Who were the young woman and child buried with magnificent gold and luxurious finery in an Egyptian mummy dated around 1550 BC? Evidence suggests the woman may have been a queen. If so, the National Museums Scotland houses the only Egyptian royal burial seen anywhere outside Cairo. Sixty-five stunning funerary items, coffins, mummy-cases, masks, portraits, jewelry and other adornments of the well-equipped mummy are illustrated and annotated in this new hardcover that is as reader-friendly as it is comprehensive. We are reminded of the humanity here these coffins began with a life and text provides a glimpse into their stories. Included are the coffin of the priest Iufenamun and the double mummies of half-brothers, Petamun and Penhorpabik. Annotations include item owner, dating, dimensions, materials, description, provenance and mode of acquisition. Organized sequentially, the expert authors explain styles and techniques and the changes in each epoch taking their story from the age of the pyramids around 2,000 B.C.to the time of Roman Rule ending in the third century A.D., after which Egypt would transform into a Christian society. Concordances, chronology of Egypt, and a glossary are included. *For the Egyptologist - laypeople and professionals alike, for collectors, curators, historians, archeologists *Unveils information on a superb collection

This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1930.

Over 175 dynamic, copyright-free motifs-in a wide range of styles-.taken from the metalwork, woodwork, textiles, carving, and ceramics of the Viking homelands. Sinuously intertwined patterns, mythological animals, dragon-slaying heroes on horseback and many more. Now available in this inexpensive volume, these authentic images will provide endless inspiration and striking embellishments to graphic projects for artists, illustrators and craftspeople.

In recent years, there has been intense debate about the reality behind the depiction of maritime cityscapes, especially harbours. Visualizing Harbours in the Classical World argues that the available textual and iconographic evidence supports the argument that these representations have a symbolic, rather than literal, meaning and message, and moreover that the traditional view, that all these media represent the reality of the contemporary cityscapes, is often unrealistic. Bridging the gap between archaeological sciences and the humanities, it ably integrates iconographic materials, epigraphic sources, history and archaeology, along with visual culture. Focusing on three main ancient ports - Alexandria, Rome and Leptis Magna - Federico Ugolini considers a range of issues around harbour iconography, from the triumphal imagery of monumental harbours and the symbolism of harbour images, their identification across the Mediterranean, and their symbolic, ideological and propagandistic messages, to the ways in which aspects of Imperial authority and control over the seas were expressed in the iconography of the Julio-Claudian, Trajan and Severii periods, how they reflected the repute, growth and power of the mercantile class during the Imperial era, and how the use of imagery reflected euergetism and paideia, which would inform the Roman audience about who had power over the sea.

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.

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.

This book examines the development of ancient Greek civilization through a path-breaking application of social scientific theories. David B. Small charts the rise of the Minoan and Mycenaean civilizations and the unique characteristics of the later classical Greeks through the lens of ancient social structure and complexity theory, opening up new ideas and perspectives on these societies. He argues that Minoan and Mycenaean institutions evolved from elaborate feasting, and that the genesis of Greek colonization was born from structural chaos in the eighth century. Small isolates distinctions between Iron Age Crete and the rest of the Greek world, focusing on important differences in social structure. His book differs from others on Ancient Greece, highlighting the perpetuation of classical Greek social structure into the middle years of the Roman Empire, and concluding with a comparison of the social structure of classical Greece to that of the classical Maya civilization.

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.

For eight centuries the presence and the influence of Francis’s life and deeds have made themselves felt in the history of Christianity and in that of the rest of humanity too. Published on the occasion of the exhibition Friar Francis: Traces,Words, Images staged at the headquarters of the United Nations in New York, a place that hosts a variety of cultural experiences every day and that is itself a symbol of peace, the volume is a tribute to the figure of Francis, extraordinary man and saint, and it’s a rare occasion of great scientific and cultural value, to approach and get to know Francis through ancient and unique manuscripts coming from the Library of the Sacro Convento di San Francesco in Assisi. They are the oldest papal records and manuscripts that directly concern the person of the saint from Assisi: his writings, his life, the development of the religious order he founded. The book is divided into three sections: Traces, Words, Images. The Traces are the ones left by Francis at the level of official documentation, in the papal records and some notarial deeds. Alongside these is presented the most famous and authoritative of the manuscripts in Assisi, the Codex 338, which comprises the oldest collection of the saint’s writings. The Words section contains some copies of the oldest biographies, the hagiographic legendae of the saint. The Images section offers a selection of illuminated manuscripts in which the saint of Assisi is represented, precious examples of some of the principal traditional iconographic models.

