![]() ![]() Article 56 was seen as expressing the prohibition of any unilateral seizure of cultural property and putting an explicit limit to the prior practice of unlimited looting. Ironically, the Hague convention got its inspiration from disputes which arose from the Napoleonic Wars regarding Napoleon’s notorious plundering. German military leaders charged with war crimes at Nürnberg were charged with “destruction et pillage d’oeuvres d’art” based specifically on the violation of Article 56 of the Hague Convention of 1907 regarding war booty. Following their custom, they refuse to return it to its rightful owner: Germany. Now restored, it hangs in the Pushkin State Museum. In 2003, a Russian named Vladimir Logvinenko tried to sell it to a German gallery, but he was reported to Russian authorities who then acquired the painting. It ended up in a communist officer’s home and was later sold for pennies. It was cut from its frame, folded and rolled up, stored improperly and badly damaged. The Rape of Lucretia vanished in the Soviet Union after being stolen by the Red Army in 1945. One of the Ruben’s finest early works, Friedrich the Great bought it in 1765 for his collection and it hung in his palace at Sans Souci. Tarquin and Lucretia, above by Peter Paul Rubens, was painted between 16. The incident sparked a revolt led by Lucius Junius Brutus and Collatinus, resulting in Tarquin’s expulsion from Rome. She told her husband what had happened, then took her own life. Only Lucretia, wife to Collatinus, had been loyal and chaste while her husband was gone, but Tarquin’s son, Sextus, returned and raped her. The ‘Rape of Lucretia’ was a popular tale which detailed the downfall of Tarquinius: Roman soldiers away at war decided to return and surprise their wives. With Tarquin the Proud’s tyrannical reign as the last Roman monarch, Romans were eager to explore a new form of government: the republic. The work of Accius appeared acceptable to the Roman historians Cassius Hemina and Calpurnius Piso, who invented the images, which had been created by Accius, to the Roman historiography.It is fitting to begin with a tale of rape. Many borrowings from the tragedies of Aeschylus, Sophocles and Euripides were used to describe the «Roman Pelopidai». Accius represented the Tarquin clan on the model of the mythical clan of Pelopidai, the descendants of Pelops, Tantalus’ son. His tragedy «Brutus» in which the fall of the Tarquin house was depicted is especially important in this respect. The great interest of the Roman nobility in Hellenistic culture manifested itself, among other things, in the creative work of Lucius Accius, the poet who used Greek mythological personages to portray the Roman history. Therefore, the fall of the early monarchy in Rome was represented on the example of the banishment of the Peisistratid tyrannical family from Athens. Roman historians of the first half of the second century B.C used the accounts of Herodotus and Thucydides as a model to describe the transition from the Tarquin kingship to the Republic. The article argues the existence of two stages for the formation of the tradition about the Tarquins. For the description of the transition from the ancient kingship to the Republic, the second-century Roman historians adopted the Greek conception, according to which the tyrannical rule of the last king provoked a revolt against him. In this period, the Roman Republic struggled against the Hellenistic monarchs for the Eastern Mediterranean and ideologically opposed its own republican «freedom» to the monarchic «tyranism». This historical conception was created by the early Roman historians in the second century B.C. Junius Brutus became the founder of the Roman Republic. The last king Tarquinius the Proud and his sons were banished from Rome by the people, whose leader L. "According to the Roman historical tradition, the Etruscan Tarquin family ruled in Rome from the late seventh to the end of the sixth century B.C. ![]()
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