Images are more than just objects to be observed. In all periods they have had a direct influence on the way we perceive things and act, in particular in the course of ceremonies. In this volume, various archaeological disciplines consider a number of case studies of the relationships between works of art, spaces and actions in past cultures including the Nasca-Palpa glyphs in South America, the Stone Age site of Gobekli Tepe, Minoan and Mycenaean palaces, and Greek and Roman towns. The aim is to developa new methodical approach to the power and effect of works of art."

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.

Originally published in 1927, this book contains analysis on two Greek sculptures, the Constantinople Pentathlete and a draped female figure in Burlington House. Walston compares each piece with similar figures on vases, coins and other forms of sculpture in order to provide each with its appropriate artistic and historical context. This book will be of value to anyone with an interest in ancient art.

In this book, Rachel Kousser draws on contemporary reception theory to present a new approach to Hellenistic and Roman ideal sculpture. She analyzes the Romans preference for retrospective, classicizing statuary based on Greek models as opposed to the innovative creations prized by modern scholars. Using a case study of a particular sculptural type, a forceful yet erotic image of Venus, Kousser argues that the Romans self-consciously employed such sculptures to represent their ties to the past in a rapidly evolving world. Kousser presents Hellenistic and Roman ideal sculpture as an example of a highly effective artistic tradition that was, by modern standards, extraordinarily conservative. At the same time, the Romans flexible and opportunistic use of past forms also had important implications for the future: it constituted the origins of classicism in Western art."

In this study, originally published in 1926, Sir Charles Walston sets forward his theory on the 'turning-point' in Classical Greek art in the second quarter of the fifth century BC, which he connects with the creation of the western pediment of the Temple of Olympia by the sculptor Alcamenes. Walston examines the treatment of certain aspects of the human body in Greek art, such as the eye and the male nude, and how such treatments changed during the Classical period. A more general survey of the other works of Alcamenes is also included. This richly illustrated and detailed book will be of value to anyone with an interest in Classical art and its development.

The relation between the visual and the verbal spheres has been much contested in recent years, from laments about the 'logocentricism' of the academy to the heralding of the 'pictorial turn' of the multimedia age. This lavishly illustrated book recontextualises these debates through the historical lens of Greek and Roman antiquity. Dr Squire shows how modern Western concepts of 'words' and 'pictures' derive from a post-Reformation tradition of theology and aesthetics. Where modern critics assume a bipartite separation between images and texts, classical antiquity toyed with a more playful and engaged relation between the two. By using the ancient world to rethink our own ideologies of the visual and the verbal, this interdisciplinary book brings together classics and art history, as well as a sustained reflection on their historiography: the result is a new and explosive cultural history of Western visual thinking.

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."

Originally published in 1921, this book contains the second half of the catalogue of the sculptures held in the collection of the Acropolis Museum in Athens. In this volume, Casson lists the sculptural and architectural fragments in the museum dating from after 480 BC. The detailed text is accompanied with drawings and photographs of many of the sculptures listed, including sculptures from the Temple of Athena Nike and several sections of the Parthenon Frieze. A special section at the end by Dorothy Brooke is devoted to the terracotta finds from the Acropolis. This well-presented and thoroughly researched book will be of value to anyone with an interest in ancient Greek art.

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.

Examines the styles and contexts of portrait statues produced during one of the most dynamic eras of Western art, the early Hellenistic age. Often seen as the beginning of the Western tradition in portraiture, this historical period is here subjected to a rigorous interdisciplinary analysis. Using a variety of methodologies from a wide range of fields - anthropology, numismatics, epigraphy, archaeology, history, and literary criticism - an international team of experts investigates the problems of origins, patronage, setting, and meanings that have consistently marked this fascinating body of ancient material culture.

This book is the first comprehensive study of the mausolea of the later Roman emperors. Constructed between ca. AD 244 and 450 and bridging the transition from paganism to Christianity within the empire, these important buildings shared a common design, that of domed rotunda. Mark Johnson examines the symbolism and function of the mausolea, demonstrating for the first time that these monuments served as temples and shrines to the divinized emperors. Through an examination of literary sources and the archaeological record, he identifies which buildings were built as imperial tombs. Each building is examined to determine its place in the development of the type as well as for its unique features within the group. Recognizing the strong relationship between the mausolea built for pagan and Christian emperors, Johnson also analyzes their important differences.

