Open-air rock-art forms one of the most widely distributed categories of prehistoric culture with examples recognized across the Old and New Worlds. It is also one of the most threatened features of human heritage and is susceptible to accelerated decay as a result of natural processes. Considering the specific case of the Coa Valley rock-art complex in Portugal, but also analysing case studies originating from other countries (Norway, Brazil, Southern USA and South Korea), this richly illustrated book addresses open-air rock-art natural degradation causes, suitable methods to assess current condition and the creation of urgency scales for conservation interventions.

This book examines Greek vase-paintings that depict humorous, burlesque, and irreverent images of Greek mythology and the gods. Many of the images present the gods and heroes as ridiculous and ugly. While the narrative content of some images may appear to be trivial, others address issues that are deeply serious. When placed against the background of the religious beliefs and social frameworks from which they spring, these images allow us to explore questions relating to their meaning in particular communities. Throughout, we see indications that Greek vase-painters developed their own comedic narratives and visual jokes. The images enhance our understanding of Greek society in just the same way as their more sober siblings in serious art. David Walsh is a Visiting Research Scholar in the School of Arts, Histories and Cultures at The University of Manchester."

This study deals with the significance of ritual scenes on 21st Dynasty coffins. The images on these coffins are studied as texts referring to the passage of the deceased to the next life. The aim of this study is also to argue how the Middle Kingdom Coffin Texts were replaced at this later date by such images on coffins. The work focusses on a group of coffins belonging to the priest known as PA-dj-imn, and date to the reign of the High Priest Pinudjem II. They were found in 1891 at the tomb of Bab el-Gassus, as part of the find generally known as the Second Find of Deir el-Bahri.

In the first centuries BCE and CE, Roman wall painters frequently placed representations of works of art, especially panel paintings, within their own mural compositions. Nathaniel B. Jones argues that the depiction of panel painting within mural ensembles functioned as a meta-pictorial reflection on the practice and status of painting itself. This phenomenon provides crucial visual evidence for both the reception of Greek culture and the interconnected ethical and aesthetic values of art in the Roman world. Roman meta-pictures, this book reveals, not only navigated social debates on the production and consumption of art, but also created space on the Roman wall for new modes of expression relating to pictorial genres, the role of medium in artistic practice, and the history of painting. Richly illustrated, the volume will be important for anyone interested in the social, ethical, and aesthetic dimensions of artworks, in the ancient Mediterranean and beyond.

This volume contains papers presented at the international conference Networks in the Hellenistic world according to the pottery in the Eastern Mediterranean and beyond which took place at the universities of Cologne and Bonn 23rd 26th February 2011. The organizers, all specialists in Hellenistic pottery of different regions in the Eastern Mediterranean, invited participants working from the Adriatic Sea to Asia Minor and up to Central Asia to consider their material according to the common platform of networks and exchange systems. Among the questions addressed by the contributors are: What is the character of the trade relations between political centres? What is the nature of economic development in minor cities and rural areas? Are some regions cut off from trade routes and thus characterised by a more restricted spectrum of local pottery? Which places traded their pottery globally? Whose pottery was copied, and by whom? Can the repertoire of forms reflect the adoption of specific customs?"

A catalogue and analysis of over 1000 Roman-period oil lamps from the Holy Land within the collection of the Israel Antiquities Authority. The Roman period in Palestine begins with the conquest of the East by Pompey in 63 BCE - essentially the period representing the continuation of the partial political and cultural annexation of the country to Western civilisation following the earlier arrival of Greek and Hellenistic culture.

With an in-depth exploration of rule by a single man and how this was seen as heroic activity, the title challenges orthodox views of ruling in the ancient world and breaks down traditional ideas about the relationship between so-called hereditary rule and tyranny. It looks at how a common heroic ideology among rulers was based upon excellence, or arete, and also surveys dynastic ruling, where rule was in some sense shared within the family or clan. Heroic Rulers examines reasons why both personal and clan-based rule was particularly unstable and its core tension with the competitive nature of Greek society, so that the question of who had the most arete was an issue of debate both from within the ruling family and from other heroic aspirants. Probing into ancient perspectives on the legitimacy and legality of rule, the title also explores the relationship between ruling and law. Law, personified as 'king' (nomos basileus), came to be seen as the ultimate source of sovereignty especially as expressed through the constitutional machinery of the city, and became an important balance and constraint for personal rule. Finally, Heroic Rulers demonstrates that monarchy, which is generally thought to have disappeared before the end of the archaic period, remained a valid political option from the Early Iron Age through to the Hellenistic period.

