New studies on the interaction of various media in ancient Greek art This collection includes twenty-one new essays by leading scholars in the field of Greek art and archaeology. Exploring a range of media including vase painting, sculpture, gems and coins, they each address questions that cross the boundaries of specialised fields. They outline the range of visual experiences at stake in the various media used in antiquity and shed light on the specificities of each medium. They show how meaning is produced, according to the nature of the medium: its use, context and enunciative structure. Also explored are the different methodologies used to produce meaning: how do images 'make', or create, sense to their ancient viewers and how can we now access those meanings? This richly illustrated volume offers new interpretations and arguments concerning fundamental questions in the field, which expand our knowledge and understanding of Greek art, patrons and viewers.

Architecture and Politics in Republican Rome is the first book to explore the intersection between Roman Republican building practices and politics (c.509-44 BCE). At the start of the period, architectural commissions were carefully controlled by the political system; by the end, buildings were so widely exploited and so rhetorically powerful that Cassius Dio cited abuse of visual culture among the reasons that propelled Julius Caesar's colleagues to murder him in order to safeguard the Republic. In an engaging and wide-ranging text, Penelope J. E. Davies traces the journey between these two points, as politicians developed strategies to manoeuver within the system's constraints. She also explores the urban development and image of Rome, setting out formal aspects of different types of architecture and technological advances such as the mastery of concrete. Elucidating a rich corpus of buildings that have been poorly understand, Davies demonstrates that Republican architecture was much more than a formal precursor to that of imperial Rome.

Memory studies -- one of the most vibrant research fields of the present day -- brings together such diverse disciplines as art and archaeology, history, religion, literature, sociology, media studies, and neuroscience. In scholarship on ancient Rome, studies of social and cultural memory complement traditional approaches, opening up new horizons as we contemplate the ancient world. The fifteen essays presented here explore memory in the Roman Empire, addressing a wide spectrum of cultural phenomena from a range of approaches. Ancient Rome was a memory culture par excellence and memory pervades all aspects of Roman culture, from literature and art to religion and politics. This volume is the first to address the cultural artifacts of Rome through the lens of memory studies. An essential guide to the material culture of Rome, this book brings important new concepts to the fore for both scholars of the ancient world and those of social and cultural memory throughout human history.

95 colour illustrations. The Athens Acropolis and its Museum constitute an integrated architectural and artistic unity, one of the most important in the history of global civilization. This informative and attractive guidebook is designed to be a useful travel companion; its descriptions and interpretative analyses help show the monuments in a new way, through an understanding of the historical, artistic and political events that contributed to their creation. Through the text and the illustrations we get to know the gods and heroes who were worshipped on the Acropolis, the leaders who envisaged the major projects, the artists who brought them to fruition, as well as the innovative ideas they applied, and the Athenian citizens who admired and enjoyed these achievements.

In this book, Professor Martin Robertson, author of A History of Greek Art (CUP 1975) and A Shorter History of Greek Art (CUP 1981), draws together the results of a lifetime's study of Greek vase-painting, tracing the history of figure-drawing on Athenian pottery from the invention of the "red-figure" technique in the later archaic period to the abandonment of figured vase-decoration two hundred years later. The book covers red-figure and also work produced over the same period in the same workshops in black-figure and other techniques, especially that of drawing in outline on a white ground. This book is a major contribution to the history of Greek vase-painting and anyone seriously interested in the subject--whether scholar, student, curator, collector or amateur--will find it essential reading.

