Amongst the manuscripts collected by Matthew Parker, Archbishop of Canterbury, and presented to Corpus Christi College, Cambridge, the most venerable is the sixth-century manuscript of the Gospels formerly owned by the great Benedictine Abbey of St Augustine's Canterbury. The manuscript has by tradition been associated with St Augustine, the Apostle of the English and first Archbishop of Canterbury; and may well have been one of the books sent by Pope Gregory the Great to St Augustine in the early years of the seventh century. In this volume, which was originally published in 1954, Professor Wormald tells what may be surmised about the origin and history of this manuscript and examines in detail the surviving work, with cautious suggestions about portions no longer existing. He concludes that there must have been a cycle of gospel scenes in the miniatures, certainly 72 and possibly 844.

Jane Ellen Harrison (1850 1928) was a prominent classical scholar who is remembered chiefly for her influential studies of Greek religion, archaeology, literature and art. Introductory Studies in Greek Art (1885) was Harrison's second book, published after a period spent studying archaeology at the British Museum under Sir Charles Newton and writing and lecturing on the subject of Greek vase painting. In her preface to the book Harrison claims that Greek art is distinguished by what she calls 'ideality', a term she defines as a 'peculiar quality ... which adapts itself to the consciousness of successive ages ... a certain largeness and universality which outlives the individual race and persists for all time.' The book covers topics including Chaldaeo-Assyria, Phoenicia, Pheidias and the Parthenon, and the altar of Eumenes at Pergamos.

A descriptive inventory, with numerous drawings and photographs, of more than 3,500 stone vases from the Minoan civilisation of ancient Crete. With few exceptions, Dr Warren has studied the vases in corpora. He arranges them into types, discusses the various stones used and their sources, methods of manufacture, the probable usage and purpose of the vases, and their relation to metal and clay vessels. A special study is made of the famous vases carrying scenes in relief. The final section summarises the history and stylistic development of the vases, and discusses the types, dating and distribution of those that were exported. Dr Warren also records Egyptian and Syro-Palestinian vases imported into Crete, since these are part of the corpus of stone vase material in the island and provide valuable indications of the foreign trade of the Minoans.

In this book, Sheila Dillon offers the first detailed analysis of the female portrait statue in the Greek world from the fourth century BCE to the third century CE. A major component of Greek sculptural production, particularly in the Hellenistic period, female portrait statues are mostly missing from our histories of Greek portraiture. Whereas male portraits tend to stress their subject's distinctiveness through physiognomic individuality, portraits of women are more idealized and visually homogeneous. In defining their subjects according to normative ideals of beauty rather than notions of corporeal individuality, Dillon argues that Greek portraits of women work differently than those of men and must be approached with different expectations. She examines the historical phenomenon of the commemoration of women in portrait statues and explores what these statues can tell us about Greek attitudes toward the public display of the female body.

The relief slabs that decorated the palaces of the Neo-Assyrian Empire, which emphasized military conquest and royal prowess, have traditionally been understood as statements of imperial propaganda that glorified the Assyrian king. In this book, Mehmet-Ali Atac argues that the reliefs hold a deeper meaning that was addressed primarily to an internal audience composed of court scholars and master craftsmen. Atac focuses on representations of animals, depictions of the king as priest and warrior, and figures of mythological beings that evoke an archaic cosmos. He demonstrates that these images mask a complex philosophical rhetoric developed by court scholars in collaboration with master craftsmen who were responsible for their design and execution. Atac argues that the layers of meaning embedded in the Neo-Assyrian palace reliefs go deeper than politics, imperial propaganda, and straightforward historical record.

Ravenna was one of the most important cities of late antique Europe. Between 400 and 751 AD, it was the residence of western Roman emperors, Ostrogothic kings, and Byzantine governors of Italy, while its bishops and archbishops ranked second only to the popes. During this 350-year period, the city was progressively enlarged and enriched by remarkable works of art and architecture, many of which still survive today. Thus, Ravenna and its monuments are of critical importance to historians and art historians of the late ancient world. This book provides a comprehensive survey of Ravenna s history and monuments in late antiquity, including discussions of scholarly controversies, archaeological discoveries, and new interpretations of art works. A synthesis of the voluminous literature on this topic, this volume provides an English-language entry point for the study of this fascinating city.

