POMPEII: A mosaic panel on travertine slabs, depicting an erotic theme from the Roman era, was returned to the archaeological park of Pompeii on Tuesday, after being stolen by a Nazi German captain during World War II.
The artwork was repatriated from Germany through diplomatic channels, arranged by the Italian Consulate in Stuttgart, Germany, after having been returned from the heirs of the last owner, a deceased German citizen.
The owner had received the mosaic as a gift from a Wehrmacht captain, assigned to the military supply chain in Italy during the war.
The mosaic — dating between mid- to last century B.C. and the first century — is considered a work of “extraordinary cultural interest,” experts said.
“It is the moment when the theme of domestic love becomes an artistic subject,” said Gabriel Zuchtriegel, director of the Archaeological Park of Pompeii and co-author of an essay dedicated to the returned work. “While the Hellenistic period, from the fourth to the first century B.C., exulted the passion of mythological and heroic figures, now we see a new theme.”
The heirs of the mosaic’s last owner in Germany contacted the Carabinieri unit in Rome that’s dedicated to protecting cultural heritage, which was in charge of the investigation, asking for information on how to return the mosaic to the Italian state. Authorities carried out the necessary checks to establish its authenticity and provenance, and then worked to repatriate the mosaic in September 2023.
The collaboration with the Archaeological Park of Pompeii was also key, as it made it possible to trace it to near the Mount Vesuvius volcano, despite the scarcity of data on the original context of its discovery, the Carabinieri said.
The panel was then assigned to the Archaeological Park of Pompeii where, suitably catalogued, it will be protected and available for educational and research purposes.
“Today’s return is like healing an open wound,” Zuchtriegel said, adding that the mosaic allows to reconstruct the story of that period, the first century A.D., before Pompeii was destroyed by the Vesuvius eruption in A.D. 79.
The park’s director also highlighted how the return by the heirs of its owner signals an important change in “mentality,” as “the sense of possession (of stolen art) becomes a heavy burden.”
“We see that often in the many letters we receive from people who may have stolen just a stone, to bring home a piece of Pompeii,” Zuchtriegel said.
He recalled the so-called “Pompeii curse,” which according to a popular superstition hits whoever steals artifacts in Pompeii.
The world-known legend suggests that those who steal finds from the ancient city of Pompeii will experience bad luck or misfortune. That has been fueled over the years by several tourists who return stolen items, claiming they brought them bad luck and caused tragic events.
Roman-era mosaic panel with erotic theme that was stolen during World War II returns to Pompeii
https://arab.news/p639u
Roman-era mosaic panel with erotic theme that was stolen during World War II returns to Pompeii
- The artwork was repatriated from Germany through diplomatic channels and was arranged by the Italian Consulate in Stuttgart
- The owner had received the mosaic as a gift from a Wehrmacht captain who was assigned to the military supply chain in Italy during the war
Egypt reveals restored colossal statues of pharaoh in Luxor
- Amenhotep III, one of the most prominent pharaohs, ruled during the 500 years of the New Kingdom, which was the most prosperous time for ancient Egypt
LUXOR: Egypt on Sunday revealed the revamp of two colossal statues of a prominent pharaoh in the southern city of Luxor, the latest in the government’s archeological events that aim at drawing more tourists to the country.
The giant alabaster statues, known as the Colossi of Memnon, were reassembled in a renovation project that lasted about two decades. They represent Amenhotep III, who ruled ancient Egypt about 3,400 years ago.
“Today we are celebrating, actually, the finishing and the erecting of these two colossal statues,” Mohamed Ismail, secretary-general of the Supreme Council of Antiquities, said ahead of the ceremony.
Ismail said the colossi are of great significance to Luxor, a city known for its ancient temples and other antiquities. They’re also an attempt to “revive how this funerary temple of King Amenhotep III looked like a long time ago,” Ismail said.
Amenhotep III, one of the most prominent pharaohs, ruled during the 500 years of the New Kingdom, which was the most prosperous time for ancient Egypt. The pharaoh, whose mummy is showcased at a Cairo museum, ruled between 1390–1353 BC, a peaceful period known for its prosperity and great construction, including his mortuary temple, where the Colossi of Memnon are located, and another temple, Soleb, in Nubia.
The colossi were toppled by a strong earthquake in about 1200 BC that also destroyed Amenhotep III’s funerary temple, said Ismail.
They were fragmented and partly quarried away, with their pedestals dispersed. Some of their blocks were reused in the Karnak temple, but archeologists brought them back to rebuild the colossi, according to the Antiquities Ministry.
In late 1990s, an Egyptian German mission, chaired by German Egyptologist Hourig Sourouzian, began working in the temple area, including the assembly and renovation of the colossi.
“This project has in mind … to save the last remains of a once-prestigious temple,” she said.
The statues show Amenhotep III seated with hands resting on his thighs, with their faces looking eastward toward the Nile and the rising sun. They wear the nemes headdress surmounted by the double crowns and the pleated royal kilt, which symbolizes the pharaoh’s rule.
Two other small statues on the pharaoh’s feet depict his wife, Tiye.
The colossi — 14.5 meters and 13.6 meters respectively — preside over the entrance of the king’s temple on the western bank of the Nile. The 35-hectare complex is believed to be the largest and richest temple in Egypt and is usually compared to the temple of Karnak, also in Luxor.
The colossi were hewn in Egyptian alabaster from the quarries of Hatnub, in Middle Egypt. They were fixed on large pedestals with inscriptions showing the name of the temple, as well as the quarry.
Unlike other monumental sculptures of ancient Egypt, the colossi were partly compiled with pieces sculpted separately, which were fixed into each statue’s main monolithic alabaster core, the ministry said.
Sunday’s unveiling in Luxor came just six weeks after the inauguration of the long-delayed Grand Egyptian Museum, the centerpiece of the government’s bid to boost the country’s tourism industry. The mega project is located near the famed Giza Pyramids and the Sphinx.
In recent years, the sector has started to recover after the coronavirus pandemic and amid Russia’s war on Ukraine — both countries are major sources of tourists visiting Egypt.
“This site is going to be a point of interest for years to come,” said Tourism and Antiquities Minister Sherif Fathy, who attended the unveiling ceremony. “There are always new things happening in Luxor.”
A record number of about 15.7 million tourists visited Egypt in 2024, contributing about 8 percent of the country’s GDP, according to official figures.
Fathy, the minister, has said about 18 million tourists are expected to visit the country this year, with authorities hoping for 30 million visitors annually by 2032.
