John Pollini on "The Bronze Statue of Germanicus from Ameria (Amelia)"

Professor Pollini lectures on Germanicus

John Pollini, Professor of Classical Art & Archaeology at the University of Southern California, delivered a talk, “The Bronze Statue of Germanicus from Ameria (Amelia)”, at the Museo Archeologico di Amelia for the Rome Society of the Archaeological Institute of America.

Here's a link to the summary of the talk (posted on Academia.edu) with this introduction:

The statue of Germanicus with its travertine base was discovered in 1963 outside the Porta Romana of the town along the ancient via Amerina. That the statue was found smashed into a number of fragments indicates that it did not fall accidentally from its base but was attacked, quite likely by Christians in the Late Antique period. The statue had probably been set up originally in an imperial shrine in connection with the ludi iuvenum (games of the local pre- or para-military youth organization known as the luventus) that would have taken place in the campus of America outside the city walls. 

Because it is a work of high quality, the statue was undoubtedly produced in a workshop in Rome and then transported to Ameria, where it was set up.

In his lecture, Professor Pollini describes the figures, pointing to the symbols of legal command and that of a supreme military commander and ‘a military tunic and high-laced boots, the calcei patricii, symbolic of patrician status. This is Professor Pollini’s description of the cuirass decoration:

The muscle breastplate is decorated with a plethora of appliqué figures symbolizing various aspects of victory. The central figures depict the ambush of the Trojan youth Troilos, son of King Priam, by the Greek hero Achilles. Represented above and rising out of a series of stylized sea waves is the winged sea monster Scylla hurling a rock in her upraised right hand. Flanking either side of the central scene of Troilos and Achilles and located just under the cuirass’s arm-openings are winged Victories. On the back of the cuirass is represented an incense-burner (thymiaterion), on either side of which are posed two Spartan female dancers (Lacaenae Saltantes), who celebrate a victory dance with baskets (kalathiskoi) on their heads. Circling the bottom of the cuirass are two rows of lambrequins (pteryges), that is, decorated leather straps. The upper row of straps features apotropaic motifs (symbols used to ward off evil), consisting of alternating heads of lions and bearded satyrs; the lower row, stylized victory palmettes.

And his interpretation of the program of the cuirass:

All the figurative and decorative elements represented on the cuirass have reference to military victory. The sea monster Scylla, who also serves an apotropaic function, may refer to victorious battles fought in the context of the sea or rivers. Since Roman commanders enjoyed emulating great Greek military personalities of the past, the representation of the legendary hero Achilles in the central composition would have been a suitable model, even though he slays here one of Rome’s ancestors, the Trojan prince Troilos. Although this might seem an odd subject to celebrate on the cuirass of a Roman commander, it should be remembered that without the fall of Troy there would be no Rome; and it was one of the prophecies that Troy would not fall if Troilos reached the age of 20 (Plaut. Bacch. 951-954; Mythographi Vaticani. I. 210). Therefore, this was all part of the divine plan! Achilles, moreover, was a model for great Roman leaders in Latin literature. In his famous messianic Eclogue (4.35-36), Vergil foretells the birth of a child (most likely the future Augustus), who as savior of Rome would bring peace to the world after military victories on land and sea. In the context of the wars that preceded the advent of this new Golden Age of peace, Vergil likened the great future Roman leader to Achilles: Erunt etiam altera bella atque iterum ad Troiam magnus mittetur Achilles (“There will also be other wars and a great Achilles will be sent again to Troy”). Therefore, the Achillean imagery on the cuirass has a dual meaning. The figural program of the statue’s cuirass referencing victory would also have been suitable for an original portrait statue of Caligula. Despite his aborted invasion of Britain in 39, Caligula celebrated a triumph in Rome for a sea victory over the sea-god Oceanus (Suetonius, Vita Tib. 46-47; Cassius Dio 59.27.1-4). This statue with cuirass heralding military victory could also have conveniently served to honor Germanicus, who won battles against the Germans on the Rhine and Weser and along the coast of the North Sea, for which he was awarded a triumph, as already noted. A transformation from an image of Caligula to one of Germanicus would have taken place after Caligula’s death in 41 A.D., at which time Claudius (10 B.C. - 54 A.D.), the uncle of Caligula and the brother of Germanicus, became emperor.

