In The Greek and Roman Trophy: From Battlefield Marker to Icon of Power, Kinnee presents the first monographic treatment of ancient trophies in sixty years. The study spans Archaic Greece through the Augustan Principate. Kinnee aims to create a holistic view of this complex monument-type by breaking down boundaries between the study of art history, philology, the history of warfare, and the anthropology of religion and magic. Ultimately, the kaleidoscopic picture that emerges is of an ad hoc anthropomorphic Greek talisman that gradually developed into a sophisticated, Augustan sculptural or architectural statement of power. The former, a product of the hoplite phalanx, disappeared from battlefields as the Macedonian cavalry grew in importance, shifting instead onto coins and into rhetoric, where it became a statement of military might. For their part, the Romans seem to have encountered the trophy as an icon on Syracusan coinage. Recognizing its value as a statement of territorial ownership, the Romans spent two centuries honing the trophy-concept into an empire-building tool, planted at key locations around the Mediterranean to assert Roman presence and dominance. This volume covers a ubiquitous but poorly understood phenomenon and will therefore be instructive to upper-level undergraduates, graduate students, and scholars in all fields of Classical Studies.

In the Ancient Near East, cutting off someone's head was a unique act, not comparable to other types of mutilation, and therefore charged with a special symbolic and communicative significance. This book examines representations of decapitation in both images and texts, particularly in the context of war, from a trans-chronological perspective that aims to shed light on some of the conditions, relationships and meanings of this specific act. The severed head is a "coveted object" for the many individuals who interact with it and determine its fate, and the act itself appears to take on the hallmarks of a ritual. Drawing mainly on the evidence from Anatolia, Syria and Mesopotamia between the third and first millennia BC, and with reference to examples from prehistory to the Neo-Assyrian Period, this fascinating study will be of interest not only to art historians, but to anyone interested in the dynamics of war in the ancient world.

This volume gathers together selected contributions which were originally presented at the conference 'Greek Art in Context' at the University of Edinburgh in 2014. Its aim is to introduce the reader to the broad and multifaceted notion of context in relation to Greek art and, more specifically, to its relevance for the study of Greek sculpture and pottery from the Archaic to the Late Classical periods. What do we mean by 'context'? In which ways and under what circumstances does context become relevant for the interpretation of Greek material culture? Which contexts should we look at - viewing context, political, social and religious discourse, artistic tradition . . .? What happens when there is no context? These are some of the questions that this volume aims to answer. The chapters included cover current approaches to the study of Greek sculpture and pottery in which the notion of 'context' plays a prominent role, offering new ways of looking at familiar issues. It gathers leading scholars and early career researchers from different backgrounds and research traditions with the aim of presenting new insights into archaeological and art historical research. Their chapters contribute to showcase the vitality of the discipline and will serve to stimulate new directions for the study of Greek art.

This book compiles a series of case studies derived from archaeological excavation in Greek cultural contexts in the Mediterranean (ca. 800-100 B.C), addressing the current state of the field, the goals and direction of Greek archaeology, and its place in archaeological thought and practice. Overviews of archaeological sites and analyses of assemblages and contexts explore how new forms of data; methods of data recovery and analysis; and sampling strategies have affected the discourse in classical archaeology and the range of research questions and strategies at our disposal. Recent excavations and field practices are steering the way that we approach Greek cultural landscapes and form broader theoretical perspectives, while generating new research questions and interpretive frameworks that in turn affect how we sample sites, collect and study material remains, and ultimately construct the archaeological record. The book confronts the implications of an integrated dialogue between realms of data and interpretive methodologies, addressing how reengagement with the site, assemblage, or artifact, from the excavation context can structure the way that we link archaeological and systemic contexts in classical archaeology.

