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Today we often identify artifacts with the period when they were made. In more traditional cultures, however, such objects as pictures, effigies, and buildings were valued not as much for their chronological age as for their perceived links to the remote origins of religions, nations, monasteries, and families. As a result, Christopher Wood argues, premodern Germans tended not to distinguish between older buildings and their newer replacements, or between ancient icons and more recent forgeries. But Wood shows that over the course of the fifteenth and early sixteenth centuries, emerging replication technologies& such as woodcut, copper engraving, and movable type& altered the relationship between artifacts and time. Mechanization highlighted the artifice, materials, and individual authorship necessary to create an object, calling into question the replica's ability to represent a history that was not its own. Meanwhile, print catalyzed the new discipline of archaeological scholarship, which began to draw sharp distinctions between true and false claims about the past. Ultimately, as forged replicas lost their value as historical evidence, they found a new identity as the intentionally fictional image-making we have come to understand as art.

replicas --- forgeries [derivative objects] --- copies [derivative objects] --- Art --- anno 1500-1599 --- Germany --- Archaeology --- Historiography --- Archéologie --- Historiographie --- History. --- Histoire --- History --- Historiography. --- Archéologie --- Art - Germany - Historiography --- Archaeology - Germany - History --- Historiography - Germany - History --- Duitse school

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Painting --- Conservation. Restoration --- Vlaamse Primitieven --- forgeries [derivative objects] --- restoration [process] --- Eyck, van, Jan --- Christus, Petrus I --- Veken, van der, Jef --- Eyck, van, Hubert --- anno 1400-1499 --- anno 1500-1599 --- Flanders --- Painting, European --- Painting, Flemish --- Art --- Peinture européenne --- Peinture flamande --- Conservation and restoration --- Forgeries --- Conservation et restauration --- Faux --- Peinture européenne --- Flemish Painting --- Restauration --- Early Netherlandish --- Vlaamse school

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Plagiarism --- Imitation in literature --- Authors, French --- Plagiat --- Imitation dans la littérature --- Ecrivains français --- Dictionaries --- French --- Biography --- Dictionaries. --- Dictionnaires français --- Biographie --- Dictionnaires anglais --- French literature --- History --- -Imitation (in literature) --- -Plagiarism --- -Authors, French --- -Imitation in literature --- -Quotation --- Style, Literary --- Mimesis in literature --- Originality in literature --- French authors --- Authorship --- Copyright infringement --- Literary ethics --- Literature --- Quotation --- Torts --- -Dictionaries --- plagiarism --- forgeries [derivative objects] --- -French authors --- Imitation dans la littérature --- Ecrivains français --- Dictionnaires français --- Literary style --- Biography&delete& --- History&delete& --- French literature - Dictionaries --- Imitation in literature - Dictionaries --- Plagiarism - France - History - Dictionaries --- Authors, French - Biography - Dictionaries

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This handbook showcases studies on art theft, fraud and forgeries, cultural heritage offences and related legal and ethical challenges. It has been authored by prominent scholars, practitioners and journalists in the field and includes both overviews of particular art crime issues as well as regional and national case studies. It is one of the first scholarly books in the current art crime literature that can be utilised as an immediate authoritative reference source or teaching tool. It also includes a bibliographic guide to the current literature across interdisciplinary boundaries. Apart from legal, criminological, archeological and historical perspectives on theft, fraud and looting, this volume contains chapters on iconoclasm and graffiti, underwater cultural heritage, the trade in human remains and the trade, theft and forgery of papyri. The book thereby hopes to encourage scholars from a wider variety of disciplines to contribute their valuable knowledge to art crime research.

Transnational crime. --- Terrorism. --- Police. --- Mass media and crime. --- Cultural heritage. --- Organized crime. --- Trafficking. --- Policing. --- Crime and the Media. --- Cultural Heritage. --- Organized Crime. --- Crime syndicates --- Organised crime --- Crime --- Cultural heritage --- Cultural patrimony --- Cultural resources --- Heritage property --- National heritage --- National patrimony --- National treasure --- Patrimony, Cultural --- Treasure, National --- Property --- World Heritage areas --- Crime and mass media --- Cops --- Gendarmes --- Law enforcement officers --- Officers, Law enforcement --- Officers, Police --- Police forces --- Police --- Police officers --- Police service --- Policemen --- Policing --- Criminal justice, Administration of --- Criminal justice personnel --- Peace officers --- Public safety --- Security systems --- Acts of terrorism --- Attacks, Terrorist --- Global terrorism --- International terrorism --- Political terrorism --- Terror attacks --- Terrorist acts --- Terrorist attacks --- World terrorism --- Direct action --- Insurgency --- Political crimes and offenses --- Subversive activities --- Political violence --- Terror --- Multinational crime --- Transborder crime --- Legal status, laws, etc. --- Transnational crime --- Terrorism --- Mass media and crime --- Organized crime --- Criminology. Victimology --- Criminal law. Criminal procedure --- Art --- crime [social issue] --- looting [social issue] --- kunstroof --- forgeries [derivative objects] --- forgers [criminals] --- Art thefts. --- Cultural property.