View of the civic tower from the garden of Palazzo Farrattini

Marc Balcells at The Met, NY

Marc Balcells: Well, my interest on researching art crime has grown, of course. That was easy because of two reasons: first, because as a researcher/scholar/proud "ambassador" of the topic, I am very happy on conducting research non-stop. I do take it very seriously, so we can advance the field by very serious academic work.

Also, because those 10 weeks were fantastic, on the educational side... I have no words to really express how enriching that was! Professors, materials, books... On the book side let me tell you that when the girl at the check-in counter at Fiumicino wanted to weigh my trolley bag, well... it weighed more than 25 kilos out of how many books I bought in Amelia regarding art crime. I still remember her face! Nerdish? Maybe, but now imagine for three months a professor recommending this book, a guest speaker another, a panelist another... Your trolley will resent you!

Marc Balcells: I am a criminologist conducting research on organized crime and the links with the art world, so it was obvious that my thesis went on that direction. Because I am in academia my thesis is just a first step on what it will be a longer project (and article) on defining organized crime operations in the art world (for my thesis I just used a small example), getting even to challenge that concept to the extent that maybe when we are talking organized crime in some cases it can be another thing (like occupational crime), changing the players and the scenarios where they act. I hope that more data and some crime-explaining theories will be useful on debating that point.

Marc Balcells: Well, since leaving the program the show just goes on and on! When I do teach, I like to use a lot of examples from my own research, or even from colleagues' and professors' experiences that I learned during the summer. So my students at John Jay College at the City University of New York get a good deal on art crime in both courses I teach. But I also must confess that ARCA's Postgraduate program really confirmed my belonging in this field, and I do take very seriously (no kidding here!) on producing serious empirical work that may establish art crime as a form of criminality that can rival any other better researched form of crime.

I do also take very seriously my "ambassador" role, and I feel that my columns on art crime, or my guest talks (both in an academic environment or on TV, radio or press: yes, future ARCA students, now you know a lot about that and media may want to hear what you have to say!) have to be very seriously addressed: that is, not only talking about the fancy crimes that everybody wants to hear, but also on the serious consequences art crime may have.

Marc Balcells: Oh, I miss many things from Amelia. One of them could be the silence that allows you to contemplate every single building on the old part (works fantastic for working, or reading a good novel), even during week days. But I have to admit I treasure all the laughs and drinks we all shared at Fuori Porta or the bar at the Park. There were nights that were, simply put, memorable. On the foodie side, I miss the trofie al Pesto or the ragu alla lepre from Punto di Vino (and the cappuccinos), the Porcella pizza at Porcelli's; the lemon ice cream at Tropicana or my favorite breakfast, ciambelle, at Bar Leonardi! And even though I am a city boy, it will be fun being back for the conference, meeting the new cohort, and well... you know what they say about criminals: they like to go back to the scene of crime!

ARCA will be accepting applications for the 2012 program through the end of February; to request a prospectus and apply,  please contact ARCA Admissions at education@artcrimeresearch.org.

Mars attacking (Rome, National Etruscan  Museum of Villa Giulia)

by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

Amelia's collection of cultural property displayed in the Museo Archeologico di Amelia (Archaeological Museum of Amelia) began with an excavation of a Roman theatre along Via di S. Elisabetta in 1820.

A "significant number of Amelia artifacts (bronze and lead votive objects)" according to the museum were "put on the antiquarian market and ended up in Italian and foreign museums and collections."

Statuette of Demeter (London, British Museum)

A partial list from the museum includes the following:

A group of small votive bronze objects from the Archaic period is preserved at the National Etruscan Museum of Villa Giulia in Rome (before it was at the Museum Kircherianum). 

A bronze statuette depicting Demeter on a chariot is from the collection at the British Museum in London. 

The 19th century excavations conducted in Pantanelli unearthed a series of votive figurines cut from lead foil. They were purchased by Baron E. de Meesert de Ravestein prior to 1864 for his collection and are now in Brussels. 

A bronze laminetta engraved in epichoric Umbrian characters on both sides (opistographic), found near Santa Maria in Canale, is currently preserved at the National Museum in Naples. The chain of events that ultimately brought the tablet to Naples began in 1788, when it came into the hands of the Benedictine abbott G. Di Costanzo, who purchased it from the Amelia antiquarian G. Venturelli. Di Costanzo then gave it to Cardinal Stefano Borgia, whose heirs sold it to the Bourbon Museum in Naples in 1817. 

