Blog Subscription via Follow.it

January 18, 2014

Saturday, January 18, 2014 - ,, No comments

Unsolved Museum Thefts: The Musée d'Art Moderne de la Ville de Paris and the Montreal Museum of Fine Arts

PARIS - My visit to the Musée d'Art Moderne de la ville de Paris yesterday reminded me of another museum with not one but two unsolved thefts.

The Montreal Museum of Fine Arts was robbed in 1972 and had 18 paintings stolen by three thieves who have never been convicted and the paintings have not been seen since the thieves failed to show up to collect a ransom for the kidnapped paintings (you can read about Canada's largest theft here).

In October 2011, a man walked out of the museum in Montreal with two objects from antiquity.

Can you think of other unsolved museum thefts?

How about the 1990 theft of Boston's Isabella Stewart Gardner Museum?

Those are the mysteries that bother me the most -- what are your most problematic museum thefts?

January 17, 2014

Friday, January 17, 2014 - ,, No comments

Postcard from Paris: Musée d'Art Moderne de la ville de Paris -- galleries restructured and permanent collection displayed away from open windows

Museum view of Eiffel Tower & Siene
by Catherine Schofield Sezgin,
ARCAblog Editor-in-Chief

PARIS - Musée d'Art Moderne de la ville de Paris has undergone a restructuring of its galleries since a thief stole five paintings -- never recovered -- in May 2010. The biggest visible change to visitors today is that the long downstairs gallery facing windows overlooking the Seine and the Eiffel Tower is now a big open space with large, immobile paintings too big to be carried away by one person.
Open gallery with large paintings

Four years ago, portable works by modern paintings hung in the lower level that had access to an outdoor terrace and down steps to the street that runs south along the Seine. Admission to the museum, then and now is free, so it would not have cost a prospecting thief any money to scope out the small works that were be easily removed in the early morning hours while security personnel waited weeks for a part required to fix the security
Shiny lock, sharp shutters
alarm.
Entrance to the permanent collection

Today the museum appeared to have installed large outworks in the area that had been violated, tore down the wall dividers, and opened up the space. The inside metal shutters vulnerable in the break-in appeared well-maintained and locks nickel sharp.

The permanent collection is now displayed away from the large floor to ceiling windows into small rooms carved out of the middle of the building. More paintings, including some by the artists Picasso and Matisse who's works were stolen, appeared to be on display than even two years ago. This afternoon, with the bookstore full of customers and visitors eating and drinking at the cafe, this museum appeared to have no visible scars of the theft. However, I still can't bear to believe that those paintings, including the one by Braque that I so admired, were really thrown in the trash. 


Friday, January 17, 2014 - ,, No comments

The Art Newspaper reports rumours that Britain is trying to sell antiquities of 'disgraced dealer Robyn Symes'


In today's article in The Art Newspaper online, "Italy threatens to sue UK firm over ancient 'loot'", Cristina Ruiz and Javier Pes write about the 'Government's liquidator rumoured to be selling disgraced dealer Robin Symes's antiquities'.
Italy is demanding the immediate return of a cache of antiquities stored in London and warning that if it does not receive information about the status of the collection within 30 days, it may sue the firm responsible for the objects. 

