What did the ancient Greeks think about their own art? J.J. Pollitt attempts to answer this question by studying the critical terminology of the ancient Greeks-the terms they used to describe and evaluate sculpture, painting, and architecture. Although Greeks and Romans with a wide variety of backgrounds and interests-including artists, philosophers, rhetoricians, historians, and guidebook writers-wrote about art in antiquity, very few of their works have survived. Mr. Pollitt has therefore had to draw largely on works of authors who, while discussing some other subject, make passing references to art for the purpose of analogy or illustration. By carefully assembling and organizing these fragments, he presents a coherent view of art criticism in ancient Greece. This study is divided into two parts. The first part provides a general history of Greek art criticism and its sources. The second is an extensive glossary which collects, translates, and analyzes passages from Greek and Latin authors in which important critical terms are used. The book can therefore be used by art historians and classicists as both a scholarly text and an important work of reference.

Political image-making--especially from the Age of Augustus, when the Roman Republic evolved into a system capable of governing a vast, culturally diverse empire--is the focus of this masterful study of Roman culture. Distinguished art historian and classical archaeologist John Pollini explores how various artistic and ideological symbols of religion and power, based on Roman Republican values and traditions, were taken over or refashioned to convey new ideological content in the constantly changing political world of imperial Rome.
Religion, civic life, and politics went hand in hand and formed the very fabric of ancient Roman society. Visual rhetoric was a most effective way to communicate and commemorate the ideals, virtues, and political programs of the leaders of the Roman State in an empire where few people could read and many different languages were spoken. Public memorialization could keep Roman leaders and their achievements before the eyes of the populace, in Rome and in cities under Roman sway. A leader's success demonstrated that he had the favor of the gods--a form of legitimation crucial for sustaining the Roman Principate, or government by a "First Citizen."
Pollini examines works and traditions ranging from coins to statues and reliefs. He considers the realistic tradition of sculptural portraiture and the ways Roman leaders from the late Republic through the Imperial period were represented in relation to the divine. In comparing visual and verbal expression, he likens sculptural imagery to the structure, syntax, and diction of the Latin language and to ancient rhetorical figures of speech.
Throughout the book, Pollini's vast knowledge of ancient history, religion, literature, and politics extends his analysis far beyond visual culture to every aspect of ancient Roman civilization, including the empire's ultimate conversion to Christianity. Readers will gain a thorough understanding of the relationship between artistic developments and political change in ancient Rome.

Sir Mortimer Wheeler describes the architecture and town planning, the sculpture and painting, the silverware, glass, pottery and the other rich artistic achievements of the era.

Presented in very clear and accessible language, "Roman Art" offers new and fascinating insights into the evolution of the forms and meanings of Roman art. Traditional studies of Roman art have sought to identify an indigenous style distinct from Greek art and in the process have neglected the large body of Roman work that creatively recycled Greek artworks. In this fresh assessment the author offers instead a cultural history of the functions of the visual arts, the messages that these images carried, and the values that they affirmed in late Republican Rome and the Empire. The analysis begins at the point at which the characteristic features of Roman art started to emerge, when the Romans were exposed to Hellenistic culture through their conquest of Greek lands in the third century BCE. As a result, the values and social and political structure of Roman society changed, as did the functions and characters of the images it generated.

What happened when creative biographers took on especially creative subjects (poets, artists and others) in Greek and Roman antiquity? Creative Lives in Classical Antiquity examines how the biographical traditions of ancient poets and artists parallel the creative processes of biographers themselves, both within antiquity and beyond. Each chapter explores a range of biographical material that highlights the complexity of how readers and viewers imagine the lives of ancient creator-figures. Work in the last decades has emphasized the likely fictionality of nearly all of the ancient evidence about the lives of poets, as well as of other artists and intellectuals; this book now sets out to show what we might nevertheless still do with the rich surviving testimony for 'creative lives' - and the evidence that those traditions still shape how we narrate modern lives too.

In history, this grand arterial 1500-mile waterway was always seen as the natural frontier between the northern provinces of the Iranian empires and the outer Turanian lands. It was for centuries central to Achaemenid and later Persian power. But, as the author shows, it has a prehistory which goes very much further back: and a succession of skilled yet still elusive Bronze Age cultures flourished here well before the rise of Cyrus the Great in the 6th century BCE. This richly illustrated book explores the fascinating history, art and archaeology of the region, including its primal trade in silk and foodstuffs; the mineral wealth of the Oxus basin; its exotic myths and beliefs; and the converging tribes and peoples which led to a new stability, economic growth and urbanism. The volume contains 150 full-colour photographs of notable artefacts, including silver decorated vessels, inlaid stone pots, agate beads and 25 'Bactrian Princesses': remarkable statuettes made in chlorite and limestone. Most of these rare objects have never been seen, let alone published, before.

