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!

Nineteen contributions by eminent scholars cover topics in Greek Epigraphy, Ancient History, Archaeology, and the Historiography of Archaeology. The section on Epigraphy and Ancient History has a particular focus on Attica, whereas material from Eretria, Delphi, the Argolid, Aetolia, Macedonia, Samothrace, and Aphrodisias widens the picture. The section on Archaeology discusses cultural variation as well as matters of cult, myth, and style, especially in Attica, from the Chalcolithic to the Roman period. The final section on the History of Archaeology reviews the early history of archaeological research at sites such as Piraeus, Rhamnous, Marathon, Oropos, Pylos, and Eretria, based on unpublished archival sources as well as on preliminary sketches and architectural drawings by 19th century artists.

How did the Greeks translate tales into images? Why do artistic depictions of ancient myths sometimes "contradict" the textual versions that we think of as canonical? What caused the Romans to be anxious about decorated ceilings? Can numismatic images solve problems in Augustan politics or explain the provenance of the Warren Cup? How are the curators of ancient artifacts to supply the high-quality digital images that scholars need in order to answer these questions? And how are text-based scholars to make productive use of them? Images have their own semantic language, and their survival, usually divorced from their original context, makes it hard to interpret them with nuance and sophistication. Images for Classicists starts from the premise that the visual and textual records from antiquity are indispensable complements to one another and demonstrates some of the ways in which text and image, taken together, can complicate and enrich our understanding of ancient culture. While attempting to dissolve the distinctions between text- and artifact-based scholars, it also tries to bridge the gap between academy and museum by exploring the challenges that the digital revolution poses to curators and sketching some of the ways in which image-based collections may be deployed in the future.

Scholarship often treats the post-Roman art produced in central and north-western Europe as representative of the pagan identities of the new 'Germanic' rulers of the early medieval world. In this book, Matthias Friedrich offers a critical reevaluation of the ethnic and religious categories of art that still inform our understanding of early medieval art and archaeology. He scrutinises early medieval visual culture by combining archaeological approaches with art historical methods based on contemporary theory. Friedrich examines the transformation of Roman imperial images, together with the contemporary, highly ornamented material culture that is epitomized by 'animal art.' Through a rigorous analysis of a range of objects, he demonstrates how these pathways produced an aesthetic that promoted variety (varietas), a cross-cultural concept that bridged the various ethnic and religious identities of post-Roman Europe and the Mediterranean worlds.

The Bronze Age of Europe is a crucial formative period that underlay the civilisations of Greece and Rome, fundamental to our own modern civilisation. A systematic description of it appeared in 2013, but this work offers a series of personal studies of aspects of the period by one of its best known practitioners. The book is based on the idea that different aspects of the Bronze Age can be studied as a series of "lives": the life of people and peoples, of objects, of places, and of societies. Each of these is taken in turn and a range of aspects presented that offer interesting insights into the period. These are based on recent research (for instance on the genetic history of the Old World) as well as on fundamental earlier studies. In addition, there is a consideration of the history of Bronze Age studies, the "life of the Bronze Age". The book provides a novel approach to the Bronze Age based on the personal interests of a well-known Bronze Age scholar. It offers insights into a period that students of other aspects of the ancient world, as well as Bronze Age specialists and general readers, will find interesting and stimulating.

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.

A strange thing happened to Roman sarcophagi in the third century: their Greek mythic imagery vanished. Since the beginning of their production a century earlier, these beautifully carved coffins had featured bold mythological scenes. How do we make sense of this imagery's own death on later sarcophagi, when mythological narratives were truncated, gods and heroes were excised, and genres featuring no mythic content whatsoever came to the fore? What is the significance of such a profound tectonic shift in the Roman funerary imagination for our understanding of Roman history and culture, for the development of its arts, for the passage from the High to the Late Empire and the coming of Christianity, but above all, for the individual Roman women and men who chose this imagery, and who took it with them to the grave? In this book, Mont Allen offers the clues that aid in resolving this mystery.

This volume deals with the formative period of Islamic art (to c. 950), and the different approaches to studying it. Individual essays deal with architecture, ceramics, coins, textiles, and manuscripts, as well as with such broad questions as the supposed prohibition of images, and the relationships between sacred and secular art. An introductory essay sets each work in context; it is complemented by a bibliography for further reading.

Why did the Greeks of the archaic and early Classical period join in choruses that sang and danced on public and private occasions? This book offers a wide-ranging exploration of representations of chorality in the poetry, art and material remains of early Greece in order to demonstrate the centrality of the activity in the social, religious and technological practices of individuals and communities. Moving from a consideration of choral archetypes, among them cauldrons, columns, Gorgons, ships and halcyons, the discussion then turns to an investigation of how participation in choral song and dance shaped communal experience and interacted with a variety of disparate spheres that include weaving, cataloguing, temple architecture and inscribing. The study ends with a treatment of the role of choral activity in generating epiphanies and allowing viewers and participants access to realms that typically lie beyond their perception.

In accounts of Chinese history, the Western Zhou period has been lionized as a golden age of ritual, when kings created the ceremonies that underlay the traditions of imperial governance. In this book, Paul Nicholas Vogt rediscovers their roots in the vagaries of Western Zhou royal geopolitics through an investigation of inscriptions on bronze vessels, the best contemporary source for this period. He shows how the kings of the Western Zhou adapted ritual to create and retain power, while introducing changes that affected later remembrances of Zhou royal ritual and that shaped the tradition of statecraft throughout Chinese history. Using ritual and social theory to explain Western Zhou history, Vogt traces how the traditions of pre-modern China were born, how a ruling dynasty establishes and holds on to power, how religion and politics can support and restrain each other, and how ancient peoples made, used, and assigned meaning to art and artifacts.

