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.

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Writing, Violence, and the Military takes representations of reading and writing in Eighteenth Dynasty Egypt (ca. 1550-1295 BCE) as its point of departure, asking how patrons of art conceptualized literacy and how in turn they positioned themselves with respect to it. Exploring statuary and tomb art through the prism of self-representation and group formation, it makes three claims. Firstly, that the elite of this period held a variety of notions regarding literacy, among which violence and memory are most prominent. Secondly, that among the Eighteenth Dynasty elite, literacy found its strongest advocates among men whose careers brought them to engage with the military, either as military officials or as civil administrators who accompanied the army beyond the borders of Egypt. Finally, that Haremhab - the General in Chief who later ascended the throne - voiced unique views regarding literacy that arose from his career as an elite military official, and thus from his social world. Consequently, images of reading and writing allow us to study literacy with regard to those who commissioned them, and to consider these patrons' roles in changing conceptualizations. Throughout their different formulations, these representations call for a discussion on literacy in relation to self-representation and to art's role in society. They also invite us to reconsider our own approach to literacy and its significance in ancient times.

This volume is devoted to the history, monuments and topography of Byzantine Constantinople, and includes two specially written pieces, as well as up-dates to the studies reprinted. Many of the articles deal with the imperial constructions of the first centuries of the City's existence - for instance, the columns of Constantine and Justinian, the Mausoleum of the Holy Apostles and the churches of St Sophia, St John of Studius, and Sts Sergius and Bacchus - structures which provided the basic monumental framework around which Constantinople developed and its life was lived. In his reconstruction of these monuments and their history, Cyril Mango demonstrates how much can be achieved by combining the information gained from meticulous examination of the written sources, whether contemporary or from post-medieval travellers, with that provided by the surviving buildings themselves and the remains that have been excavated. Ce volume, voue A l'histoire, aux monuments et A la topographie de Constantinople la Byzantine, comprend deux etudes redigees pour l'occasion, ainsi qu'une mise A jour des travaux qui y sont re-publies. Bon nombre des etudes traitent plus particulierement des constructions imperiales datant des premiers siecles d'existence de la cite - tels, les colonnes de Constantin et de Justinien, la Mausole des Saints ApAtres et les eglises de Ste Sophie, St Jean de Studius, ou de Sts Serge et Bacchus; un ensemble de structures qui apporterent la base monumentale autour de laquelle Constantinople s'est developpee et a vecu. Au travers de cette reconstruction des monuments et de leur histoire, Cyril Mango demontre combien peut Atre atteint en combinant l'information acquise A partir d'un examen meticuleux des sources ecrites - que celles-ci soient contemporaines ou proviennent des voyageurs post-medievaux - A celle que l'on peut tirer des bActiments-mAmes qui ont survecu, ainsi que des restes qui ete re

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Pliny sketches a theory of advancing moral decline and extravagance, in the course of which he gives a detailed account of six centuries of classical art and a fascinating sketch of the world of the rich Roman collector. Isager's is the first full treatment of this subject for over a hundred years.

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.

The studies included in this volume supplement the work already published by the author on the imperial cult in the Roman West, focussing on the monuments of two cities in Roman Spain, Augusta Emerita (now Merida) and Tarraco (now Tarragona). The introduction gives the general background and context of the four following studies and argues in favour of proactive initiative from the centre. The core of the book is a study of the provincial forum at Augusta Emerita. It opens with a historiographic survey followed by discussion of the plaza (location, portico, "Arco de Trajano"), then surveys other structures and their general architectonic significance. Discussion of the hexastyle temple at the centre of the precinct considers its date of construction and the influence of the provincial governor, L. Fulcinius Trio, in copying the Aedes Concordiae at Rome. Two long sections assigned to analysis of inscriptions and the significance of the provincial centre of Lusitania complete the study. Discussion of the "Temple of Augustus" in Tarragona, in Chapter 3, begins with a historiography of the temple followed by an account of its discovery by ground-probing radar and electric resistivity tomography. After arguing that the temple was provincial ab initio - rather than first municipal then provincial - discussion moves to present opinion on the successive stages of the construction and design of the temple with a final chapter on the significance of the Temple of Hispania Citerior. Two final studies consider the numismatic evidence for an Ara Providentiae at Augusta Emerita, its counterpart in Rome, and the inferred presence of a templum minus at Augusta Emerita with its enigmatic portrayal of Agrippa at sacrifice fifty years after his death. As for the location of this copy of a Roman prototype, analysis focuses on the evidence for a supposed temple in the forum adiectum of the colonial forum and considers the iconographic recomposition of the monument, arguing against current misconception of central details.