Also attending Professor Pollini's lecture in Amelia was Guilia Rocco, the Italian scholar and author of La Statua Bronze con Rittratto di Germanico (Roma 2008, Bardi Editore Commerciale) in which she proposes that the thorax was made around the first century BC in a Greek workshop in Pergamene for Mithradates VI, King of Pontus.

Professor Pollini lectures on Germanicus

John Pollini, Professor of Classical Art & Archaeology at the University of Southern California, delivered a talk, “The Bronze Statue of Germanicus from Ameria (Amelia)”, at the Museo Archeologico di Amelia for the Rome Society of the Archaeological Institute of America.

Here's a link to the summary of the talk (posted on Academia.edu) with this introduction:

The statue of Germanicus with its travertine base was discovered in 1963 outside the Porta Romana of the town along the ancient via Amerina. That the statue was found smashed into a number of fragments indicates that it did not fall accidentally from its base but was attacked, quite likely by Christians in the Late Antique period. The statue had probably been set up originally in an imperial shrine in connection with the ludi iuvenum (games of the local pre- or para-military youth organization known as the luventus) that would have taken place in the campus of America outside the city walls. 

Because it is a work of high quality, the statue was undoubtedly produced in a workshop in Rome and then transported to Ameria, where it was set up.

In his lecture, Professor Pollini describes the figures, pointing to the symbols of legal command and that of a supreme military commander and ‘a military tunic and high-laced boots, the calcei patricii, symbolic of patrician status. This is Professor Pollini’s description of the cuirass decoration:

The muscle breastplate is decorated with a plethora of appliqué figures symbolizing various aspects of victory. The central figures depict the ambush of the Trojan youth Troilos, son of King Priam, by the Greek hero Achilles. Represented above and rising out of a series of stylized sea waves is the winged sea monster Scylla hurling a rock in her upraised right hand. Flanking either side of the central scene of Troilos and Achilles and located just under the cuirass’s arm-openings are winged Victories. On the back of the cuirass is represented an incense-burner (thymiaterion), on either side of which are posed two Spartan female dancers (Lacaenae Saltantes), who celebrate a victory dance with baskets (kalathiskoi) on their heads. Circling the bottom of the cuirass are two rows of lambrequins (pteryges), that is, decorated leather straps. The upper row of straps features apotropaic motifs (symbols used to ward off evil), consisting of alternating heads of lions and bearded satyrs; the lower row, stylized victory palmettes.

And his interpretation of the program of the cuirass:

All the figurative and decorative elements represented on the cuirass have reference to military victory. The sea monster Scylla, who also serves an apotropaic function, may refer to victorious battles fought in the context of the sea or rivers. Since Roman commanders enjoyed emulating great Greek military personalities of the past, the representation of the legendary hero Achilles in the central composition would have been a suitable model, even though he slays here one of Rome’s ancestors, the Trojan prince Troilos. Although this might seem an odd subject to celebrate on the cuirass of a Roman commander, it should be remembered that without the fall of Troy there would be no Rome; and it was one of the prophecies that Troy would not fall if Troilos reached the age of 20 (Plaut. Bacch. 951-954; Mythographi Vaticani. I. 210). Therefore, this was all part of the divine plan! Achilles, moreover, was a model for great Roman leaders in Latin literature. In his famous messianic Eclogue (4.35-36), Vergil foretells the birth of a child (most likely the future Augustus), who as savior of Rome would bring peace to the world after military victories on land and sea. In the context of the wars that preceded the advent of this new Golden Age of peace, Vergil likened the great future Roman leader to Achilles: Erunt etiam altera bella atque iterum ad Troiam magnus mittetur Achilles (“There will also be other wars and a great Achilles will be sent again to Troy”). Therefore, the Achillean imagery on the cuirass has a dual meaning. The figural program of the statue’s cuirass referencing victory would also have been suitable for an original portrait statue of Caligula. Despite his aborted invasion of Britain in 39, Caligula celebrated a triumph in Rome for a sea victory over the sea-god Oceanus (Suetonius, Vita Tib. 46-47; Cassius Dio 59.27.1-4). This statue with cuirass heralding military victory could also have conveniently served to honor Germanicus, who won battles against the Germans on the Rhine and Weser and along the coast of the North Sea, for which he was awarded a triumph, as already noted. A transformation from an image of Caligula to one of Germanicus would have taken place after Caligula’s death in 41 A.D., at which time Claudius (10 B.C. - 54 A.D.), the uncle of Caligula and the brother of Germanicus, became emperor.