Italy’s state legal counsel was planning to send, this month, a final warning to the liquidator responsible for the assets of the disgraced antiquities dealer Robin Symes, who was declared bankrupt in 2003. Italy’s letter includes a detailed list of around 700 ancient objects, including sculptures and jewellery, that Italy is claiming because it believes they were taken from its territory illegally. The action is taking place amid rumours that the liquidator, the British firm BDO, is selling the material in the Middle East on behalf of Her Majesty’s Revenue & Customs (HMRC), which is attempting to recoup tax owed by Symes’s firm, Robin Symes Ltd, which is now in liquidation. If BDO fails to respond to Italy’s warning by the end of the month with detailed information on the status of each item on the list, Maurizio Fiorilli, Italy’s state legal counsel on the Symes case, will notify the public prosecutor at the Criminal Tribunal in Rome.
According to University of Cambridge's Dr. Christos Tsirogiannis (in an email to the ARCAblog) that corrected a quote in the article:
It is a scandal for the British government, IF antiquities from the Symes warehouses are being offered for sale. At the moment I do not have any information that the British government is already selling antiquities from these warehouses. But, the delay to send to Italy the antiquities that have certainly been identified as illicit is already scandalous.
Dr. Tsirogiannis' work in helping the Greek police in cultural ministry in investigating the source of antiquities that passed through the dealership of Symes is documented in the book by Peter Watson and Cecilia Todeschini, The Medici Conspiracy: The Illicit Journey of Looted Antiquities from Italy's Tomb Raiders in the World's Greatest Museums.
  
Here's a 2008 article in Britain's Telegraph by Alastair Smart introducing readers to Maurizio Fiorilli. And here's an earlier post this year about the antiquities lack a legal collecting history that have been subscribed to Symes.

January 16, 2014

Thursday, January 16, 2014 - ,,,, No comments

Document Theft at the Maryland Historical Society: The Thief that Gives Back?

by Kirsten Hower

Normally when something is stolen from a cultural institution, the odds of the objects being returned is minimal, and often nothing is returned.  It is nearly unheard of for the objects to be returned…let alone for additional objects to be brought along in the return.  Oddly enough this is the case with museums in Maryland and New York, and document thieves Barry H. Landau and Jason James Savedoff.

Over the course of eight months, Landau and Savedoff stole ten thousand historical documents from cultural institutions such as the New York Historical Society and the Maryland Historical Society.  One of the documents stolen is a letter from Benjamin Franklin to John Paul Jones, a naval fighter in the American Revolution, dated April 1, 1780 which was stolen from the New York Historical Society.  The thousands of other historical documents included letters and other written pieces by Abraham Lincoln and Franklin Roosevelt. 

It was not until July 2011 that both Landau and Savedoff were caught sneaking documents into specially tailored coats at the Maryland Historical Society in Baltimore, Maryland.  Had it not been for the vigilant observations of one of the Society’s employees, the two men may never have been caught and the extent of their thefts never uncovered.  However, they were caught and subsequently charged for the thefts resulting in a seven year prison sentence for Landau and a one year prison sentence for Savedoff, who was released this past November.


What is particularly interesting about this case was that once the documents were returned, additional documents were discovered.  The “Baltimore Sun” reported that ten percent of the returned documents do not have traceable origins and are therefore homeless for the time being.  After temporarily staying at the National Archives in College Park, the documents were taken to the Maryland Historical Society in August where they will remain until they are claimed by their rightful owners.

News source:
Jessica Anderson, The Baltimore Sun, "Theft case leaves additional documents at Maryland Historical Society," December 31, 2013

January 15, 2014

Wednesday, January 15, 2014 - ,, No comments

Postcard from Paris: The Rodin Museum highlights the sculptor's antiquities collection and its influence on his work

Hotel Biron remains under renovation
by Catherine Schofield Sezgin,
 ARCA Blog Editor-in-Chief

PARIS - The Musée Rodin's exhibit "Rodin, the Light of Antiquity" highlights the the relationship the sculptor had with his collection of about 6,000 antiquities -- most of them fragments of Etruscan, Greek and Roman sculptures -- that he collector over a period of 25 years. Rodin's deal to donate his works included his plan to keep his antiquities collection intact and on display at the Hotel Biron and its gardens.

Today the Hotel Biron, which houses the museum's permanent collection, was closed and a big tent dominated the rear garden.

