The last part of the four-volume series which aims to make available the most important studies of Cornelius Vermuele the former curator of Classical Art at the Boston Museum of Fine Art. This volume spans the years between 1985 and 1995 and includes a wide range of studies on broad themes and specific works of art, mainly in American collections. The many subjects include: the Hellenistic East, Nero's Golden House, Roman Ostia, funerary monuments, the end of ancient art in Egypt, Pheidias, the Severan dynasty, Troy and Germanicus Caesar. Contents: Preface Perceptions of the Trojan Wars in the Fenway: the Creeping Odysseus From the Pelopennesus to Pergamon and Beyond: The Weary Herakles of Lysippos Nero, Otho and the Golden House Roman Ostia. Sarcophagus Figural Pillars: From Asia Minor to Corinth to Rome Graeco-Roman Asia Minor to Renaissance Italy Greek Sculpture in Miniature from Roman Patrons Medallic and Marble Memorials: Mint to Mausoleum in Victorian America The End of Ancient Art in Egypt: Connections with the Holy Land The God Apollo, A Ceremonial Table with Griffins, and a Votive Basin Archaic Art, General Outline and Considerations, Historical, Geographic, and Aesthetic The Theodore Roosevelt Era: The Gold Coins and Major Sculptures of Augustus Saint-Gaudens Athena of the Parthenon by Pheidias: A Graeco-Roman Replica of the Roman Imperial Period Small Statues in the Greek World The Crusader (Lusignan) Kingdom of Cyprus: Echoes in the Fenway Roman Portraits in Egyptian Colored Stones Hermes, Protector of Shepherds at Salamis and Kourion From Tarentum to Troy and on to Tunisia: Homeric Survivals in the Hellenistic and Roman Worlds Protesilaos: First to Fall at Troy and Hero in Northern Greece and Beyond The Rise of the Severan Dynasty in the East: Young Caracalla, about the Year 205, as Helios-Sol Matidia the Elder, a Pivotal Woman at the Height of Roman Imperial Power Greek Sculpture, Roman Sculpture and American Taste: The Mirror of Mount Auburn Neon Ilion and Ilium Novum: Kings, Soldiers, Citizens and Tourists at Classical Troy Greek and Roman Portraits and Near-Portraits in the Museum of Fine Arts, Boston The Heavenly Twins: Castor and Pollux, Marching toward the Middle Ages A Portrait of Germanicus Caesar Index.

Asher Ovadiah is Professor of Art History at Tel Aviv University, and an authority on the Classical and Byzantine monuments of Israel. This selection of articles, published over the last twenty-five years, falls into four groups and is gathered around a number of common themes. A first group is concerned with the architecture of pagan temples, early churches, synagogues and a Roman theatre. A second deals with sculpture and reliefs, with the emphasis on iconography, style and symbolism, while a third group is concerned with mosaics in secular and religious contexts, with reference to the Classical heritage and anti-Classical trends, philosophical concepts and links with artistic centres. Finally, a fourth group treats the symbolic and allegorical significance of various works of art and Greek laudatory inscriptions.

A revealing look at ancient art in the Menil Collection that addresses the problem of objects lacking archaeological context This innovative presentation of ancient objects in the Menil Collection offers a new model for understanding works from antiquity that lack archaeological context. Editors John North Hopkins, Sarah Kielt Costello, and Paul R. Davis with 11 additional authors employ a creative mixture of iconography, technical studies, and known provenance to gain insight into both the meaning of the objects themselves and what they can teach us more broadly about archaeology, art history, and collecting practices. As they take on complex issues of cultural heritage, legality, and taste, these essays bring to life works that are often consigned to either the imperial past or conceptual limbo and introduce a fresh framework through which to engage with the multilayered history that these objects represent.

The work of J. B. Ward-Perkins on Roman architecture spanned fifty years, and his numerous published papers covered almost every aspect of the subject. This selection of sixteen studies focuses mainly on the provinces, particularly the North African cities. There are two articles on Roman town-planning, followed by a study of Nero's Golden House at Rome. The following nine papers deal with architecture in the provinces. The author's interest in the excavations under St. Peter's in Rome resulted in the publication of a number of studies on the development of Early Christian architecture from such Roman models as the basilica and the Imperial mausolea. Five of these papers are included here in the final section on Early Christian architecture. There is a Preface by Professor Roger Ling, and a comprehensive index.

The initial section here covers the monuments of the important Hellenistic kingdom of Commagene, and includes Edessa (Urfa), the capital of a Crusader state, where there are also significant Islamic buildings. The final section, on the Hatay, focuses on the city of Antioch, with Seleucid, Roman and Byzantine remains, and the castles of the Crusader period in its vicinity. The neo-Hittite site of Karatepe and the Georgian and Syrian monasteries in the Hatay region are also dealt with. A comprehensive bibliography and index to all four volumes comes at the end.