Athenian art of the sixth and fifth centuries BC offers the yardstick by which we judge the artistic achievement of the rest of the Greek world, and provides the models on which the later history of Greco-Roman art and much of the art of the later western world are based. The evidence is rich: some long known, like the Parthenon marbles, some fresh from the ground. These six essays, by prominent classical art-historians, British, German and American, explore some of the subjects and problems in the art of Archaic and Classical Athens which have exercised scholars in recent years. The essays are dedicated to Martin Robertson, formerly Lincoln Professor of Classical Archaeology and Art in the University of Oxford, himself a leading scholar of Classical art, and author of the magisterial A History of Greek Art (Cambridge University Press 1976) and of A Shorter History of Greek Art (Cambridge University Press 1981).

The ancient Greeks developed their own very specific ethos of art appreciation, advocating a rational involvement with art. This book explores why the ancient Greeks started to write art history and how the writing of art history transformed the social functions of art in the Greek world. It looks at the invention of the genre of portraiture and the social uses to which portraits were put in the city state. Later chapters explore how artists sought to enhance their status by writing theoretical treatises and producing works of art intended for purely aesthetic contemplation, which ultimately gave rise to the writing of art history and to the development of art collecting. The study, which is illustrated throughout and draws on contemporary perspectives in the sociology of art, will prompt the student of classical art to rethink fundamental assumptions about Greek art and its cultural and social implications.

The study of colour has become familiar territory in anthropology, linguistics, art history and archaeology. Classicists, however, have traditionally subordinated the study of colour to form. By drawing together evidence from contemporary philosophers, elegists, epic writers, historians and satirists, Mark Bradley reinstates colour as an essential informative unit for the classification and evaluation of the Roman world. He also demonstrates that the questions of what colour was and how it functioned - as well as how it could be misused and misunderstood - were topics of intellectual debate in early imperial Rome. Suggesting strategies for interpreting Roman expressions of colour in Latin texts, Dr Bradley offers alternative approaches to understanding the relationship between perception and knowledge in Roman elite thought. In doing so, he highlights the fundamental role that colour performed in the realms of communication and information, and its intellectual contribution to contemporary discussions of society, politics and morality.

In this book, Dimitra Andrianou analyzes the furniture and furnishings found in late Classical and Hellenistic houses, tombs, and inscriptions of ancient Greece. Questioning the wealth of images of furniture as portrayed on vases, she focuses on the actual remains of furniture found in houses; analyzes the symbolic nature of elaborate furniture used in every day and in the afterlife; discusses their types and uses in houses, tombs, and sanctuaries; and assembles their ancient vocabulary. The material evidence has been gathered from sites throughout the entire area of Greece that was ruled by the Macedonian kings and is supported by material and literary comparanda from contemporary neighboring sites.

Recent studies have highlighted the diversity, complexity, and plurality of identities in the ancient world. At the same time, scholars have acknowledged the dynamic role of material culture, not simply in reflecting those identities but their role in creating and transforming them. This volume explores and compares two influential approaches to the study of social and cultural identities, the model of globalization and theories of hybrid cultural development. In a series of case studies, an international team of archaeologists and art historians considers how various aspects of material culture can be used to explore complex global and local identity structures across the geographical and chronological span of antiquity. The essays examine the civilizations of the Greeks, Romans, Etruscans, Persians, Phoenicians, and Celts. Reflecting on the current state of our understanding of cultural interaction and antiquity, they also dwell on contemporary thoughts of identity, cultural globalization, and resistance that shape and are shaped by academic discourses on the cultural empires of Greece and Rome.

Much of our understanding of the origins and early development of the Greek architectural order is based on the writings of ancient authors, such as Virtruvius, and those of modern interpreters. Traditionally, the archaeological evidence has been viewed secondarily and often made to fit within a literary context, despite contradictions that occur. Barbara Barletta s study examines both forms of evidence in an effort to reconcile the two sources, as well as to offer a coherent reconstruction of the origins and early development of the Greek architectural orders. Beginning with the pre-canonical material, she demonstrates that the relatively late emergence of the Doric and Ionic orders arose from contributions of separate regions of the Greek world, rather than a single center. Barletta s reinterpretations of the evidence also assigns greater importance to the often overlooked contributions of Western Greece and the Cycladic Islands."

Dramatic social and political change marks the period from the end of the Late Bronze Age into the Iron Age (ca. 1300 700 BCE) across the Mediterranean. Inland palatial centers of bureaucratic power weakened or collapsed ca. 1200 BCE while entrepreneurial exchange by sea survived and even expanded, becoming the Mediterranean-wide network of Phoenician trade. At the heart of that system was Kition, one of the largest harbor cities of ancient Cyprus. Earlier research has suggested that Phoenician rule was established at Kition after the abandonment of part of its Bronze Age settlement. A reexamination of Kition s architecture, stratigraphy, inscriptions, sculpture, and ceramics demonstrates that it was not abandoned. This study emphasizes the placement and scale of images and how they reveal the development of economic and social control at Kition from its establishment in the thirteenth century BCE until the development of a centralized form of government by the Phoenicians, backed by the Assyrian king, in 707 BCE."