Also attending Professor Pollini's lecture in Amelia was Guilia Rocco, the Italian scholar and author of La Statua Bronze con Rittratto di Germanico (Roma 2008, Bardi Editore Commerciale) in which she proposes that the thorax was made around the first century BC in a Greek workshop in Pergamene for Mithradates VI, King of Pontus.

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Report from Amelia: Erik Nemeth lectures on Cultural Security at ARCA's Postgraduate Certificate Program

by Yasmin Hamed, ARCA Intern

Week Seven of ARCA's Postgraduate Certificate Program got off to an unusual start with most of this year’s students off-site. Monday and Tuesday saw the remnants of the long weekend break where many of the students travelled both within and beyond Italy. Students enjoyed the sights around Italy such as Bari, Matera, Venice, Milan and Florence in addition to other locations beyond the borders such as Switzerland, Serbia, Marrakech and Malta.

Our slower than usual return to classes on Wednesday afternoon began our first day of a new module on Cultural Securityled by Dr. Erik Nemeth. With a brief segue from art crime, our first encounter focused on the interdisciplinary nature of Cultural Security and the interactions of each discipline very thoroughly represented in our class from the three areas of physical, political and economic spheres.

With our first full day of classes we further examined the dimensions of cultural security during three main temporal spheres: the Second World War, the Cold War, and the Post-Cold War periods. The dynamics between cultural security and cultural intelligence opened up a discussion on the problems and solutions currently at play on the international field. Again, each student offered insights from their own fields. Dr. Nemeth’s presentations offered a view of cultural security through a series of well-known case studies such as the infamous destruction of the Bamiyan Buddhasin Afghanistan in 2001 and of the Samarra Mosque in Iraq in 2006.

A discussion of the great losses to cultural property could only be followed with the counter-active measures: cultural intelligence services. Dr. Nemeth’s scientific approach to this subject brought about a new way of attacking our studies through the use of statistical analysis. This data may be used to predict threatened cultural heritage sites worldwide by organizations who are tasked with the protection of cultural property in areas of conflict.

As we are getting further and further into the course, an interesting dynamic begins to arise. Having covered such significant areas such as bi-lateral agreements previously in our class on Art Crime in War with Judge Arthur Tompkins, in addition to during our class on Art and Heritage Law with Derek Fincham, we are now garnering a view of intricate subject areas such as this from a number of viewpoints. This multi-disciplinary approach to major issues within the area of art crime research is creating a solid foundation in our knowledge of this area with every new module. 

Coming off the hectic travel during the long weekend, and with no formally arranged class trips, most students took advantage of last weekend to relax. A fantastic birthday party for one of the students at the top of Amelia beside the duomo offered astounding panoramic views of Amelia. As Week Seven came to a close, some of our students even benefited from a poolside reading of Dorit Straus’ article on “Insurance Claims and the Art Market” in preparation for Week Eight in ARCA’s 2013 Postgraduate Program.

by Yasmin Hamed, ARCA Intern

Week Seven of ARCA's Postgraduate Certificate Program got off to an unusual start with most of this year’s students off-site. Monday and Tuesday saw the remnants of the long weekend break where many of the students travelled both within and beyond Italy. Students enjoyed the sights around Italy such as Bari, Matera, Venice, Milan and Florence in addition to other locations beyond the borders such as Switzerland, Serbia, Marrakech and Malta.

