The subject of this thesis is the relationship between Italian Baroque sculpture of the seventeenth century - principally the work of Gianlorenzo Bernini - and Hellenistic sculpture of the third to fIrst centuries BCE. During the late-eighteenth and nineteenth centuries the art of each period faced criticism for having subverted the classical tradition - the most damning accusation of which a work of art could stand accused. Yet Bernini would have been astonished to be labelled as non-classical. He studied in the classical collections of Papal Rome and his work was acclaimed by contemporaries as a continuation of antique models. Similarly Hellenistic art was considered, prior to the eighteenth century, to be the embodiment of the classical tradition with its most celebrated SCUlptures feted as exemplary models of ancient art. The question of exactly how and why this wholesale reversal of judgement occurred, how both Hellenistic and Baroque found themselves defmed as antithetical to the very tradition they em braced will form the dominant theme of this thesis. Central to my investigations will be the reassessment of the classical aesthetic which occurred during the eighteenth century. The shift towards an increasingly narrow definition where the classical was equated only with simplicity and order will be documented in parallel with the corresponding distaste at Baroque and Hellenistic art. The writing and, crucially, the reception of the work of Johannes Winckelmann will prove vital to an understanding of this transformation. I shall show that, reSUlting from the work of Winckelmann, a highly-idealised aesthetic was determined for the antique to which the flamboyant forms of the Hellenistic and the Baroque were antithetical and, as such, were widely disparaged. The fmal part of the thesis will document the rehabilitation of both Baroque and Hellenistic and the modern usage of the affirmative and non-judgemental phrase Hellenistic Baroque.

This thesis sets out to explore the influences on and meaning of early imperial female portrait sculpture and statues of Aphrodisias in Asia Minor. This group is unlike any other. There survives a rich amount of contextual evidence as well as some unique portraits with unusual features. They appeared at a time of social change for women and as the first images of imperial wives and mothers emerged from Rome. Local artists exploited this imagery in the city of Aphrodite, the ultimate mother of the Julio-Claudian dynasty. These portraits have only ever been studied as part of the corpus of statues that includes those of males; as a homogenous group with little new to say. In the home of the most significant mother of the time, I propose that the portraits disproportionately emphasise motherhood and reflect the new-found power enjoyed by some of the earliest empresses. Emerging theories surrounding gender in the ancient world and an art-historical approach have highlighted inconsistencies and inadequacies in former arguments and methodologies dealing with material of this kind. In response, this thesis applies new theories, considering the role of gender with a close examination of iconography and social and political factors to develop an unbiased and objective approach, free from preconceptions and entirely based on the evidence. The stripping away of previous assumptions has necessitated a reassessment of ancient portraits of both sexes which is tackled in Chapter One. After an assessment of the special circumstances of early imperial Aphrodisias in Chapter Two, the thesis then interprets material by grouping portraits apparently influenced by Rome in Chapter Three, and those which seemingly do not in Chapter Four. In each case, I show how each individual portrait expresses its own unique message of sometimes unexpected values.

This thesis explores the meanings of those Roman sarcophagi which show the Indian triumph of Dionysus. This group, found from approximately the early Antonine to just after the Severan period, shows the same mythological characters in similar positions and surroundings. They --- together with other groups --- tend to be approached from a methodology which either explicitly anticipates homogeneity of meaning or tacitly implies it through the transferral of interpretations from one piece to another. This study attempts to reconsider such actions by exposing the different effects that individual sarcophagi draw. As a group, these sarcophagi cover a period of significant change in the funerary realm. Since the group straddles important divisions between public imagery and private expression, we can more readily anticipate the latter through knowledge of the former. While studies of the triumph as ritual have begun to recognise it as a rite in flux, to be understood in its various instantiations rather than as a trans-historical event, such an analytical shift has not been applied to sarcophagi. In explicitly moving away from the assumption that we can assert genre-level meanings, this thesis undertakes an assessment sensitised to the possibility of case-by-case variation in meaning. This approach is also recommended by the intensely personal nature of the function of the sarcophagi: as the final resting places of lost loved-ones. First, a survey of prior approaches is made. Next, the group is rigorously defined with a methodology designed not with an intent to imply ancient applicability, but rather to be explicit about the generation of a working set. Subsequently, the sarcophagi are decomposed into their constituent elements and analysed, before in the next chapter being reconstituted and their effect in collusion analysed. Finally, the group is studied as a whole and the reasons behind its development, modifications and decline explored.