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.

The Tabulae Iliacae (Iliac tablets) are a collection of twenty-two miniature marble reliefs from the early Roman Empire; all of them are inscribed in Greek, and most depict the panoramic vistas of Greek Epic. This book brings the tablets to life as never before, revealing the unassuming fragments as among the most sophisticated objects to survive from the ancient Mediterranean world. The Iliad in a Nutshell is not only the first monograph on this material in English (accompanied by a host of new photographs, diagrams, and reconstructions), it also examines the larger cultural and intellectual stakes-both in classical antiquity and beyond. Where modern scholars have usually dismissed the Tabulae Iliacae as secondary 'illustrations' and 'tawdry gewgaws', Michael Squire advances a diametrically opposite thesis: that these epigrammatic tablets synthesize ancient ideas about visual-verbal interaction on the one-hand, and about the art and poetics of scale on the other. By reassessing the artistic and poetic aesthetics of the miniature, Squire's radical new appraisal shows how the tiny tablets encapsulate antiquity's grandest theories of originality, fiction, and replication. The book will be essential reading not just for classical philologists, art historians, and archaeologists, but for anyone interested in the intellectual history of western representation.

"Breath of Heaven, Breath of Earth: Ancient Near Eastern Art from American Collections" encompasses the geographic regions of Mesopotamia, Syria and the Levant, and Anatolia and Iran, and explores several broad themes found in the art of the ancient Near East: gods and goddesses, men and women, and both real and supernatural animals. These art objects reveal a wealth of information about the people and cultures that produced them: their mythologies, religious beliefs, concepts of kingship, social structures, and daily lives.

Trudy Kawami is director of research at the Arthur M. Sackler Foundation in New York. John Olbrantz is the Maribeth Collins Director of the Hallie Ford Museum of Art at Willamette University in Salem, Oregon.

A beautifully illustrated and thoroughly engaging cultural history of beekeeping - packed with anecdote, humour and enriching historical detail. The perfect gift. "A charming look at the history of beekeeping, from myth and folklore to our practical relationship with bees" Gardens Illustrated "An entertaining collation of bee trivia across the millennia" Daily Telegraph * Sweden's Gardening Book of the Year 2019 * Shortlisted for the August Prize 2019 * Winner of the Swedish Book Design Award for 2019 Beekeeper and garden historian Lotte Moeller explores the activities inside and outside the hive while charting the bees' natural order and habits. With a light touch she uses her encyclopaedic knowledge of the subject to shed light on humanity's understanding of bees and bee lore from antiquity to the present. A humorous debunking of the myths that have held for centuries is matched by a wry exploration of how and when they were replaced by fact. In her travels Moeller encounters a trigger-happy Californian beekeeper raging against both killer bees and bee politics, warring beekeepers on the Danish island of Laeso, and Brother Adam of Buckfast Abbey, breeder of the Buckfast queen now popular throughout Europe and beyond, as well a host of others as passionate as she about the complex world of apiculture both past and present. Translated from the Swedish by Frank Perry

