The Classical Tradition volumes of "Brill s New Pauly: Encyclopedia of the Ancient World" form a specific part within the Encyclopedia as a whole. The longer entries that deal with the reception of the classical world in later centuries contain a wealth of information. This Index volume is specifically designed to make this information even more accessible. It contains a thematic guide to the entries but also provide extensive indices of Personal Names, Place Names and Subjects discussed within the texts, making the it an indispensable tool for the optimal use of this unique series.

Tombs of the Ancient Poets explores the ways in which the tombs of the ancient poets - real or imagined - act as crucial sites for the reception of Greek and Latin poetry. Drawing together a range of examples, it makes a distinctive contribution to the study of literary reception by focusing on the materiality of the body and the tomb, and the ways in which they mediate the relationship between classical poetry and its readers. From the tomb of the boy poet Quintus Sulpicius Maximus, which preserves his prize-winning poetry carved on the tombstone itself, to the modern votive offerings left at the so-called 'Tomb of Virgil'; from the doomed tomb-hunting of long-lost poets' graves, to the 'graveyard of the imagination' constructed in Hellenistic poetry collections, the essays collected here explore the position of ancient poets' tombs in the cultural imagination and demonstrate the rich variety of ways in which they exemplify an essential mode of the reception of ancient poetry, poised as they are between literary reception and material culture.

The al-Sabah Collection, Kuwait, houses one of the world's most spectacular collections of ancient silver vessels and other objects made of precious metals. Dating from the centuries following Alexander the Great's conquest of Iran and Bactria in the middle of the 4th century BCE up to the advent of the Islamic era, the beautiful bowls, drinking vessels, platters and other objects in this catalogue suggest that some of the best Hellenistic silverwork was not made in the Greek heartlands, but in this eastern outpost of the Seleucid empire. Martha L. Carter connects these far-flung regions from northern Greece to the Hindu Kush, tracing the common cultural threads that link their diverse geography and people. The last part of the catalogue, by Prudence O. Harper, deals with an important group of Sasanian silver vessels and gems, and some other rarities produced in the succeeding centuries for Hunnish and Turkic patrons. The catalogue is accompanied by an essay on the technology of ancient silver production by Pieter Meyers, who has performed a number of scientific tests on the objects, including a new metallurgical analysis that may help to identify their geographical origins.

This volume complements Lerna V: The Neolithic Pottery of Lerna, by K. D. Vitelli, and completes the primary publication of the results of the Neolithic remains retrieved during the excavations conducted by the American School of Classical Studies at Athens from 1952 through 1958 at Lerna in the Argolid. It presents the buildings and other features of the Neolithic settlement with listings of related pottery, minor objects, lithics, fauna, and a catalogue of the minor objects. The study reveals a small agricultural community of Middle Neolithic date with houses of mud brick on stone foundations and various storage and thermal installations with a few burials scattered among them. A small Final Neolithic presence is documented by two graves and a group of "ash pits" of uncertain use. A catalogue of the minor objects includes mostly utilitarian objects of typical forms in stone, bone, and terracotta, and a few objects of decorative (e.g., ear studs) and symbolic significance (terracotta "tangas" and figurines). Appendixes include lists of walls and pottery lots, the inventory/lot numbers of the lithics published elsewhere by J. Kozlowski et al. (1996), and a summary of the fauna by D. S. Reese that clarifies and amplifies the earlier faunal study by N.-G. Gejvall (Lerna I).

This innovative look at ancient Greek painting combines the most complete survey to date of the painted monuments of classical antiquity with an in-depth exploration of the ways in which the people of Ancient Greece appreciated this demanding art. Plantzos looks at techniques, styles, themes and masters as well as their admirers, clients, and critics. At the same time, he discusses recent breakthroughs in archaeology, cultural studies, and art history. The book is unique in its reflections of new, multidisciplinary approaches to the material record which it combines with a more traditional, art-historical exploration; it draws on a wide range of ancient authorities - from Plato and Xenophon to Cicero, Pliny, Lucian, and Philostratus. The book covers painting in Bronze-Age Greece (Cyclades, Crete, Santorini, Mycenaean Greece); painting of the Archaic, the Classical, and the Hellenistic periods, and ends with a study of Graeco-Roman painting in the 2nd-3rd c. AD. Dimitris Plantzos is the author of Greek Art and Archaeology, 1200-30 BC (Kapon Editions, 2016).