This book is a comprehensive study of visual humour in ancient Greece, with special emphasis on works created in Athens and Boeotia. Alexandre Mitchell brings an interdisciplinary approach to this topic, combining theories and methods of art history, archaeology, and classics with the anthropology of humour, and thereby establishing new ways of looking at art and visual humour in particular. Understanding what visual humour was to the ancients and how it functioned as a tool of social cohesion is only one facet of this study. Mitchell also focuses on the social truths that his study of humour unveils: democracy and freedom of expression, politics and religion, Greek vases and trends in fashion, market-driven production, proper and improper behaviour, popular versus elite culture, carnival in situ, and the place of women, foreigners, workers, and labourers within the Greek city. Richly illustrated with more than 140 drawings and photographs, as well as with analytical tables of comic representations according to different themes, painters, and techniques, this study amply documents the comic representations that formed an important part of ancient Greek visual language from the 6th through 4th centuries BC.

War suffused Roman life to a degree unparalleled in other ancient societies. Through a combination of obsessive discipline and frenzied (though carefully orchestrated) brutality, Rome's armies conquered most of the lands stretching from Scotland to Syria, and the Black Sea to Gibraltar. The place of war in Roman culture has been studied in historical terms, but this is the first book to examine the ways in which Romans represented war, in both visual imagery and in literary accounts. Audience reception and the reconstruction of display contexts are recurrent themes here, as is the language of images: a language that is sometimes explicit and at other times allusive in its representation of war. The chapters encompass a wide variety of art media (architecture, painting, sculpture, building, relief, coin), and they focus on the towering period of Roman power and international influence: the 3rd century B.C. to the 2nd century A.D.

Why say thank you with a portrait statue? This book combines two different and quite specialized fields, archaeology and epigraphy, to explore the phenomenon of portraits in ancient art within the historical and anthropological context of city-states honouring worthy individuals through erecting statues, and the development of families imitating this practice. This transaction tells us a lot about the history of these cities and how ancient art worked as a construction of relations during the Hellenistic period (c. 350 BC- c. AD 1), which is marked by a political culture of civic devotion, common decision making, and publicness. As honorific statues were considered public art, the volume also investigates the workings of images, representations, memory, and the monumental public form of permanent inscription, to see what stories the Hellenistic city-states can reveal about themselves.

Few monuments have fascinated people as much as the Parthenon. Two and a half millennia after its construction, this monument continues to generate important research across a wide range of fields, from classics and art history to archaeology and the physical sciences. This book, which grows out of a conference held at the University of Missouri, St. Louis, presents the latest developments in Parthenon research by an international cast of scholars and scientists. It offers new interpretations of some of the most crucial issues, ranging from the authorship of the frieze to the reconstruction of its missing sculpture, as well as the sociopolitical context in which the monument was created and the application of new technologies in Parthenon studies. Showcasing the most up to date research on the Parthenon, this book not only presents the current state of Parthenon studies but also marks the future direction of scholarship.

This volume addresses the question of the relation between sculpture and coins--or large statuary and miniature art--in the private and public domain. It originates in the Harvard Art Museums 2011 Ilse and Leo Mildenberg interdisciplinary symposium celebrating the acquisition of Margarete Bieber's coin collection. The papers examine the function of Greek and Roman portraiture and the importance of coins for its identification and interpretation. The authors are scholars from different backgrounds and present case studies from their individual fields of expertise: sculpture, public monuments, coins, and literary sources. Sculpture and Coins also pays homage to the art historian Margarete Bieber (1879-1978) whose work on ancient theater and Hellenistic sculpture remains seminal. She was the first woman to receive the prestigious travel fellowship from the German Archaeological Institute and the first female professor at the University of Giessen. Dismissed by the Nazis, she came to the United States and taught at Columbia. This publication cannot answer all the questions: its merit is to reopen and broaden a conversation on a topic seldom tackled by numismatists and archaeologists together since the time of Bernard Ashmole, Phyllis Lehmann and Leon Lacroix.

