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.

Modern Western European culture would have been impossible without the civilizations of ancient Greece and Rome. The disciplines of philosophy, drama, history, and science all owe an immense debt to these two Mediterranean cultures. At the same time, there are aspects of this legacy that are less worthy of celebration. Slavery went hand in hand with democracy. The pursuit of beauty coexisted with breathtaking acts of brutality. This book explores the world of the ancient Greeks and Romans and the distinctive cultures they produced. It charts the rise and fall of empires as well as examining the intricacies of domestic life. The opening sections of the book give a chronological overview of the ancient world. They orientate the reader to the key places, actors, and historical trends. The remaining chapters focus on some of the most important and influential aspects of Greco-Roman culture including ancient festivals, art, architecture, religion, and medicine.

Statues were everywhere in the Roman world. They served as objects of cult, honours to emperors and noblemen, and memorials to the dead. Combining close attention to individual Roman texts and images with an unprecedented broad perspective on this remarkable phenomenon, Statues in Roman Society explains the impact which all kinds of statuary had on the ancient population.

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.

One of the earliest surviving examples of 'art history', Pliny the Elder's 'chapters on art' form part of his encyclopaedic Natural History, completed shortly before its author died during the eruption of Vesuvius in AD 79. This important new work reassesses Pliny's discussion of art, revealing how art is used to expound the Roman imperial agenda which dominates the work as a whole.

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.

The inscriptions on non-Attic Greek vases are an extremely important source for knowledge of ancient Greek, in particular colloquial language. Painted or incised before firing, this corpus of material cannot be held suspect as possible later additions. Dr Wachter provides a detailed catalogue of the inscriptions together with an epigraphical and linguistic analysis and commentary.

Although they do not survive intact, composite statues of gold and ivory were the most acclaimed art form in classical antiquity. Greek and Roman authors make their religious, social, and political importance clear. This study, the first to address the topic as a whole since 1815, presents not only literary references to lost works, but also representations of them in other media, and more importantly, fragmentary survivals that elucidate the techniques employed in their production and the quality achieved by their creators.

Famed German type designer renders 493 symbols: religious, alchemical, imperial, runes, property marks, etc. Timeless.

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.

This volume follows the development of Greek gem engraving from Alexander to Augustus. Hellenistic gems are studied in their archaeological context with an assessment of the evidence of their use, significance, and value. The book focuses on subject-matter, technique, and style, as well as problems of chronology and distribution.

This volume provides a catalogue of the ancient Egyptian imports and Egyptianising artifacts found in 1962 during the excavation of a cave near Tsoutsouros (ancient Inatos), Crete, Greece. The cave was a sanctuary dedicated to the Minoan and Greek goddess Eileithyia, the little known goddess of childbirth and motherhood whose offerings depict pregnant women, women in labour, and couples embracing, among other motifs. The Aegyptiaca of the Minoan and Mycenaean eras on Crete signify the political and economic relations between the Aegean rulers and the Egyptian royal court. Several of the objects are Egyptian scarabs, which certainly represent official Egyptian-Cretan affairs, especially those dating from the reign of Amenophis III to the end of the eighteenth Dynasty. Many of the objects catalogued come from the 10th to 7th centuries BC, linked to veneration of the goddess of childbirth and motherhood. The volume is illustrated with colour photographs depicting statuettes, seals, and vessels found at the site.

In this book the author explores the work of the fifth-century BC Athenian vase-painter, Sotades, one of the most familiar names in vase painting. Previous scholarship has dealt mainly with questions of attribution, style, and iconographic interpretation, but Dr Hoffman concentrates on inherent meaning: what does the imagery of these decorated vases really signify? He argues that, contrary to widely held conceptions, there is an underlying unity of meaning in Greek vases and their imagery, a unity rooted in the religious beliefs and ritual practices of the society from which they spring. Each chapter discusses a specific aspect of the artist's iconology, placing it in the context of fifth-century BC Greek philosophical and religious thought.

This is the first of three volumes which offer a detailed analysis of one of the major city-blocks of ancient Pompeii, destroyed by the eruption of Vesuvius in AD 79. Excavated between 1926 and 1932, the Insula of Menander is so named after the structure that occupies over half the block's total area of 3,500 square metres, the House of the Menander, one of the grandest mansions of the city. Other, smaller houses, notably the House of the Lovers and the House of the Craftsmen, occupy outlying parts, and a number of shops and apartments are interspersed among them. The purpose of the present volume is to document a complete survey of the architecture of the block and thus trace the structural history of the Insula, with its intricate pattern of changing property-boundaries, over the 250-300 years of its existence. Subsequent volumes will examine the decorations (wall-paintings and mosaic pavements) and the objects that were found during excavation. Paradoxically, while Pompeii is one of the best known of all Roman archaeological sites, very few areas of the site have been fully published. This is the first time a global study has been undertaken of one of the major city-blocks and it shows the enormous potential of such investigations to reveal insights into the social history of the city.

