At the beginning of the 20th century, changes in taste and expectations of the public led private museums in Europe and North America to embark on large-scale acquisition of archaeological objects from the Mediterranean and the Near East. John Marshall (1862-1928) was an antiquities expert hired by the Metropolitan Museum of New York as purchasing agent in Europe on behalf of its Department of Classical Art in between 1906 and 1928. His mission was to secure for the Metropolitan a comprehensive collection of antiquities of high aesthetic standards and historical significance. During his agency, John Marshall was an attentive observer of the antiquities trade. Photographs and annotations on more than a thousand ancient objects circulating on the art market at that time have survived in his personal archive, later bequeathed to the British School at Rome and the Ashmolean Library at Oxford. This unpublished and very valuable resource shines light on the secretive world of art dealing and provides information on the history of many masterpieces of ancient and post-ancient art now in the largest museums of Europe and North America. Using information gathered by John Marshall, this book delineates how the trade of art and archaeological objects has impacted the perception of the Classical past in the modern Western world.

Is music just matter of hearing and producing notes? And is it of interest just to musicians? By exploring different authors and philosophical trends of the Roman Empire, from Philo of Alexandria to Alexander of Aphrodisias, from the rebirth of Platonism with Plutarch to the last Neoplatonists, this book sheds light on different ways in which music and musical notions were made a crucial part of philosophical discourse. Far from being mere metaphors, notions such as harmony, concord and attunement became key philosophical tools in order to better grasp and conceptualise fundamental notions in philosophical debates from cosmology to ethics and from epistemology to theology. The volume is written by a distinguished international team of contributors.

Tenderness is not a notion commonly associated with the Romans, whose mythical origin was attributed to brutal rape. Yet, as Herica Valladares argues in this ground-breaking study, in the second half of the first century BCE Roman poets, artists, and their audience became increasingly interested in describing, depicting, and visualizing the more sentimental aspects of amatory experience. During this period, we see two important and simultaneous developments: Latin love elegy crystallizes as a poetic genre, while a new style in Roman wall painting emerges. Valladares' book is the first to correlate these two phenomena properly, showing that they are deeply intertwined. Rather than postulating a direct correspondence between images and texts, she offers a series of mutually reinforcing readings of painting and poetry that ultimately locate the invention of a new romantic ideal within early imperial debates about domesticity and the role of citizens in Roman society.

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.

A lifelong devotee of ancient Egyptian and Oriental culture, the French author, artist, and scholar Achille-Constant-Theodore-Emile Prisse d'Avennes (1807-1879) is famed as one of the most influential Egyptologists, long before the discipline was even properly established. Prisse first embarked on his explorations in 1836, documenting sites throughout the Nile Valley, often under his Egyptian pseudonym, Edris Effendi. Prisse's first publication of notes, drawings, and squeezes (a kind of frottage) came in the form of Les Monuments egyptiens, a modest collection of 51 plates, but one met with considerable acclaim in popular and intellectual circles. Encouraged by his success, Prisse returned to Egypt in the late 1850s to expand his work into the collection L'Histoire de l'art egyptien-together with his first volume, these two tomes make up a truly complete survey of Egyptian art. His albums cover architecture, drawing, sculpture, painting, and industrial or minor arts, with sections, plans, architectural details, and surface decoration all documented with utmost sensitivity and accuracy. Even when compared to the products of the great state-sponsored expeditions to Egypt of this period, Prisse's compendium remains the largest, single-handed illustrated record of Egyptian art in existence. Discover the complete collection of Prisse's unsurpassed illustrations in a visual and archaeological feast of symmetry and complexity. Once exclusively available as an XL-sized title, this Bibliotheca Universalis edition captures all the mystery and opulence of Prisse's groundbreaking collection in an affordable, compact format. About the series Bibliotheca Universalis - Compact cultural companions celebrating the eclectic TASCHEN universe!

Rewritten from cover to cover and updated to include the discoveries and new theories from the past decade and a half, this classic guide to the art of the ancient Maya is now illustrated in full colour throughout. World expert Mary Miller and her co-author Megan O'Neil take the reader through the visual world of the Maya, explaining how and why they created the paintings, sculpture and monuments that intrigue and compel people the world over. With an array of new material, from recent finds including the La Corona panels, to new studies of the monuments at Palenque, Zotz and elsewhere, to the beautiful wall paintings discovered in recent years, this new edition will be essential reading for students and scholars - and for travellers to the cities of this mysterious civilization.

Modern notions of celebrity, fame, and infamy reach back to the time of Homer's Iliad. During the Hellenistic period, in particular, the Greek understanding of fame became more widely known, and adapted, to accommodate or respond to non-Greek understandings of reputation in society and culture. This collection of essays illustrates the ways in which the characteristics of fame and infamy in the Hellenistic era distinguished themselves and how they were represented in diverse and unique ways throughout the Mediterranean. The means of recording fame and infamy included public art, literature, sculpture, coinage, and inscribed monuments. The ruling elite carefully employed these means throughout the different Hellenistic kingdoms, and these essays demonstrate how they operated in the creation of social, political, and cultural values. The authors examine the cultural means whereby fame and infamy entered social consciousness, and explore the nature and effect of this important and enduring sociological phenomenon.