In this important and timely publication, top international scholars present current research and developments about the art, archaeology, and history of the ancient city of Palmyra, a UNESCO World Heritage site located in Syria. Palmyra became tragic headline news in 2015, when it was overtaken by the Islamic State of Iraq and the Levant (ISIS), which destroyed many of its monuments and artifacts. The essays in this book include new scholarship on Palmyra's origins and evolution as well as developments from both before and after its damage by ISIS, providing new information that will be relevant to current and future generations of art historians and archaeologists. The book also includes a moving tribute by Waleed Khaled al-Asa'ad to his father, Khaled al-Asa'ad, the Syrian archaeologist, who was the head of antiquities and curator at Palmyra, who was brutally murdered by ISIS in 2015 for defending the site.

This volume is the second joint publication of the members of the American-Egyptian archaeological team South Asasif Conservation Project, working under the auspices of the Ministry of State for 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. This volume will cover the next three seasons of the work of the Project from 2012 to 2014. Essays by the experts involved in the work of the Project concentrate on new archaeological finds, reconstruction of the tombs' decoration and introduction of the high officials who usurped the tombs of Karakhamun and Karabasken in the Twenty Sixth Dynasty. The volume focuses particularly on the reconstruction of the ritual of the Hours of the Day and Night and BD 125 and 32 in the tomb of Karakhamun, the textual program of the tomb of Karabasken, as well as Coptic ostraca, faience objects, pottery, and animal bones found in the necropolis.Contributors: Julia Budka, Mansour Bureik, Diethelm Eigner, Erhart Graefe, Kenneth Griffin, Salima Ikram, Matthias Muller, Paul Nicholson, Elena Pischikova, Miguel Molinero Polo Elena Pischikova is the director of the American-Egyptian South Asasif Conservation Project. She is currently a research scholar at the American University in Cairo, and teaches at Fairfield University in Connecticut. She is the author of Tombs of the South Asasif Necropolis: Thebes, Karakhamun (TT 223), and Karabasken (TT 391) in the Twenty-fifth Dynasty (AUC Press, 2013).

What was Hellenistic art, and what were its contexts, aims, achievements, and impact? This textbook introduces students to these questions and offers a series of answers to them. Its twelve chapters and two 'focus' sections examine Hellenistic sculpture, painting, luxury arts, and architecture. Thematically organized, spanning the three centuries from Alexander to Augustus, and ranging geographically from Italy to India and the Black Sea to Nubia, the book examines key monuments of Hellenistic art in relation to the great political, social, cultural, and intellectual issues of the time. It is illustrated with 170 photographs (mostly in color, and many never before published) and contextualized through excerpts from Hellenistic literature and inscriptions. Helpful ancillary features include maps, appendices with background on Hellenistic artists and translations of key documents, a full glossary, a timeline, brief biographies of key figures, suggestions for further reading, and bibliographical references.

Illustrations remain one of the fundamental tools of archaeology, a means by which we share information and build ideas. Often treated as if they were neutral representations, archaeological illustrations are the convergence of science and the imagination. This volume, a collection of fourteen essays addressing the visual presentation of the Pre-Columbian past from the fifteenth century to the present day, explores and contextualizes the visual culture of archaeological illustration, addressing the intellectual history of the field and the relationship of archaeological illustration to other scientific disciplines and the fine arts.