Founded in 331 BC by Alexander the Great, Alexandria's unique urban, political and religious organization evolved alongside the numerous scientific innovations and philosophical expressions that shaped the city into one of the ancient world's civilizational centres. Located at the intersection of art and history, this book revisits the former Egyptian megapolis of Alexandria with the aim of going beyond the usual depictions of the city - focusing on the Greeks, the Egyptians, the Lighthouse and the Library - to take a journey of discovery into an ancient city that is full of nuance. Several recent discoveries have enabled us to refine our knowledge of the lost city of Alexandria. By examining the city's multi-layered temporalities, this book echoes dominant accounts of Alexandria as a city through which successive civilisations and political formations of the past (Byzantine, Arab, Modern) have rehearsed visions of futures that are either no longer present or remain felt through Alexandria's remaining material culture and built environment. This book also features a series of contemporary artworks which develop a critical and poetic association with the themes it covers. Exhibition Schedule: BOZAR, Center for Fine Arts, Brussels : 29/09/2022 - 08/01/2023 MUCEM, Musee des Civilisations de l'Europe et de la Mediterranee, Marseille : 08/02/2022 - 08/05/2023

The Archbasilica of St John Lateran is the world's earliest cathedral. A Constantinian foundation pre-dating St Peter's in the Vatican, it remains the seat of the Bishop of Rome, the Pope, to this day. This volume brings together scholars of topography, archaeology, architecture, art history, geophysical survey and liturgy to illuminate this profoundly important building. It takes the story of the site from the early imperial period, when it was occupied by elite housing, through its use as a barracks for the emperor's horse guards to Constantine's revolutionary project and its development over 1300 years. Richly illustrated throughout, this innovative volume includes both broad historical analysis and accessible explanations of the cutting-edge technological approaches to the site that allow us to visualise its original appearance.

The Temple of Athena at Sounion has long been recognized as one of the most unusual buildings in the architectural history of Greece. Its plan, with columns uniquely on the front and only one side, is unparalleled in the Greek world. Excavations of the temple and other buildings there, however, were complicated by the fact that many architectural pieces from the site had been reused in a Roman temple in the Athenian Agora. Here, Barletta provides a fascinating examination of the early excavations at Sounion, the debate over who was worshipped at the so-called Small Temple within the sanctuary, the varied architectural influences on the Temple of Athena, and the later use of its architectural pieces in the Athenian Agora. Building on unpublished work by William B. Dinsmoor Jr. and Homer A. Thompson, this study represents the first comprehensive view of the temple and its sanctuary.

In 1962, after a period of secret looting, the location of a shrine for the Greek Goddess Eileithyia was discovered by the police in south-central Crete at the modern town of Tsoutsouros, ancient Inatos. The cave dedicated to this ancient goddess of childbirth and motherhood was excavated that year by Nikolaos Platon and Costis Davaras on behalf of the Archaeological Museum in Herakleion. It was filled with remarkable votive gifts including over 100 items of gold along with Egyptian figurines and seal stones, bronze objects, and hundreds of clay figurines. The dates of the shrine's use extended from before 2000 B.C. to the Roman Imperial period. Many of the clay images are especially appropriate for this deity because they include pregnant women, embracing couples, figures in preparation for childbirth, mothers holding babies, and a young child in its crib. A Greek language book highlighting the shrine and its major discoveries is now translated into English. It provides images, catalog entries, and explanatory texts for the most important discoveries from this unique shrine.

Across the Roman Empire, ubiquitous archaeological, art historical, and literary evidence attests to the significance of bathing for Romans' routines and relationships. Public baths were popularly viewed as necessities of daily life and important social venues. Given the importance of bathing to the Roman style of living, by endowing eight magnificent baths (the so-called imperial thermae) in the city of Rome between 25 BCE - 315 CE, imperial patrons greatly enhanced their popular and political stature. Decoration and Display in Rome's Imperial Thermae presents a detailed analysis of the extensive decoration of the best preserved of these bathing complexes, the Baths of Caracalla (inaugurated 216 CE). Maryl B. Gensheimer takes an interdisciplinary approach to existing archaeological data, textual and visual sources, and anthropological theories in order to generate a new understanding of the visual experience of the Baths of Caracalla and show how the decoration played a critical role in advancing imperial agendas. This reassessment of one of the most ambitious and sophisticated examples of large-scale architectural patronage in Classical antiquity examines the specific mechanisms through which an imperial patron could use architectural decoration to emphasize his own unique sociopolitical position relative to the thousands of people who enjoyed his benefaction. The case studies addressed herein-ranging from architectural to freestanding sculpture and mosaic-demonstrate that sponsoring monumental baths was hardly an act of altruism. Rather, even while they provided recreation for elite and sub-altern Romans alike, such buildings were concerned primarily with dynastic legitimacy and imperial largess. Decorative programs articulated these themes by consistently drawing analogies between the subjects of the decoration and the emperor who had paid for it. The unified decorative program-and the messages of imperial power therein-adroitly honored the emperor and consolidated his reputation.