An Imperial marble altar and two inscriptions are at the Vatican Museum. 

The altar, dedicated to the goddess Fortuna by Curiatus Cosanus, is now in Florence. In the 16th century, it was documented in the Church of Santa Firmina. It was then taken to Spoleto and is now part of the Bardini Collection.

The thorax belongs to the Hellenistic Age, around the beginning of the first century BC and can be attributed to a Greek, perhaps Pergamene workshop…. The statue, which the cuirassed torso belonged to could represent Mithradates VI, king of Pontus, because of the myth on the chest of the breastplate, which Achilles killing Troilus, perhaps an allegory of the wished destruction of the Romans as descendants from the Troians. It could be one of the numerous objects brought to Rome as booty in the age of the Mithridatic wars.

It was subsequently transformed as an image of a Roman general speaking to his troops, probably one of the imperatores who fought against the king of Pontus. The provenance of the cuirassed bust and the chronology of the added parts, so as the fact that it has been found in Ameria, suggests that the bronze was transformed into a statue probably representing L. Cornelius Sulla, in whose honour monuments were erected in several municipia. 

Many years later, wishing to commemorate Germanicus, the monument was reused as iconic statue of the young prince, with a new head. This probably happened in the age of Caligula.

by Catherine Schofield Sezgin, Editor-in-chief

Mayor Riccardo Maraga welcomed participants of ARCA's third annual International Art Crime Conference to the Palazzo Boccarini in Amelia last Saturday, July 9.

When citizens of the 3,000 year old Umbrian town elected Maraga from the Democratic Party in May 2011, they voted in one of the youngest mayors in Italy.

A native of Amelia, Riccardo Maraga graduated in Law from the University of Perugia with a thesis on "Labor and the Constitution". Last October, he earned his doctorate in Economic Law.

Readers may find out more about the Mayor of Amelia and his projects through his website here and on his Facebook page where he announced on Tuesday that he has been selected as one of 40 Young European Leaders for a meeting in December to be held in Paris.

ARCA's third annual International Art Crime Conference will begin next Saturday, July 9th, with the panel "Harmonizing Police Cooperation and Returns" with Judge Arthur Tompkins, Ludo Block and Saskia Hugnagel.

Judge Arthur Tompkins, a District Court Judge in New Zealand, will present “Paying a Ransom: The Theft of 96 Rare Medals and the Reward Payments”:

Arthur Tompkins has extensive experience in criminal trials and civil matters. Since graduating with a Masters of Law with First Class Honours from Cambridge University in England, Tompkins has pursued advances and uses of DNA in criminal cases and, in 2007, was elected an Honorary Member of Interpol’s DNA Monitoring Expert Group. In 2009, he presented “A Proposal for a Permanent International Art Crime Tribunal” at ARCA’s Inaugural Art Crime Conference. He is currently an Honorary Lecturer at the University of Waikato’s School of Law and a Visiting Faculty member for ARCA’s Postgraduate program in International Art Crime, teaching the “Art Crime in War” component.

Ludo Block, a former Dutch police officer and police liaison to the Dutch National Police in Moscow, will discuss his article, “European Police Cooperation on Art Crime”:

Ludo Block focuses his research mostly on European police cooperation which is the subject of his PhD dissertation. His other interests are in intelligence, analysis, and law enforcement in the Russian Federation. He has lectured and written around the world concerning these issues, including his article “European Police Cooperation on Art Crime: A Comparative Overview” which will appear in the forthcoming edition of the Journal of Art Crime (Vol. 4).

Saskia Hufnage, a Research Fellow at the Australian Research Council Centre of Excellence in Policing and Security (CEPS) at Griffith University, Queensland, will present “Harmonising Police Cooperation in the Field of Art Crime in Australia and the European Union”:

Saskia Hufnagel was an Assistant Professor at the University of Canberra and a PhD student at the Australian National University in the fields of comparative law, criminal law, cross-border policing and sociolegal studies. She is a German lawyer and accredited specialist in criminal law. Recent publications include ‘“The fear of insignificance”: New perspectives on harmonizing police cooperation in Europe and Australia' (2010) 6(2) Journal of Contemporary European Research 165 and ‘German perspectives on the right to life and human dignity in the “War on Terror”’ (2008) Criminal Law Journal 101.

by Kirsten Hower, ARCA Intern and Blog Contributor

ARCA's International Art Crime Conference will be held next weekend, July 9th and 10th, in Amelia, Italy.