While Celtic art includes some of the most famous archaeological artefacts in the British Isles, such as the Battersea shield or the gold torcs from Snettisham, it has often been considered from an art historical point of view. Technologies of Enchantment? Exploring Celtic Art attempts to connect Celtic art to its archaeological context, looking at how it was made, used, and deposited. Based on the first comprehensive database of Celtic art, it brings together current theories concerning the links between people and artefacts found in many areas of the social sciences. The authors argue that Celtic art was deliberately complex and ambiguous so that it could be used to negotiate social position and relations in an inherently unstable Iron Age world, especially in developing new forms of identity with the coming of the Romans.
Placing the decorated metalwork of the later Iron Age in a long-term perspective of metal objects from the Bronze Age onwards, the volume pays special attention to the nature of deposition and focuses on settlements, hoards, and burials -- including Celtic art objects' links with other artefact classes, such as iron objects and coins. A unique feature of the book is that it pursues trends beyond the Roman invasion, highlighting stylistic continuities and differences in the nature and use of fine metalwork.

In 2008, the Berlin Antikensammlung initiated a project with the J. Paul Getty Museum to conserve a group of ancient funerary vases from southern Italy. Monumental in scale and richly decorated, these magnificent vessels were discovered in hundreds of fragments in the early nineteenth century at Ceglie, near Bari. Acquired by a Bohemian diplomat, they were reconstructed in the Neapolitan workshop of Raffaele Gargiulo, who was considered one of the leading restorers of antiquities in Europe. His methods exemplify what was referred to as "une perfection dangereuse," an approach to reassembly and repainting that made it difficult to distinguish what was ancient and what was modern. Bringing together archival documentation and technical analyses, this volume provides a comprehensive study of the vases and their treatment from the nineteenth century up to today. In addition to lavish illustrations, two in-depth essays on the history of the vases and on Gargiulo's work, as well as detailed conservation notes for each object, this publication also features the first English translation of Gargiulo's original text on his understanding as to how ancient Greek vases were manufactured. This is the companion volume to an exhibition on view at the Getty Villa, from November 19, 2014, to May 11, 2015, and then at the Antikensammlung, Staatliche Museen zu Berlin from June 17, 2015, to June 18, 2017.

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.

Rescue excavations were carried out along the terrace north of Ancient Corinth by Henry Robinson, the director of the Corinth Excavations, and the American School of Classical Studies at Athens on behalf of the Greek Archaeological Service, in 1961 and 1962. They revealed 70 tile graves, limestone sarcophagi, and cremation burials (the last are rare in Corinth before the Julian colony), and seven chamber tombs (also rare before the Roman period). The burials ranged in date from the 5th century B.C. to the 6th century A.D., and about 240 skeletons were preserved for study. This volume publishes the results of these excavations and examines the evidence for changing burial practices in the Greek city, Roman colony, and Christian town. Documented are single graves and deposits, the Robinson "Painted Tomb," two more hypogea, and four built chamber tombs. Ethne Barnes describes the human skeletal remains, and David Reese discusses the animal bones found in the North Terrace tombs. The author further explores the architecture of the chamber tombs as well as cemeteries, burial practices, and funeral customs in ancient Corinth. One appendix addresses a Roman chamber tomb at nearby Hexamilia, excavated in 1937; the second, by David Jordan, the lead tablets from a chamber tomb and its well. Concordances, grave index numbers, Corinth inventory numbers, and indexes follow. This study will be of interest to classicists, historians of several periods, and scholars studying early Christianity.

Cataloging some hundred thousand examples of ancient Greek painted pottery held in collections around the world, the authoritative Corpus Vasorum Antiquorum (Corpus of Ancient Vases) is the oldest research project of the Union Academique Internationale. Nearly four hundred volumes have been published since the first fascicule appeared in 1922. This new fascicule of the CVA-the tenth issued by the J. Paul Getty Museum and the first ever to be published open access-presents a selection of Attic red-figured column and volute kraters ranging from 520 to 510 BCE through the early fourth century BCE. Among the works included are a significant dinoid volute krater and a volute krater with the Labors of Herakles that is attributed to the Kleophrades Painter.

This volume continues the publication of excavations conducted by the American School of Classical Studies at Athens in the Sanctuary of Demeter and Kore on Acrocorinth. It incorporates two bodies of material: Greek lamps and offering trays. The lamps include those made from the 7th through 2nd centuries B.C., together with a few Roman examples not included in Corinth XVIII.2. They served to provide light and to accompany the rites of sacrifice. The offering trays differ from the liknon-type offering trays published by A. Brumfield; they support a variety of vessels rather than types of food and had a symbolic function in the Sanctuary rituals. They are extremely common in the Sanctuary and only rarely attested elsewhere.

