Through the 19th century, as archaeology started to emerge as a systematic discipline, plaster casting became a widely-adopted technique, newly applied by archaeologists to document and transmit discoveries from their expeditions. The Parthenon sculptures were some of the first to be cast. In the late 18th century and the first years of the 19th century, the French artist Fauvel and Lord Elgin's men conducted campaigns on the Athenian Acropolis. Both created casts of parts of the Parthenon sculptures that they did not remove and these were sent back to France and Britain where they were esteemed and displayed alongside other, original sections. Henceforth, casting was established as an essential archaeological tool and grew exponentially over the course of the century. Such casts are now not only fascinating historical objects but may also be considered time capsules, capturing the details of important ancient works when they were first moulded in centuries past. This book examines the role of 19th century casts as an archaeological resource and explores how their materiality and spread impacted the reception of the Parthenon sculptures and other Greek and Roman works. Investigation of their historical context is combined with analysis of new digital models of the Parthenon sculptures and their casts. Sensitive 3D imaging techniques allow investigation of the surface markings of the objects in exceptionally fine detail and enable quantitative comparative studies comparing the originals and the casts. The 19th century casts are found to be even more accurate, but also complex, than anticipated; through careful study of their multiple layers, we can retrieve surface information now lost from the originals through weathering and vandalism.

Combining the studies of modern film, traditional narratology, and Roman art, this interdisciplinary work explores the complex and highly visual techniques of Tacitus' Annales. The volume opens with a discussion of current research in narratology, as applied to Roman historians. Narratology is a helpful and insightful tool, but is often inadequate to deal with specifically visual aspects of ancient narrative. In order to illuminate Tacitus' techniques, and to make them speak to modern readers, this book focuses on drawing and illustrating parallels between Tacitus' historiographical methods and modern film effects. Building on these premises, Waddell examines a wide array of Tacitus' visual narrative devices. Tacitean examples are discussed in light of their narrative effect and purpose in the Annales, as well as the ways in which they are similar to contemporary Roman art and modern film techniques, including focalization, alignment, use of the ambiguous gaze, temporal suggestion and quick-cutting. Through this approach the modern scholar gains a deeper understanding of the many ways in which Tacitus' Annales act upon the reader, and how his narrative technique helps to shape, guide, and deeply layer his history.

The Sahara contains one of the most extensive and enigmatic collections of rock art in the world. An Engraved Landscape represents the main report on the rock art of the Wadi al-Ajal, south west Libya. Based on extensive fieldwork directed by the author between 2004 and 2009, and funded by the British Academy and Society for Libyan Studies, this monograph presents and synthesises a rich corpus of new engravings from an area of central importance in the cultural development of the Sahara. Spatial and quantitative analyses of the carvings reveal changing relationships between humans and the landscape over an 8000-year period from c.6000 BC to recent times. The volume is beautifully illustrated, with a substantial selection of the engraved panels presented in photographs and line drawings.

The great 6th-century BCE Attic potter-painter Exekias is acclaimed as the most accomplished exponent of late 'black-figure' art. His vases, vessels, bowls and amphorae are reproduced on postcards and in other media all over the world. Despite his importance in the history of art and archaeology, little has been written about Exekias in his own right. Elizabeth Moignard, a leading historian of classical art, here corrects that neglect by addressing her subject as more than just a painter. She positions Exekias as a remarkable but nevertheless grounded and receptive man of his age, working in an Athens that was sensitive to Homeric literature and drawing on that great corpus of poetry to explore its own emerging concepts of honour, heroism, leadership and military tradition. Discussing a range of ceramic pieces, Moignard illustrates their impact and meaning, deconstructing iconic images like the suicide of Ajax; the voyage of Dionysus surrounded by dolphins; and the killing by Achilles of the Amazon queen Penthesilea. This book is the most complete introduction to its subject to be published in English.

