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44-740: Illegally excavated from an Etruscan cemetery near Cerveteri , it was part of the collection of the Metropolitan Museum of Art in New York from 1972 to 2008, until repatriated to Italy under an agreement negotiated in February 2006. It is now in the collection of the Archaeological Museum of Cerveteri  [ it ] as part of a policy of returning stolen works of art to their place of origin. The Euphronios Krater stands 45.7 cm (18 inches) in height and has

88-551: A Lebanese dealer, whose family had been in possession of the piece since 1920. Evidence suggests that Hecht may have purchased the krater in 1972 from Giacomo Medici , an Italian dealer who was convicted of selling stolen art in 2005. Hecht denied the charges. Thomas Hoving , director of the Met and the primary negotiator in the purchase, later said in his memoirs, Making the Mummies Dance , "An intact red-figured Greek vase of

132-459: A diameter of 55.1 cm (21.7 inches). It can hold about 45 L (12 gallons). The style of the vase is red-figure pottery , in which figure outlines, details, and the background are painted with an opaque black slip while the figures themselves are left in the color of the unpainted terracotta ceramic clay. The krater is decorated with two scenes. An episode from the Trojan War is shown on

176-655: A large and increasing trade in illicit antiquities continues. Further complicating matters is the existence of archaeological forgeries , such as the Etruscan terracotta warriors , the Persian Princess , and the Getty kouros . There has been a growing effort to repatriate artifacts illicitly obtained and traded on the international market and return them to their countries of origin and preserve their cultural value. Such artifacts include those held by museums such as

220-564: A large series of contemporary life tools. The most recent tombs date from the 3rd century BC. Some of them are marked by external cippi , which are cylindrical for men, and in the shape of a small house for women. A large number of finds excavated at Cerveteri are in the National Etruscan Museum , Rome , with others in the Vatican Museums and many other museums around the world. Others, mainly pottery, are in

264-519: A middleman to often unsuspecting collectors, museums, antique dealers, and auction houses. The antiquities trade is much more careful in recent years about establishing the provenance of cultural artifacts. Some estimates of billions of dollars in annual sales are demonstrably false. The true extent of the trade is unknown as incidents of looting are underreported. It is not unheard of for stolen pieces to be found in auction houses before they have been noticed as missing from their original home. It

308-523: A minimum blend of 50% Trebbiano Romagnolo and Giallo , a maximum of 35% Malvasia di Candia and a maximum of 15% Friulano , Verdicchio , Bellone and Bombino bianco . The grapes are limited to a harvest yield of 14 tonnes/ha and the final wine must have a minimum alcohol level of 12%. For the ancient bishopric that originally had its seat in Cerveteri and is now a titular see (see Caere ). Illicit antiquities The antiquities trade

352-469: A model for contemporary artists and formed the basis for art movements such as Classicism and Neoclassicism. Collectors, museums and public institutions acquired antiquities. In the 18th century, there was a flourishing trade in antiquities, particularly in Rome. Johann Joachim Winckelmann was appointed superintendent of all antiquities ( Commissario delle Antichità ) in and around Rome in 1763. One of his tasks

396-412: A period from the 2nd to 19th centuries. Around 50 of them have religious significance. To combat looting, aerial surveillance - the effectiveness of which depends on the capability to perform systematic prospections - is increasingly being used. It is sometimes impractical, due to military activity, political restrictions, the vastness of the area, difficult environments, etc. Space technology could offer

440-606: A reconstruction of the house of the dead, including a corridor ( dromos ), a central hall, and several rooms. Modern knowledge of Etruscan daily life is largely dependent on the numerous decorative details and finds from such tombs. One of the most famous tombs is the Tomb of the Reliefs , identified from an inscription as belonging to the Matuna family and provided with an exceptional series of frescoes, bas-reliefs and sculptures portraying

484-523: A suitable alternative, as in the case of Peru, where an Italian scientific mission directed by Nicola Masini has since 2008 been using very high resolution satellite data to observe and monitor the phenomenon of huaqueros (archaeological looting) in some archaeological areas in southern and northern Peru. The U.S. Government Accountability Office issued a report describing some of the United States’ cultural property protection efforts. In 2022