The exhibit (which forbid photographs) points out the influence of August Rodin's trip to Italy in 1875-1876 and his studies (and drawings) of antiquity fragments such as The Belvedere Torso on The Thinker (who sits on a capital), sayiing that Rodin realized 'that the fragment was as powerful and complete as the whole'. When Rodin purchased "Heracles resting", he began to plan to one day open an antiquities museum and constructed a building at his home outside of Paris. Rodin felt influenced by the Greek sculptor Phidias and the Renaissance sculptor Michelangelo (the exhibit has two plaster casts of The Dying Slave and The Rebellious Slave which Rodin could visit at the Louvre. Rodin's female figures were inspired by the Venus de Milo (Aphrodite). Rodin collected more than one hundred fragments of Roman Venuses (Rodin opposed the idea of restoring the Venus de Milo, preferring the original Greek sculpture as it was). Rodin read Ovid and Apuleius and created works using casts from ancient objects and fitting in his sculptures.

The exhibit displayed Rodin's Iris-Aphrodite, a 2nd century encrusted bronze; The Rodin Cup, an Etruscan object; and the Canosa vase Rodin admired from the Louvre. [Here's a link to an article, "An Etruscan Imitation of An Attic Cup", on the Rodin Cup in the Journal of Hellenistic Studies.]

BeauxArts éditions published (French only) the exhibit catalogue, "Rodin, La Lumière de l'antique". The bookstore also sells "Rodin, Antiquity Is My Youth" (2002, edited by Bénédicte Garnier). The exhibit closes on February 16.

January 14, 2014

Tuesday, January 14, 2014 - ,,,,, No comments

Postcard from Paris: Crowds gather to view last day of Kahlo-Rivera exhibit at Musée de l'Orangerie

The Golden Sphere, Jardin des Tuileries
by Catherine Sezgin, ARCA Blog Editor

PARIS - I had not anticipated that while I idly photographed James Lee Byars' "Golden Sphere" (1992-2012) in the center of the fountain of the Jardin des Tuileries that dozens of visitors were lining up for the last day of the Frida Kahlo and Diego Rivera exhibit, Art in Fusion, at the Musée de l'Orangerie.

After 45 minutes standing outside in the cold that must be ignored (an ambulance arrived to pick up a woman who had collapsed near the front of the line), hanging up my winter coat, and subtly protecting my place in the ticket line from encroachers, the cashier told me that she had run out of six-day Paris Museum Passes. The cost of a two day and a four day pass -- her available inventory -- would cost a total of 98 euros, almost 50 percent more. I deliberately held up the line, waiting for her to make an offer, she didn't, and so, just so I could get her response for you, I made the suggestion: "You could sell me the two-day and the four-day pass for the same price since I waited to purchase the six-day pass." And her response: "I am not a manager, I cannot make that decision."
Long line waiting for museum to open
I wasn't in California where I would have demanded to speak to her supervisor, so I just let it go -- we were, after all, in Paris. Next time I plan to speak very loudly in my awkward French and see if the customer service improves.

The Kahlo-Rivera exhibit told the story of the couple's dramatic and estranged relationship, showed the influence Spain and France had on his work, how physical and emotional pain influenced hers. In 1939, Kahlo and Rivera visited Paris:
Frida goes to Paris where she takes part in the "Mexique" exhibition, organised by Breton and Duchamp at the Galerie REnou & Colle. she meets a number of Surrealist painters, as well as Picasso, but is very disappointed with Parisian intellectual circles. At the end of the year, she and Diego are divorced. [From the exhibit]
The exhibit had detailed how he had slept with her sister, and she had suffered through numerous miscarriages. Right by this plaque was a "Portrait de Frida Kahlo dormant" (1939) by photographer and painter Dora Maar (1907-1997), Picasso's former muse and lover, who had suffered depression when the relationship with Pablo ended.

I cleansed my artistic palate with a visit to Monet's Water Lilies (a sign clearly stated no phones or cameras) under natural sunlight. The museum's audio guide described the efforts to protect Monet's masterpiece:
When the Water Lilies were inaugurated in 1927, Impressionism was no longer fashionable and the public did not flock to see Monet's masterpiece. Then, after years of neglect, these rooms were the most damaged by shells during the liberation of Paris. Their renovation in the 1960s modified the original design, notably doing away with the anteroom and replacing it with a staircase. But the work undertaken between 2000 and 2006 restored them to their original splendor and they are now as Monet originally imagined them.