What difference does music make to performance poetry, and how did the ancients themselves understand this relationship? Although scholars have long recognized the importance of music to ancient performance culture, little has been written on the specific effects that musical accompaniment, and features such as rhythmical structure and melody, would have created in individual poems. This volume attempts to answer these questions by exploring more fully the relationship between music and language in the poetry of ancient Greece. Arranged into two parts, the essays in the first half engage closely with the evidential and interpretative challenges posed by the interaction of ancient music and poetry, and propose original readings of a range of texts by authors such as Homer, Pindar, and Euripides, as well as later poets such as Seikilos and Mesomedes. While they emphasize different formal features, they also argue collectively for a two-way relationship between music and language: attention to the musical features of poetic texts, insofar as we can reconstruct them, enables us to better understand not only their effects on audiences, but also the various ways in which they project and structure meaning. In the second part, the focus shifts to ancient attempts to conceptualize interactions between words and music; the essays in this section analyse the contested place that music occupied in the works of Plato, Aristotle, Plutarch, and other critical writers of the Hellenistic and Imperial periods. Thinking about music is shown to influence other domains of intellectual life, such as literary criticism, and to be vitally informed by ethical concerns. These essays illustrate the importance of music for intellectual culture in ancient Greece and the ancients' abiding concern to understand and control its effects on human behaviour.

This is a collection of essays by distinguished scholars that will introduce the student or museum-goer to the study of Greek vases. Although the book is roughly chronological in arrangement--beginning with the appearance of human figures on Geometric vases, and ending with their virtual disappearance from Hellenistic pottery--it is not a history of Greek vase painting, or a handbook. It offers instead a series of suggestions on how to read the often complex images presented by Greek vases, and also explains how the vases were made and distributed. The volume is fully illustrated throughout.

The long and vibrant history of north-eastern England has left rich material deposits in the form of buildings, works of art, books and other artefacts. This heritage is examined here in fifteen studies, ranging from the sculpture of the Roman occupation through the monuments and architecture of the Anglo-Saxon and Norman periods, to the manuscripts and fortified houses of the later Middle Ages. The monasteries at Hexham, Lindisfarne and Tynemouth, and the City of Newcastle itself, are all subjected to individual analysis, and there are papers on Alnwick and Warkworth castles, the great keep at Newcastle, the coffin of St Cuthbert and the Lindisfarne Gospels. The expert opinions presented here are intended to stimulate and advance scholarly debate on the material culture of a region which has played a critical role in English history, and whose broad and varied profile still offers many opportunities for critical inquiry.

The nineteen papers in this volume stem from a symposium that brought together academics, archaeologists, museum curators, conservators, and a practicing marble sculptor to discuss varying approaches to restoration of ancient stone sculptures.
Contributors and their subjects include Marion True and Jerry Podany on changing approaches to conservation; Seymour Howard on restoration and the antique model; Nancy H. Ramage's case study on the relationship between a restorer, Vincenzo Pacetti, and his patron, Luciano Bonaparte; Mette Moltesen on de-restoring and re-restoring in the Ny Carlsberg Glyptotek; Miranda Marvin on the Ludovisi collection; and Andreas Scholl on the history of restoration of ancient sculptures in the Altes Museum in Berlin.
The book also features contributions by Elizabeth Bartman, Brigitte Bourgeois, Jane Fejfer, Angela Gallottini, Sascha Kansteiner, Giovanna Martellotti, Orietta Rossi Pinelli, Peter Rockwell, Edmund Southworth, Samantha Sportun, and Markus Trunk. Charles Rhyne summarizes the themes, approaches, issues, and questions raised by the symposium.

"Tian, " or Heaven, had multiple meanings in early China. It had been used since the Western Zhou to indicate both the sky and the highest god, and later came to be regarded as a force driving the movement of the cosmos and as a home to deities and imaginary animals. By the Han dynasty, which saw an outpouring of visual materials depicting Heaven, the concept of Heaven encompassed an immortal realm to which humans could ascend after death.

Using excavated materials, Lillian Tseng shows how Han artisans transformed various notions of Heaven--as the mandate, the fantasy, and the sky--into pictorial entities. The Han Heaven was not indicated by what the artisans looked at, but rather was suggested by what they looked "into." Artisans attained the visibility of Heaven by appropriating and modifying related knowledge of cosmology, mythology, astronomy. Thus the depiction of Heaven in Han China reflected an interface of image and knowledge.

