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In Mysteries of the Snake Goddess, Kenneth Lapatin traces the murky origins (and seriously debunks the authenticity of) "the most refined and precious" surviving object of Minoan art. The gold-and-ivory figure, now residing in the Boston Museum of Fine Arts, was discovered in the early 20th century by renowned archaeologist Sir Arthur Evans. Other, related figures (of equally dubious origin) retain pride of place in several North American and European museums. They are almost certainly forgeries, according to Lapatin, or at best, "neither entirely genuine nor fully fake." This is not a crime story but rather a tale of well-meaning overextrapolation. Evans, and others, took kernels of evidence to bake a large loaf of an idealized, matriarchal Cretan civilization. In short, Evans's desire to believe clouded his scientific caution. As well, Lapatin gently points out that very often our re-creations of the past are influenced by the ideas, mores, and, even, inadequacies of our present. His book is one of calm, inviting erudition that, mercifully, avoids the mean wrangling so common in academia. --H. O'Billovich
From Publishers Weekly
Archeologist and art historian Lapatin (president of the Boston society of the Archaeological Institute of America) looks into the history of one of the most celebrated archeological finds of the 20th century and declares the work a modern forgery. A prized possession of Boston's Museum of Fine Arts since 1914, the six-inch ivory-and-gold statue known as the Snake Goddess was of doubtful provenance from the start. Supposedly excavated from the palace of Knossos in Crete, it was presented to the museum by Henrietta Fitz, a wealthy Boston Brahmin who had heard of the statue's discovery from the museum's director, Arthur Fairbanks, and provided the funds needed to acquire it. But precisely how Fairbanks obtained the statue is far from clear. The museum maintained it had been brought to America in fragments by a Greek peasant who immigrated to the U.S. in 1913, but the account sounds intentionally vague and with good reason, says Lapatin. The great mania for Greek antiquities that swept through Europe and America in the 19th century spawned a brisk trade throughout the Aegean and led to severe laws restricting the export of antiquities from Greece. This, in turn, created choice opportunities for smuggling, bribery and forgery. Lapatin presents both historical and artistic evidence to call the statue's authenticity into question, but he admits that a definite verdict will probably never be possible. He spends as much time examining the prevailing assumptions of antiquarians and archeologists of the period and speculates that the reconstructions of the ancient world by such figures as Schliemann and Sir Arthur Evans owed as much to the contemporary imagination as to the science of archeology. Although somewhat minute, this study will interest any reader with a taste for antiquities or classical history. Illus.
Copyright 2002 Cahners Business Information, Inc.
Copyright 2002 Cahners Business Information, Inc.
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