January 12, 2014

Sunday, January 12, 2014 - ,,,, No comments

Postcard from Paris: Sunday in Montmartre at Sacré Coeur and Musée de Montmartre

Musée de Montmartre: 12, rue Cortot
by Catherine Schofield Sezgin,
ARCA Blog Editor-in-Chief

PARIS - The pitch black winter morning extends to almost 8.30 here in January -- well after my friends and I have selected a slice of quiche lorraine and a baguette from a warm boulangerie in Montmartre for Sunday breakfast. We pass the Le Bateau-Lavoir where Picasso painted Les Demoiselles d'Avignon and later on the second floor apartment (now available for rent) that once served as Picasso's first studio in Montmartre (Rue Gabrielle, 18).

Up a staircase that stretches alongside a very big Irish pub (Corcoran's), the 19th century Basilique du Sacré-Coeur, which survived bombings in 1944, overlooks the city. The basilica supports itself through donations, including the sale of 2 euro and 10 euro novena candles (I lit one for my parents). Although photographs are prohibited inside the church, exhibit panels outside of the areas for prayer include an appeal to support a campaign begun in 1985 to restore the century old Grand Organ. In addition to daily masses, Sacré-Coeur has maintained the Vocation to pray for the Roman Catholic Church and 'the whole world' in front of the 'exposed Blessed Sacrament' since August 1, 1885 (125 years). Exiting the church, I witnessed a head-scarfed woman arguing with one of the dirty ragged beggars sitting outside the door as if urging her to get out of the cold.

Vintage cars attract crowd on Sunday in pedestrian area
On Sundays car traffic is limited in Montmartre to residents and by ten o'clock I had walked through a crowd photographing vintage cars to the Musée de Montmartre, a complex that includes a 17th century house once inhabited by August Renoir; the site of the art supply store frequented by Vincent van Gogh; a park reserve open only to cats; and a vineyard looking down to the infamous cabaret Au Lapin Argile.

The oldest house in Montmartre, built in the middle of the 17th century, was restored in 1959 to house the museum (12, rue Cortot); next door was 'the lodgings of Mr. Tanguy':
Rear of the building under renovation, 10 Cortot
The caretaker's apartment at 10 rue Cortot was inhabited from 1866 to 1873 by Julien Tanguy, an art supplier. Pissaro, Monet, Renoir, Cézanne, Toulouse-Lautrec, and Van Gogh came to get their supplies at his shop in rue Clauzel. When they couldn't pay Tanguy they gave him pieces of their work.
Inside the museum is an exhibit: "Impressions a Montmartre: Eugené Delátre & Alfredo Müller", including a 1897 "Death in a Fur Coat".

Death in a Fur Coat, 1897



















Vineyard overlooking cabaret, Au Lapin Agile (red building)

January 11, 2014

Saturday, January 11, 2014 - , No comments

Personal Perspective: The Sackler Gallery exhibit "Yoga: The Art of Transformation" unites three powerful yogini sculptures

The Freer and Sackler Galleries of Art in Washington DC, have put together an exhibition on yoga as a tantric practice. Padma Kaimal is a consultant on which sculptures reunite with the Sackler Gallery’s Kanchipuram yogini. The exhibition will close January 26, 2014.

by Kait Murphy, ARCA ‘11

As we learned last May about Padma Kaimal’s book Scattered Goddesses: Travels with the Yoginis there were efforts underway to educate and reunite known Yogini sculptures. Despite their storied cultural histories and theft, these sculptures suggest a much deeper mystery when placed together.