The Handbook of Greek Sculpture aims to provide a detailed examination of current research and directions in the field. Bringing together an international cast of contributors from Greece, Italy, France, Great Britain, Germany, and the United States, the volume incorporates new areas of research, such as the sculptures of Messene and Macedonia, sculpture in Roman Greece, and the contribution of Greek sculptors in Rome, as well as important aspects of Greek sculpture like techniques and patronage. The written sources (literary and epigraphical) are explored in dedicated chapters, as are function and iconography and the reception of Greek sculpture in modern Europe. Inspired by recent exhibitions on Lysippos and Praxiteles, the book also revisits the style and the personal contributions of the great masters.

This investigation relies on a rash bet: to write the biography of two of the most famous statues in Antiquity, the Tyrannicides. Representing the murderers of the tyrant Hipparchus in full action, these statues erected on the Agora of Athens have been in turn worshipped, outraged, and imitated. They have known hours of glory and moments of hardships, which have transformed them into true icons of Athenian democracy. The subject of this book is the remarkable story of this group statue and the ever-changing significance of its tyrant-slaying subjects. The first part of this book, in six chapters, tells the story of the murder of Hipparchus and of the statues of the two tyrannicides from the end of the sixth century to the aftermath of the restoration of democracy in 403. The second part, in three chapters, chronicles the fate and influence of the statues from the fourth century to the end of the Roman Empire. These chapters are followed by an epilogue that reveals new life for the statues in modern art and culture, including how Nazi Germany and the Soviet Union made use of their iconography. By tracing the long trajectory of the tyrannicides - in deed and art - Azoulay provides a rich and fascinating microhistory that will be of interest to readers of classical art and history.

More wide ranging, both geographically and chronologically, than any previous study, this well-illustrated book offers a new definition of Celtic art.

Tempering the much-adopted art-historical approach, D.W. Harding argues for a broader definition of Celtic art and views it within a much wider archaeological context. He re-asserts ancient Celtic identity after a decade of deconstruction in English-language archaeology.

Harding argues that there were communities in Iron Age Europe that were identified historically as Celts, regarded themselves as Celtic, or who spoke Celtic languages, and that the art of these communities may reasonably be regarded as Celtic art.

This study will be indispensable for those people wanting to take a fresh and innovative perspective on Celtic Art.

The first in a new series of five books describing and illustrating the seminal architectural traditions of the world, Antiquity traces architectural history from its very beginnings until the time when the traditions that shape today's environments began to flourish.

More than a catalogue of buildings, in this work Tadgell provides their political, technological, social and cultural contexts and explores architecture, not only as the development of form and space but as an expression of the civilization within which it evolves. The buildings are analyzed and illustrated with over 1200 colour photographs and 400 drawings while the societies that produced them are brought to life through a broad selection of their artefacts.

This volume presents the salvage excavation of a Minoan settlement at Bramiana in southeastern Crete that was destroyed during the creation of a new system of agriculture in the 1980s. Excavation of the site provides new evidence for a Bronze Age economy based on trade, agriculture, and craftwork. This publication is a test case for a highly successful new system of organizing all the pottery based on its petrography, sorting it by materials and workshop practices. The results show the existence of an unsuspected large trade network operating across hundreds of kilometers for the routine distribution of cooking pots and other clay vessels and their contents. The Minoan settlement used the lustrous and silky smooth fine ceramics invented presumably in the still undiscovered palace near modern Ierapetra; this technology would be used for the fine Mycenaean tableware of the Late Bronze Age.

