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Late Antiquity marked one of the most significant transitions in European history-one that saw the rise of Christianity and the transformation of the classical Mediterranean world of ancient Rome. The richness of its art and the wealth of its archaeological remains have increasingly been recognised in recent decades and new discoveries and ongoing research are currently altering the ways in which we perceive the period. These two volumes provide a wide-ranging guide to the art and archaeology of the period 300-700 CE. Key monuments and artifact-types are discussed and placed in their historical contexts, but significant attention is also paid to the main cities, regions and peoples playing a prominent role in the history of the period as well as to some key issues and debates in its study. The chapters are written by leading experts and will be invaluable for any student or scholar interested in the period.
Late Antiquity marked one of the most significant transitions in European history-one that saw the rise of Christianity and the transformation of the classical Mediterranean world of ancient Rome. The richness of its art and the wealth of its archaeological remains have increasingly been recognised in recent decades and new discoveries and ongoing research are currently altering the ways in which we perceive the period. These two volumes provide a wide-ranging guide to the art and archaeology of the period 300-700 CE. Key monuments and artifact-types are discussed and placed in their historical contexts, but significant attention is also paid to the main cities, regions and peoples playing a prominent role in the history of the period as well as to some key issues and debates in its study. The chapters are written by leading experts and will be invaluable for any student or scholar interested in the period.
In The Art of Queenship in the Hellenistic World, Patricia Eunji Kim examines the visual and material cultures of Hellenistic queens, the royal and dynastic women who served as subjects and patrons of art. Exploring evidence in the interconnected eastern Mediterranean and western Asia from the fourth to second centuries BCE, Kim argues that the arts of queenship were central to expressions of dynastic (and sometimes even imperial) consolidation, continuity, and legitimacy. From gems, coins, and vessels to monuments and sculpture, the visual and material cultures of queenship appeared in a range of sacred settings, public spaces, royal courts, and domestic domains. Encompassing several dynasties, including the Hecatomnids, Argeads, Ptolemies, Seleucids, and Attalids, Kim inaugurates new methods for comparing and interpreting visual articulations of queenship and ideal femininity from distinct yet culturally entangled contexts, thus illuminating the ways that women had an impact art and politics in the ancient world.
Nestled beneath the 'pointed peaks' of the legendary Tmolos Mountains, the temple and sanctuary of Artemis at Sardis is one of the most impressive monuments of classical antiquity. Dating to the Hellenistic period, it was undertaken, not by a king, but by Stratonike, a 'fiery' Hellenistic queen, and redesigned under the Roman emperor Hadrian, when it became the center of an imperial cult. In this volume, Fikret Yegül and Diane Favro explore the Temple of Sardis from multiple perspectives. Offering a close archaeological analysis of the temple, they also provides new insights into its unique design; the changing nature of religious and cult practices at the temple; the relationship to its setting; and its benefactors. Attention is paid to place this extraordinary temple in the larger context of Greek and Roman religious architecture in Asia Minor. Richly illustrated with over 200 color images, including historical paintings and drawings, it also includes digital reconstructions of the temple are published here for the first time.
Religious Architecture and Roman Expansion uses architectural terracottas as a lens for examining the changing landscape of central Italy during the period of Roman military expansion, and for asking how local communities reacted to this new political reality. It emphasizes the role of local networks and exchange in the creation of communal identity, as well as the power of visual expression in the formulation and promotion of local history. Through detailed analyses of temple terracottas, Sophie Crawford-Brown sheds new light on 'Romanization' and colonization processes between the 3rd and 1st centuries BCE. She investigates the interactions between colonies and indigenous communities, asking why conquerors might visually emulate the conquered, and what this can mean for power relations in colonial situations. Finally, Crawford-Brown explores the role of objects in creating cultural memory and the intensity of our need for collective history-even when that 'history' has been largely invented.
Chapter 7 offers concluding thoughts on the afterlives of architectural terracottas and on their lingering symbolic power even after they had fallen from use in Italic temple architecture.
Chapter 4 explores the case-studies of Cosa and Minturnae in detail and assesses the ways in which 3rd–1st century Italic towns sought to emphasize a specifically local identity through their temple roofs. Each site is examined within its regional context to show how colonists and other inhabitants made use of local networks in order to create a distinctive visual identity that was nevertheless readable for a broad spectrum of viewers.
Chapter 2 addresses one of the primary impediments to the study of 3rd–1st century Italic architectural terracottas: questions regarding their chronology and the problematic ways in which they have traditionally been bound up in assumptions regarding so-called “Romanization.” Terracottas from Cosa and Rome are discussed in particular, in order to argue that there is no evidence for a “Roman” point of origin for most terracotta types and that the field must shed the lingering baggage derived from “Romanization” theory.
Chapter 6 examines the legacy of architectural terracottas during the period of the Augustan Principate and the rise of the so-called “Campana” reliefs. While architectural terracottas had long been used to define and assert specific local identities, they were now employed to express an idealized Augustan vision of a unified, pious Italic past.
Chapter 1 introduces the scope and organization of the study. It traces the history of scholarship on Italic architectural terracottas and highlights a number of lingering problems and uncertainties that will be taken up in the subsequent chapters.
Chapter 5 asks why new colonies turned so invariably to old-fashioned motifs and to the visual culture of their conquered enemies. This phenomenon is discussed in terms of the heterogenous makeup of colonial populations, which had no single visual culture to import, and is then related to broader issues of collective memory, identity formation, and the invention of tradition.
Chapter 3 examines the five most widespread decorative roofing elements in 3rd–1st century central Italy, which are referred to collectively as the “standard temple kit.” Each type is shown to derive from earlier models, suggesting a conscious act of archaizing in their use which likely relates to notions of antiquity and deeply rooted religious authority.