Here are over 1,000 pages of authoritative information on the archaeology of Greek and Roman civilization. The sites discussed in the more than 2,800 entries are scattered from Britain to India and from the shores of the Black Sea to the coast of North Africa and up the Nile. They are located on sixteen area maps, keyed to the entries. The entries were written by 375 scholars from sixteen nations, many of whom have worked at the sites they describe. Until now our knowledge of the Classical period has been scattered in hundreds of sources dating from antiquity to our own times. This volume provides essential information on work accomplished, in progress, and still to be undertaken. Originally published in 1976. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Here are over 1,000 pages of authoritative information on the archaeology of Greek and Roman civilization. The sites discussed in the more than 2,800 entries are scattered from Britain to India and from the shores of the Black Sea to the coast of North Africa and up the Nile. They are located on sixteen area maps, keyed to the entries. The entries were written by 375 scholars from sixteen nations, many of whom have worked at the sites they describe. Until now our knowledge of the Classical period has been scattered in hundreds of sources dating from antiquity to our own times. This volume provides essential information on work accomplished, in progress, and still to be undertaken. Originally published in 1976. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The Roman Empire had a rich and multifaceted visual culture, which was often variegated due to the sprawling geography of its provinces. In this remarkable work of scholarship, a group of international scholars has come together to find alternative ways to discuss the nature and development of the art and archaeology of the Roman provinces. The result is a collection of nineteen compelling essays-accompanied by carefully curated visual documentation, seven detailed maps, and an extensive bibliography-and organized around the four major themes of provincial contexts, tradition and innovation, networks and movements, and local accents in an imperial context. Easy assumptions about provincial life in Rome-from what makes a province to how they interacted with metropolises-give way to more complicated stories. Similarities and divergences in local and regional responses to Rome appear, but not always in predictable places and in far from predictable patterns.The authors dismiss entrenched barriers between art and archaeology, center and provinces, even "good art" and "bad art," extending their observations well beyond the empire's boundaries, and examining phenomena, sites, and monuments not often found in books about Roman art history or archaeology. The book thus functions to encourage continued critical engagement with how scholars study the material past of the Roman Empire and, indeed, of imperial systems in general.

In this book, Gabriel Zuchtriegel explores and reconstructs the unwritten history of Classical Greece - the experience of nonelite colonial populations. Using postcolonial critical methods to analyze Greek settlements and their hinterlands of the fifth and fourth centuries BC, he reconstructs the social and economic structures in which exploitation, violence, and subjugation were implicit. He mines literary sources and inscriptions, as well as archaeological and data from excavations and field surveys, much of it published here for the first time, that offer new insights into the lives and status of nonelite populations in Greek colonies. Zuchtriegel demonstrates that Greece's colonial experience has far-reaching implications beyond the study of archaeology and ancient history. As reflected in foundational texts such as Plato's 'Laws' and Aristotle's 'Politics', the ideology that sustained Greek colonialism is still felt in many Western societies.

Greek artists and architects were important social agents who played significant roles in the social, cultural, and economic life of the ancient Greek world. In Artists and Artistic Production in Ancient Greece, art historians, archaeologists, and historians explore the roles and impacts of artists and craftsmen in ancient Greek society. The contributing authors draw upon artistic, architectural, literary, epigraphical, and historical evidence to discuss a range of artists, architects, artistic media, and regions. They refer to historiography and modern theory, taking stock of the past while offering some new directions for future research. Incorporating a variety of methodological approaches and making use of often-neglected evidence, Artists and Artistic Production in Ancient Greece re-examines many long-held ideas and provides a deeper understanding of particular artists and architects, their works, and their social agency.

From thousands of fragments of plaster the author has assembled clues to the scheme of the wall painting in this royal palace destroyed by fire at the end of the thirteenth century B.C. Originally published in 1969. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Fashioning the Future in Roman Greece: Memory, Monuments, Texts uses literature, inscriptions, art, and architecture to explore the relationship of elite Greeks of the Roman imperial period to time. This wide-ranging work challenges conventional thinking about the temporal positioning of imperial Greece and the so-called 'Second Sophistic', which holds that it was obsessed above all with the Classical past. Instead, the volume establishes that imperial Greek temporality was far more complex than scholarship has previously allowed by detailing how contemporary cultural output used the past to position itself within tradition but was crafted to speak to the future. At the same time, the book emphasizes the value of interdisciplinary analysis in any explication of elite culture in Roman Greece, since abundant extant evidence reveals its purveyors were often responsible for the production of both literature and material culture. Strazdins shows how these two modes of cultural production in the hands of elites, such as Herodes Atticus, Arrian, Aelius Aristides, Lucian, Dio Chrysostom, Polemon, Pausanias, and Philostratus, exhibit a shared rhetoric oriented towards posterity and informed by a heightened awareness of the fragility of cultural and personal memory over large spans of time. The book thus provides a sophisticated analysis of the tensions, anxieties, and opportunities that attend the fashioning of commemorative strategies against the background of the 'Second Sophistic' and the Roman empire, and details the consequences of embroilment with futurity on our understanding of the cultural and political concerns of elite imperial Greeks.