ARCA (Association for Research into Crimes against Art) is a non-profit organization which researches contemporary issues in art crime and cultural heritage protection. ARCA’s mission is to serve as an accessible resource of knowledge and expertise necessary to increase the security and integrity of all art and cultural works. As an interdisciplinary research group/think-tank, ARCA aims to bridge the gap between the practical and theoretical elements of this global issue. ARCA utilizes its vast network of partners and colleagues including foreign and domestic law enforcement officials, security consultants, academics, lawyers, archaeologists, insurance specialists, criminologists, art historians, conservationists, as well as a number of others within the arts and antiquities communities to raise awareness of art crime and cultural heritage protection.

ARCA’s annual art crime conference is held at the seat of our MA Certificate Program, in Amelia, Italy, each summer. The focus of our annual conference is the academic and professional study of art crime, and how it can help contemporary law enforcement and art protection. ARCA seeks to encourage scholars and students worldwide to turn their attentions to the understudied field of art crime and cultural heritage protection.

ARCA congratulates its 2011 award winners:

Paolo Ferri

Dr. Ferri has served as Italian State Prosecutor and has been a prominent figure in the return of many looted antiquities from North American public and private collections. He now serves as an expert in international relations and recovery of works of art for the Italian Culture Ministry.

Neil Brodie

Dr. Brodie is an archaeologist who has written extensively on the looting of antiquities and their eventual sale. He has conducted archaeological fieldwork and was the former director of the Illicit Antiquities Research Centre at the University of Cambridge. His terrific writing on the illicit trade in antiquities stands as a thoughtful and passionate cry for the preservation of a vanishing and finite resource.

Norman Palmer

ARCA is very pleased to have the opportunity to recognize in person the work of a past award winner, Norman Palmer. He chaired the Ministerial Advisory Board on the Illicit Trade in Cultural Objects (ITAP) from 2001 to 2005 whose work has lead the British parliament to enact the Dealing in Cultural Objects Act in 2003. He has been the chair of the Treasure Valuation Committee since 2001 which advises the Minister of the Arts on discovered portable discoveries. He has published widely on the law relating to cultural objects, personal property and commercial transactions. He is a member of the UK Spoliaton Advisory Panel.

ARCA is pleased to present the following awards to Lord Renfrew and Prof. Merryman who are unable to attend the conference this year.

Lord Colin Renfrew

Lord Renfrew has been a tireless voice in the struggle for the prevention of looting of archaeological sites, and one of the most influential archaeologists in recent decades. At Cambridge he was formerly Disney Professor of Archaeology and Director of the McDonald Institute for Archaeological Research and a Senior Fellow of the McDonald Institute for Archaeological Research.

John Henry Merryman

A renowned expert on art and cultural property law, Professor Merryman has written beautifully about art and heritage for many years. He currently serves as an Emeritus Professor at Stanford Law School. He adds this award to his impressive list of awards, including the Order of Merit of the Italian Republic and honorary doctorates from Aix-en Provence, Rome (Tor Vergata), and Trieste. His textbook Law, Ethics, and the Visual Arts, first published in 1979 with Albert Elsen, stands as the leading art law text. His writings have shaped the way we think about art and cultural disputes, and have added clarity and rigor to a field he helped pioneer.

by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

Sometimes on this art crime blog we feature stories about Amelia, the town in Umbria that is hosting for the third year ARCA's Postgraduate Program in International Art Crime and Cultural Heritage Protection Studies.

This post is about not an art crime but murder. In 80 BC, during the dictatorship of Sulla, the only military commander to take victories in both Rome and Athens, a wealthy resident of Amelia was murdered in Rome. Sextus Roscius the Elder's estate in Amelia consisted of 13 farms and numerous slaves. He spent much of his time in Rome and left the farming to his son, Sextus Roscius the Younger, a middle-aged man who shunned social occasions and loved his work. One evening in September, while walking after dinner with two of his slaves, between 8 and 9 p.m. near the Palatine Baths, 'Old' Roscius was killed. Shortly thereafter, his estate was confiscated and put up for sale. This happened because at the time people who were not loyal to Sulla could be put on a list and have their assets sold. However, adding names to the list had stopped the year before Old Roscius was killed. Yet, sometimes, property was auctioned as if the owner had been listed. Two distant relatives, Capito and Magnus, purchased the farms.

A committee in Amelia felt that this was unfair so they sent a delegation to speak with Sulla and explain that Old Roscius had been in good standing at the time of his death and that the sale should be reversed. However, the delegation only spoke to a spokesman of Sulla who promised that the property would be restored to Sextus Roscius the Younger.

