Spanning centuries and the vastness of the Roman Empire, The Last Statues of Antiquity is the first comprehensive survey of Roman honorific statues in the public realm in Late Antiquity. Drawn from a major research project and corresponding online database that collates all the available evidence for the 'statue habit' across the Empire from the late third century AD onwards, the volume examines where, how, and why statues were used, and why these important features of urban life began to decline in number before eventually disappearing around AD 600. Adopting a detailed comparative approach, the collection explores variation between different regions-including North Africa, Asia Minor, and the Near East-as well as individual cities, such as Aphrodisias, Athens, Constantinople, and Rome. A number of thematic chapters also consider the different kinds of honorand, from provincial governors and senators, to women and cultural heroes. Richly illustrated, the volume is the definitive resource for studying the phenomenon of late-antique statues. The collection also incorporates extensive references to the project's database, which is freely accessible online.

The visual image of the ruler, particularly in sculpture, played an important role in expressing the character of the new, distinctive style of monarchy brought to Greece and the East by Alexander and the Hellenistic kings. Royal portraits survive on coins and in sculpture, and we read about them in inscriptions and literature - evidence that is here combined to give an historical interpretation of the royal image from Alexander to Kleopatra. Part I looks at the historical setting of royal portrait statues, which functioned as an important medium of exchange between the king and the Greek cities. They gave a visual presentation of royal ideology and expressed the basis of the king's power in a personal godlike charisma. Part II collects together and analyses the major surviving portraits, grouped broadly by time and place, and Part III sets them in the wider political context of the period. The dated coin portraits are used to show broad changes in the royal image and how it responded to the major political challenges from Parthia to the East and Rome to the West.

Historical and Religious Memory in the Ancient World examines how religious and historical memory was fashioned, distorted, preserved, or erased in ancient societies - and what wide-ranging effects these actions had on the historical process. The volume is interested in how memory intersects with and shapes religious traditions and cultural identities. Its twelve case studies explore different aspects of the memory layers that make up ancient history (social, religious, cultural), and looks at how these layers are represented and refracted in different contexts of the written and material remains of antiquity. The process has its beginnings in the dim pasts of ancient communities, and continues in the later Greek and Roman periods where our most articulate ancient evidence lies. It is a process that continues, in a different way, in contemporary scholarship which draws on selected evidence and a variety of contrasting representations. The three parts of the book vary the lens through which the impact of religious and cultural memory can be grasped. Part I looks at the commemoration of religious tradition in the context of cultural interaction - Greek, Roman, Jewish, and Christian. Part II focuses on how religious identities are defined and how homogenous-looking cultures engage in elaborate selective dialogue with their own past. In Part III, contested versions of the past are interpreted in studies of Roman historiography and of religiously motivated behaviour in late antique Asia Minor. This interdisciplinary book highlights and celebrates the work of Simon Price, an important thinker and pioneer in this kind of wider historical research in ancient cultures and religions.

The exuberant realism and virtuoso technique of Hellenistic sculpture formed the basis of European art. Under Alexander and his cosmopolitan successors, sculptors enriched the classical Greek repertoire with a whole range of new subjects - hermaphrodites, putti, peasants, boxers - and new styles - baroque treatment, genre figures, individualized portraiture. Professor Smith offers a reappraisal of this entire artistic epoch as a period of innovation, demonstrating the variety, subtlety and complexity of its styles. Numerous illustrations reveal the skill and inventiveness of the Hellenistic masters, who created works of great beauty and expressive power. The result is a lively survey of a vital phase in the evolution of Western art.