Clothing was used in the Middle Ages to mark religious, military, and chivalric orders, lepers, and prostitutes. The ostentatious display of luxury dress more specifically served as a means of self-definition for members of the ruling elite and the courtly lovers among them. In Courtly Love Undressed, E. Jane Burns unfolds the rich display of costly garments worn by amorous partners in literary texts and other cultural documents in the French High Middle Ages. Burns "reads through clothes" in lyric, romance, and didactic literary works, vernacular sermons, and sumptuary laws to show how courtly attire is used to negotiate desire, sexuality, and symbolic space as well as social class. Reading through clothes reveals that the expression of female desire, so often effaced in courtly lyric and romance, can be registered in the poetic deployment of fabric and adornment, and that gender is often configured along a sartorial continuum, rather than in terms of naturally derived categories of woman and man. The symbolic identification of the court itself as a hybrid crossing place between Europe and the East also emerges through Burns's reading of literary allusions to the trade, travel, and pilgrimage that brought luxury cloth to France.

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!

This important new study looks at the intersection of Greek and Egyptian art forms in the funerary sphere of Roman Egypt. A discussion of artistic change, cultural identity, and religious belief foregrounds the detailed analysis of more than 150 objects and tombs, many of which are presented here for the first time. In addition to the information it provides about individual works of art, supported by catalogue entries, the study explores fundamental questions such as how artists combine the iconographies and representational forms of different visual traditions, and why two distinct visual traditions were employed in Roman Egypt.

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.

With extraordinary concision and clarity, A. J. Ayer gives an account of the major incidents of Bertrand Russell's life and an exposition of the whole range of his philosophy. "Ayer considers Russell to be, except possibly for Wittgenstein, the most influential philosopher of our time. In this book he] gives a lucid account of Russell's philosophical achievements."--James Rachels, "New York Times Book Review"
"I am sure this] is the best introduction of any length to Russell, and I suspect that it might serve as one of the best introductions to modern philosophy. . . . Ayer begins with a brief, austere, and balanced account of Russell's life: as in Russell's autobiography this means his thought, books, women, and politics. Tacitus (and Russell) would have found the account exemplary. Ayer ends with a sympathetic and surprisingly detailed survey of Russell's social philosophy. But the bulk of this book consists of a chapter on Russell's work in logic and the foundations of mathematics, followed by a chapter on his epistemological views and one on metaphysics. . . . I find it impossible to imagine that this book will not remain indefinitely the very best book of its sort."--"Review of Metaphysics"
"The confrontation or conjunction of Ayer and Russell is a notable event and has produced a remarkable book--brilliantly argued and written."--Martin Lebowitz, "The Nation"

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.

Greek Art and Aesthetics in the Fourth Century B.C. analyzes the broad character of art produced during this period, providing in-depth analysis of and commentary on many of its most notable examples of sculpture and painting. Taking into consideration developments in style and subject matter, and elucidating political, religious, and intellectual context, William A. P. Childs argues that Greek art in this era was a natural outgrowth of the high classical period and focused on developing the rudiments of individual expression that became the hallmark of the classical in the fifth century. As Childs shows, in many respects the art of this period corresponds with the philosophical inquiry by Plato and his contemporaries into the nature of art and speaks to the contemporaneous sense of insecurity and renewed religious devotion. Delving into formal and iconographic developments in sculpture and painting, Childs examines how the sensitive, expressive quality of these works seamlessly links the classical and Hellenistic periods, with no appreciable rupture in the continuous exploration of the human condition. Another overarching theme concerns the nature of "style as a concept of expression," an issue that becomes more important given the increasingly multiple styles and functions of fourth-century Greek art. Childs also shows how the color and form of works suggested the unseen and revealed the profound character of individuals and the physical world.