By examining Heaven as depicted in ritual buildings, on household utensils, and in the embellishments of funerary settings, Tseng maintains that visibility can hold up a mirror to visuality; Heaven was culturally constructed and should be culturally reconstructed.

It has often been claimed that "monsters"--supernatural creatures with bodies composed from multiple species--play a significant part in the thought and imagery of all people from all times. "The Origins of Monsters" advances an alternative view. Composite figurations are intriguingly rare and isolated in the art of the prehistoric era. Instead it was with the rise of cities, elites, and cosmopolitan trade networks that "monsters" became widespread features of visual production in the ancient world. Showing how these fantastic images originated and how they were transmitted, David Wengrow identifies patterns in the records of human image-making and embarks on a search for connections between mind and culture.

Wengrow asks: Can cognitive science explain the potency of such images? Does evolutionary psychology hold a key to understanding the transmission of symbols? How is our making and perception of images influenced by institutions and technologies? Wengrow considers the work of art in the first age of mechanical reproduction, which he locates in the Middle East, where urban life began. Comparing the development and spread of fantastic imagery across a range of prehistoric and ancient societies, including Mesopotamia, Egypt, Greece, and China, he explores how the visual imagination has been shaped by a complex mixture of historical and universal factors.

Examining the reasons behind the dissemination of monstrous imagery in ancient states and empires, "The Origins of Monsters" sheds light on the relationship between culture and cognition.

Aside from Hagia Sophia, the monuments of the Byzantine East are poorly understood today. This is in sharp contrast to the well-known architectural marvels of Western Europes Middle Ages. In this landmark survey, distinguished art historian Robert Ousterhout introduces readers to the rich and diverse architectural traditions of the medieval Eastern Mediterranean. The focus of the book is the Byzantine (or East Roman) Empire (324-1453 CE), with its capital in Constantinople, although the framework expands chronologically to include the foundations of Christian architecture in Late Antiquity and the legacy of Byzantine culture after the fall of Constantinople in 1453. Geographically broad as well, this study includes architectural developments in areas of Italy, the Caucasus, the Near East, the Balkans, and Russia, as well as related developments in early Islamic architecture. Alternating chapters that address chronological or regionally-based developments with thematic studies that focus on the larger cultural concerns, the book presents the architectural developments in a way that makes them accessible, interesting, and intellectually stimulating. In doing so, it also explains why medieval architecture in the East followed such a different trajectory from that of the West. Lavishly illustrated with hundreds of color photographs, maps, and line drawings, Eastern Medieval Architecture will establish Byzantine traditions to be as significant and admirable as those more familiar examples in Western Europe, and serve as an invaluable resource for anyone interested in architectural history, Byzantium, and the Middle Ages.

A comprehensive collection of ancient literary evidence on Roman art and artists, assembled in translation and provided with linking passages that set the historical context. Reissue of a highly-esteemed volume originally published by Prentice-Hall in 1966.

A beautifully illustrated and thoroughly engaging cultural history of beekeeping - packed with anecdote, humour and enriching historical detail. The perfect gift. "A charming look at the history of beekeeping, from myth and folklore to our practical relationship with bees" Gardens Illustrated "An entertaining collation of bee trivia across the millennia" Daily Telegraph * Sweden's Gardening Book of the Year 2019 * Shortlisted for the August Prize 2019 * Winner of the Swedish Book Design Award for 2019 Beekeeper and garden historian Lotte Moeller explores the activities inside and outside the hive while charting the bees' natural order and habits. With a light touch she uses her encyclopaedic knowledge of the subject to shed light on humanity's understanding of bees and bee lore from antiquity to the present. A humorous debunking of the myths that have held for centuries is matched by a wry exploration of how and when they were replaced by fact. In her travels Moeller encounters a trigger-happy Californian beekeeper raging against both killer bees and bee politics, warring beekeepers on the Danish island of Laeso, and Brother Adam of Buckfast Abbey, breeder of the Buckfast queen now popular throughout Europe and beyond, as well a host of others as passionate as she about the complex world of apiculture both past and present. Translated from the Swedish by Frank Perry