However, this delegation may have only been a smokescreen to appear to be seeking justice as the committee was headed up by Capito himself. What ended up happening is that Sextus Roscius the Younger was actually accused of killing his father in order to keep the property for himself. A witness came forward and said that the younger Roscius had been on poor terms with his father and was afraid of being disinherited.

No one thought that anyone would be brave enough to defend Roscius the Younger. Robbery and murder was common in Rome and the judicial court was easily bribed. People were afraid that they too would be accused by officials of or friendly to Sulla's regime.

However, the Roscius family had friends in Rome who convinced the 27-year-old Cicero to take the case.

The young advocat did not have to provide any evidence, just refute the accusations. Cicero defended Sextus Roscius the Younger by saying that he was uncouth and ignorant and the luxurious things meant nothing to him. In addition, Cicero said that the son had not been to Rome at the time of the death of his father, that he had been 50 miles away in Amelia. Cicero said that the younger Sextus had neither the means, the opportunity, or even the disposition to carry out such a crime. On the other hand, Cicero said, Magnus, a distant Roscius relative who had feuded for years over the estate, had been in Rome the night of the murder and had traveled to Amelia by dawn the next morning to tell his cousin Capito that Sextus Roscius the Elder was dead. Capito ended up owning three farms and Magnus managed 10 farms in the name of one of Sulla's administrators. Cicero gave such an impassioned speech that the 50 judges of the criminal court could not help but acquit Sextus Roscius the Younger, although Capito and Magnus never returned the property or faced charges in the death of Old Roscius.

In Amelia, just past Piazza Marconi and down Via Piacenti, you can find a plaque in memory of the Roscius family.

If you would like to read more about this case, you may read a summary of Cicero's "Pro Roscio Amerino" here and Chapter 4 of Anthony Trollope's book, The Life of Cicero, here.

British art historian and journalist Tom Flynn will lead the discussion June 15 at the Art Crime Salon at the B&B Cisterne in Amelia for this year's ARCA summer program students. This informal discussion, hosted by one of the returning students, will feature 'milk and cookies' and topics related to art crime.

Dr. Tom Flynn will lecture on "Art History and the Art World" the first half of June as part of ARCA's Postgraduate Program in Art Crime and Cultural Property Heritage Protection studies. The ARCA blog profiled him here in December. Readers may follow Dr. Flynn on his blog, artknows.

The following art crime experts will lead additional discussions: Author and archaeologist Neil Brodie on June 22; lawyer and criminologist Edgar Tijhuis on June 29 (you may read his profile here); Judge Arthur Tompkins on July 13 (you may read about him on the ARCA blog here.)

by Catherine Schofield Sezgin, Editor

One of the reasons I miss Amelia has nothing to do with pizza, gelato or art crime: Giampiero Novelli. Since my first walk through the open shops of the medieval center of Amelia, I would greet the man standing in front of the shoe store. He had a friendly smile and a quick cheerful "Ciao Ciao" which he accompanied with a wave. After seeing him sell tickets to the wine tasting festival, helping out at the dining room of Punto Divino (and sometimes in the kitchen), and organizing the medieval festivities in August, I understood that not much happens in Amelia without Giampiero, his wife Paola, and his brother-in-law Luciano Rossi (proprietor of Punto Divino) and Luciano's wife Manuela.

Giampiero's English is better than my Italian, but I asked his niece, Francesca Rossi, our correspondent in Amelia, to pass on a few questions to her uncle.

During the summer of 2009, as I went in and out of the Porta Romana a few times a day to go to class at ARCA's Postgraduate Program in Art Crime Studies, to eat at Punto Divino, to purchase fresh yogurt from the cheese shop, or to walk to the duomo at the top of this medieval hilltop town in Umbria, I, along with everyone else going in and out of historical Amelia, saw locals sitting to the entrance of town. Watching people or cars, as I've mentioned previously, is a past time in Amelia. I typically was too shy to say hello to the locals but on my last day in Amelia in 2009, I asked these gentlemen if I could take their photo and they consented. Grazie!

by Catherine Schofield Sezgin

Reconstruction of the current Porta Romana began in 1592 and took 47 years. However, the brick sentry box dates from the 14th century. The plaque above the arch honored Santa Maria Assunta in 1703 after a big earthquake left the historic center unharmed and devastated the surrounding area. The town's coat of arms is a blue shield embossed with the letters, APCA, topped by a royal crown, and followed by two braches of faro (also known as spelt). The ancient wood door is closed for a few minutes every August on a Saturday evening during a medieval procession of town members in wool costumes that commemorates the Statuti Amerini which turned this formerly free town into a papal city. Where a drawbridge used to defend the town during the Middle Ages, a ditch is now filled with dirt and plants. A drawing of the town in 1700 shows the drawbridge at the Porta Romana and all the other buildings seen today, including the walls of the garden of the Palazzo Farrattini. Outside the gate today is a round mirror set at an angle for car drivers and pedestrians to see around the corner to pass safely into town.