Greek myth-makers crafted the downfall of Troy and its rulers into an archetypal illustration of ruthless conquest, deceit, crime and punishment, and the variability of human fortunes. This book examines the major episodes in the archetypal myth - the murder of Priam, the rape of Kassandra, the reunion of Helen and Menelaos, and the escape of Aineias - as witnessed in Archaic Greek epic, fifth-century Athenian drama, and Athenian black- and red-figure vase painting. It focuses in particular on the narrative artistry with which poets and painters balanced these episodes with one another and intertwined them with other chapters in the story of Troy. The author offers the first comprehensive demonstration of the narrative centrality of the Ilioupersis myth within the corpus of Trojan epic poetry, and the first systematic study of pictorial juxtapositions of Ilioupersis scenes on painted vases.

An extensive study of Dionysian imagery found primarily in scenes on red-figure vases of the fifth-century BC but also in the architectural sculpture, coins, and theatre of the same period. Thomas Carpenter seeks to define a methodology for using this imagery as evidence for cultural and religious activity, and challenges some commonly-held views about the meaning of Dionysian iconography, at the same time pointing to problems inherent in the evidence under scrutiny.

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.

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.

This book is a unique, fully illustrated, and fascinating study of all the known carved reliefs decorating official inscriptions in classical and Hellenistic Athens. The author's new and illuminating work on the iconography of these reliefs shows how the gods, heroes, and other personifications were not simply decorative, but integral to the overall political message.

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 book examines the textual and archaeological evidence for the history of Cyprus from 750 to 500 BC. This significant period of the island's past is examined in three parts. The first surveys what is known about the local population of Cyprus and the political and social organization of the island. The second offer a narrative account of the period within a chronological framework more detailed than any analysis currently available. It suggests that the defining feature of the Cypro-Archaic period was the way in which local kingdoms adapted to different political and economic conditions in the Near East and Egypt, and took advantage of them. It challenges the prevalent view of a succession of foreign overlords controlling the island through military means. The third part discusses the internal and external relations of Cyprus by studying specific groups of pottery, seals, and sculpture. As a whole, this book provies a more complete picture of Archaic Cyprus than ever previously attempted. Generously illustrated with plates and figures, this will be an invaluable work of reference for archaeologists and ancient historians of both the West and Near East.

Studies of ancient theater have traditionally taken Athens as their creative center. In this book, however, the lens is widened to examine the origins and development of ancient drama, and particularly comedy, within a Sicilian and southern Italian context. Each chapter explores a different category of theatrical evidence, from the literary (fragments of Epicharmus and cult traditions) to the artistic (phylax vases) and the archaeological (theater buildings). Kathryn G. Bosher argues that, unlike in classical Athens, the golden days of theatrical production on Sicily coincided with the rule of tyrants, rather than with democratic interludes. Moreover, this was not accidental, but plays and the theater were an integral part of the tyrants' propaganda system. The volume will appeal widely to classicists and to theater historians.

What ancient graffiti reveals about the everyday lives of Jews in the Greek and Roman world Few direct clues exist to the everyday lives and beliefs of ordinary Jews in antiquity. Prevailing perspectives on ancient Jewish life have been shaped largely by the voices of intellectual and social elites, preserved in the writings of Philo and Josephus and the rabbinic texts of the Mishnah and Talmud. Commissioned art, architecture, and formal inscriptions displayed on tombs and synagogues equally reflect the sensibilities of their influential patrons. The perspectives and sentiments of nonelite Jews, by contrast, have mostly disappeared from the historical record. Focusing on these forgotten Jews of antiquity, Writing on the Wall takes an unprecedented look at the vernacular inscriptions and drawings they left behind and sheds new light on the richness of their quotidian lives. Just like their neighbors throughout the eastern and southern Mediterranean, Mesopotamia, Arabia, and Egypt, ancient Jews scribbled and drew graffiti everyplace--in and around markets, hippodromes, theaters, pagan temples, open cliffs, sanctuaries, and even inside burial caves and synagogues. Karen Stern reveals what these markings tell us about the men and women who made them, people whose lives, beliefs, and behaviors eluded commemoration in grand literary and architectural works. Making compelling analogies with modern graffiti practices, she documents the overlooked connections between Jews and their neighbors, showing how popular Jewish practices of prayer, mortuary commemoration, commerce, and civic engagement regularly crossed ethnic and religious boundaries. Illustrated throughout with examples of ancient graffiti, Writing on the Wall provides a tantalizingly intimate glimpse into the cultural worlds of forgotten populations living at the crossroads of Judaism, Christianity, paganism, and earliest Islam.