This thesis examines the exhibitions of Greek architectural sculpture in ten European collections. The exhibitions used as case studies display both original sculptures and plaster copies. These displays can be found in the Acropolis Museum, Athens; the British Museum, London; the Musée du Louvre, Paris; the Archaeological Museum of Olympia, Olympia; Delphi Archaeological Museum, Delphi; the Museum of Classical Archaeology, Cambridge; the Ashmolean Museum of Art and Archaeology, Oxford; the Kongelige Afstøbningssamling, Copenhagen; and the Skulpturhalle, Basel. These exhibitions are assessed using the heritagescape methodology, considering the boundaries, visibility and cohesion within the displays. This assessment is then compared with the results of a survey of visitors to the same exhibitions, asking for their responses to interpretive material within the exhibitions, specifically, tours, models, pictures, information labels and videos. It argues that while all archaeological or history museums are places of the past, the degree to which each creates a sense of the past for its visitors, rather than relying on the inherent sense of the past present in the artefacts displayed or supplied by visitors themselves, will vary according to a number of factors, including the target audience and the aims and objectives of the different institutions.

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In dieser Arbeit beschäftigt sich der Autor mit der deutschen Anwaltsorganisation in Form des traditionsreichen Kammermodells. Die anwaltliche Selbstverwaltung durch Rechtsanwaltskammern stellt hierzulande eine besondere Untergliederungsform des Staates dar und verkörpert eine freiheitliche Traditionslinie in der über weite Strecken hierarchisch geprägten Staats- und Verwaltungsorganisation. Dennoch sieht sich das anwaltliche Kammermodell in der Vergangenheit zunehmender Kritik ausgesetzt. Sind die Rechtsanwaltskammern daher möglicherweise als tradierte Relikte deutscher Staatsorganisation zu verstehen? Besteht für die deutsche Anwaltsorganisation ein Modernisierungsbedarf, worin genau liegt dieser und wie ist dies in der Praxis umsetzbar? Hierzu geht der Autor zunächst rechtsvergleichend auf die britische Anwaltsorganisation ein, welche durch den „Legal Services Act 2007“ eine grundlegende Neuordnung erfahren hat und die für die Anwaltsorganisation in den europäischen Mitgliedstaaten insoweit eine Vorreiterstellung einnimmt. Die Anwaltstätigkeit der Solicitors und Barristers ist mittlerweile zur juristischen Dienstleistung in einer „Legal Services Industry“ geworden und die privaten Berufsverbände Law Society und Bar Council haben ihre Regulierungsbefugnisse an den neu eingeführten „Legal Services Board“ verloren, weshalb ihnen fortan originär nur noch die Aufgabe der Interessenvertretung verbleibt. Der Autor unternimmt anschließend den Versuch, praxisnahe Vorschläge für die Modernisierung der Rechtsanwaltskammern zu unterbreiten. Hierzu wird der den britischen Reformen innewohnende „britische Dienstleistungsgedanke“ fruchtbar gemacht und in das anwaltliche Kammersystem implementiert. Im Ergebnis werden die Rechtsanwaltskammern vom Autor als moderne staatliche Dienstleister qualifiziert, denen neben den klassischen Aufgabenbereichen „Regulierung“ und „Interessenvertretung“ unter dem Gesichtspunkt der „Förderung des Berufsstandes“ und im Rahmen des verfassungsrechtlich Zulässigen verstärkt die Aufgabe eines Dienstleisters zugunsten der eigenen Mitglieder zukommen sollte, um deren Zukunfts- und Wettbewerbsfähigkeit in einem sich stetig anglisierenden Rechtsberatungsmarkt gewährleisten zu können. / In this work, the author deals with the german lawyers'' organisation in the form of the traditional chamber model. The lawyers'' self-regulation by Bar Associations (“Rechtsanwaltskammern”) in Germany thereby represents a special subdivision of the state and embodies a liberal tradition dominated by authoritarian state structures and administrative organisation. Nevertheless, in the last years the german chamber model has been encountered to an increasing criticism. Have the German Bar Associations therefore to be regarded as traditional relicts of german government organisation? Is there a need to modernise the german lawyer´s organisation, what exactly is this and how is this implemented in practice? According to this, the author processes on comparative law, namely by analising the british lawyer´s organisation, which has been completely reorganised by the "Legal Services Act 2007" and therefore captures a pioneer role according to lawyer´s organisation in the European Member States. Law practice of solicitors and barristers has now become a part of numerous legal services in a "Legal Services Industry" and the lawyer´s associations Law Society and Bar Council have lost their regulatory powers to the newly established "Legal Services Board", meaning that they are from now on only originally responsible for the representation of lawyers´ interests. The author then attempts to submit practical proposals for the modernisation of the German Bar Associations. For this, the british reforms inherent the "british service idea" which is fructified for and implemented in the german chamber system. As a result, the author qualifies the German Bar Associations as modern service providers, which should get strengthened in addition to their traditional mission areas "regulation" and "representation" from the point of "promotion of the profession", meaning to strengthen their task of providing services for their own members within the constitutionally permissible in order to ensure their future and competitiveness in an ever-anglicised German legal services market.