Discussions and scientific exchange are crucial for the advancement of a young discipline such as the study of Roman pottery in the Near East. Therefore, in addition to large conferences such as the 'Late Roman Coarse Ware Conference' (LRCW) where the Near East plays only a marginal role, an international workshop with 20 participants dedicated solely to the study of Roman common ware pottery in the Near East was held in Berlin on 18th and 19th February 2010. The goal of this workshop was to provide researchers actively engaged in the study of Roman common wares the possibility to meet and discuss the current state of research as well as questions and problems they are facing with their material. Some of the participants were able to bring pottery samples, which provided the possibility to compare and discuss the identification and denomination of specific fabrics on a regional and supra-regional scale. This volume presents 17 papers from this stimulating event. The Archaeopress series, Roman and Late Antique Mediterranean Pottery (RLAMP) is devoted to research of the Roman and late Antique pottery in the Mediterranean. It is designed to serve as a reference point for all potential authors devoted to pottery studies on a pan-Mediterranean basis. The series seeks to gather innovative individual or collective research on the many dimensions of pottery studies ranging from pure typological and chronological essays, to diachronic approaches to particular classes, the complete publication of ceramic deposits, pottery deposit sequences, archaeometry of ancient ceramics, methodological proposals, studies of the economy based on pottery evidence or, among others, ethnoarchaeological ceramic research that may help to understand the production, distribution and consumption of pottery in the Mediterranean basin.

The "fascinus," or phallus, was at the heart of classical Roman art and life. No god was more represented in ancient Rome than the phallic deity Priapus, and the "fescennine" verses, one of the earliest forms of Roman poetry, accompanied the celebrations of Priapus, the harvest, and fertility. But with this emphasis on virility also came an emphasis on power and ideas of possession and protection.

In "Sex and Terror," Pascal Quignard looks closely at this delicate interplay of celebration and terror. In startling and original readings of myths, satires, memoirs, and works of ancient philosophy and visual art, Quignard locates moments of both playful, aesthetic commemoration and outward cruelty. Through these examples, he describes a colossal cultural shift within Western civilization that occurred two millennia ago, as Augustus shaped the Roman world into an empire and the joyous, precise eroticism of the Greeks turned into a terror-stricken melancholy. The details of this revolution in thinking are revealed through Quignard's astute analysis of classical literary sources and Roman art.

This powerful transformation from celebration to fear is a change whose consequences, Quignard argues, we are still dealing with today, making "Sex and Terror" an intriguing reconsideration of ancient Rome that transcends its history.

This stunning new volume features objects from the internationally renowned Bourne Collection of pre-Columbian art spanning assembled by John Bourne in the 1950's and 1960's. It features fine examples of painted earthenware vessels and figures, carved basalt effigies, jewellery and vessels from Mesoamerica, Central America and Andean America covering a host of civilisations, including Teotihuacan, Olmec, Maya, Andean, Aztec and Mixtec. In addition to John Bourne's fascinating account of his first expedition to Chiapas in 1945 and 1946, which started his passion for collecting, there is an extensive essay on authentication, a significant part of the study of pre-Columbian art. Each of the three geographical sections of the main catalogue opens with an introductory text on the art, culture and ceremonial features of that region, followed by discursive entries accompanying each work. Published to accompany an exhibtion at the Walters Art Museum, Baltimore: 'Exploring Art of the Ancient Americas: The John Bourne Collection Gift', February 12, 2012 - May 20, 2012.

In 2006, the collection of 224 antiquities assembled by Walter Kempner, M.D. was donated to the Nasher Museum of Art at Duke University by Barbara Newborg, M.D. Ranging from the 3rd millennium to the 3rd century B.C.E., the collection includes Mediterranean antiquities such as Cycladic marble artifacts; Greek ceramics attributed to significant Athenian painters, including the Kleophrades Painter, the Athenian Painter, and the Matsch Painter; and carved amber likely from an Etruscan workshop. In "The Past Is Present," scholars and Duke University students present the collection, including many objects that have never been published before, and discuss its significance for art history, classics, museum studies, and archaeology. The introductory essay by Kimerly Rorschach, Director of the Nasher Museum, discusses the gift in the context of current issues surrounding the acquisition of antiquities and the aims of university museums.

Contributors
Carla Antonaccio
Elizabeth Baltes
Larissa Bonfante
Kaila Davis
Sheila Dillon
Robert Dudley
Susan Foster
Kiki Fox
Alex Jorn
Christina Kaplanis
Mary King
Anna Kivlan
Lindsay Levine
Michael Ma
Jennifer Morris
Jenifer Neils
Daven Reagan
Kimerly Rorschach
Brendan Saslow
Tyler Jo Smith
Andrew Tharler

Publication of the Nasher Museum of Art at Duke University

Scattered throughout their coastal homelands, the remains of impressive artworks produced by the Moche of northern Peru survive. These works include ceremonial centers extensively decorated with murals, as well as elaborate and sophisticated ceramic vessels, textiles, and metalwork, that serve to visually represent an ancient American culture that developed a complex, systematized pictorial code used to communicate narratives, sets of ideas, and ideological constructs.