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528-630: Is a comune (municipality) in the Metropolitan City of Rome Capital , in the Italian region of Lazio . Known by the ancient Romans as Caere , and previously by the Etruscans as Caisra or Cisra , and as Agylla (or Άγυλλα ) by the Greeks , its modern name derives from Caere Vetus used in the 13th century to distinguish it from Caere Novum (the current town). It is the site of

572-640: Is believed by many archaeologists and cultural heritage lawyers that the demand created by circulation, marketing, and collectorship of ancient artifacts causes the continuous looting and destruction of archaeological sites around the world. Archaeological artifacts are internationally protected by the Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict and international trade in cultural property of dubious provenance

616-802: Is restricted by the UNESCO Convention (1970) on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property . After years of resistance, the United States played a major role in drafting and promoting the 1970 Convention. Examples of looting of archaeological sites for the black market: The protection of antiquities necessitates the formulation and implementation of comprehensive public policies. These policies address issues such as provenance, looting prevention, and repatriation, ensuring

660-453: Is the exchange of antiquities and archaeological artifacts from around the world. This trade may be illicit or completely legal. The legal antiquities trade abides by national regulations, allowing for extraction of artifacts for scientific study whilst maintaining archaeological and anthropological context. The illicit antiquities trade involves non-scientific extraction that ignores the archaeological and anthropological context from

704-529: Is the largest ancient necropolis in the Mediterranean area. The name Banditaccia comes from the leasing ( bando ) of areas of land to the Cerveteri population by the local landowners. The tombs date from the 9th century BC ( Villanovan culture ) to the later Etruscan period (third century BC). The earliest tombs are in the shape of a pit, in which the ashes of the dead were housed; also, simple potholes are present. The most important tombs include: From

748-604: The Getty Museum (e.g. Victorious Youth ) and the Metropolitan Museum of Art (e.g. Euphronios Krater ). In July 2023, a repatriation ceremony was held at the Indian Consulate in New York City to celebrate the handing over of 105 trafficked antiquities to India. The countries had agreed to prevent illegal trafficking of cultural artefacts during Prime Minister Modi's state visit to US. The artifacts span

792-696: The International Consortium of Investigative Journalists (ICIJ) began publishing a series of articles about antiquities trafficking as part of the Hidden Treasures project. In a joint investigation with The Indian Express , the ICIJ published a list of more than 1000 cultural heritage objects linked to antiquities trafficker Subhash Kapoo r. The ICIJ also ran features on artworks in private collections that had been looted from Cambodia as well as looted artworks that had passed through

836-576: The Villa Giulia . Little is known of the ancient city, although six temples are known from various sources. Two of them have been excavated, one of Hera, the other in the north of the city. Parts of the city walls are still visible today and excavations opened up a theatre. Three necropolis were found. The contents of the tombs were excavated, often chaotically and illegally; over the last few centuries, they have yielded rich and exquisite objects, including ceramics and jewellery which today grace many of

880-414: The obverse ; this illustration depicts the death of Sarpedon , son of Zeus and Laodamia . The reverse of the krater shows a contemporary scene of Athenian youths from the sixth century BC arming themselves before battle. In the scene of Sarpedon's death, the god Hermes directs the personifications of Sleep ( Hypnos ) and Death ( Thanatos ) to carry the fallen away to his homeland for burial. While

924-504: The 19th and 20th centuries nation states introduced laws restricting excavation, the export, and ownership of Antiquities. The Antiquities trade was regulated through: Illicit or illegal antiquities are those found in illegal or unregulated excavations, and traded covertly. The black market trade of illicit antiquities is supplied by looting and art theft . Artifacts are often those that have been discovered and unearthed at archeological digs and then transported internationally through

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968-521: The Archaeological Museum at Cerveteri itself. Around the city of Cerveteri is an Italian DOC wine region that produces red and white blended wines. The red wines are blends of 60% Sangiovese and Montepulciano , 25% Cesanese and up to 30% of Canaiolo , Carignan and Barbera . The grapes are limited to a harvest yield of 15 tonnes/ha and the final wine must have a minimum alcohol level of 11%. The white wines are composed of