Our slower than usual return to classes on Wednesday afternoon began our first day of a new module on Cultural Securityled by Dr. Erik Nemeth. With a brief segue from art crime, our first encounter focused on the interdisciplinary nature of Cultural Security and the interactions of each discipline very thoroughly represented in our class from the three areas of physical, political and economic spheres.

With our first full day of classes we further examined the dimensions of cultural security during three main temporal spheres: the Second World War, the Cold War, and the Post-Cold War periods. The dynamics between cultural security and cultural intelligence opened up a discussion on the problems and solutions currently at play on the international field. Again, each student offered insights from their own fields. Dr. Nemeth’s presentations offered a view of cultural security through a series of well-known case studies such as the infamous destruction of the Bamiyan Buddhasin Afghanistan in 2001 and of the Samarra Mosque in Iraq in 2006.

A discussion of the great losses to cultural property could only be followed with the counter-active measures: cultural intelligence services. Dr. Nemeth’s scientific approach to this subject brought about a new way of attacking our studies through the use of statistical analysis. This data may be used to predict threatened cultural heritage sites worldwide by organizations who are tasked with the protection of cultural property in areas of conflict.

As we are getting further and further into the course, an interesting dynamic begins to arise. Having covered such significant areas such as bi-lateral agreements previously in our class on Art Crime in War with Judge Arthur Tompkins, in addition to during our class on Art and Heritage Law with Derek Fincham, we are now garnering a view of intricate subject areas such as this from a number of viewpoints. This multi-disciplinary approach to major issues within the area of art crime research is creating a solid foundation in our knowledge of this area with every new module. 

Coming off the hectic travel during the long weekend, and with no formally arranged class trips, most students took advantage of last weekend to relax. A fantastic birthday party for one of the students at the top of Amelia beside the duomo offered astounding panoramic views of Amelia. As Week Seven came to a close, some of our students even benefited from a poolside reading of Dorit Straus’ article on “Insurance Claims and the Art Market” in preparation for Week Eight in ARCA’s 2013 Postgraduate Program.

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Report from Amelia: ARCA Intern Summer Kelley-Bell on ARCA Orientation for the 2013 Program

ARCA Interns in Cisterne Amelia

May 28th marked the beginning of the summer adventures for ARCA’s 2013 group of interns. In this year’s batch, we have three student interns: Yasmin Hamed, Summer Kelley-Bell, and Sophia Kisielewska. They are joined by Laura Fanadino, an undergraduate from Wellesley, and Kirsten Hower, ARCA’s 2013 Program Assistant, who is in her third year of working with the program. Each week, this lovely group of ladies is going to be bringing you insight into the program and some of its behind the scenes happenings. To start you off, Hello! My name is Summer Kelley-Bell and I’m from Chattanooga, Tennessee. Now let’s jump straight in to ARCA’s program.

The week started off with a few bumps along the way as the interns were reminded that Italian time runs a bit differently than any other time. Thankfully, we had arrived a bit early in order to work out the kinks and we have quickly adapted to the way a small town runs. Amelia is situated on top of a hill. Through the initial getting to know you stages between the interns, there was also the opportunity to get to know this fascinating town. Each day that we walked through the Porta Romana on our way to the library for work, we were also walking past a section of Roman road that has been paved around. It has been preserved so that future visitors to the city, or in fact its current inhabitants, can appreciate the history of this hilltop town. 