For over a century, scholars have recognized an "orientalizing period" in the history of early Greek art, in which Greek artisans fashioned works of art under the stimulus of Near Eastern imports or resident foreign artisans. Previous studies have emphasized the role of Greek and Phoenician traders in bringing about these contacts with the civilizations of the ancient Near East and Egypt, debating their duration or intensity in the Greek world. In this study, Ann Gunter interrogates the categories of "Greek" and "Oriental" as problematic and shifts emphasis to modes of contact and cultural transfers within a broader regional setting. Her provocative study places Greek encounters with the Near East and Egypt in the context of the Neo-Assyrian Empire, which by the 8th and 7th centuries BCE extended from southern Turkey to western Iran. Using an expanded array of archaeological and textual sources, she argues that crucial aspects of the identity and meaning of foreign works of art were constructed through circumstances of transfer, ownership, and display.

The Origins of Theater in Ancient Greece and Beyond examines the evidence for the pre-history and origin of drama. The belief that drama developed from religious ritual has been commonplace since the time of Aristotle but there is little agreement on just how this happened. Recently, scholars have even challenged the historical connection between drama and ritual. This volume is the most thorough examination on the origins of Greek drama to date. It brings together seventeen essays by leading scholars in a variety of fields, including classical archaeology, iconography, cultural history, theater history, philosophy, and religion. Though it primarily focuses up on ancient Greece, the volume includes comparative studies of ritual drama from ancient Egypt, Japan, and medieval Europe. Collectively, the essays show how the relationship of drama to ritual is one of the most controversial, complex, and multi-faceted questions of modern times.

A detailed study of the Trier Gospels, an important early medieval manuscript. Through an investigation of its production, Professor Netzer reveals the cross-cultural influences among the Insular, Continental and Mediterranean worlds in the eighth century, demonstrating in particular the complicated process of cultural interplay that took place in the scriptorium at Echternach. She traces the history of the production of the manuscript through a detailed analysis of its components: the individual texts, construction and arrangement of gatherings, scripts, ornamental initials, canon tables and illustrations. She sheds light on the manuscript's sources, on the different backgrounds of the two scribe-artists involved in its production, on the influences which determined the size and layout of the codex, the role of the pictures within the book, and the place of this manuscript in the development of Insular and Continental book production. This study makes a significant contribution to the understanding of early medieval book production and the influence of missionaries from the British Isles on early Continental culture.

Hebrew manuscripts are our most important source of knowledge about Jewish intellectual, religious and everyday life in the Middle Ages, and anyone wishing to engage with medieval Jewish history needs to know about the manuscripts themselves, how to study them, and the literary genres to which they belong. Colette Sirat offers a comprehensive overview of these subjects in this illustrated introduction to Hebrew manuscript culture. This 2002 work is a considerably re-structured, extended and updated version of an earlier presentation in French. It now encompasses all aspects of Hebrew manuscripts - textual, codicological and palaeographical - combining different disciplines to give an all-embracing view of the subject. The volume has been translated from the author's revision of her earlier French book, and edited for an English readership, by leading Hebrew scholar Nicholas de Lange, who worked closely with Professor Sirat in the preparation of the new book.

What was the 'Classical Revolution' in Greek art? What were its contexts, aims, achievements, and impact? This book introduces students to these questions and guides them towards the answers. Andrew Stewart examines Greek architecture, painting, and sculpture of the fifth and fourth centuries BC in relation to the great political, social, cultural, and intellectual issues of the period.

This book explores how art and material culture were used to construct age, gender and social identity in the Greek Early Iron Age, 1100-700 BCE. Coming between the collapse of the Bronze Age palaces and the creation of Archaic city-states, these four centuries witnessed fundamental cultural developments and political realignments. Whereas previous archaeological research has emphasized class-based aspects of change, this study offers a more comprehensive view of early Greece by recognizing the place of children and women in a warrior-focused society. Combining iconographic analysis, gender theory, mortuary analysis, typological study and object biography, Susan Langdon explores how early figural art was used to mediate critical stages in the life-course of men and women. She shows how an understanding of the artistic and material contexts of social change clarifies the emergence of distinctive gender and class asymmetries that laid the basis for classical Greek society.

During the period between Solon's reforms and the end of the Peloponnesian War, worshippers dedicated hundreds of statues to Athena on the Acropolis, Athens's primary sanctuary. Some of these statues were Archaic marble korai, works of the greatest significance for the study of Greek art; all are documents of Athenian history. This book brings together all of the evidence for statue dedications on the Acropolis in the sixth and fifth centuries BC, including inscribed statue bases that preserve information about the dedicators and the evidence for lost bronze sculptures. Placing the korai and other statues from the Acropolis within the original votive contexts, Katherine Keesling questions the standard interpretation of the korai as generic, anonymous votaries, while shedding light upon the origins and significance of Greek portraiture.