1012-568: The Archaeological Museum of Cerveteri as part of a strategy of returning works of art to their place of origin. Details from the krater's obverse have been used as a book cover illustration. The Penguin Classics deluxe edition of Robert Fagles' English translation of the Iliad employs a close-up of Thanatos for its front cover, and a close-up of Sarpedon for its back cover. Cerveteri Cerveteri ( Italian: [tʃerˈvɛːteri] )

1056-567: The Baroque period, with Roman sculptures and Greek vases being particularly sought after. Collectors such as kings, nobles and wealthy citizens expanded their art collections and promoted the trade in antiquities. The demand for antiquities led to the discovery and excavation of further ancient sites, particularly in Italy and Greece. The sons and daughters of the European aristocracy, and later also

1100-658: The Metropolitan Museum of Art and the Italian government signed an agreement under which ownership of the Euphronios Krater and several other pieces of art was returned to Italy in exchange for long-term loans of other comparable objects owned by Italy. The krater remained on display at the Metropolitan Museum until January 2008, when it returned to Italy. It was unveiled in Rome on 18 January. The krater

1144-663: The Middle East. This trade often took place in the context of diplomatic relations, military conquests and trade routes. Ancient port cities such as Alexandria , Rome and Athens served as important centers for the trade in art and other goods. Middle Ages (ca. 500 AD – 1500 AD): During the Middle Ages, the trade in antiquities became less important as European society was characterized by political instability, cultural change and economic difficulties. Many ancient works of art were destroyed, lost or reused, and trade in them

1188-547: The Pioneer Group's characteristic techniques of anatomical accuracy, natural poses, foreshortening, and spatial illusion. Also characteristic of the Pioneer Group is the narrative tension created both by pairing these two scenes on the same piece, and by painting them in a common style. The death of Sarpedon, a quasi-mythological story which would be familiar to anyone viewing the krater, is an episode involving specific historical and mythological figures. The other scene, of

1232-579: The ancient Etruscan city which was one of the most important Etruscan cities with an area more than 15 times larger than today's town. The best known structures on the site form the Banditaccia Necropolis . Caere was one of the city-states of the Etruscan League and at its height, around 600 BC, its population was perhaps around 25,000 – 40,000 people. The ancient city was situated about 7 km (4.3 mi) from

1276-482: The anonymous youths preparing for war, is both more general and explicitly contemporary. The young men are not heroes of legend; with their finely detailed features, they are given personality and character, but they could be any of the youthful soldiers in the Greek army. Both scenes are painted with similar styles, making the historical scene appear more contemporary; likewise, the contemporary scene begins to share some of

1320-483: The artifacts. The legal trade in antiquities abide by the laws of the countries in which the artifacts originate. These laws establish how the antiquities may be extracted from the ground and the legal process in which artifacts may leave the country. In many countries excavations and exports were prohibited without official licenses already in the 19th century, as for example in the Ottoman Empire . According to

1364-470: The early sixth century B.C. could only have been found in Etruscan territory in Italy, by illegal excavators". To allay concerns, some six months after the krater was bought he prompted the Metropolitan Museum to send a private detective to Zurich in an endeavor to reinforce the cited Sarrafian provenance. In 2006, following the trial of Giacomo Medici and related disclosures about antiquities smuggling,

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1408-495: The ethical circulation of historical artifacts. On 16 November 1972, UNESCO adopted the international Convention Concerning the Protection of the World Cultural and Natural Heritage. The export of antiquities is now heavily controlled by law in almost all countries and by the 1970 UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property, but

1452-515: The krater was looted from an Etruscan tomb in the Greppe Sant'Angelo near Cerveteri in December 1971. The krater was sold to the Metropolitan Museum of Art by Robert E. Hecht , an American antiquities dealer living in Rome, for US$ 1.2 million on November 10, 1972. Hecht, who was accused of trafficking in illicit antiquities , claimed to have acquired the krater from Dikran Sarrafian,

1496-467: The later Etruscan period are two types of tombs: tumulus-type tombs and the so-called "dice", the latter being simple square tombs built in long rows along roads within the necropolis. The visitable area contains two such roads, the Via dei Monti Ceriti and the Via dei Monti della Tolfa (6th century BC). The tumuli are circular structures built in tuff , and the interiors, carved from the living rock , house