The official arrival day for the students wasn’t until the 31st, so we had a few days to get ourselves situated. We have checked out the grocery stores; sampled the wares at Bar Massimo, a local café; and headed down to Dixie, where Sophia and Laura successfully navigated the purchase of internet keys. These “chiavetti” allow students to plug in a kind of thumb drive to their computers so that they can have internet anywhere there is a signal. All of these things were done in preparation for the arrival of the students. 

Friday the 31st was arrival day and it could have been a hectic day but it turned out quite well. Everyone banded together to navigate getting students from all over the world settled into their various Amerini apartments. Thankfully, the early arrival of the interns and the director, along with the help of Monica Di Stefano, the Amelia-based Social Director and Assistant, helped insure that everyone was safely placed in their homes. We met up later at La Locanda to officially welcome everyone to Amelia and to the program. This local restaurant has played host to ARCA in the past and it never disappoints. A large group of the students even stayed after the welcome cocktail had wound down in order to avail themselves of some of Locanda’s delicious food. 

Despite only being in the town for a brief period of time, students had very little problem finding their ways to the meeting point Saturday and then heading in to one of our classrooms for orientation. We heard speeches from the director and her various assistants, as well as a few words from Crispin Corrado, ARCA’s Acting Academic Director. Then the floor was given over to the students and we had a chance to get to know each other a little bit better. Saturday was given over to the idea of getting to know each other and the town and the interns even took some of the students on an optional walk to show them where to buy groceries and other such necessities.

However, the intern-led walk paled in comparison to Monica Di Stefano’s walk on Sunday. June 2nd marked “Corpus Domini,” a religious festival in Amelia where the streets are decorated with flower petals. Many of the students jumped at the chance to participate in this day and could be seen helping the locals to create rose petal angels and the like. We then had a walk around the city where Monica explained more of its history and grandeur. Monica showed us some of the wonderful little secrets that Amelia has to offer.

This year’s group of students comes from a variety of different backgrounds and places. They have come together from around the world to learn about something that interests each of us in different ways. This diversity is sure to translate into a very interesting program as each person brings their own unique experiences to the classes. I, for one, cannot wait to see where this will lead.

ARCA Interns in Cisterne Amelia

May 28th marked the beginning of the summer adventures for ARCA’s 2013 group of interns. In this year’s batch, we have three student interns: Yasmin Hamed, Summer Kelley-Bell, and Sophia Kisielewska. They are joined by Laura Fanadino, an undergraduate from Wellesley, and Kirsten Hower, ARCA’s 2013 Program Assistant, who is in her third year of working with the program. Each week, this lovely group of ladies is going to be bringing you insight into the program and some of its behind the scenes happenings. To start you off, Hello! My name is Summer Kelley-Bell and I’m from Chattanooga, Tennessee. Now let’s jump straight in to ARCA’s program.

The week started off with a few bumps along the way as the interns were reminded that Italian time runs a bit differently than any other time. Thankfully, we had arrived a bit early in order to work out the kinks and we have quickly adapted to the way a small town runs. Amelia is situated on top of a hill. Through the initial getting to know you stages between the interns, there was also the opportunity to get to know this fascinating town. Each day that we walked through the Porta Romana on our way to the library for work, we were also walking past a section of Roman road that has been paved around. It has been preserved so that future visitors to the city, or in fact its current inhabitants, can appreciate the history of this hilltop town. 

The official arrival day for the students wasn’t until the 31st, so we had a few days to get ourselves situated. We have checked out the grocery stores; sampled the wares at Bar Massimo, a local café; and headed down to Dixie, where Sophia and Laura successfully navigated the purchase of internet keys. These “chiavetti” allow students to plug in a kind of thumb drive to their computers so that they can have internet anywhere there is a signal. All of these things were done in preparation for the arrival of the students. 