Personification, the anthropomorphic representation of any non-human thing, is a ubiquitous feature of ancient Greek literature and art. Natural phenomena (earth, sky, rivers), places (cities, countries), divisions of time (seasons, months, a lifetime), states of the body (health, sleep, death), emotions (love, envy, fear), and political concepts (victory, democracy, war) all appear in human, usually female, form. Some have only fleeting incarnations, others become widely-recognised figures, and others again became so firmly established as deities in the imagination of the community that they received elements of cult associated with the Olympian gods. Though often seen as a feature of the Hellenistic period, personifications can be found in literature, art and cult from the Archaic period onwards; with the development of the art of allegory in the Hellenistic period, they came to acquire more 'intellectual' overtones; the use of allegory as an interpretative tool then enabled personifications to survive the advent of Christianity, to remain familiar figures in the art and literature of Late Antiquity and beyond. The twenty-one papers presented here cover personification in Greek literature, art and religion from its pre-Homeric origins to the Byzantine period. Classical Athens features prominently, but other areas of both mainland Greece and the Greek East are well represented. Issues which come under discussion include: problems of identification and definition; the question of gender; the status of personifications in relation to the gods; the significance of personification as a literary device; the uses and meanings of personification in different visual media; personification as a means of articulating place, time and worldly power. The papers reflect the enormous range of contexts in which personification occurs, indicating the ubiquity of the phenomenon in the ancient Greek world.

MPER XXXIV, 2 presents knowledge of textile dyeing in Late Antique Egypt (ca. 300–800 CE) based on interdisciplinary research on 30 Late Antique textiles from the Papyrus Collection of the Austrian National Library, combining scientific analyses with the study of ancient and scholarly literature. The general part deals with the dyeing materials and techniques that were available in Late Antique Egypt to create a wide variety of colours. The catalogue part contains the scientific analyses of 85 samples of 30 Late Antique textiles from this collection. The results of dye, fibre and mordant analyses are documented with UHPLC chromatograms, UV/VIS absorption spectra, SEM-EDX spectra, microscopic images and tables. Textiles in which specific dyeing materials have been identified are listed in the appendices including textiles from the Papyrus Collection of the Austrian National Library as well as archaeological textiles from numerous international projects. A detailed bibliography completes this volume. MPER XXXIV, 1 – the first comprehensive compilation of Late Antique textiles from the Papyrus collection of the Austrian Library – provides an overall study of these 30 textiles and 208 more including iconography and the analyses of the weaving techniques.

In the fourth century b.c.e., the Athenians introduced to the sacred isle of Delos the habit of making marble inscriptions that noted "inventories" of goods in religious precincts. These inscriptions are now quite damaged and badly preserved, but they offer a trove of information about religious practice on this most unusual island. Richard Hamilton has tackled the difficult task of examining and analyzing these inscriptions, and his new book provides a fund of information about the inventories and their island. The volume is important and innovative in that it offers detailed insight into the workings of one of the most important Greek sanctuaries. Treasure Map brings together information that is otherwise widely scattered in a number of languages, modern and ancient. It offers translations of the inventories in English for the first time, and it presents extensive notes on objects recorded, on how the inventories were listed and weighed, and on aspects of Delian life and politics. Treasure Map will be a major resource for scholars and students of Greek religion and history, epigraphy, ancient economics, and politics.

For artists, designers and craftworkers-125 copyright-free designs depicting birds, human figures, mythological creatures, interwoven patterns and more, all meticulously adapted from centuries-old rune stones, religious symbols, furniture, manuscripts, sword hilts, cooking utensils, and other artifacts. A wealth of dramatic ornamentation in a practical and inexpensive sourcebook.