The frames of classical art are often seen as marginal to the images that they surround. Traditional art history has tended to view framing devices as supplementary 'ornaments'. Likewise, classical archaeologists have often treated them as tools for taxonomic analysis. This book not only argues for the integral role of framing within Graeco-Roman art, but also explores the relationship between the frames of classical antiquity and those of more modern art and aesthetics. Contributors combine close formal analysis with more theoretical approaches: chapters examine framing devices across multiple media (including vase and fresco painting, relief and free-standing sculpture, mosaics, manuscripts and inscriptions), structuring analysis around the themes of 'framing pictorial space', 'framing bodies', 'framing the sacred' and 'framing texts'. The result is a new cultural history of framing - one that probes the sophisticated and playful ways in which frames could support, delimit, shape and even interrogate the images contained within.

The frames of classical art are often seen as marginal to the images that they surround. Traditional art history has tended to view framing devices as supplementary 'ornaments'. Likewise, classical archaeologists have often treated them as tools for taxonomic analysis. This book not only argues for the integral role of framing within Graeco-Roman art, but also explores the relationship between the frames of classical antiquity and those of more modern art and aesthetics. Contributors combine close formal analysis with more theoretical approaches: chapters examine framing devices across multiple media (including vase and fresco painting, relief and free-standing sculpture, mosaics, manuscripts and inscriptions), structuring analysis around the themes of 'framing pictorial space', 'framing bodies', 'framing the sacred' and 'framing texts'. The result is a new cultural history of framing - one that probes the sophisticated and playful ways in which frames could support, delimit, shape and even interrogate the images contained within.

This is the first history of epiphany as both a phenomenon and a cultural discourse within the Graeco-Roman world. It explores divine manifestations and their representations both in art and in literary, historical and epigraphic accounts. The cultural analysis of epiphany is set within a historical framework that examines its development from the archaic period to the Roman Empire. In particular, a surprisingly large number of the images that have survived from antiquity are not only religious but epiphanically charged. Verity Platt argues that the enduring potential for divine incursions into mortal experience provides a reliable cognitive structure that supports both ancient religion and mythology. At the same time, Graeco-Roman culture exhibits a sophisticated awareness of the difficulties in apprehending deity and representing divine presence, and of the potential for the manmade sign to lead the worshipper back to an unmediated epiphanic encounter.

This is the first history of epiphany as both a phenomenon and as a cultural discourse within the Graeco-Roman world, exploring divine manifestations and their representations, in visual terms as well as in literary, historical and epigraphic accounts. Verity Platt sets the cultural analysis of epiphany within a historical framework that explores its development from the archaic period into the Roman empire. In particular, a surprisingly large number of the images that have survived from antiquity are not only religious, but epiphanically charged. Verity Platt argues that the enduring potential for divine incursions into mortal experience provides a structure of cognitive reliability that supports both ancient religion and mythology. At the same time, Graeco-Roman culture exhibits a sophisticated awareness of the difficulties of the apprehension of deity, the representation of divine presence, and the potential for the manmade sign to lead the worshipper back to an unmediated epiphanic encounter.