Carved for a Roman city prefect who was a newly baptized Christian at his death, the sarcophagus of Junius Bassus is not only a magnificent example of "the fine style" of mid-fourth-century sculpture but also a treasury of early Christian iconography clearly indicating the Christianization of Rome--and the Romanization of Christianity. Whereas most previous scholarship has focused on the style of the sarcophagus, Elizabeth Struthers Malbon explores the perplexing elements of its iconography in their fourth-century context. In so doing she reveals the distinction between "pagan" and Christian images to be less rigid than sometimes thought.

Against the background of earlier and contemporary art and religious literature, Malbon explicates the relationship of the facade's two levels of scenes depicting stories from the Old and New Testaments, the connection between the scenes on the facade with those on the lid and ends of the sarcophagus, and the integration of pagan elements within a Christian work. What emerges is a carefully constructed iconographic program shedding light on the development of early Christian art within late antique culture.

Originally published in 1990.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

These volume, which comprise the first two parts of Topographical Bibliography VIII, Objects of Provenance Not Known, present accessible references for unprovenanced statues dating from the beginning of the Dynastic Period to the end of the Roman Period. The indices to these two parts have been assembled in a separate fascicle. The coverage includes monuments in museums and private collections, as well as those which have surfaced in sales and auctions only to disappear from sight once again. The first seven volumes of the Topographical Bibliography list ancient Egyptian monuments still in situ, those found in controlled excavations, ot those for which the original location can be established with certainty. There are, however, enormous numbers of objects of unknown provenance, including some of the greatest importance. Systematic records of excavations in Egypt began in the 1860s, but digging for monuments had been going on for at least half a century before that. Volume VIII complements Volumes I-VII by providing access to this unprovenanced material. Parts 1-2 cover statues of all periods. Part 3 covers stelae of the Early Dynastic Period to the end of Dynasty XVII, and Part IV stelae from Dynasty XVIII to the end of the Roman Period.

Rubens was fascinated by the classical world and the exploits of the ancients celebrated on surviving sculptures, sarcophagus reliefs, engraved gems and coins. When he set out for Italy as a young artist in 1600, he was following in the footsteps of many Flemish artists before him, but Rubens drawings after the Antique have a range and thoroughness unique of their kind. They are catalogued here in detail.;Rome was the focus of Rubens' two lengthy stays in Italy, and he was particularly attracted to the private collections, where in the seclusion of the palaces and courtyards of enthusiastic collectors he could draw sculpture groups over and over in detail and from different angles. Like his brother Philip and other European collectors of their acquaintance, Rubens was a dedicated antiquarian, and his drawings were often made with specific projects in mind, like his Roman Itinerary, a planned Gem Book, and his series on Famous Greek and Roman Men. Rubens drawings of classical statues are still of great value for archaeologists, because they show the early 17th-century condition of a sculpture and they are sometimes the only record of a work of art now lost.;Rubens displays the full range and subtlety of his techniques in his response to classical art. When sketching marble statues, he tended to use black chalk on rough white paper and applied the accents in white, thus softening the contours of the stone and enhancing the gradual nuances of light and shade. He rendered the tauter contours and high gloss of bronzes and engraved gems by exploiting the very different properties of pen and ink. His capacity to bring life to the artefacts he drew can be seen by contrast with the many copies of his sketches that exist.;Made as they are largely at the beginning of his career, Rubens's drawings after the Antique are evidence of his determination to master models before proceeding to draw figures from life. All that he learnt from his classical models of physique, pose and composition, Rubens transformed into a personal expression that informs the gestures, costume and decoration in paintings throughout his life.