Between the ninth and seventh centuries BC the small kingdom of Assyria in northern Iraq expanded through conquest to dominate the region from Egypt to Iran. The power of the Assyrian kings was reflected in the creation of a series of magnificent palaces in which the walls of principal rooms and courtyards were lined with huge panels of alabaster carved with images of the monarch as priest, victorious warrior and hunter. Together, the sculptures constitute some of the most impressive and eloquent witnesses of the ancient Middle East. This book serves as a superb visual introduction to what are undoubtedly some of the greatest works of art from the ancient world, showcasing a series of specially taken photographs of the British Museum's unrivalled collection of Assyrian sculptures. These stunning images capture the majesty of the Assyrian king, his magnificent court and its protecting divinities, through individual panels or extraordinary, often overlooked details, such as incised embroidery on robes, the contours of flesh and musculature, the turn of a horse's head or the order within the apparent chaos of battle. An introduction sets the sculptures in their cultural and art-historical context. A brief history of Assyria and the royal palaces is followed by an overview of their discovery, reception and understanding. These are the earliest examples of complex narrative art, and their multilayered meanings occupied entire rooms in which the raw emotion and energy of animals and humans was captured with remarkable vitality. Many of these exceptional carvings rank among the greatest achievements in the history of art.

A Short History of the Ancient World examines the emergence of urban civilizations on the continents of Africa, Europe, and Asia. Tracing developments from prehistoric times through the end of antiquity, the book investigates the unique social, cultural, religious, economic, and political characteristics of each civilization. Employing a social historical approach, Rauh argues that the ancient world encompassed more than simply Greece and Rome, and that urban populations across Eurasia and northern Africa were linked by an ancient world system. He explores the interconnectivity between societies in the Roman Mediterranean, East Africa, India, and China as they attained urban development, material prosperity, and cultural achievement. This beautifully designed full-color book includes an impressive range of images, as well as chronologies, timelines, overviews of dynasties, and chapter reviews.

This interpretative work on Greek art during the Hellenistic period (323 B.C. to the first century B.C.) explores ways in which art is an expression of the cultural experience and aspirations of an age. It also strives to present a selective history of the formal development of Hellenistic art.

The papers of this volume focus on the sacred landscapes of ancient Sicily. Religious and cultural dimensions of Greek sanctuaries are assessed in light of the results of recent exacavations and new readings of literary sources. The material dimension of cult practices in ancient sanctuaries is the central issue of all contributions, with a focus on the findings from ancient Akragas. Great attention is also paid to past ritual activities, which are framed in three complementary areas of enquiry. Firstly, the architectural setting of sanctuaries is examined beyond temple buildings to assess the wider context of their structural and spatial complexity. Secondly, the material culture of votive deposition and religious feasting is analysed in terms of performative characteristics and through the lens of anthropological approaches. Thirdly, the significance of gender in cultic practice is investigated in light of the fresh data retrieved from the field. The new findings presented in this volume contribute to close the existing research gaps in the study of sanctuaries in Sicily, as well as the wider practice of Greek religion.

A fully illustrated, comprehensive, and scholarly catalogue of the paintings in the Ashmolean Museum's collection by French artists born between 1775 and 1875 The only complete catalogue of French paintings of the period in the Ashmolean Museum, this comprehensive and scholarly study explores their rich collection of nineteenth-century French art. Continuing a convention set by earlier Ashmolean catalogues that mirrors the concept of the long nineteenth century, the book defines nineteenth-century French artists as those born between 1775 and 1875. Stretching into the twentieth century, it covers a fascinating range of paintings including works by Louis-Leopold Boilly, Camille, Lucien, and Fe lix Pissarro, Henri Fantin-Latour, Edouard Manet, Pierre-Auguste Renoir, Paul Ce zanne, Claude Monet, and Henri Matisse. The catalogue was compiled by the late distinguished art historian Jon Whiteley. In each entry, Whiteley draws upon his encyclopaedic knowledge of French art and the Ashmolean holdings. Provenance, literature, and exhibition history are recorded as well as extensive technical notes and information on frames. The entries on each work are accompanied by new, high-quality photography and comparative images, resulting in a complete and thorough documentation of this important part of the Ashmolean collection of Western art, providing an informative contribution to existing scholarship. Distributed for Modern Art Press