It was a great pleasure to recently meet up with Padma Kaimal, professor of art and art history and Asian studies at Colgate University, at the Sackler Gallery’s Yoga: The Art of Transformation exhibit in Washington DC. It was here that three 10th century sculptures from a lost temple in South India were placed together up on pedestals. The "Art of Transformation" exhibit included yoginis from the Sackler gallery, Detroit Institute of Arts, and Minneapolis Institute of Arts. 

This reunion brought together yoginis that were looted and dispersed sometime between the 10th c -19th c. Visually, the stone material and size of the yoginis created the cohesion necessary to connect the pieces together and a deeper inspection revealed traces of red paint in varying hues deep in the crevices of the relief. These three sculptures were virtually intact except for a few limbs believed to have been hacked off to censor the intimidating tantric symbols.  Each yogini has its own powerful Shakti or feminine power and is uniquely and quite beautifully carved.  The yoginis are seated with legs crossed and the left arm resting on a knee and holding a skull cup when the arm is still intact.  There are individual markings specific to each sculpture as well as objects reflecting their Shakti, which include detailed jewelry with animals such as serpents.  An animal is also carved into the front of the base just under the seated figure representative of that specific yogini.

To get a glimpse into the world of the Yoginis and to understand a bit about their original context, we sat on the floor in front of the figures. This experience was far different than when visiting the single Sackler yogini sculpture months earlier. Each of the sculptures’ gazes focused on us as sitters or devotees. It was a powerful realization that if the known 19 were together, or even the original 64, this conversation would be intensified and quite possibly further unlock the mystery of these goddesses and their Tantric practices.

These known sculptures represent only a fraction of the original temple figures. What happened to the rest of the yoginis? Were they also looted to safety? Are they in private homes? Gone forever? The site of the long lost temple in Kanchipuram, India exists in a completely new context so our collective cultural history rests in the power of these unified yoginis. Despite the temporary reunion of these three figures, scholarship is pivotal in unlocking the mysteries surrounding the sculptures so we can preserve the cultural history and learn more about the individual pieces and where they have been for 1,000 years.

Saturday, January 11, 2014 - ,, No comments

José Manuel Lluent presenting second edition of "Looting and Fraud in Art" January 15 in Barcelona

Information provided by Oblyon

José Manuel Lluent will present the second edition of "Looting and Fraud in Art" at 7 p.m. on January 15 at Oblyon's headquarters in Barcelona. The event will be attended by Lluent, the author of the book; Marco Mercanti (Founder and CEO of Oblyon); Jesús Gálvez Pantoja (head of the investigation unit of the Civil Guard); Mariano Costoso (Regional Deputy of Cultural Heritage in Catalonia) and Joan Cifuentes Mesa (from the central theft unit and cultural heritage protection of the Mossos d’Esquadra, the Catalonian local police law enforcement body).
The event will take place at the Barcelona headquarters of Oblyon, an art advisory firm. Due to Mr. Mercanti’s professional background in law at Oblyon we specially care about the protection of our cultural heritage and believe all professionals working in the field of art should be aware of the existing problems and cooperate in the fight against art crimes. This is why we like to collaborate in the presentation of Lluent’s book, an important tool for information and diffusion of this topic.
Book review

The author analyses and thoroughly gives details on matters revolving around art fraud and looting, giving an overview on the legislation that applies to those issues in order to be able to fight the phenomenon in an easy and transparent way. Current laws to fight art crime are scattered amongst the different legal administrations, both local and national as well as the ones linking Spain to other international organizations with jurisdiction in this matter, thus the effort made by the author to methodologically put them all together in one book make it a reference work for all the professionals in this area.

Author

José Manuel Lluent was born in León, Spain in 1945. He studied at Escola de la Llotja in Barcelona (School of Art and Design) and at Groupe IESA in Paris (Superior Institute of Arts). After completing his studies he furthered his art expertise through the creation of ASART. One of the firms main specialization is the documentation and provenance of artworks.  Specializing in the fight against fraud and spoliation in art, Lluent has worked with the group Grupo de Delitos contra el Patrimonio Histórico and Interpol.