To the south, the Porta Romana opens onto the Piazza XXI Septembre, the busiest intersection in town with four roads leading to other parts of Umbria such as Orvieto, Terni and Narni, Orte, and as far as Roma. An apartment above the arch of the Porta Romana opens its windows north into the historic center onto the shops lining Via della Repubblica.

Tomorrow I will post my favorite photos of a few of the local men sitting on the wall adjacent to the Porta Romana. They sit in the sun, talk, and watch the world go by. And although they had never smiled at me all the day I ran in and out of the Porta Romana, they smiled for the camera when I asked and I am quite fond of the photo -- and of course, them.

Last summer in Amelia two students from ARCA's Postgraduate Program found the setting inspirational and formed a new musical group. Classical Twist is a duo of classically trained musicians, proving that lawyers can also be artists.

Leila Amineddoleh (piano) and Daniella Fischetti (violin) were students in ARCA's class of 2010 when they met and discovered that they were not only interested in the same legal fields, but that they were also both musicians. While enjoying an outdoor wine-tasting and dinner, they chatted about music and soon realized that they had mutual admiration for many of the same artists.

Amelia, the oldest town in Umbria, is about 60 miles north of Rome. You can get there by car in about an hour. You could get there by train to the station at Orte, in either one or two hours from either Termini Station in Rome or from the airports, depending on whether or not your train stops at every town. Orte, a another small medieval town, is about nine miles from Amelia through beautiful green hills with cypress trees. If you don't have a car, you can take a bus, unless you arrive on a Sunday in July or August, or later than 10 o'clock at night, then you will have to call for a driver. Outside the doors of the train station, a sign indicates a phone number for a taxi company. But the taxi company, or just a sole driver, I've never figured out which, does not always answer the phone or send a car. So it's helpful to have the name and number of a private service that will agree to meet you upon your arrival for the cost of 25 or 30 euros.

As I've discussed before, most visitors stop at Bar Leonardi for refreshments or to make arrangements to reach their lodgings. From the patio of Bar Leonardi, you can sit at a table and view the walls of the medieval town and the main gate which is known as the Porta Romana. This entrance deserves a photo and a blog of it's own so we'll just say for now that if you're not waiting on the patio of Bar Leonardi, you're waiting on a low wall that extends outside of the Porta Romana. And I have a photo which I will also show in another blog of some local men that agreed to have their photo taken. They, or someone like them, sat on that wall most morning and evenings. However, the sitting wall is typically available during the afternoon siesta so I recommend that when you want to feel like a local and check out all the cars and pedestrians going in and out of the historic center, that you first sit on the wall during a hot afternoon when no one else is around. Because you'll want to make sure you have the right detached pose ready as you inspect everyone and everything going in and out of that town.

People may have lived on this hilltop for three thousand years, allegedly beginning with the Umbrian King Ameroe more than 300 years earlier than the settlement of Rome. The Umbrians traded with Greeks and Etruscans and produced pottery. Pliny the Elder, historian and military commander, wrote that the Umbrians were the oldest people in Italy -- that the Greeks called them 'Ombrici' because they were believed to have survived the great flood Zeus unleashed to cleanse the countryside at the end of the Bronze Age to express his anger with the corruption of the Pelasgians. This history is relevant when you're in Amelia because you can feel the sense of pride and tradition in the town's clean streets and well-preserved buildings.

Between the 6th and 4th centuries B. C., the Etruscans protected Amelia by stacking limestone blocks, one on top of the other, fitting them together without mortar. These walls, 8 meters high and 3.5 meters wide, extend around the town for more than 700 meters. One legend claims that these walls thwarted an attack by Emperor Federico Barbarossa. A 30-meter segment of this wall collapsed in 2006 and is still under repair as the town awaits for government funding and tries to figure out how to duplicate the original construction. In May 2008, another gate opening from the third of fourth century B.C. was rediscovered.