This book has been considered by academicians and scholars of great significance and value to literature. This forms a part of the knowledge base for future generations. So that the book is never forgotten we have represented this book in a print format as the same form as it was originally first published. Hence any marks or annotations seen are left intentionally to preserve its true nature.

In this book Greek, Roman, and Byzantine bronzes from Anatolia and neighbouring regions are studied. The research focuses on bronze and other metal finds from several ancient sites of Asia Minor and other regions in the Mediterranean.

Historical and technical considerations in provenancing and collecting Greek, Etruscan, and Roman bronzes.

Excerpt from Greek, Etruscan and Roman Bronzes Such a division seemed the most useful from many points of view. Any one studying, for instance, archaic Greek art will turn to that section and find there the sculptural pieces belonging to that period, all grouped together, except when the utensil which a statuette or relief served to decorate is still preserved; in which case, of course, the whole object is placed in its respective class of utensils. Again, the reader who wants to study the various forms of jugs, or colanders, or mirrors in use among the ancients, will find the material of this kind grouped together, irrespective of the decorations which still adhere to them. However, though for prae tical purposes such a division seemed both obvious and desirable, it is naturally full of apparent inconsistencies. No. 751, for instance, being a complete mirror, is placed among mirrors as being a valuable example of the Special type of mirrors with stands in the form of statuettes. Nos. 28, 77, 86, however, being merely supports of such mirrors, and therefore of no use in exemplifying mirror forms, but important as sculptural works of a certain period, have been classed with the statuettes. Again, handles, when still attached to their respective utensils, are described with such utensils; but when separate, are either listed with the sculptural works of their period if they bear decorations of Special interest, or, if more or less plain, and interesting chie y as types of handles, are catalogued under a separate group. There are many cases of this kind, all due to the strong instinct of the ancients for decorating their simplest possessions, and all more or less self-evident, so that their enumeration is unnecessary. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works."

This volume--the first serious book in English on Etruscan art--was hailed for its broad scope, thorough knowledge, and clear exposition when it was published almost twenty years ago. Now brought back into print with an updated bibliography and bibliographical essay by Francesca R. Serra Ridgway, it remains an essential introduction for anyone interested in ancient art, history, and civilization. Otto Brendel's exploration of the art, culture, and society of Etruria takes us through its four main periods of creativity: the Villanovan and Orientalizing era, the Archaic era, the Classical era, and the Hellenistic era, when Etruscan art became extinct. According to Brendel, the Etruscans were deeply influenced by Greek styles but used Greek forms and concepts to further their own purposes. Etruscan art is a private art, aristocratic and luxurious but centered in the life of the family and a continuing life in the tomb. Many of the art forms and objects discussed--ceramics, metalware, jewelry, sculpture, and wall painting--are known to us through the discovery of tombs. Most of these objects had a clearly defined function but were also designed, with a high degree of quality and craftsmanship, to be decorative. The beautiful art of the Etruscans, illustrated and explained in this book, sheds much light on a people about whom we know little.