In this study, Margaret Jackson analyzes Moche ceremonial architecture and ceramics to propose the workings of a widely understood visual language. Using an interdisciplinary approach that incorporates archaeology and linguistics with art history and studies of visual culture, Jackson looks at the symbolism of Moche art as a form of communication, the social mechanisms that produced it, and how it served to maintain the Moche social fabric.

In early June 1902, John Peters, an American theologian, and Hermann Thiersch, a German classical scholar, were alerted to the discovery of two painted burial caves at Marisa/Beit Jibrin, less than 40 miles (62 km) by road southwest from Jerusalem. Tomb robbers had, a short time previously, forced their way into the burial chambers and caused damage to their fabric. Realising that these splendid tombs dated to about 200 BCE and the importance of their painted interiors, the two scholars immediately commissioned a leading Jerusalem photographer, Chalil Raad, to record them. This was fortunate, because the paintings on the soft limestone walls rapidly deteriorated and now can no longer be seen. Peters and Thiersch published a monograph on the painted tombs, illustrated with hand-drawn copies of the photographs, but the original plates have lain all these years in the archives of the Palestine Exploration Fund in London, unpublished. The paintings are unique in the Greek pictorial repertoire and are among the most important surviving examples of Ptolemaic art. The remarkable painted frieze extending along the two long sides of the main chamber of Tomb I depicts 22 different animal species, drawn from the wild fauna of the Levant, the Nile basin and the Horn of Africa - as well as a few mythical beasts. This animal frieze attests to the interest in exotic animals shown in the Hellenistic period. Other remarkable subjects represented in the Marisa paintings include Cerberus, the three-headed guard-dog of Hades, and a pair of elegant musicians in Greek dress. Timed to coincide with the centenary of the discovery of the painted tombs, a new study on the paintings has been produced by David Jacobson. This study appears as Annual VII of the Palestine Exploration Fund. It contains, for the first time, high quality reproductions of the photographic plates taken in 1902, which are held in the PEF collections. Reproduced with the photographs are the proofs of the coloured lithographs, which are superior in quality to the versions that were published. The inaccuracies and loss of delicate detail of the originals in the coloured lithographs used by Peters and Thiersch for their 1905 publication are clearly apparent. The accompanying text includes an analysis of all the paintings in the light of a century of scholarship and an assessment is made of their religious and cultural significance. Each of the animals in the frieze is compared with descriptions given by ancient writers, and a new interpretation is presented of the cycle as a whole. An appraisal is made of the overall contribution of the Marisa paintings to our knowledge of the art and culture of the Levant in the Ptolemaic period. Included with this new study is facsimile reprint of the original 1905 publication, now long out of print, and it includes superior copies of the coloured lithographs from that edition. This new publication also reproduces a very rare addenda section prepared by R.A.S. Macalister after inspecting the Marisa tombs in October of that year.

First published in 1988. Routledge is an imprint of Taylor & Francis, an informa company.

A completely new account of the archaeological and historical evidence which relates to Delphi - the most important place in the ancient world. Each of the three sites at Delphi - the Sanctuary of Apollo, the Sanctuary of Athena and the Gymnasium - are described in detail, along with its architectural development and the Museum, where the works of art on display can be directly related to the place in which they were found. A separate chapter discussed the Pythian festival, the oracular procedure and an interpretation of the Delphic rituals, to explain the arcane phenomena of the oracle and the enduring influence that the sanctuary had throughout ancient Greek history. Written in an accessible style, the book incorporates the results of the latest research into the sanctuary of Delphi and uses photographs to demonstrate the conservation works carried out in recent years.

In the past fifty years, the study of indigenous and pre-Columbian art has evolved from a groundbreaking area of inquiry in the mid-1960s to an established field of research. This period also spans the career of art historian Esther Pasztory. Few scholars have made such a broad and lasting impact as Pasztory, both in terms of our understanding of specific facets of ancient American art as well as in our appreciation of the evolving analytical tendencies related to the broader field of study as it developed and matured. The essays collected in this volume reflect scholarly rigor and new perspectives on ancient American art and are contributed by many of Pasztory's former students and colleagues. A testament to the sheer breadth of Pasztory's accomplishments, Visual Culture of the Ancient Americas covers a wide range of topics, from Aztec picture-writing to nineteenth-century European scientific illustration of Andean sites in Peru. The essays, written by both established and rising scholars from across the field, focus on three areas: the ancient Andes, including its representation by European explorers and scholars of the nineteenth century; Classic period Mesoamerica and its uses within the cultural heritage debate of the twentieth and twenty-first centuries; and Postclassic Mesoamerica, particularly the deeper and heretofore often hidden meanings of its cultural production. Figures, maps, and color plates demonstrate the vibrancy and continued allure of indigenous artworks from the ancient Americas. ""Pre-Columbian art can give more,"" Pasztory declares, and the scholars featured here make a compelling case for its incorporation into art theory as a whole. The result is a collection of essays that celebrates Pasztory's central role in the development of the field of Ancient American visual studies, even as it looks toward the future of the discipline.

