The free online edition of this open-access book is available at and includes zoomable figures and tables.
How does this scholarship bear on the understanding of bronzes within the wider history of ancient art? How do these technical data relate to our ideas of styles and development? How has the material itself affected ancient and modern perceptions of form, value, and status of works of art? Most recently, the restoration history of bronzes has established itself as a distinct area of investigation. Analytical work of materials, processes, and techniques has significantly enriched our understanding of the medium. The study of large-scale ancient bronzes has long focused on aspects of technology and production.
But what was the need of the second pair? Are we to suppose that he was going to need the greaves anyway in the Underworld, but not the papyrus, or perhaps that no male in the family thought he could use the deceased’s second pair of greaves? The deceased buried with the epistomia needed the texts with them inside the grave, on or inside the mouth, on the chest, or in their hands.The papers in this volume derive from the proceedings of the nineteenth International Bronze Congress, held at the Getty Center and Villa in October 2015 in connection with the exhibition Power and Pathos: Bronze Sculpture of the Hellenistic World.
Did they not see that the papyrus was not burned, or did they not care? Was the papyrus not as valuable as all these objects inside the grave, which the deceased probably needed to take with him? The deceased obviously needed a second pair of greaves (Figure 4), which was placed inside the grave, because the one he was wearing on the bier melted down on the pyre and became useless. The entire corpus of the epistomia and the Derveni Papyrus ( P.Derv.) betray certain similarities-to state the most obvious ones: both are the deceased’s remains were laid inside the krater (Figure 3), the grave was shut, and whatever remained of the pyre was strewn above the grave (Figure 1).
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