Originally published in 1912, this book contains the first half of the catalogue of the sculptures held in the collection of the Acropolis Museum in Athens. In this volume, Dickins lists the museum's assortment of archaic sculptures, thought to have been made before the razing of the Acropolis in 480 BC. The detailed text is illustrated with drawings of many of the sculptures listed, including the famous Peplos Kore, Kore 675 and the 'Mourning Athena' relief. This well-presented and thoroughly researched book will be of value to anyone with an interest in ancient Greek art, particularly art in the archaic style.

Originally published in 1910, this book analyses Greek and Roman painting techniques, using evidence from ancient writings and archaeological remains, including those from Pompeii. Laurie examines how ancient artists could have created certain colours from natural ingredients and the influence of ancient Egyptian methods on Graeco-Roman artists over time. This book will be of value to anyone with an interest in ancient art and artistic techniques.

In this book, Brenda Longfellow examines one of the features of Roman Imperial cities, the monumental civic fountain. Built in cities throughout the Roman Empire during the first through third centuries AD, these fountains were imposing in size, frequently adorned with grand sculptures, and often placed in highly trafficked areas. Over twenty-five of these urban complexes can be associated with emperors. Dr. Longfellow situates each of these examples within its urban environment and investigates the edifice as a product of an individual patron and a particular historical and geographical context. She also considers the role of civic patronage in fostering a dialogue between imperial and provincial elites with the local urban environment. Tracing the development of the genre across the empire, she illuminates the motives and ideologies of imperial and local benefactors in Rome and the provinces and explores the complex interplay of imperial power, patronage, and the local urban environment.

Vessels can take many forms: as objects made for human interaction and handling, they both contain and are bounded by space. They can be constructed of a wide variety of materials. But the range of vessels - across history and across cultures - are unified in their potential for practical functioning, whether or not a particular object is in fact made to be used in its particular context. In this volume, four essays by leading scholars tackle the category of the vessel in a comparative conversation between classical Greece, late antique Rome, pre-Columbian Mesoamerica, and ancient China. By considering the material properties of the object as container, the interactions between user and artefact, and the power of the vessel as both conceptual category and material metaphor, they argue that many vessels - and assemblages of vessels - were sites of remarkable workmanship and considerable ingenuity, smart and sophisticated commentaries on the very categories that they embody. In placing these individual case studies in dialogue, the volume offers an art historical and cross-cultural study of vessels in ancient societies, considering both objects and their archaeological contexts. Its aim is to make illuminating comparisons, contrasts, and interpretations by juxtaposing traditions. In keeping with the aims of the series, it serves as a model for a new kind of comparative art history, one which emphasizes material culture and is attentive to questions of evidence and method, yet remains historically grounded and contextually sensitive.

Originally published in 1936, this book examines the seventh-century Dorian art style known as Dedalism. In the first section, Jenkins outlines the four schools of Dedalic art and attempts an absolute chronology, and applies his conclusions to extant examples of stone sculpture from immediately before and after the Dedalic period. This book will be of value to Classicists and anyone with an interest in ancient art.

Originally published in 1935, this book presents the content of Alan Wace's inaugural lecture upon taking up the position of Laurence Professor of Classical Archaeology at Cambridge University. This book will be of value to anyone with an interest in ancient Greek art and archaeology.

This volume assembles more than 30 articles focusing on the visual, material, and environmental arts of the Ancient Near East. Specific case studies range temporally from the fourth millennium up to the Hellenistic period and geographically from Iran to the eastern Mediterranean. Contributions apply innovative theoretical and methodological approaches to archaeological evidence and critically examine the historiography of the discipline itself. Not intended to be comprehensive, the volume instead captures a cross-section of the field of Ancient Near Eastern art history as its stands in the second decade of the twenty-first century. The volume will be of value to scholars working in the Ancient Near East as well as others interested in newer art historical and anthropological approaches to visual culture.

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

Originally published in 1885, this book examines the extant works of the Greek sculptor Pheidias, best known as the creator of the Parthenon Marbles and the gold and ivory statue of Zeus at Olympia, which was considered to be one of the seven wonders of the ancient world. Waldstein examines the Parthenon Marbles with particular scrutiny and charts the relationship between Pheidias' school and the development of later Greek art, particularly sepulchral reliefs. Four earlier papers by Waldstein on the topic of Pheidias are also reprinted here. This book will be of value to anyone with an interest in ancient Greek sculpture.

Originally published in 1914, and previously delivered as lectures to students at the Royal Academy Art School in 1913, this book by Charles Waldstein, then director of the Fitzwilliam Museum, provides an introduction to the study of sculpture. The text is richly illustrated with a variety of examples ranging from the earliest Daedalic forms through classical and Hellenistic art to the more modern examples of Meunier and Millet. This book will be of value to anyone seeking an introduction to sculpture or with an interest in art history.