The book tells the story of how the British consular service in the Aegean, in the years of the British protectorate of the Ionian Islands (1815-1864) became an agency for the retrieval, excavation and collection of antiquities eventually destined for the British Museum. Exploring the historical, political and diplomatic circumstances that allowed the consular service to develop from a chartered company into a state run institution under the direction of the Foreign Office, it provides a unique perspective on the intersection of state policy, private ambition, and the collecting of antiquities. Drawing extensively on consular correspondence, the study sets out several challenges to current views. For those interested in the history of travel in the Levant, or more generally in the Grand Tour, the book presents an alternative point of view that challenges the travellers' descriptions of the region. The book also intersects with British diplomatic history, providing an insight into the consuls in both their official and private circumstances, and comparing their situation under the Levant Company with that of the Foreign Office run consular service. The complex political situation in the Aegean at the time of the take over of the service is examined along with the political and commercial roles of the consuls, their daily dealings with the Greeks and Ionians, and also with the Ottoman authorities. Through private correspondence, it shows how the consuls' reflected the belief that Greek, Egyptian, Babylonian, Roman and other antiquities would be better looked after in a British, French, German or American museum, than by the people, and in the countries, they were created for. In particular, the book illuminates the public/private nature of the consuls' role, the way they worked with, but independently of, government, and it reveals how Britain was able to acquire major pieces of sculpture from the nineteenth century Aegean.

Although the theme of the 'Other', and particularly the deformed and disabled 'Other', has experienced a surge in scholarship in recent years, the figure of the hunchback has remained relatively unexplored territory. "The Hunchback in Hellenistic and Roman Art "gives the representations of the figure of the hunchback the attention they have been hitherto denied. In so doing, it provides a much-needed way of re-thinking and re-reading images of the 'Other' as well as key issues that lie at the very heart of ancient representation. The author takes an art-historical approach, examining three key iconographic features of the corpus of hunchbacks as well as representations of the deformed and disabled in general. This provides fertile ground for a re-assessment of current scholarship on the miniature in ancient art, the hyperphallic nature of ancient art, and the emphasis on the male body in ancient art. More generally, she also interrogates the relationship created between an image and its referent and an image and its viewer.

This book reveals the rewards of exploring the relationship between art and religion in the first millennium, and the particular problems of comparing the visual cultures of different emergent and established religions of the period in Eurasia - Buddhism, Hinduism, Zoroastrianism, Islam, Judaism, Christianity and the pagan religions of the Roman world. Most of these became established and remained in play as what are called 'the world religions'. The chapters in this volume show how the long traditions of studying these topics are caught up in complex local, ancestral, colonial and post-colonial discourses and biases, which have made comparison difficult. The study of Late Antiquity turns out also to be an examination of the intellectual histories of modernity.

In Athens, most remains of the ancient city-wall were revealed during rescue excavations; as a result, documentation is scattered and fragmented. This book systematically investigates all published data, revealing the history and the nature of the surviving remains of this significant monument. The book provides an analysis of the ancient literary sources, the western travellers' accounts, and the history of archaeological research on the circuit walls of ancient Athens. It collects, records, and maps all archaeological data from systematic and rescue excavations of the physical remains of the wall as it evolved over eleven centuries and through more than a dozen construction phases. It reviews issues relating to structure, chronology and topography of the ancient city wall, as well as to the management of its remains by the state authorities. The enormous amount of primary evidence makes the book essential reading for scholars of the topography of ancient Athens. This monograph also aspires to increase community awareness of cultural heritage in everyday urban contexts, as the wall has been preserved in a number of ways: in basements of buildings, reburied in situ, in the open air or beneath glass floors.

