Mai 2015 statt. Weitere Projekte hierzu sind in Planung.
The Neues Museum (“New Museum”) is a museum in Berlin, Germany, located to the north of the Altes Museum (Old Museum) on Museum Island.It was built between 1843 and 1855 according to plans by Friedrich August Stüler, a student of Karl Friedrich Schinkel. The museum was closed at the beginning of World War II in 1939, and was heavily damaged during the bombing of Berlin. The rebuilding was overseen by the English architect David Chipperfield. The museum officially reopened in October 2009. Exhibits include the Egyptian and Prehistory and Early History collections, as it did before the war. The artifacts it houses include the iconic bust of the Egyptian queen Nefertiti.
Qasr Mshatta (“Winter Palace”) is the ruin of an Umayyad winter palace, probably commissioned by Caliph Al-Walid II (743-744). The ruins are located approximately 30 km south of Amman, Jordan, north of Queen Alia International Airport, and are part of a string of castles, palaces and caravanserais known collectively in Jordan as the Desert Castles. Though much of the ruins can still be found in situ, the most striking feature of the palace, its facade, has been removed and is on display at the Pergamon Museum in Berlin. The complex was never completed.
The ruins of Qasr Mushatta consist of a square enclosure, surrounded by an outer wall comprising 25 towers. Its internal space is divided into three equal longitudinal strips, of which just the central one was completed to some degree. This central strip contains three major elements: on its southern side is what K. A. C. Creswell called the “Gateway Block”, followed by the large central courtyard, which leads northwards to the reception hall wing. The Gateway Block presents only the foundations of several rooms arranged symmetrically around a small courtyard. Among the rooms there is a small mosque, recognisable by the concave mihrab on its southern wall, facing Mecca. The large central courtyard had a rectangular pond at its centre. The reception hall wing, called by Creswell the “Main Building”, placed at the centre of the northern part of the enclosure, was the only fully built section of the palace. It consists of a basilica-shaped hall (a vaulted hallway with three aisles separated by columns), leading up to the throne room. The throne room is triconch-shaped (a “triple iwan”), with the central conch once containing the throne, and was covered by a brick dome. The side rooms of the reception hall wing were combined into four residential suites, called in Arabic buyut, the plural of bayt, barrel-vaulted and ventilated through concealed air ducts.
The most famous element of Mshatta is the carved frieze which decorated a section of the southern facade, on both sides of the entrance gate. It is worth noticing that not the entire facade was adorned by the frieze, but only its central third, which corresponded to the very strip of the complex apparently reserved to the caliph, and the only one close to completion. The frieze is of high importance to scholars due to its original combination of Classical and Sasanian decorative elements, thus being an early example of the East-West synthesis which led to the development of a full-fledged Islamic art. While much of the decorated part of the facade has been removed, the rest of the structure can still be visited in situ, though little of what were probably once lavish decorative schemes remain.
Neferneferuaten Nefertiti (ca. 1370 – ca. 1330 BC) was an Egyptian queen and the Great Royal Wife (chief consort) of Akhenaten, an Egyptian Pharaoh. Nefertiti and her husband were known for a religious revolution, in which they worshiped one god only, Aten, or the sun disc. Akhenaten and Nefertiti were responsible for the creation of a whole new religion which changed the ways of religion within Egypt. With her husband, she reigned at what was arguably the wealthiest period of Ancient Egyptian history. Some scholars believe that Nefertiti ruled briefly as Neferneferuaten after her husband’s death and before the accession of Tutankhamun, although this identification is a matter of ongoing debate.
She was made famous by her bust, now in Berlin’s Neues Museum. The bust is one of the most copied works of ancient Egypt. It was attributed to the sculptor Thutmose, and it was found in his workshop. The bust is notable for exemplifying the understanding Ancient Egyptians had regarding realistic facial proportions.