Zu den faszinierendsten materiellen Hinterlassenschaften des Menschen der Eiszeit geh rt die H hlenkunst. G nther Gr nig hat alle dem Nichtwissenschaftler zug nglichen eiszeitlichen Grotten mit Kunst" besucht und berichtet anschaulich und leicht verst ndlich ber die Entstehung der H hlenkunst, ihre Erforschung, Erfolge und Misserfolge der Wissenschaftler sowie die Erkenntnisse, die sich aus den verschiedenen Grabungskampagnen ergeben haben. Besonders interessant sind die von den Wissenschaftlern aufgestellten Theorien ber die Zweckbestimmung der Kunst." Eigene Hypothesen des Verfassers erg nzen die Ausf hrungen. Wer einige der Grotten aufsuchen m chte, findet in diesem Buch genaue Fundortbeschreibungen und Skizzen, die das Werk erg nzen. Auch ber eventuell bestehende Zulassungsbeschr nkungen oder Vorbedingungen, die an einen Besuch bestimmter H hlen gekn pft sind, informiert dieses hilfreiche Buch. Von G nther Gr nig ist au erdem das Buch Die Reise zu den Megalithen - Die interessantesten steinzeitlichen Kultanlagen von Gro britannien, Frankreich, Spanien, Portugal, Italien und Malta" im Tectum Verlag erschienen.

Seit Jahrtausenden werden bewegliche Menschenfiguren gefertigt. Die Varianten der Gattung "Gliederpuppe" reichen von einfachen Statuetten uber standardisierte Modelle bis hin zu hochkomplexen Preziosen. Die Monographie leistet erstmals eine grundlegende Erforschung beweglicher Skulpturen in Menschengestalt. Sie beschreibt die kulturelle Verankerung der Gliederpuppe im christlichen und profanen Kult seit der Antike, aber auch innerhalb der modernen Kultur und Wissenschaft. Sie verfolgt ihren Einsatz als Modell und Inspirationsquelle in der Kunstlerwerkstatt der Neuzeit und analysiert ihren Wandel vom verheimlichten Modell zu einem Symbol der Moderne. Stets erweist sich die Gliederpuppe als ein entscheidendes Mittel und Merkmal menschlichen Gestaltens.

This text offers the reader an insight into rock-art, allowing people to discover a whole new way of looking at landscape and the countryside. Such discoveries can bring joy and companionship in the search, something that has always been a vital part of archaeology.

Italian description: Questa pubblicazione vuole offrire al pubblico un gruppo di significativi reperti archeologici di Fiesole, conservati ed esposti nel locale Museo Civico. Non e una guida in senso stretto, bensi uno strumento per orientarsi nelle diverse sale alla scoperta degli oggetti piu curiosi e particolari. Ognuno di essi e parte della storia di Fiesole: la racconta e la rappresenta al visitatore. E tuttavia difficile cogliere tra i tanti oggetti, a volte di dimensioni davvero ridotte, quell'aspetto particolare e, in esso, il dettaglio significativo che metta in moto la curiosita e la volonta di capire. Di qui l'idea di usare l'obiettivo fotografico e il forte ingrandimento. Gli oggetti sono stati scelti per la loro qualita, espressivita e rappresentativita nel contesto archeologico fiesolano. Sono documenti e fonti storiche di primaria importanza. Da un certo punto di vista, questo libro suggerisce domande piu che risposte e invita a vedere e a cercare non solo nell'insieme ma anche nel dettaglio la storia degli uomini e delle donne di Fiesole e delle civilta etrusca, romana e longobarda.