This book explores the persona of the artist in Archaic and Classical Greek art and literature. Guy Hedreen argues that artistic subjectivity, first expressed in Athenian vase-painting of the sixth century BCE and intensively explored by Euphronios, developed alongside a self-consciously constructed persona of the poet. He explains how poets like Archilochos and Hipponax identified with the wily Homeric character of Odysseus as a prototype of the successful narrator, and how the lame yet resourceful artist-god Hephaistos is emulated by Archaic vase-painters such as Kleitias. In lyric poetry and pictorial art, Hedreen traces a widespread conception of the artist or poet as socially marginal, and sometimes physically imperfect, but rhetorically clever, technically peerless, and a master of fiction. Bringing together in a sustained analysis the roots of subjectivity across media, this book offers a new way of studying the relationship between poetry and art in ancient Greece.

Offering a unique blend of thematic and chronological investigation, this highly illustrated, engaging text explores the rich historical, cultural, and social contexts of 3,000 years of Greek art, from the Bronze Age through the Hellenistic period. * Uniquely intersperses chapters devoted to major periods of Greek art from the Bronze Age through the Hellenistic period, with chapters containing discussions of important contextual themes across all of the periods * Contextual chapters illustrate how a range of factors, such as the urban environment, gender, markets, and cross-cultural contact, influenced the development of art * Chronological chapters survey the appearance and development of key artistic genres and explore how artifacts and architecture of the time reflect these styles * Offers a variety of engaging and informative pedagogical features to help students navigate the subject, such as timelines, theme-based textboxes, key terms defined in margins, and further readings. * Information is presented clearly and contextualized so that it is accessible to students regardless of their prior level of knowledge * A book companion website is available at www.wiley.gom/go/greekart with the following resources: PowerPoint slides, glossary, and timeline

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.

The Egyptologist Annie Quibell, nee Pirie (1862-1927), became a student of Sir Flinders Petrie, copying wall-paintings and inscriptions at his Saqqara excavations, where she met her husband, who was an inspector for the Egyptian Antiquities Service. Accompanying him and sharing in his work on site, she was keen to popularise the marvels of ancient Egyptian civilisation, writing several works for the lay reader. This 1923 book was a new edition of a work originally focusing on the Cairo Museum, but which was now intended as a historical guide to Egyptian collections in general. She advises that it should be skimmed through before any visit, 'sufficiently to get an impression of the great length of Egyptian history', but can also be used afterwards to follow up any particular interest. The very recent discovery of Tutankhamen's tomb, 'just as the book was going to press', enthuses Quibell with prospects for the future.

This book offers a new and surprising perspective on the evolution of cities across the Roman Empire in late antiquity and the early Middle Ages (third to ninth centuries AD). It suggests that the tenacious persistence of leading cities across most of the Roman world is due, far more than previously thought, to the persistent inclination of kings, emperors, caliphs, bishops, and their leading subordinates to manifest the glory of their offices on an urban stage, before crowds of city dwellers. Long after the dissolution of the Roman Empire in the fifth century, these communal leaders continued to maintain and embellish monumental architectural corridors established in late antiquity, the narrow but grandiose urban itineraries, essentially processional ways, in which their parades and solemn public appearances consistently unfolded. Hendrik W. Dey's approach selectively integrates urban topography with the actors who unceasingly strove to animate it for many centuries.

The Routledge Handbook of Early Christian Art surveys a broad spectrum of Christian art produced from the late second to the sixth centuries. The first part of the book opens with a general survey of the subject and then presents fifteen essays that discuss specific media of visual art-catacomb paintings, sculpture, mosaics, gold glass, gems, reliquaries, ceramics, icons, ivories, textiles, silver, and illuminated manuscripts. Each is written by a noted expert in the field. The second part of the book takes up themes relevant to the study of early Christian art. These seven chapters consider the ritual practices in decorated spaces, the emergence of images of Christ's Passion and miracles, the functions of Christian secular portraits, the exemplary mosaics of Ravenna, the early modern history of Christian art and archaeology studies, and further reflection on this field called "early Christian art." Each of the volume's chapters includes photographs of many of the objects discussed, plus bibliographic notes and recommendations for further reading. The result is an invaluable introduction to and appraisal of the art that developed out of the spread of Christianity through the late antique world. Undergraduate and graduate students of late classical, early Christian, and Byzantine culture, religion, or art will find it an accessible and insightful orientation to the field. Additionally, professional academics, archivists, and curators working in these areas will also find it valuable as a resource for their own research, as well as a textbook or reference work for their students.