In the beginning of creation, the world was built on the foundation of The Divine Law of Maat/Kongo, as known by The Great Nile Valley Civilization. This Divine Law gave birth to everything we have today . "I-Vine Spheres" is a book that can help children and adults alike to begin to explore the accurate science of Creation and the complex anatomy of the Whole Spirit (Hidden Life Force/Energy/Vibes). 'I' relates to the Self (Source/Indwelling Divinity/Omnipresent/One Being/Conscience/World Soul/InI). The 'Vine' refers to the interconnection, inter-relation and inter-dependance of all things as fixed by nature within the beautiful cultivation of The I-Vine Spheres of Life. Many religions tell us we are like (made in the image of) The Almighty, but fail to fully explain/simplify what these likenesses are. This Book will show you and your children the 11 aspects of Being which are 'God/Christ like'. This book will outline a simple version of the I-Vine Spheres of Life; Paut Neteru (Cake of the Gods); Enead. The colors given to each sphere are the actual colors relating to that aspect of being or faculty of the spirit. Your children will be able to enrich and spark their inner Self, and gain connection of colors in the mind. Their are activities in this book, and your child will intuitively share with you the colors or activities they favor mostly, and allow you to learn more of your children. The Spirit is a body of Laws governing both the seen (its denser form) and unseen (less dense forms) phenomena. This I-Vine Spheres book will outline the main 11 Laws of the Spirit, and also provide a solid knowledge base and substantial food for the growth/development of impressionable minds. As well as minds that need substantial food to be successful holistically. Throughout all history and time, Afrikan people have used this reality to develop rites of passages (to know self), governments and technology. Principles, morals and astrologicial/cosmic knowledge is transferred via story telling in The Afrikan oral, visual and written traditions. This is the very foundation of the laws/institutes that continue to govern civil societies to this day. In the same way the well known '42 declarations of Maat' were practical expressions/statements/affirmations derived from the 11 main laws of our Being. We could now do better with exemplifying and teaching Divine Law/I-Vine Law, for the redemption and salvation of all people. It proven difficult for soldiers, linguistics and museum curators to explain ancient teachings/concepts of the Kamau (Ancient Egyptian) Sages, Fari (Pharaohs'), Priests, astrologers and prophets. It has been difficult for them to know what the sacred scriptures meant to the great ancient authors of the Afrikan Tradition. Misinterpretation and poor understandings come from numerous invasions, looting and the deliberate destruction of monuments. This book is corrective of such errors in interpretations about the meanings of the sacred sciences of the Whole Spirit/Vibes/Hidden Life Force. This book was inspired by a Rastafari/reggae song called '11 Laws of Maat' recorded by the author under the name Blessed Barak*. Therefore this book has strong elements of Xaymacan (Jamaica) patious and the author has thoughtfully included a dictionary in the book for those who are not so familiar with it. He is quite proud to be able to give a patious reading book to the many children of the Afrikan diaspora who have been carried beyond. Also, due to the globalisation of the Rastafari way of Life, many people of other cultures can enjoy hearing and reading the patious and Rastafari Language. *A complimentary free audio download of the song is available by e-mailing [email protected] (offer ends Feb 2013)

This exciting new look at Classical art starts with the excavation of the buried city of Pompeii, and investigates the grandiose monuments of ancient tyrants, and the sensual beauty of Apollo and Venus. Concluding with that most influential invention of all, the human portrait, it highlights the re-discovery of Classical art in the modern world, from the treasure hunts of Renaissance Rome to scientific retrieval in the twenty-first century.

The banded agate bowl known as the Tazza Farnese is one of the most famous and admired objects from classical antiquity. That it has survived at all is a miracle. In this, the first book-length account of the "life" of this renowned masterpiece, art historian Marina Belozerskaya takes readers on a fascinating trip through history that spans two millennia and journeys from the court of Cleopatra to the sack of Constantinople in the Fourth Crusade, from Samarqand of Tamerlane to Renaissance Florence under Lorenzo de' Medici, from Baroque Rome to Enlightenment Naples. Along the way, the reader encounters the illustrious as well as the shady figures who have come into contact with this prized artifact, from emperors and conquerors, popes and princes, and artists like Botticelli and Raphael, to forgers, thieves, and a disgruntled museum guard who nearly destroyed the Tazza for all posterity. Through the prism of this most precious bowl, Medusa's Gaze brings history vividly and intimately to life.

