390 PHOENIX make up the subject of the book, but also for understanding the importance of the myths displayed so prominently in so many ancient Roman homes and tombs. By approaching the interpretation of the reliefs on the sarcophagi through the eyes of the beholder, Zanker makes it impossible ever again to discuss these images solely as decoration or as a window to the afterlife. The new volume, from the series Oxford Studies in Ancient Culture and Representation, is beautifully produced and illustrated with photos, many in color, of the sarcophagi. Despite its expense, it is a necessary addition to every library collection of books on Roman art. The College of New Jersey Lee Ann Riccardi Displaying the Ideals of Antiquity: The Petrified Gaze. By Johannes Siapkas and Lena SjÈ ogren. New York and London: Routledge. 2014. Pp. xii, 242. Museum exhibits of ancient artefacts are one of the most common ways people, whether members of the public or specialists, encounter the physical remains of antiquity . However, current displays in museums are rarely considered when discussing the development of the discipline of classical art history and archaeology. This book breaks new ground by including museum exhibits as an important element in the historiography of ancient sculpture. The book is organized into four sections. Part I introduces the aims of the book: to examine how academic debates about ancient sculpture, first begun in eighteenthand nineteenth-century scholarship and reformulated in current research, are reflected in contemporary museum displays and the popular perception of ancient art. Part II, “Discursive Settings,” begins with a historiographical consideration of the early development of the closely intertwined disciplines of classical archaeology (Chapter One) and art history (Chapter Two). An excellent overview of several centuries of studies in ancient sculpture follows (Chapter Three), highlighting influential issues in scholarship ranging from Winkelmann’s1 foundational work in the eighteenth century to that of key twentyfirst -century scholars. Chapter Four concludes this section by focusing on the re-use and re-evaluation of these historic ideas in current scholarship through an examination of individual cases: the Parthenon sculptures, archaic korai, and the contextualization of Roman art. While the overview of sculptural studies is handled with assurance, combining key developments with sweeping fashions influenced by contemporary social, political, and scholarly issues, the treatment of current scholarship is less comprehensive. One important omission is the influence of the modern afterlife and collection history of ancient sculpture on the discipline.2 The omission is curious, since this approach closely relates to both the early development of the discipline and to the museum displays that form the focus of Part III. 1 J. J. Winkelmann, Geschichte der Kunst des Altertums (Dresden 1764). 2 For example, V. Coltman, Classical Sculpture and the Culture of Collecting in Britain since 1760 (Oxford 2009; included in the bibliography); I. Bignamini and C. Hornsby, Digging and Dealing in Eighteenth-Century Rome (New Haven 2010); and C. Bilsel, Antiquity on Display: Regimes of the Authentic in Berlin’s Pergamon Museum (Oxford 2012). BOOK REVIEWS/COMPTES RENDUS 391 This final section, Part III, entitled “Museological Frictions,” examines current permanent displays of ancient sculpture in several international museums and considers how they reflect the debates explored in the published scholarship. After a brief introduction to museum concerns, there is an overview of the evolution of museums and of displays of antiquities (Chapter Five, “Genealogies”). This progresses from the earliest stages of private collections of curiosities to the public museums of the late eighteenth and nineteenth centuries, and includes discussion of the use of plaster casts. It is contextualized within the development of the disciplines of art history and classical archaeology already introduced in the opening chapters. The next three chapters use individual examples of museum display as illustrations of the three broad approaches to the study of ancient sculpture already identified. Chapter Six, “Masterpieces,” examines how the concerns of Meisterforschungen and Kopienkritik are carried into exhibits by giving key sculptures preferential treatment (through position, lighting, etc.) as expressions of artistic genius, while divorcing them from other narratives about ancient sculpture. The chapter concludes by considering the popularization of ancient sculpture, exemplified by the Venus de Milo and Nike of Samothrace, which have...