Greek Sculpture presents a chronological overview of the plastic and glyptic art forms in the ancient Greek world from the emergence of life-sized marble statuary at the end of the seventh century BC to the appropriation of Greek sculptural traditions by Rome in the first two centuries AD. * Compares the evolution of Greek sculpture over the centuries to works of contemporaneous Mediterranean civilizations * Emphasizes looking closely at the stylistic features of Greek sculpture, illustrating these observations where possible with original works rather than copies * Places the remarkable progress of stylistic changes that took place in Greek sculpture within a broader social and historical context * Facilitates an understanding of why Greek monuments look the way they do and what ideas they were capable of expressing * Focuses on the most recent interpretations of Greek sculptural works while considering the fragile and fragmentary evidence uncovered

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 Late Mannerists were Athenian vase-painters working in the fifth century BC. They specialized in shapes used during the symposium, and had a particular flair for story telling. Their unusual style of painting combines elements of the Late Archaic period with characteristics of the Classical period.

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.

In this volume, Gabriel Zuchtriegel revisits the idea of Doric architecture as the paradigm of architectural and artistic evolutionism. Bringing together old and new archaeological data, some for the first time, he posits that Doric architecture has little to do with a wood-to-stone evolution. Rather, he argues, it originated in tandem with a disruptive shift in urbanism, land use, and colonization in Archaic Greece. Zuchtriegel presents momentous architectural change as part of a broader transformation that involved religion, politics, economics, and philosophy. As Greek elites colonized, explored, and mapped the Mediterranean, they sought a new home for the gods in the changing landscapes of the sixth-century BC Greek world. Doric architecture provided an answer to this challenge, as becomes evident from parallel developments in architecture, art, land division, urban planning, athletics, warfare, and cosmology. Building on recent developments in geography, gender, and postcolonial studies, this volume offers a radically new interpretation of architecture and society in Archaic Greece.

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.

Harriet Flower explores the nature and function of wax masks used in the commemoration of politically prominent family members by the elite society of Rome from the third century BC to the sixth century AD.It is by putting these masks, which were worn by actors at the funerals of the deceased, into their legal, social, and political context that Flower is able to elucidate their special meaning as symbols of power and prestige.

The Etruscans are one of the enigmas of history. A cultured, artistic, socially adept and seemingly tolerant and pleasure-loving people, they dominated Central Italy for 800 years until their civilization was absorbed and their identity obliterated by the growing power of Rome in the fourth and third centuries BC. During the last 400 years their art has come to be appreciated and enjoyed; rich archaeological evidence survives despite a continuing history of pillage, with the emergence of richly frescoed tombs, exquisite jewelry and sculpture, metalwork and painted vases at sites such as Ceverteri, Tarquinia and Vulci paying testament to the rich artistic culture of the Etruscans. The author has also written "Understanding Greek Sculpture".

Since early discoveries of so-called Celtic Art during the 19th century, archaeologists have mused on the origins of this major art tradition, which emerged in Europe around 500 BC. Classical influence has often been cited as the main impetus for this new and distinctive way of decorating, but although Classical and Celtic Art share certain motifs, many of the design principles behind the two styles differ fundamentally. Instead, the idea that Celtic Art shares its essential forms and themes of transformation and animism with Iron Age art from across northern Eurasia has recently gained currency, partly thanks to a move away from the study of motifs in prehistoric art and towards considerations of the contexts in which they appear. This volume explores Iron Age art at different scales and specifically considers the long-distance connections, mutual influences and shared 'ways of seeing' that link Celtic Art to other art traditions across northern Eurasia. It brings together 13 papers on varied subjects such as animal and human imagery, technologies of production and the design theory behind Iron Age art, balancing pan-Eurasian scale commentary with regional and site scale studies and detailed analyses of individual objects, as well as introductory and summary papers. This multi-scalar approach allows connections to be made across wide geographical areas, whilst maintaining the detail required to carry out sensitive studies of objects.

In this book, Maggie Popkin offers an in-depth investigation of souvenirs, a type of ancient Roman object that has been understudied and that is unfamiliar to many people. Souvenirs commemorated places, people, and spectacles in the Roman Empire. Straddling the spheres of religion, spectacle, leisure, and politics, they serve as a unique resource for exploring the experiences, interests, imaginations, and aspirations of a broad range of people - beyond elite, metropolitan men - who lived in the Roman world. Popkin shows how souvenirs generated and shaped memory and knowledge, as well as constructed imagined cultural affinities across the empire's heterogeneous population. At the same time, souvenirs strengthened local identities, but excluded certain groups from the social participation that souvenirs made available to so many others. Featuring a full illustration program of 137 color and black and white images, Popkin's book demonstrates the critical role that souvenirs played in shaping how Romans perceived and conceptualized their world, and their relationships to the empire that shaped it.