Achilles in Love: Intertextual Studies traces the escapades of Achilles' erotic history, whether in same-sex or opposite-sex relationships, and how they were developed and revealed, or elided and concealed, in the writing and visual arts following Homer. The volume investigates how different authors and artists responded to this most controversial aspect of Achilles' character, in comparison to the fiery personality that was shaped by the Iliad and was often considered 'canonical' for his character. Through analyzing Achilles in love from the time of Homer all the way down to the Latin poets of the first century BC and AD, the Ilias Latina, and the authors and iconography of the imperial age, this book makes both novel and productive connections between poetic texts, pictorial images, and literary genres which tried time and time again to capture Achilles' ever-shifting role within the world of eros.

From Ralph Van Deman Magoffin's 1922 review in Art and Archaeology: "The book here under review, although very brief, is of particular importance because it contains forty-seven clear plate figures, and especially because its author is the Keeper of the classical department of the Ny Carlsberg Museum in Copenhagen, where are the facsimiles and drawings of many wall paintings of Etruscan tombs made some thirty years ago. "Poulsen has followed the correct method of chronological comparison of style and matter, giving extraneous influence on technique and decorative detail a proper but subordinate place. He finds in the Tomba Campana at Veii ornamentation like that of seventh century B.C. Greek vases, where no narrative element is present. He then traces the development of style and content through various tombs, identifying scenes from Greek myths with certain variations. "These two types of decoration had their vogue before strictly funeral scenes began to appear in the tomb wall paintings, and in the verve of the work, and in the richness of accessories to banquet, funeral processions and ceremonies, Poulsen sees a corresponding Etruscan military, political, and social greatness. "The translation into English by Ingebord Anderson-for the book was originally published in 1919 in Danish as a Museum guide-is excellent."

1880. Contains two volumes in one; From the earliest times down to the age under Pheidias and his successors. With illustrations. Murray, a Scottish archaeologist, was assistant keeper and keeper of Greek and Roman antiquities at the British Museum. From 1894 to 1896 he was in charge of excavations in Cyprus. Among his other writings are Manual of Mythology, Handbook of Greek Archaeology, Terra-Cotta Sarcophagi, and Excavations in Cyprus. Contents Volume One: First Stages in Technical Skill; The Shield of Achilles; Butades, Theodoros, Rhoekos and Glaukos; Early Sculpture in Marble, Ivory and Gold and Fine Woods; Archaic Sculpture; Early Schools of Argos, Sikyon and Aegina; The Sculptures of Aegina, Now in Munich; Archaic Sculpture in Athens; Pythagoras of Rhegium; Myron and the Sculptures of His School; Polykleitos; and The Sculptures of Northern Greece. Contents Volume Two: The Frieze and Metopes of the Parthenon; Pediment Sculptures of the Parthenon; Pheidias; Pupils of Pheidias-The Sculptures of Olympia; The Frieze of Phigaleia; The Temple of Athena Nike, The Erechtheum, etc.; The Nereid Monument of Xanthos in Lycia; Pupils of Myron and Polykleitos; Praxiteles; Skopas; Schools of Skopas and Praxiteles; Lysippos and His School; Schools of Rhodes and Pergamos; and Greek Sculpture in Rome. See other titles by this author available from Kessinger Publishing.

1906. Illustrated. Contents: Early Italians; Raphael and Correggio; The Great Venetians; Later Italian Schools; Spanish Masters; Painters of the French and English Schools; Pastels and Miniatures, with Late German and Italian Pictures Hanging in Adjoining Rooms; Early Flemish, Dutch, and German Pictures: Durer and Holbein; Other Netherlandish and German Artists; Rubens and Van Dyck; Rembrandt and Some of His Contemporaries; Dutch Painters; and Modern German Masters. See other titles by this author available from Kessinger Publishing.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