The Greeks inscribed their works of art and craft with labels identifying mythological or historical figures, bits of poetry, and claims of ownership. But no type of inscription is more hotly debated or more intriguing than the artist's signature, which raises questions concerning the role and status of the artist and the work of art or craft itself. In this book, Jeffrey M. Hurwit surveys the phenomenon of artists' signatures across the many genres of Greek art from the eighth to the first century BCE. Although the great majority of extant works lack signatures, the Greek artist nonetheless signed his products far more than any other artist of antiquity. Examining signatures on gems, coins, mosaics, wall-paintings, metalwork, vases, and sculptures, Hurwit argues that signatures help us assess the position of the Greek artist within his society as well as his conception of his own skill and originality.

A revelatory account of the complex and evolving relationship of Renaissance architects to classical antiquity Focusing on the work of architects such as Brunelleschi, Bramante, Raphael, and Michelangelo, this extensively illustrated volume explores how the understanding of the antique changed over the course of the Renaissance. David Hemsoll reveals the ways in which significant differences in imitative strategy distinguished the period's leading architects from each other and argues for a more nuanced understanding of the widely accepted trope-first articulated by Giorgio Vasari in the 16th century-that Renaissance architecture evolved through a linear step-by-step assimilation of antiquity. Offering an in-depth examination of the complex, sometimes contradictory, and often contentious ways that Renaissance architects approached the antique, this meticulously researched study brings to life a cacophony of voices and opinions that have been lost in the simplified Vasarian narrative and presents a fresh and comprehensive account of Renaissance architecture in both Florence and Rome.

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.

Miniature and fragmentary objects are both eye-catching and yet easily dismissed. Tiny scale entices users with visions of Lilliputian worlds. The ambiguity of fragments intrigues us, offering tactile reminders of reality's transience. Yet, the standard scholarly approach to such objects has been to see them as secondary, incomplete things, whose principal purpose was to refer to a complete and often life-size whole. The Tiny and the Fragmented offers a series of fresh perspectives on the familiar concepts of the tiny and the fragmented. Written by a prestigious group of internationally-acclaimed scholars, the volume presents a remarkable diversity of case studies that range from Neolithic Europe to pre-Colombian Honduras to the classical Mediterranean and ancient Near East. Each scholar takes a different approach to issues of miniaturization and fragmentation but is united in considering the little and broken things of the past as objects in their own right. Whether a life-size or whole thing is made in a scaled-down form, deliberately broken as part of its use, or only considered successful in the eyes of ancient users if it shows some signs of wear, it challenges our expectations of representation and wholeness, of what it means for a work of art to be "finished" and "affective." Overall, The Tiny and the Fragmented demands a reconsideration of the social and contextual nature of miniaturization, fragmentation, and incompleteness, making the case that it was because of, rather than in spite of, their small or partial state that these objects were valued parts of the personal and social worlds they inhabited.

The first study devoted to classical art's vital creative impact on the work of the Flemish master Peter Paul Rubens. For the great Peter Paul Rubens (1577-1640), the classical past afforded lifelong creative stimulus and the camaraderie of humanist friends. A formidable scholar, Rubens ingeniously transmitted the physical ideals of ancient sculptors, visualized the spectacle of imperial occasions, rendered the intricacies of mythological tales, and delineated the character of gods and heroes in his drawings, paintings, and designs for tapestries. His passion for antiquity profoundly informed every aspect of his art and life. Including more than 150 color illustrations, this volume addresses the creative impact of Rubens's remarkable knowledge of the art and literature of antiquity through the consideration of key themes. The book's lively interpretive essays explore the formal and thematic relationships between ancient sources and Baroque expressions: the significance of neo-Stoic philosophy, the compositional and iconographic inspiration provided by exquisite carved gems, Rubens's study of Roman marble sculpture, and his inventive translation of ancient sources into new subjects made vivid by his dynamic painting style. This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Villa October 21, 2020, to January 11, 2021.

A multifaceted exploration of the interplay between civic and military life in ancient Rome The ancient Romans famously distinguished between civic life in Rome and military matters outside the city-a division marked by the pomerium, an abstract religious and legal boundary that was central to the myth of the city's foundation. In this book, Michael Koortbojian explores, by means of images and texts, how the Romans used social practices and public monuments to assert their capital's distinction from its growing empire, to delimit the proper realms of religion and law from those of war and conquest, and to establish and disseminate so many fundamental Roman institutions across three centuries of imperial rule. Crossing the Pomerium probes such topics as the appearance in the city of Romans in armor, whether in representation or in life, the role of religious rites on the battlefield, and the military image of Constantine on the arch built in his name. Throughout, the book reveals how, in these instances and others, the ancient ideology of crossing the pomerium reflects the efforts of Romans not only to live up to the ideals they had inherited, but also to reconceive their past and to validate contemporary practices during a time when Rome enjoyed growing dominance in the Mediterranean world. A masterly reassessment of the evolution of ancient Rome and its customs, Crossing the Pomerium explores a problem faced by generations of Romans-how to leave and return to hallowed city ground in the course of building an empire.