Lluent has also collaborated with Scotland Yard introducing the identification system SGS-INART, as well as with the Ministry of Culture in Spain and France and has cooperated in identification tasks of artworks from the Vatican collection.

DETAILS
Date: January 15th, 2014
Time: 19:00
Place: Oblyon Headquarters, Portaferrissa 7, Pral. 1, 080, Barcelona (Spain).
RSVP: info@oblyon.com

January 9, 2014

Thursday, January 09, 2014 - , No comments

Destruction of Art in War: Fire and Water -- The revenge tragedy that caused the destruction of the Library at Nineveh

Clay tablet from the Library of Nineveh,
 excavated by A.H. Layard.
 Courtesy of the British Museum

by A.M.C. Knutsson, ARCA Graduate 2013

“I destroyed it more completely than a devastating flood. So that in future days the site of that city and (its) temples would not be recognized, I totally dissolved it with water and made it like inundated land.” [1]
Sennacherib on the annihilation of Babylon 689 BC.


“On the Nth day of the month Âbu they inflicted a major defeat upon a great people. At that time Sin-šar-iškun, king of Assyria, died. They carried off the vast booty of the city and the temple and turned the city into a ruin heap.”[2]
The Fall of Nineveh Chronicle 612 BC


In 612 BC, an army of Medes and Babylonians attacked Nineveh, the capitol of the Assyrian empire and home of the ancient world’s largest library.[3] The city fell 2.5 months later shortly after the death of the Assyrian king, Sin-šar-iškun.[4] The destruction of Nineveh was part of “the revenge tragedy”, the practice of revenge attacks between Assyria and Babylonia.[5] According to a declaration of war commissioned by ruler Nabopolassar, the Babylonians took revenge for the plundered lands and looting of the Esaglia temple and treasury in Babylon.[6] The habitual looting seems to have been commonplace in the ancient Near East, with the movement of cultural objects between different regions, creating an increasingly complex historical record.

The creation of the Royal Library of Nineveh has often been attributed to Ashurbanipal and whilst a large part of the collections were formed by him, the collecting had started earlier. Esarhaddon, Ashurbanipal’s father and predecessor is known to have collected books on protection against curses and illness.[7] He does not seem to have been as scholarly inclined as his son however, and it was not until the reign of Ashurbanipal that the ambitions for a world library emerged.[8]

Ashurbanipal’s great learning and interest in knowledge collecting has been linked to the idea that he was raised into the priesthood, but this remains a speculation.[9] However, there is no doubt that when he came to the throne in 668 BC he had already been immersed in extensive scholarship. In one of his own inscriptions Ashurbanipal states: “I have read cunningly written text(s) in obscure Sumerian (and) Akkadian that are difficult to unravel. I have examined confused kakku sakku inscriptions on stone (dating) from before the Flood.”[10] “Moreover, I, Ashurbanipal, acquired there the craft of Nabû, all scribal learning. I have studied the lore of every single one of the master scholars.”[11] Once in control of Assyria, Ashurbanipal found himself in a position to amass knowledge from all corners of his empire.

Ashurbanipal almost immediately authorised massive acquisitions of books. He commissioned ‘shopping lists’ to be sent out to all parts of the known world, from Egypt to Anatolia, to acquire all the knowledge in the world.[12] Assyria has been compared to Rome in the sense that it had little culture of its own and was therefore inclined to import that of a neighbour. In the case of Assyria this neighbour was Babylonia, which had rich cultural and scholarly traditions as well as a rebellious spirit. [13] Hence, from the very beginning of his reign Ashurbanipal encouraged Babylonian scholars to copy books from the great temple libraries in Babylon and Borsippa for his collections.[14]