Friday the 31st was arrival day and it could have been a hectic day but it turned out quite well. Everyone banded together to navigate getting students from all over the world settled into their various Amerini apartments. Thankfully, the early arrival of the interns and the director, along with the help of Monica Di Stefano, the Amelia-based Social Director and Assistant, helped insure that everyone was safely placed in their homes. We met up later at La Locanda to officially welcome everyone to Amelia and to the program. This local restaurant has played host to ARCA in the past and it never disappoints. A large group of the students even stayed after the welcome cocktail had wound down in order to avail themselves of some of Locanda’s delicious food. 

Despite only being in the town for a brief period of time, students had very little problem finding their ways to the meeting point Saturday and then heading in to one of our classrooms for orientation. We heard speeches from the director and her various assistants, as well as a few words from Crispin Corrado, ARCA’s Acting Academic Director. Then the floor was given over to the students and we had a chance to get to know each other a little bit better. Saturday was given over to the idea of getting to know each other and the town and the interns even took some of the students on an optional walk to show them where to buy groceries and other such necessities.

However, the intern-led walk paled in comparison to Monica Di Stefano’s walk on Sunday. June 2nd marked “Corpus Domini,” a religious festival in Amelia where the streets are decorated with flower petals. Many of the students jumped at the chance to participate in this day and could be seen helping the locals to create rose petal angels and the like. We then had a walk around the city where Monica explained more of its history and grandeur. Monica showed us some of the wonderful little secrets that Amelia has to offer.

This year’s group of students comes from a variety of different backgrounds and places. They have come together from around the world to learn about something that interests each of us in different ways. This diversity is sure to translate into a very interesting program as each person brings their own unique experiences to the classes. I, for one, cannot wait to see where this will lead.

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Getting to know Amelia (Terni) "Borghi d'Italia (Tv2000)

Here's a video, "Amelia (Terni) - Borghi d'Italia (Tv2000)" which shows the town's ancient walls, the archaeological museum, the medieval traditions, and features local residents, including the bronze statue of Germanicus.

Highlights include the double organ so designed that a priest and a cloistered nun could play the keyboards at the same time; the monsignor of the duomo dedicated to Saints Fermina and Olympiades; and the theatre of Amelia.  Of course, a story about this ancient town wouldn't be complete without a few shots of some of the retired men hanging outside the Porto Romano.  

Here's a video, "Amelia (Terni) - Borghi d'Italia (Tv2000)" which shows the town's ancient walls, the archaeological museum, the medieval traditions, and features local residents, including the bronze statue of Germanicus.

Highlights include the double organ so designed that a priest and a cloistered nun could play the keyboards at the same time; the monsignor of the duomo dedicated to Saints Fermina and Olympiades; and the theatre of Amelia.  Of course, a story about this ancient town wouldn't be complete without a few shots of some of the retired men hanging outside the Porto Romano.  

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ARCA Opens Application for 2013 Postgraduate Certificate Program in Art Crime and Cultural Heritage Protection

View of the civic tower from the garden of Palazzo Farrattini

The official application period for ARCA's 2013 Postgraduate Certificate Program in Art Crime and Cultural Heritage Protection has opened.

The Association for Research into Crimes against Art (ARCA) 2013 Postgraduate Certificate Program in International Art Crime and Cultural Heritage Protection Studies will be held from May 31 through August 12, 2013 in the heart of Umbria in Amelia, Italy.

This interdisciplinary program offers substantive study for art police and security professionals, lawyers, insurers, curators, conservators, members of the art trade, and post-graduate students of criminology, law, security studies, sociology, art history, archaeology, and history.

In its fifth year, this academically intensive ten week program provides in-depth, postgraduate level instruction in a wide variety of theoretical and practical elements of art and heritage crime. Students will explore its history, its nature, its impact, and what is currently being done to mitigate it. Students completing the program earn a postgraduate certificate under the guidance of internationally renowned cultural property protection professionals.

This program will expose participants to an integrated curriculum which occurs in a highly interactive, participatory, student-centered setting. Instructional modules include both lectures and “hands-on” learning from case studies, in situ field classes and group discussions. At the end of the program, participants will have a solid mastery of a broad array of concepts pertaining to cultural property protection, preservation, conservation, and security.

