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The article offers various information on Lapidary Museum in Avignon, France and its manifestation of the town's ancient history, architecture and quality of cultural life. It recounts the historical background of the museum, which was helmed by Esprit Calvet, and states that his collections of antiquities were unusually rich in Greek art. Likewise, it mentions the other individuals such as Esprit Requien who helped in founding Calvet's Museum, from which the modern Lapidary Museum was later formed. It highlights the reinstallation of the Greek collection to enhance and illustrate that theme that the art want to convey. It also mentions that the museum will provide visitors the opportunity to unfold ancient themes in many important European paintings, tapestries and sculptures.

Examines Viennese painter Gustav Klimt's interest in the art of Greek antiquity. Appropriation of Archaic motifs as opposed to the more restrained and highly mimetic works of the Classical tradition; Influence of Nietzsche's book `The Birth of Tragedy.'

Archaeometric studies on mosaics often concentrate only on glass tesserae, while comprehensive studies including both stone and glass tesserae are scarce; however, both types of tesserae can sometimes bring relevant data to elaborate archaeological knowledge on a studied mosaic. In this paper, a representative set of tesserae from a large polychrome Roman mosaic retrieved in Barcelona (NE Spain) is investigated using various methods. Most of the techniques were directly applied on samples prepared as petrographic thin sections (including polarized-light, cathodoluminescence and electron microscopies, and synchrotron through-the-substrate μX-ray diffraction). The results indicate that, from the ten sampled stone tesserae, there are (i) seven limestones, one of them identified as Alveolina limestone (early Eocene) from the southern Pyrenees (ii) two sandstones from Barcelona's Montjuïc hill (Miocene) and, (iii) a Carrara white marble from the Apuan Alps (Italy). The profuse presence of tesserae of both local and imported materials with well-known uses in architecture, epigraphy, and sculpture could imply that tesserae were a by-product of their main use. Two different production technologies were identified for the three sampled glass tesserae. The concurrent use of antimony- and tin-based opacifiers is in agreement with the accepted archaeological chronology of the mosaic (4th century AD). [ABSTRACT FROM AUTHOR]

Explains the emergence of the history of aesthetics as an independent discipline of historiography based on the comparison between Koller's (1799) and Palacky's (1823) works. Overview of Koller's discourses on the history of aesthetics; Enumeration of the theories of fine sciences and arts; Palacky's approach to the history and literature of aesthetics; Aesthetics of classical antiquity; Aesthetics of modern age.