However, in 652 BC Ashurbanipal’s brother, the ruler of Babylonia, Šamaš-šum-ukīn rebelled against his brother and relations broke down.[15] It is possible that it was after this betrayal that Ashurbanipal started to be more forceful in his acquisition of books. In 648 BC when Šamaš-šum-ukīn’s uprising finally failed, a great influx of Babylonian writing boards reached Ashurbanipal’s library. These were probably taken as loot or were produced by forced labour.[16] Stories of Babylonian scholars chained up in Assyrian libraries and forced to write down all they knew might have originated from this era.[17]

Image from Hutchinson’s
‘Story of the Nations’
At Ashurbanipal’s death the library seems to have been moved and parts might still be buried under the sand. Twenty-five years later when the Medes reached Nineveh no mercy was shown to the library and it was burnt along with the rest of the city.

Following the burning of Nineveh, the King’s palace and the library were buried under layers of sand and dust. It would not re-emerge until 1849 when Sir Austen Henry Layard rediscovered it. Following extensive excavations of the site the library buildings along with over 20,000 tablets and fragments were revealed,[18] This number represents only a small part of the original library holdings. Most of the stock of the library, containing wax tablets, papyrus and leather scrolls, was destroyed in the destruction of Nineveh and only the clay tablets survived, which were baked in the fire.[19] It is difficult to calculate the extent of the original library and what might have been lost, but a conservative number indicates that a third has survived. However, it is possible that the clay tablets currently known make up a mere 10% of the original library stock.[20] The calculations have been made based on Ashurbanipal’s shopping lists and remain tentative.[21] Even if relying on the more conservative numbers the Royal Library was not of inconsiderable size. The library may have been twice as big as its more famous sister, the Library of Alexandria. [22]

The destruction of the library at Nineveh was by no means an unavoidable occurrence. It seems likely that had the Medes allies, the Babylonians, reached the library before the Medes, matters could have ended very differently. Karen Radner has argued that had the Babylonians reached the library first, it would probably have been looted as they would have been eager to bring the Babylonian texts back to their country of origin.[23] This seems to be supported by a statement made by Nabopolassar in his declaration of war. He exclaimed that in order to avenge the destruction of Babylon he would reclaim the looted temple treasures taken by the Assyrians.[24] Might this also refer to the books which Ashurbanipal acquired from Babylon following the collapse of his brother’s revolt? It is by no means unlikely that the knowledge cherishing Babylonians would have included the writing tablets in this since many had originally come from Babylon or at least been produced by Babylonian scholars.

 The fated Library of Nineveh creates an interesting dilemma. Whilst the destruction of the library might at first seem like the worst possible outcome, this is not necessarily the case. If the library had been looted by the Babylonians, it is likely that very little of the material would had survived until today. If texts had survived they would most likely be highly fragmentary, such as the surviving copies of The Epic of Gilgamesh. However, due to the nature of clay tablets, the fire that destroyed the rest of the city baked and preserved these texts, making them stable enough to survive under the desert sand for almost 2,500 years. This ‘destruction’ has left us with the largest ‘intact’ collection of ancient literature in the Near East and an unparalleled tool to interpret the ancient Assyrian and Babylonian worlds.[25]

Furthermore, it has provided modern scholars with the most complete copy of the first known story on earth The Epic of Gilgamesh.[26] Whilst the annihilation of Assyria and destruction of its memory might have been the intended end when the Medes and Babylonians approached the walls of Nineveh, their actions have in fact left us with an unparalleled insight into their previously forgotten world.