This generously illustrated book provides a complete overview of current knowledge about the sculptures of the Parthenon and suggests new interpretations of the ancient temple's sculptural creations. Margaretha Lagerlof steps back from viewing the fragments of the sculptures that remain today to focus more clearly on their meanings in the light of classical Athenian knowledge and society. She considers what the sculptures reveal about the Greek sense of democracy and how they characterize women's lives in a warrior culture. Using Plato's philosophy and the visually oriented similes of his myths, Lagerlof offers a new decoding of the aesthetic structure of the Parthenon's entire sculptural ensembles.

The book compares the sculptures of the pediments to those of the metopes and the frieze, uncovering subtle differences in both the nature and the content of the images. Whereas the pediments represent divine elements, for example, the frieze is seen as the domain of human beings, representing events and also the stage of history when humans no longer have direct access to the presence of the gods. The frieze can be interpreted as an invocation of this presence, a means of regaining closeness with the gods. Using a multifaceted and imaginative approach to the sculptures of the Parthenon, Lagerlof finds powerful new meaning in them as well as an enhanced appreciation of their Athenian creators.

In Paul and Image, Philip Erwin challenges conventional interpretations of 1 Corinthians that tend to overlook the significance of ancient Roman visual culture in framing and posing exegetical questions. He argues that in 1 Corinthians Paul engaged in a long-standing philosophical discussion of visual representation, with consequential implications for how he and his Corinthian addressees interacted with the imagery around them. By situating Paul's letter in the context of the critical discourse on visual representation from Plato to Philo to the so-called Second Sophistic, Erwin redefines Paul's critique of human wisdom, treatment of idols, and resurrection discourse in visual terms.

'Arnold Hausers Social History of Art - a very important and under-appreciated text.' - Whitney Davis, John Evans Professor of Art History, Northwestern University

'It is no exaggeration to say that more than any other work Hauser's four volumes inspired my interest in art history.' - Alan Wallach, Ralph H Wark Professor of Art History, College of William and Mary

'This work has great value in a contemporary context. I look forward to seeing what Jonathan has done with the introduction, but I cannot think of anyone better suited to the task.' - Johanna Drucker, Professor of Art History, Yale University

Hausers extraordinary energy and subtlety wave a brilliant synthesis of the interaction between the aesthetic and societal, giving us at one and the same time a wealth of artistic detail and a consistent and fully elaborated exposition of the social process. - Albert Boime, UCLA, author of The Social History of Modern Art, 1750-1989

The British Museum has the largest and finest collection of antiquities from Egypt and the Sudan outside of those countries. Packed with information and insights, this classic book, now in paperback, contains over 200 of the most important objects, including the most famous (such as the Rosetta Stone) and also a selection of lesser-known but equally significant or beautiful pieces. An introduction offers a brief history of the vast Egyptian collections of the British Museum and the Egyptian sites and periods from which they come. Each of the 200 objects has a short accompanying text and full page colour illustration. Arranged in chronological order, these intriguing objects range from the earliest predynastic period through the 3,000 year rule of the pharaohs up to Roman Egypt, offering an overview of the art of ancient Egypt in a single volume.

Originally published between 1920-70, the "History of Civilization" was published at a formative time within the social sciences, and during a period of decisive historical discovery. The aim of the general editor, C.K. Ogden, was to summarize the most up to date findings and theories of historians, anthropologists, archaeologists and sociologists. This reprinted material is available as a set or in the following groupings: "Prehistory and Historical Ethnography" set of 12 (0-415-15611-4, u800); "Greek Civilization" set of 7 (0-415-15612-2, u450); "Roman Civilization" set of 6 (0-415-15613-0, u400); "Eastern Civilizations" set of 10 (0-415-15614-9, u650); "Judaeo-Christian Civilization" set of 4 (0-415-15615-7, u250); "European Civilization" set of 11 (0-415-15616-5, u700).

The history of funerary customs in Rome contains many unanswered questions and controversial debates, especially concerning the significant developments of the second century CE. In this book, distinguished historian Barbara E. Borg employs the full range of material and written evidence to explore four key questions that change our view of Roman society and its values. For the first time, senatorial burial practices can be reconstructed and contrasted with those of other classes. Borg then explains the change from incineration to inhumation as a revival of old Roman mores that accelerated after the example set by Hadrian. In the third chapter, she argues that tombs became prime locations for promoting and displaying long family lines among the elite, which then inspired freedmen to undertake similar commemorative practices. Finally she explores the association of deceased persons with the divine and apotheosis through portraits on divine body shapes and temple tombs.

How should articulations of blackness from the fifth century BCE to the twenty-first century be properly read and interpreted? This important and timely new book is the first concerted treatment of black skin color in the Greek literature and visual culture of antiquity. In charting representations in the Hellenic world of black Egyptians, Aithiopians, Indians, and Greeks, Sarah Derbew dexterously disentangles the complex and varied ways in which blackness has been co-produced by ancient authors and artists; their readers, audiences, and viewers; and contemporary scholars. Exploring the precarious hold that race has on skin coloration, the author uncovers the many silences, suppressions, and misappropriations of blackness within modern studies of Greek antiquity. Shaped by performance studies and critical race theory alike, her book maps out an authoritative archaeology of blackness that reappraises its significance. It offers a committedly anti-racist approach to depictions of black people while rejecting simplistic conflations or explanations.