How have two-dimensional images of ancient Greek vases shaped modern perceptions of these artefacts and of the classical past? This is the first scholarly volume devoted to the exploration of drawings, prints, and photographs of Greek vases in modernity. Case studies of the seventeenth to the twentieth century foreground ways that artists have depicted Greek vases in a range of styles and contexts within and beyond academia. Questions addressed include: how do these images translate three-dimensional ancient utilitarian objects with iconography central to the tradition of Western painting and decorative arts into two-dimensional graphic images carrying aesthetic and epistemic value? How does the embodied practice of drawing enable people to engage with Greek vases differently from museum viewers, and what insights does it offer on ancient producers and users? And how did the invention of photography impact the tradition of drawing Greek vases? The volume addresses art historians of the seventeenth to twentieth centuries, archaeologists and classical reception scholars.

Dr John Disney (1779-1857) was the benefactor of the first chair in archaeology at a British university. He also donated his major collection to the University of Cambridge. The sculptures continue to be displayed in the Fitzwilliam Museum. The Disney family traced its origins back to the Norman invasion of England, and the family home was at Norton Disney in Lincolnshire. Disney's father, the Reverend John Disney DD (1746-1816) left the Church of England to become a minister at the Unitarian Essex Street Chapel in London. A major sponsor of the chapel was Thomas Brand-Hollis of The Hyde, Essex, who bequeathed the house and his Grand Tour collection (formed with Thomas Hollis) on his death in 1804 to the Reverend John Disney. Disney inherited part of the classical collection of his uncle and father-in-law Lewis Disney-Ffytche, owner of the 18th century pleasure gardens, Le Desert de Retz, outside Paris. Disney's brother-in-law was Sir William Hillary, founder of the RNLI. Disney was instrumental in the creation of the Chelmsford Museum through the Chelmsford Philosophical Society, and the formation of the Essex Archaeological Society.

Spirited Prospect: A Portable History of Western Art from the Paleolithic to the Modern Era is a lively, scholarly survey of the great artists, works, and movements that make up the history of Western art. Within the text, important questions are addressed: What is art, and who is an artist? What is the West, and what is the Canon? Is the Western Canon closed or exclusionary? Why is it more important than ever for individuals to engage and understand it? Readers are escorted on a concise, chronological tour of Western visual culture, beginning with the first art produced before written history. They learn about the great ancient cultures of Egypt, Mesopotamia, Greece, and Italy; the advent of Christianity and its manifestations in Byzantine, Medieval, Renaissance, and Baroque art; and the fragmentation of old traditions and the proliferation of new artistic choices that characterize the Enlightenment and the Modern Era. The revised second edition features improved formatting, juxtaposition, sizing, and spacing of images throughout. Spirited Prospect is an ideal textbook for introductory courses in the history of art, as well as courses in studio art and Western civilization at all levels.

The Archaeological Museum of Thessaloniki, one of the most important in Greece, houses masterpieces of Greek art associated with the history of Ancient Macedonia, from the 2nd millennium BC to the 4th century BC and the reigns of Philip II and Alexander the Great. The Guide to the Museum presents the rich, varied finds from Vergina, Sindos and Derveni and many other important Macedonian sites. Detailed illustrations accompany the descriptions of the objects on display. The introduction to Ancient Macedonia and the informative texts prefacing the descriptions of individual sections are designed to set the objects on display in their historical context, to help visitors to the Museum to enjoy the beauty of ancient art and follow the history of Macedonia.

Molly M. Lindner's new book examines the sculptural presentation of the Vestal Virgins, who, for more than eleven hundred years, dedicated their lives to the goddess Vesta, protector of the Roman state. Though supervised by a male priest, the Pontifex Maximus, they had privileges beyond those of most women; like Roman men, they dispensed favors and influence on behalf of their clients and relatives. The recovery of the Vestals' house, and statues of the priestesses, was an exciting moment in Roman archaeology. In 1883 Rodolfo Lanciani, Director of Antiquities for Rome, discovered the first Vestal statues. Newspapers were filled with details about the huge numbers of sculptures, inscriptions, jewelry, coins, and terracotta figures. Portraits of the Vestal Virgins, Priestesses of Ancient Rome investigates what images of long-dead women tell us about what was important to them. It addresses why portraits were made, and why their portraits - first set up in the late 1st or 2nd century CE - began to appear so much later than portraits of other nonimperial women and other Roman priestesses. The author sheds light on identifying a Vestal portrait among those of other priestesses, and considers why Vestal portraits do not copy each other's headdresses and hairstyles. Fourteen extensively illustrated chapters and a catalog of all known portraits help consider historical clues embedded in the hairstyles and facial features of the Vestals and other women of their day. What has appeared to be a mute collection of marble portraits has been given a voice through this book.

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.