1540-430: The laws of the countries of origin, there can't be a legal trade with archaeological artifact without official papers. However, most national laws still overturn these regulations. Antiquity (ca. 3000 BC – 500 AD): During antiquity, trade in antiquities and artefacts played an important role in the exchange between different civilizations and cultures. Greek and Roman artworks were traded throughout Europe, North Africa and

1584-416: The other's mythological qualities. The two scenes invite comparison between the narratives they depict; certainly, the hero Sarpedon was no less youthful than these anonymous boys, and Death and Sleep may well come for them as they did for him. The vase is signed both by Euxitheos as potter and Euphronios as painter . While it was customary for the painter to sign the finished work, it was less common for

1628-631: The potter to add his own name. The presence of both signatures indicates that Euxitheos felt the vase to be one of his finest works. Besides the artists' signatures on the obverse side, it also carries the inscription "Leagros is handsome." on the reverse. This inscription has allowed art historians to date the krater to approximately 520–510 BC, because at this time Leagros was considered the handsomest man in Greece. All names are written in Attic letters . Records in Italian courts of an investigation indicate that

1672-543: The sea, a location which made it a wealthy trading town derived originally from the iron-ore mines in the Tolfa Hills . It had three sea ports including Pyrgi , connected to Caere by a road about 13 km (8.1 mi) long and 10 m (33 ft) wide, and Punicum. Pyrgi was also known for its sanctuary of monumental temples from 510 BC, built by the king of Caere and dedicated to the goddesses Leucothea and Ilithyia , of which several sculptures are exhibited at

1716-473: The subject of Sarpedon's death might normally be depicted as a stylized tableau, the figures in this scene are painted in naturalistic poses and with schematic but accurate anatomy. This style is emblematic of the Pioneer Group of late Archaic painters, of whom Euphronios is considered the most accomplished. The scene of the anonymous Greek youths on the reverse shares this naturalistic style, using all

1760-508: The upper middle classes, visited ancient sites on the Grand Tour (Cavalier Tour or Cavaliers' Journey) and purchased the highest quality ancient works of art possible in the respective countries. Classicism and Neoclassicism (18th and 19th centuries): In the 18th and 19th centuries, the trade in antiquities reached a peak as Classicism and later Neoclassicism influenced art production and aesthetics. Ancient Greek and Roman art served as

1804-707: The world's museums. One famous and important work of art is the Sarcophagus of the Spouses . The most famous attraction of Cerveteri is the Etruscan Necropoli della Banditaccia, which has been declared by UNESCO as a World Heritage Site together with the necropolis in Tarquinia . It covers an area of 400 hectares (990 acres), of which 10 hectares (25 acres) can be visited, encompassing a total of about 1,000 tombs often housed in characteristic mounds. It

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1848-725: Was displayed at the Villa Giulia National Etruscan Museum in Rome from 2008–14 until it was moved as part of a temporary display in the Cerveteri Museum celebrating the UNESCO World Heritage Site affiliation for the necropolis at Banditaccia. Following the increase of attendance at the museum, the Cultural Heritage Minister, Dario Franceschini , has announced that the krater will remain at

1892-843: Was less pronounced than in antiquity. Nevertheless, some ancient works of art were treasured as valuable relics of the past and kept by aristocratic collectors and churches. Renaissance (14th to 17th century): The Renaissance was a time of cultural and intellectual awakening in Europe, during which there was a renewed interest in antiquity. Antiquities were valued and collected by scholars, artists and collectors. The trade in antiquities flourished again and some objects were recovered from ancient Roman villas and ruins and kept in private collections. Renaissance princes and nobles collected ancient sculptures, paintings and coins to demonstrate their status and sophistication. Baroque period (17th and 18th centuries): Antiquities were also collected and traded during

1936-434: Was to control the antiquities trade. Over the course of the 19th and 20th centuries, auction houses such as Christie's and Sotheby's established themselves as major players in the antique art trade, with numerous antique objects being offered at auction. Today, the antiquities trade remains an important part of the global art market, and collectors and institutions continue to collect and research antique objects. Through

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