Students explore such topics as: art crime and its history; art and heritage law criminology; art crime in war; the art trade; art insurance; art security; law enforcement methods; archaeological looting and policy; cultural security; and art forgery.

At the close of the 10 week lecture portion of the program each candidate must complete a considerable piece of written work demonstrating original and significant research. ARCA assigns a supervisor to oversee the research. The supervisor provides final approval of a finished paper, which should be of publishable quality. After completion of all program coursework and the final paper a student is awarded ARCA’s postgraduate certificate in Art Crime and Cultural Heritage Protection.

Important Dates:

November 15, 2012 - Early Application Deadline

January 15, 2013 - Application Deadline

April 2013 - Advance Reading Assigned

May 30, 2013 - Students Arrive in Amelia

May 31, 2013 - Welcome and Orientation June 01, 2012

June 3, 2013 - Classes Begin

June 21-23, 2013 - ARCA Annual Conference

August 9, 2013 - Classes End

August 10-11, 2013 - Students Housing Check-out **

Nov. 15, 2013 - Research Paper Submission Deadline

**Some students stay a few days longer to participate in the August Palio dei Colombi, Notte Bianca and Ferragosto festivities.

For questions about programming, costs, and census availability, please write to us for a complete prospectus and application at: education@artcrimeresearch.org.

View of the civic tower from the garden of Palazzo Farrattini

The official application period for ARCA's 2013 Postgraduate Certificate Program in Art Crime and Cultural Heritage Protection has opened.

The Association for Research into Crimes against Art (ARCA) 2013 Postgraduate Certificate Program in International Art Crime and Cultural Heritage Protection Studies will be held from May 31 through August 12, 2013 in the heart of Umbria in Amelia, Italy.

This interdisciplinary program offers substantive study for art police and security professionals, lawyers, insurers, curators, conservators, members of the art trade, and post-graduate students of criminology, law, security studies, sociology, art history, archaeology, and history.

In its fifth year, this academically intensive ten week program provides in-depth, postgraduate level instruction in a wide variety of theoretical and practical elements of art and heritage crime. Students will explore its history, its nature, its impact, and what is currently being done to mitigate it. Students completing the program earn a postgraduate certificate under the guidance of internationally renowned cultural property protection professionals.

This program will expose participants to an integrated curriculum which occurs in a highly interactive, participatory, student-centered setting. Instructional modules include both lectures and “hands-on” learning from case studies, in situ field classes and group discussions. At the end of the program, participants will have a solid mastery of a broad array of concepts pertaining to cultural property protection, preservation, conservation, and security.

Students explore such topics as: art crime and its history; art and heritage law criminology; art crime in war; the art trade; art insurance; art security; law enforcement methods; archaeological looting and policy; cultural security; and art forgery.

At the close of the 10 week lecture portion of the program each candidate must complete a considerable piece of written work demonstrating original and significant research. ARCA assigns a supervisor to oversee the research. The supervisor provides final approval of a finished paper, which should be of publishable quality. After completion of all program coursework and the final paper a student is awarded ARCA’s postgraduate certificate in Art Crime and Cultural Heritage Protection.

Important Dates:

November 15, 2012 - Early Application Deadline

January 15, 2013 - Application Deadline

April 2013 - Advance Reading Assigned

May 30, 2013 - Students Arrive in Amelia

May 31, 2013 - Welcome and Orientation June 01, 2012

June 3, 2013 - Classes Begin

June 21-23, 2013 - ARCA Annual Conference

August 9, 2013 - Classes End

August 10-11, 2013 - Students Housing Check-out **

Nov. 15, 2013 - Research Paper Submission Deadline

**Some students stay a few days longer to participate in the August Palio dei Colombi, Notte Bianca and Ferragosto festivities.

For questions about programming, costs, and census availability, please write to us for a complete prospectus and application at: education@artcrimeresearch.org.

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