Sardis, in western Turkey, was one of the great cities of the Aegean and Near Eastern worlds for almost a millennium-a political keystone with a legendary past. Recent archeological work has revealed how the city was transformed in the century following Alexander's conquests from a traditional capital to a Greek polis, setting the stage for its blossoming as a Roman urban center. This integrated collection of essays by more than a dozen prominent scholars illuminates a crucial stage, from the early fourth century to 189 BCE, when it became one of the most important political centers of Asia Minor. The contributors to this volume are members of the Hellenistic Sardis Project, a research collaboration between long-standing expedition members and scholars keenly interested in the site. These new discussions on the pre-Roman history of Sardis restore the city in the scholarship of the Hellenistic East and will be enlightening to scholars of classical archaeology.

One of the most obvious stylistic features of Athenian black-figure vase painting is the use of color to differentiate women from men. By comparing ancient art in Egypt and Greece, "Tan Men/Pale Women "uncovers the complex history behind the use of color to distinguish between genders, without focusing on race. Author Mary Ann Eaverly considers the significance of this overlooked aspect of ancient art as an indicator of underlying societal ideals about the role and status of women. Such a commonplace method of gender differentiation proved to be a complex and multivalent method for expressing ideas about the relationship between men and women, a method flexible enough to encompass differing worldviews of Pharaonic Egypt and Archaic Greece. Does the standard indoor/outdoor explanation--women are light because they stay indoors--hold true everywhere, or even, in fact, in Greece? How "natural" is color-based gender differentiation, and, more critically, what relationship does color-based gender differentiation have to views about women and the construction of gender identity in the ancient societies that use it?

The depiction of dark men and light women can, as in Egypt, symbolize reconcilable opposites and, as in Greece, seemingly irreconcilable opposites where women are regarded as a distinct species from men. Eaverly challenges traditional ideas about color and gender in ancient Greek painting, reveals an important strategy used by Egyptian artists to support pharaonic ideology and the role of women as complementary opposites to men, and demonstrates that rather than representing an actual difference, skin color marks a society's ideological view of the varied roles of male and female.

With extraordinary concision and clarity, A. J. Ayer gives an account of the major incidents of Bertrand Russell's life and an exposition of the whole range of his philosophy. "Ayer considers Russell to be, except possibly for Wittgenstein, the most influential philosopher of our time. In this book he] gives a lucid account of Russell's philosophical achievements."--James Rachels, "New York Times Book Review"
"I am sure this] is the best introduction of any length to Russell, and I suspect that it might serve as one of the best introductions to modern philosophy. . . . Ayer begins with a brief, austere, and balanced account of Russell's life: as in Russell's autobiography this means his thought, books, women, and politics. Tacitus (and Russell) would have found the account exemplary. Ayer ends with a sympathetic and surprisingly detailed survey of Russell's social philosophy. But the bulk of this book consists of a chapter on Russell's work in logic and the foundations of mathematics, followed by a chapter on his epistemological views and one on metaphysics. . . . I find it impossible to imagine that this book will not remain indefinitely the very best book of its sort."--"Review of Metaphysics"
"The confrontation or conjunction of Ayer and Russell is a notable event and has produced a remarkable book--brilliantly argued and written."--Martin Lebowitz, "The Nation"

The pre-Hispanic Mixtec people of Mexico recorded political and religious history, including the biographies and genealogies of their rulers, in pictograms on hand-painted, screen-fold manuscripts known as codices. Functioning rather like movie production storyboards, the codices served as outlines of oral traditions to stimulate the memories of bards who knew the complete narratives, which were sung, danced, and performed at elite functions. Centuries later we have limited access to those original performances, and all that remains for our codex interpretation is what is painted on the pages-perhaps five to ten percent of their memory-encoded information. Continuing the pioneering interpretation he began in Lord Eight Wind of Suchixtlan and the Heroes of Ancient Oaxaca, Robert Lloyd Williams offers an authoritative guide to the entire contents of the codex in The Complete Codex Zouche-Nuttall. Although the reverse document (pages 42-84) has been described in previous literature, the obverse document (pages 1-41) has not been, and it has remained elusive as to narrative. The Complete Codex Zouche-Nuttall elucidates the three sections of the codex, defines them as to function and content, and provides interpretive and descriptive essays about the Native American history the codex recorded prior to the arrival of Europeans in Mexico and the New World generally. With a full-color reproduction of the entire Codex Zouche-Nuttall and Williams's expert guidance in unlocking its narrative strategies and structures, The Complete Codex Zouche-Nuttall opens an essential window into the Mixtec social and political cosmos.