Bibliography:

http://www.britishmuseum.org/research/research_projects/all_current_projects/ashurbanipal_library_phase_1.aspx

Frame, Grant  & George, A.R.,  “The Royal Libraries of Nineveh: New Evidence for King Ashurbanipal’s Tablet Collecting”, Iraq, Vol 67, No 1, (Spring, 2005), p.277

Jastow, Morris, “Did the Babylonian Temples have Libraries?”, Journal of the American Oriental Society, Vol 27 (1906), p.147

MacGinnis, J.D.A., ‘Ctesias and the Fall of Nineveh’, Illinois Classical Studies, Vol 13, No1, pp. 37-8

Menant, Joachim, La Bibliothèque du Palais de Nineve, (1880)

Paulus, Michael J. , “Review: The Buried Book”, The American Archivist, Vol 71, No. 1 (Spring – Summer, 2008), p. 293

Van De Mieroop, Marc, ‘A Tale of Two Cities: Nineveh and Babylon”, Iraq, Vol 66. (2004), p. 3

Radio:

“The Library at Nineveh”, In Our Time, BBC Radio 4, 15 May 2008, Radio

George, Andrew,  “The Library at Nineveh”, In Our Time, BBC Radio 4, 15 May 2008, Radio

Radner, Karen, “The Library at Nineveh”, In Our Time, BBC Radio 4, 15 May 2008, Radio

Robson, Eleanor, “The Library at Nineveh”, In Our Time, BBC Radio 4, 15 May 2008, Radio





[1] Marc Van De Mieroop, ‘A Tale of Two Cities: Nineveh and Babylon”, Iraq, Vol 66. (2004), p.1
[3] Karen Radner, “The Library at Nineveh”, In Our Time, BBC Radio 4, 15 May 2008, Radio
[4] J.D.A. MacGinnis, ‘Ctesias and the Fall of Nineveh’, Illinois Classical Studies, Vol 13, No1, (1988), pp. 37-8
[5] Marc Van De Mieroop, ‘A Tale of Two Cities: Nineveh and Babylon”, Iraq, Vol 66. (2004), p.1
[6] Ibid, p.3
[7] Grant Frame  & A.R. George, “The Royal Libraries of Nineveh: New Evidence for King Ashurbanipal’s Tablet Collecting”, Iraq, Vol 67, No 1, (Spring, 2005), p.282
[8] Ibid, p.279
[9] “The Library at Nineveh”, In Our Time, BBC Radio 4, 15 May 2008, Radio
[10] Grant Frame  & A.R. George, “The Royal Libraries of Nineveh: New Evidence for King Ashurbanipal’s Tablet Collecting”, Iraq, Vol 67, No 1, (Spring, 2005), pp.279-80
[11] Ibid, p.280
[12] Karen Radner, “The Library at Nineveh”, In Our Time, BBC Radio 4, 15 May 2008, Radio
[13] Andrew George, “The Library at Nineveh”, In Our Time, BBC Radio 4, 15 May 2008, Radio
[14] Grant Frame  & A.R. George, “The Royal Libraries of Nineveh: New Evidence for King Ashurbanipal’s Tablet Collecting”, Iraq, Vol 67, No 1, (Spring, 2005), p.282
[15] Ibid, p.282
[16] Ibid, p.277
[17] Eleanor Robson, “The Library at Nineveh”, In Our Time, BBC Radio 4, 15 May 2008, Radio
[18] Morris Jastow, Jr., “Did the Babylonian Temples have Libraries?”, Journal of the American Oriental Society, Vol 27 (1906), p.147
[19] Karen Radner, “The Library at Nineveh”, In Our Time, BBC Radio 4, 15 May 2008, Radio
[20] Ibid
[21] Ibid
[22] Eleanor Robson, “The Library at Nineveh”, In Our Time, BBC Radio 4, 15 May 2008, Radio
[23] Karen Radner, “The Library at Nineveh”, In Our Time, BBC Radio 4, 15 May 2008, Radio
[24] Marc Van De Mieroop, ‘A Tale of Two Cities: Nineveh and Babylon”, Iraq, Vol 66. (2004), p. 3
[25] http://www.britishmuseum.org/research/research_projects/all_current_projects/ashurbanipal_library_phase_1.aspx
[26] Michael J. Paulus, Jr., “Review: The Buried Book”, The American Archivist, Vol 71, No. 1 (Spring – Summer, 2008), p. 293

Subscribe to: Posts (Atom)