Civilizations of great diversity have succeeded each other or co-existed in Eastern Turkey, and most of them have left monuments of high quality. Hittite, Urartian, Hellenistic, Roman, Syrian, Byzantine, Armenian, Arab, Seljuk and Ottoman, their remains are all represented in the region. These include some of the most important sites in Near Eastern archaeology, in regions in and near the heartland of the Hittite and Urartian cultures. The Hellenistic cities reflect the introduction of a new civilization, and the Roman and Byzantine empires included all or part of the region, with the prosperous feudal states of Georgia and Armenia on their borders. Besides the Byzantine, three great East Christian monastic traditions, Syrian, Georgian and Armenian, flourished here from the late fourth century onwards, and their monuments have left a permanent mark on the landscape. The Seljuk invasion, followed by the more recent period of Ottoman rule, led to the imposition of a new culture on the region, and its reflection in the monuments. Some of the finest Seljuk buildings are in Eastern Turkey, and the buildings of the Turkish states east of the Seljuk empire form much of the early history of Turkish architecture. The independent Greek empire of Trebizond and two of the four Crusader states lay in Eastern Turkey. The lands of the empires and the smaller medieval states were heavily fortified, and their castles and other fortifications are now spread over the region. The cultural diversity of its inheritance has made Eastern Turkey one of the most fascinating regions for archaeological and art-historical research. These four volumes provide the first comprehensive guide to all of the important historical sites of the region, the result of eight years of travel and research. The monuments are dealt with by geographical location, including a full description of each site, and details on how it can be reached. In the case of the more important monuments, a full bibliography of earlier work is provided. The ample provision of photographs and plans enhances the value of the author's detailed descriptions.

This book argues that touch and movement played a significant role, long overlooked, in generating perceptions of ancient material culture in the late 18th century. At this time the reception of classical antiquity had been transformed. Interactions with material culture – ruins, sculpture, and artefacts – formed the core of this transformation. Some such interactions were proto-archaeological, such as the Dilettanti expeditions to Athens and Asa Minor; others were touristic, seen in the guidebooks consulted by travellers to Rome and the diaries they composed; and others creative, resulting in novels, poetry, and dance performances. Some involved the reproduction of experience in a gallery or museum setting. What all encounters with ancient material culture had in common, however, is their haptic sensory basis. The sense typically associated with the Enlightenment is vision, but this has obscured the equally important contribution made by touch and movement to the way in which a newly materialised Graeco-Roman world was perceived. Kinaesthesia, or the sense of self-movement, is rarely recognised in its own right, but because all encounters with sites and objects are embodied, and all embodiment takes place in motion, this sense is vital to forming more abstract or imaginative impressions. Theories of embodied cognition propose that all intellectual processes are also physical. This book shows how ideas about classical antiquity in the volatile milieu of the late 18th century developed as a result of diverse kinaesthetic relationships.

A statuette of Egyptian King Pepi formidably wielding a shepherd's crook stands in stark contrast to a fresco of an unassuming Orpheus-like youth gently hoisting a sheep around his shoulders. Both images, however, occupy an extensive tradition of shepherding motifs. In the transition from ancient Near Eastern depictions of the keeper of flocks as one holding great power to the more "pastoral" scenes of early Christian art, it might appear that connotations of rulership were divested from the image of the shepherd. The reality, however, presents a much more complex tapestry. The Good Shepherd: Image, Meaning, and Power traces the visual and textual depictions of the Good Shepherd motif from its early iterations as a potent symbol of kingship, through its reimagining in biblical figures, such as the shepherd-king David, and onward to the shepherds of Greco-Roman literature. Jennifer Awes Freeman reveals that the figure of the Good Shepherd never became humble or docile but always carried connotations of empire, divinity, and defensive violence even within varied sociopolitical contexts. The early Christian invocation of the Good Shepherd was not simply anti-imperial but relied on a complex set of associations that included king, priest, pastor, and sacrificial victim-even as it subverted those meanings in the figure of Jesus, both shepherd and sacrificial lamb. The concept of the Good Shepherd continued to prove useful for early medieval rulers, such as Charlemagne, but its imperial references waned in the later Middle Ages as it became more exclusively applied to church leaders. Drawing on a range of sources including literature, theological treatises, and political texts, as well as sculpture, mosaics, and manuscript illuminations, The Good Shepherd offers a significant contribution as the first comprehensive study of the long history of the Good Shepherd motif. It also engages the flexible and multivalent abilities of visual and textual symbols to convey multiple meanings in religious and political contexts.

The last major work of the giant of the field. Martin P. Nilsson set himself the task of tracing the elements of Greekmythology, as they appear in Homer's Iliad, to their source in Mycenaean culture, a much earlier period. His conclusions, drawn from a very limited empirical material - archaeology, very few relevant Linear B texts - are remarkably compelling. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1972.

The last major work of the giant of the field. Martin P. Nilsson set himself the task of tracing the elements of Greekmythology, as they appear in Homer's Iliad, to their source in Mycenaean culture, a much earlier period. His conclusions, drawn from a very limited empirical material - archaeology, very few relevant Linear B texts - are remarkably compelling. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1972.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1930.

This book explores what visitors saw at the Trojan exhibition and why its contents, including treasure, plain pottery and human remains captured imaginations and divided opinions. When Schliemann's Trojan collection was first exhibited in 1877, no-one had seen anything like it. Schliemann claimed these objects had been owned by participants in the Trojan War and that they were tangible evidence that Homer's epics were true. Yet, these objects did not reflect the heroic past imagined by Victorians, and a fierce controversy broke out about the collection's value and significance. Schliemann invited Londoners to see the very unclassical objects on display as the roots of classical culture. Artists, poets, historians, race theorists, bankers and humourists took up this challenge, but their conclusions were not always to Schliemann's liking. Troy's appeal lay in its materiality: visitors could apply analytical techniques (from aesthetic appreciation to skull-measuring) to the collection and draw their own conclusions. This book argues for a deep examination of museum exhibitions as a constructed spatial experience, which can transform how the past is seen. This new angle on a famous archaeological discovery shows the museum as a site of controversy, where hard evidence and wild imagination came together to form a lasting image of Troy.