This book, first published in 1897, is based upon the results of archaeological explorations carried out by the author during two visits to Tripoli, in 1895 and 1896. Very little had been written about the Roman and pre-Roman sites of this region prior to Cowper's investigations. The celebrated traveller Heinrich Barth provides a brief account of them in his writings, though these cover only a few of the major sites. Considering the fact that he was obliged to work covertly due to a ban on all European travellers at the time. Cowper has left a remarkably detailed survey covering a large number of sites. Thus, not only does this book provide a travel narrative of great interest to the general reader, it is also on invaluable record of many ancient sites and monuments which have since been lost or have fallen into further disrepair. Illustrated with almost 100 photographs taken by the author, and with maps and plans included, this work is essential reading for all those involved in serious study of the region.

It's been a church, a mosque and a synagogue. Jesus is said to have dined there. James, his brother, is believed to have been interred there. King David may be buried beneath the floor. The subject of intense speculation by both scholars and the faithful, the Cenacle on Mount Zion-also known as the Upper Room of the New Testament gospels and as the Tomb of David-has remained a mystery for centuries. Claimed by Jews, Christians and Muslims, the sacred structure continues to evoke passionate controversy. Does it date back to the time of Christ? Was the Last Supper celebrated there? Is this the place where the Holy Spirit descended on the apostles on the first Pentecost following Easter Sunday? Did King David's remains ever lie there? These and many other questions are explored in this first-ever study, offering a readable, fully researched narrative account of the Cenacle's history, archaeology and imagery. Artistic, architectural and photographic illustrations document the Cenacle and its surroundings over the past 1,500 years.

With the help of over 100 illustrations, many of them little known, Martin Henig shows that the art produced in Britannia--particularly in the golden age of Late Antiquity--rivals that of other provinces and deserves comparison with the art of metropolitan Rome. The originality and breadth of Henig's study is shown by its systematic coverage, embracing both the major arts--stone and bronze statuary, wall-painting and mosaics--and such applied arts as jewelery-making, silversmithing, furniture design, figure pottery, figurines and appliques. The author explains how the various workshops were organized, the part played by patronage and the changes that occurred in the fourth century.

First published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.

Myth into Art is a comparative study of mythological narrative in Greek poetry and the visual arts. Thirty of the major myths are surveyed, focusing on Homer, lyric poetry and Attic tragedy. On the artistic side, the emphasis is on Athenian and South Italian vases. The book offers undergraduate students an introduction both to mythology and to the use of visual sources in the study of Greek myth.

Philippe Rouet examines how Attic painted vases were interpreted by Edmond Pottier (1855-1934), founder of the Corpus Vasorum Antiquorum, and John Beazley (1885-1970), the master of attributions in the twentieth century. The comparison shows two markedly different approaches, one primarily archaeological, the other centred on the history of ancient art.

In this book, Philip Kiernan explores how cult images functioned in Roman temples from the Iron Age to Late Antiquity in the Roman west. He demonstrates how and why a temple's idols, were more important to ritual than other images such as votive offerings and decorative sculpture. These idols were seen by many to be divine and possessed of agency. They were, thus, the primary focus of worship. Aided by cross-cultural comparative material, Kiernan's study brings a biographical approach to explore the 'lives' of idols and cult images - how they were created, housed in temples, used and worshipped, and eventually destroyed or buried. He also shows how the status of cult images could change, how new idols and other cult images were being continuously created, and how, in each phase of their lives, we find evidence for the significant power of idols.

In order to foster dialogue among various subfields, contributors are drawn from a wide range of domains. Classical archaeology, Aegean prehistory, Near Eastern archaeology, Egyptology, Pre-Columbian South America, and North America are brought together to explore ancient art from multiscalar perspectives and through the lenses of entanglement theory, network thinking, assemblage theory and other recent theoretical developments. Representing a new wave in research on ancient art, considering both the proximal and distributed operations of artworks, Ancient Art Revisited provides broad and inclusive coverage of ancient art and offers a cohesive approach to a fragmented area of study. This book will be suitable for archaeologists, anthropologists and art historians wishing to understand the latest thinking on ancient art.