This volume is the first joint publication of the members of the American-Egyptian mission South Asasif Conservation Project, working under the auspices of the State Ministry for Antiquities and Supreme Council of Antiquities, and directed by the editor. The Project is dedicated to the clearing, restoration, and reconstruction of the tombs of Karabasken (TT 391) and Karakhamun (TT 223) of the Twenty-fifth Dynasty, and the tomb of Irtieru (TT 390) of the Twenty-sixth Dynasty, on the West Bank of Luxor.
Essays by the experts involved in the excavations and analysis cover the history of the Kushite ruling dynasties in Egypt and the hierarchy of Kushite society, the history of the South Asasif Necropolis and its discovery, the architecture and textual and decorative programs of the tombs, and the finds of burial equipment, pottery, and animal bones.

It has long been thought that imperial portrait types were officially commissioned to commemorate specific historical moments and that they were made available to both the mint and the marble workshops in Rome, assuming a close correspondence between portraits on coins and in the round. All of this, however, has never been clearly proven, nor has it been disproven by a close systematic examination of the evidence on a broad material basis by those scholars who have questioned it. Through systematic case studies of Faustina the Younger's and Marcus Aurelius' portraits on coins and in sculpture, this book provides new insights into the functioning of the imperial image in Rome in the second century AD that move a difficult, much-discussed subject forward decisively. The new evidence presented here has made it necessary to adjust the established model; more flexibility is needed to describe the processes and practices behind the phenomenon of 'repeated' imperial portraits and how the imperial portrait worked in the mint of Rome and in the metropolitan marble workshops.

If the grandeur that was Rome has long since vanished, the impact of the Eternal City can still be felt in virtually every corner of Western culture. Students of speech and rhetoric to this day study the works of Cicero for guidance. We find Roman Law setting the model for legal systems from the twelfth century to the present. And Latin itself, far from being a "dead language," lives on not only in the Romance languages, but also in English vocabulary and grammar. Rhetoric, language, law--these are just a small part of the great Roman influence that has lasted throughout the centuries.
The Legacy of Rome has long been considered the standard introduction to the achievements of the Roman world. Now in a completely new edition, this classic work brings together the latest scholarship in the field from some of the world's leading classical scholars. Unlike the previous version, which focused on such narrow topics as commerce and administration, the new edition broadens the spectrum of influence, showing the impact, for example, of Roman literature, art, politics, law, and language on western civilization. Jasper Griffin, for instance, looks to the works of Shakespeare, Milton, Keats, and Wordsworth, among others, to trace the lasting influence of the great Roman poet Virgil on the development of poetic forms such as the pastoral, epitomized by Virgil's Eclogues, and the epic poem, exemplified by the Aeneid. A.T. Grafton shows how Renaissance intellectuals such as Machiavelli and Guicciardini looked to Rome's past for political enlightenment, and found models of military strategy in the works of Tacitus and Livy. Editor Richard Jenkyns dispels the misconception of the Romans as purely imitative of the Greeks; he points out such uniquely Roman concepts as jurisprudence and citizenship, and architecture based on the round arch and the vault, as evidence of Roman innovativeness. Other contributors--George A. Kennedy, Robert Feenstra, and Nicholas Purcell--discuss the importance of the study of Roman rhetoric in preparing speakers for public life, the lasting influence of the Justinian code on Western legal development, and the impact on future civilizations of the romanticized notion of an imperial Rome and its magical ruins.
Ranging from the pastoral tradition, to the development of the comedy, to the lasting influence of the Latin language, The Legacy of Rome provides a much-needed new appraisal of the richness of the great civilization which gave rise to a large part of Western heritage.