The study of Roman sculpture has been an essential part of the disciplines of Art History and Classics since the eighteenth century. Famous works like the Laocooen, the Arch of Titus, and the colossal portrait of Constantine are familiar to millions. Again and again, scholars have returned to sculpture to answer questions about Roman art, society, and history. Indeed, the field of Roman sculptural studies encompasses not only the full chronological range of the Roman world but also its expansive geography, and a variety of artistic media, formats, sizes, and functions. Exciting new theories, methods, and approaches have transformed the specialized literature on the subject in recent decades. Rather than creating another chronological catalogue of representative examples from various periods, genres, and settings, The Oxford Handbook of Roman Sculpture synthesizes current best practices for studying this central medium of Roman art, situating it within the larger fields of Art History, Classical Archaeology, and Roman Studies. This comprehensive volume fills the gap between introductory textbooks and highly focused professional literature. The Oxford Handbook of Roman Sculpture conveniently presents new technical, scientific, literary, and theoretical approaches to the study of Roman sculpture in one reference volume while simultaneously complementing textbooks and other publications that present well-known works in the corpus. The contributors to this volume address metropolitan and provincial material from the early republican period through late antiquity in an engaging and fresh style. Authoritative, innovative, and up-to-date, The Oxford Handbook of Roman Sculpture will remain an invaluable resource for years to come.

It has often been claimed that "monsters"--supernatural creatures with bodies composed from multiple species--play a significant part in the thought and imagery of all people from all times. The Origins of Monsters advances an alternative view. Composite figurations are intriguingly rare and isolated in the art of the prehistoric era. Instead it was with the rise of cities, elites, and cosmopolitan trade networks that "monsters" became widespread features of visual production in the ancient world. Showing how these fantastic images originated and how they were transmitted, David Wengrow identifies patterns in the records of human image-making and embarks on a search for connections between mind and culture. Wengrow asks: Can cognitive science explain the potency of such images? Does evolutionary psychology hold a key to understanding the transmission of symbols? How is our making and perception of images influenced by institutions and technologies? Wengrow considers the work of art in the first age of mechanical reproduction, which he locates in the Middle East, where urban life began. Comparing the development and spread of fantastic imagery across a range of prehistoric and ancient societies, including Mesopotamia, Egypt, Greece, and China, he explores how the visual imagination has been shaped by a complex mixture of historical and universal factors. Examining the reasons behind the dissemination of monstrous imagery in ancient states and empires, The Origins of Monsters sheds light on the relationship between culture and cognition.

This volume wades into the fertile waters of Augustan Rome and the interrelationship of its literature, monuments, and urban landscape. It focused on a pair of questions: how can we productively probe the myriad points of contact between textual and material evidence to write viable cultural histories of the ancient Greek and Roman worlds, and what are the limits of these kinds of analysis? The studies gathered here range from monumental absences to monumental texts, from canonical Roman authors such as Cicero, Livy, and Ovid to iconic Roman monuments such as the Rostra, Pantheon, and Solar Meridian of Augustus. Each chapter examines what the texts in, on, and about the city tell us about how the ancients thought about, interacted with, and responded to their urban-monumental landscape. The result is a volume whose methodological and heuristic techniques will be compelling and useful for all scholars of the ancient Mediterranean world.

This book presents a radical new interpretation of Roman expansion in Italy during the fourth and third centuries BCE. Nicola Terrenato argues that the process was accomplished by means of a grand bargain that was negotiated between the landed elites of central and southern Italy, while military conquest played a much smaller role than is usually envisaged. Deploying archaeological, epigraphic, and historical evidence, he paints a picture of the family interactions that tied together both Roman and non-Roman aristocrats and that resulted in their pooling power and resources for the creation of a new political entity. The book is written in accessible language, without technical terms or quotations in Latin, and is heavily illustrated.

The Wilton House sculptures constituted one of the largest and most celebrated collections of ancient art in Europe. Originally comprising some 340 works, the collection was formed around the late 1710s and 1720s by Thomas Herbert, the eccentric 8th Earl of Pembroke, who stubbornly 're-baptized' his busts and statues with names of his own choosing. His sources included the famous collection of Cardinal Mazarin, assembled in Paris in the 1640s and 1650s, and recent discoveries on the Via Appia outside Rome. Earl Thomas regarded the sculptures as ancient - some of them among the oldest works of art in existence - but in fact much of the collection is modern and represents the neglected talents of sixteenth-and seventeenth-century artists, restorers and copyists who were inspired by Greek and Roman sculpture. About half of the original collection remains intact today, adorning the Gothic Cloisters that were built for it two centuries ago. After a long decline, accelerated by the impact of the Second World War, the sculptures have been rehabilitated in recent years. They include masterpieces of Roman and early modern art, which cast fresh light on Graeco-Roman antiquity, the classical tradition, and the history of collecting. Illustrated with specially commissioned photographs, this catalogue offers the first comprehensive publication of the 8th Earl's collection, including an inventory of works dispersed from Wilton. It re-presents his personal vision of the collection recorded in contemporary manuscripts. At the same time, it dismantles some of the myths about it which originated with the earl himself, and provides an authoritative archaeological and art-historical analysis of the artefacts.