English description: The collection of antique sculpture in Dresden is among the oldest and most comprehensive of its kind in Northern Europe. Its holdings will be published in the coming years in a number of inventory catalogues, of which this 2-volume work is the first. It publishes the free-standing sculptures of Imperial Roman times, with the exception of the portraits, and contains 264 entries. All sculptures are presented in photographs. Additionally, the catalogue contains an archaeological commentary and two lavishly illustrated essays on conservation from the 16th to 20th centuries. German text. German description: Die Sammlung antiker Skulpturen in Dresden gehort zu den altesten und umfangreichsten ihrer Art im nordlichen Europa. Beginnend mit dem Doppelband zur kaiserzeitlichen Rundskulptur mit Ausnahme der Portrats werden erstmals alle Werke in einem Bestandskatalog publiziert. Die Dresdner Skulpturensammlung umfasst Kunstwerke von den antiken Kulturen des Mittelmeerraums bis zur Gegenwart. Diese sollen in den nachsten Jahren schrittweise durch wissenschaftlich kommentierte Bestandskataloge erschlossen werden. Dem historischen Herzstueck der Sammlung ist der auf fuenf Bande angelegte Katalog der antiken Skulpturen gewidmet. Als erstes erscheint Band 2, der in zwei Teilbanden mit 264 Nummern den groaten Bereich der Sammlung, die kaiserzeitlichen Rundskulpturen mit Ausnahme der Portrats, vorlegt. Die Werke stammen ueberwiegend aus Rom und gelangten ueber romische Sammlungen der Barockzeit nach Dresden. Das vereint sie nicht nur in ihrer antiken Geschichte sondern auch in der barocken Praxis der skulpturalen Erganzungen und deren Abnahme im 19. Jahrhundert. Neben dem archaologischen Kommentar werden deshalb auch die verschiedenen Restaurierungsphasen vom 16. bis zum 20. Jahrhundert umfassend dokumentiert und in zwei reich bebilderten, einleitenden Essays zusammenhangend erlautert. In dieser Verbindung der antiken Werke und ihrer historischen Wahrnehmung stellt dieser Katalog einen Neuansatz dar. Im Zuge der Bearbeitung wurden viele Skulpturen restauriert oder gereinigt. Von allen wurden fotografische Neuaufnahmen angefertigt.

Nach zehn Jahren folgt hier ein zweiter, abschliessender Band zur Sammlung Ennetwies. Er stellt wiederum antike Kunstwerke ganz unterschiedlicher Herkunft und Epochen vor. Sie stammen aus Agypten, Griechenland und Italien und verteilen sich auf einen Zeitraum von der Archaik bis zur Schwelle der Spatantike. Einige Stein- und Tonplastiken sind in Grossgriechenland und Etrurien entstanden. Aber die besondere Vorliebe des Sammlers gilt, wie schon der erste Band erkennen liess, den antiken Bildnissen und den Personlichkeiten, die sie abbilden. So stehen beispielsweise zwei Kopfe Alexanders des Grossen in der Sammlung Ennetwies, ein unterlebensgrosser hellenistischer aus Ton und ein kolossaler in spatantoninisch-severischer Zeit entandener Marmorkopf. Die Geschichte dieses Alexanderportrats lasst sich vom Rom des 18. Jhs. bis zu seinen wechselnden Schicksalen in englischem Adelsbesitz verfolgen.Doch die meisten Bildnisse stellen Romer dar, unter ihnen so beruhmte Personlichkeiten wie ein - lange fur verschollen gehaltener - kleiner Pompeius, Caesar oder Julia Domna.Alle Stucke sind in dem heutigen Standard entsprechenden Fotografien dokumentiert und ausfuhrlich beschrieben. Auf dieser Grundlage konnten sie wissenschaftlich bestimmt und in ihr stilistisches und kulturelles Umfeld eingeordnet werden.

This classic work discusses representations in Egyptian painting, sculpture and reliefs, assessing how objects and figures are represented in two dimensions, introducing the idea of "conceptual" and "perceptual" art. Translated from the German by John Baines, who has revised the text and illustrations to take account of recent research.

To coincide with the publication of his large monograph 'Topography and Population of Ancient Boiotia', we are reprinting a series of 15 of Professor Fossey's previously published papers. These papers, scattered across many periodicals, were written during the preparation of the monograph; the latter, in its turn, makes frequent ref-erence to the papers. In this way, the two works complement each other; the papers also treat of detailed problems which could not have received the same full discussion in the monograph. The papers are divided into four sections: testimonia, Mykenaian Boiotia, Sites and History of Boiotia from Protohistoric to Classical Times, and Roman Boiotia.