The Codrus Painter was a painter of cups and vases in fifth-century B.C.E. Athens with a distinctive style; he is named after Codrus, a legendary Athenian king depicted on one of his most characteristic vases. He was active as an artist during the rule of Pericles, as the Parthenon was built and then as the troubled times of the Peloponnesian War began. In contrast to the work of fellow artists of his day, the vases of the Codrus Painter appear to have been created almost exclusively for export to markets outside Athens and Greece, especially to the Etruscans in central Italy and to points further west. Amalia Avramidou offers a thoroughly researched, amply illustrated study of the Codrus Painter that also comments on the mythology, religion, arts, athletics, and daily life of Greece depicted on his vases. She evaluates his style and the defining characteristics of his own hand and of the minor painters associated with him. Examining the subject matter, figure types, and motifs on the vases, she compares them with sculptural works produced during the same period. Avramidou's iconographic analysis not only encompasses the cultural milieu of the Athenian metropolis, but also offers an original and intriguing perspective on the adoption, meaning, and use of imported Attic vases among the Etruscans.

Of all the divinities of classical antiquity, the Greek Hermes (Mercury in his Roman alter ego) is the most versatile, enigmatic, complex, and ambiguous. The runt of the Olympian litter, he is the god of lies and tricks, yet is also kindly towards mankind and a bringer of luck. His functions embrace both the marking of boundaries and their transgression, but also extend to commerce, lucre, and theft, as well as rhetoric and practical jokes. In another guise, he plays the role of mediator between all realms of human and divine activity, embracing heaven, earth, and the netherworld. Pursuing this elusive divinity requires a truly multidisciplinary approach, reflecting his prismatic nature, and the twenty contributions to this volume draw on a wide range of fields to achieve this, from Greek and Roman literature (epic, lyric, and drama), epigraphy, cult, and religion, to vase painting and sculpture. In offering an overview of the myriad aspects of Hermes/Mercury-including his origins, patronage of the gymnasium, and relation to other trickster figures-the volume attempts to track the god's footprints across the many domains in which he partakes. Moreover, in keeping with his deep connection to exchange, commerce, and dialogue, it aims to exemplify and further encourage discourse between Latinists and Hellenists, as well as between scholars of literary and material cultures.

This book looks to construct a detailed portrait of the myth of the Greek hero, Jason.This involves examining all extant evidence, both literary and iconographical, for this hero up until the end of the fifth century B.C.

1880. Contains two volumes in one; From the earliest times down to the age under Pheidias and his successors. With illustrations. Murray, a Scottish archaeologist, was assistant keeper and keeper of Greek and Roman antiquities at the British Museum. From 1894 to 1896 he was in charge of excavations in Cyprus. Among his other writings are Manual of Mythology, Handbook of Greek Archaeology, Terra-Cotta Sarcophagi, and Excavations in Cyprus. Contents Volume One: First Stages in Technical Skill; The Shield of Achilles; Butades, Theodoros, Rhoekos and Glaukos; Early Sculpture in Marble, Ivory and Gold and Fine Woods; Archaic Sculpture; Early Schools of Argos, Sikyon and Aegina; The Sculptures of Aegina, Now in Munich; Archaic Sculpture in Athens; Pythagoras of Rhegium; Myron and the Sculptures of His School; Polykleitos; and The Sculptures of Northern Greece. Contents Volume Two: The Frieze and Metopes of the Parthenon; Pediment Sculptures of the Parthenon; Pheidias; Pupils of Pheidias-The Sculptures of Olympia; The Frieze of Phigaleia; The Temple of Athena Nike, The Erechtheum, etc.; The Nereid Monument of Xanthos in Lycia; Pupils of Myron and Polykleitos; Praxiteles; Skopas; Schools of Skopas and Praxiteles; Lysippos and His School; Schools of Rhodes and Pergamos; and Greek Sculpture in Rome. See other titles by this author available from Kessinger Publishing.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

In 1764, Johann Joachim Winckelmann published a key early instance of art-historical thinking, his "Geschichte der Kunst des Alterthums", here translated into English for the first time. Dazzled by the sensuous and plastic beauty of recently excavated artifacts - coins, engraved gems, vases, paintings, reliefs, and statues - Winckelmann synthesized the visual and written evidence then available into a systematic history of art in ancient Egypt, Persia, Etruria, Rome, and, above all, Greece. His passionate yet detailed inquiry investigates the idea of beauty over time and space, offering a chronological and descriptive account whose conceptual and historical paradigms have been reiterated and contested into the twentieth century. Alex Potts's introduction not only sketches the circumstances that shaped Winckelmann's project but also assesses this scholar's indelible influence on European intellectual life - for both modern art history and archaeology commence with Winckelmann.