An elegant, concise, and generously illustrated exploration of Alexander the Great's representations in art and literature through the ages In this book, John Boardman, one of the world's leading authorities on ancient Greece, looks beyond the life of Alexander the Great in order to examine the astonishing range of Alexanders created by generations of authors, historians, and artists throughout the world-from Scotland to China. John Boardman draws on his deep knowledge of Alexander and the ancient world to reflect on the most interesting and emblematic depictions of this towering historical figure. From Alexander's biographers in ancient Greece to the illustrated Alexander "Romances" of the Middle Ages to operas, films, and even modern cartoons, this generously illustrated volume takes readers on a fascinating journey.

Gender and the Body in Greek and Roman Sculpture offers incisive analysis of selected works of ancient art through a critical use of cutting-edge theory from gender studies, body studies, art history and other related fields. The book raises important questions about ancient sculpture and the contrasting responses that the individual works can be shown to evoke. Rosemary Barrow gives close attention to both original context and modern experience, while directly addressing the question of continuity in gender and body issues from antiquity to the early modern period through a discussion of the sculpture of Bernini. Accessible and fully illustrated, her book features new translations of ancient sources and a glossary of Greek and Latin terms. It will be an invaluable resource and focus for debate for a wide range of readers interested in ancient art, gender and sexuality in antiquity, and art history and gender and body studies more broadly.

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.

This book explores the spoliation of architectural and sculptural materials during the Roman empire. Examining a wide range of materials, including imperial portraits, statues associated with master craftsmen, architectural moldings and fixtures, tombs and sarcophagi, arches and gateways, it demonstrates that secondary intervention was common well before Late Antiquity, in fact, centuries earlier than has been previously acknowledged. The essays in this volume, written by a team of international experts, collectively argue that reuse was a natural feature of human manipulation of the physical environment, rather than a sign of social pressure. Reuse often reflected appreciation for the function, form, and design of the material culture of earlier eras. Political, social, religious, and economic factors also contributed to the practice. A comprehensive overview of spoliation and reuse, this volume examines the phenomenon in Rome and throughout the Mediterranean world.

In celebration of the Oriental Institute of the University of Chicago's centennial year, over sixty different authors and contributors have come together to provide a personalized history of the OI's work past and present. In these pages we invite you to join us on an adventure. Explore the legacy of James Henry Breasted and the institute he founded. Discover the inner workings of the OI and its museum. Travel across multiple continents to learn about ground-breaking research. Enjoy a unique collection of nearly six hundred images, all in one publication for the first time. Learn the story of the Institute's development-from being one man's dream to becoming one of the world's pre-eminent authorities on over ten thousand years of human civilization.

An illustrious scholar presents an elegant, concise, and generously illustrated exploration of Alexander the Great's representations in art and literature through the ages John Boardman is one of the world's leading authorities on ancient Greece, and his acclaimed books command a broad readership. In this book, he looks beyond the life of Alexander the Great in order to examine the astonishing range of Alexanders created by generations of authors, historians, and artists throughout the world-from Scotland to China. Alexander's defeat of the Persian Empire in 331 BC captured the popular imagination, inspiring an endless series of stories and representations that emerged shortly after his death and continues today. An art historian and archaeologist, Boardman draws on his deep knowledge of Alexander and the ancient world to reflect on the most interesting and emblematic depictions of this towering historical figure. Some of the stories in this book relate to historical events associated with Alexander's military career and some to the fantasy that has been woven around him, and Boardman relates each with his customary verve and erudition. From Alexander's biographers in ancient Greece to the illustrated Alexander "Romances" of the Middle Ages to operas, films, and even modern cartoons, this generously illustrated volume takes readers on a fascinating cultural journey as it delivers a perfect pairing of subject and author.

Addressing the relationship between religion and ideology, and drawing on a range of literary, ritual, and visual sources, this book reconstructs the cultural discourse of Assyria from the third through the first millennium BCE. Ideology is delineated here as a subdiscourse of religion rather than as an independent category, anchoring it firmly within the religious world view. Tracing Assur's cultural interaction with the south on the one hand, and with the Syro-Anatolian horizon on the other, this volume articulates a "northern" cultural discourse that, even while interacting with southern Mesopotamian tradition, managed to maintain its own identity. It also follows the development of tropes and iconic images from the first city state of Uruk and their mouvance between myth, image, and royal inscription, historiography and myth, and myth and ritual, suggesting that, with the help of scholars, key royal figures were responsible for introducing new directions for the ideological discourse and for promoting new forms of historiography.