Select Bibliography

Jennifer M. S. Stager

doi:10.1017/9781009030212.008

“Color in a New Light.” Smithsonian Institute. https//library.si.edu/exhibition/color-in-a-new-light/science.Google Scholar

Abbe, Mark. “Polychromy of Roman Marble Sculpture,” in Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–2007.Google Scholar

Abbe, Mark. “Recent Research on the Painting and Gilding of Roman Marble Statuary at Aphrodisios,” in Brinkmann, Vinzenz, Primavesi, Oliver, and Hollein, Max, eds., Circumlitio: The Polychromy of Antique and Mediaeval Sculpture. Munich: Hirmer Verlag, 2010, 277–289.Google Scholar

Abbe, Mark. “A Roman Marble Replica of the ‘South Slope Head’: Polychromy and Identification.” Source: Notes in the History of Art 30.3 (2011): 18–24.Google Scholar

Adler, Friedrich, Borrmann, Richard, and Dörpfeld, Wilhelm. Die Baudenkmäler von Olympia. Berlin: Asher, 1892.Google Scholar

Aggelakopoulou, E. et al. “Technical Investigation of the Polychromy of the NW Raking-Sima of the Parthenon,” in 5th International Round Table on Greek and Roman Sculptural and Architectural Polychromy, The Acropolis Museum, Athens, November 7–8, 2013.Google Scholar

Aggelakopoulou, E., Sotiropoulou, S., and Karagiannis, G.. “Architectural Polychromy on the Athenian Acropolis: An In Situ Non-Invasive Analytical Investigation of the Colour Remains.” Heritage 5 (2022) 756–787.Google Scholar

Albers, Joseph. Interaction of Color. New Haven: Yale University Press, 2006 [1963].Google Scholar

Allais, Lucy. “Kant’s Racism.” Philosophical Papers (2016): 1–36.Google Scholar

Alvar, A., Alvar, J. Ezquerra, and Woolf, G., eds., Sensorium: The Senses in Roman Polytheism. New York: Brill, 2021.CrossRef Google Scholar

Amandry, Pierre. La Mantique apollinienne à Delphes: essai sur le fonctionnement de l’oracle. Paris: E. de Boccard, 1950.Google Scholar

Amandry, Pierre. “Recherches récentes du temple d’Apollon a Delphes.” Revue Archéologique 1 (1993): 201–204.Google Scholar

Amrhein, Anastasia, Fitzgerald, Clare, and Knott, Elizabeth, eds. A Wonder to Behold: Craftsmanship and the Creation of Babylon’s Ishtar Gate. New York: Institute for the Study of the Ancient World, New York University, 2019.Google Scholar

André-Salvini, Béatrice. “L’idéologie des pierres,” in Caubet, Annie, ed., Cornaline et pierres précieuses: La Méditerranée, de l’Antiquité àl’Islam: actes du colloque organisé au musée du Louvre par le service culturel les 24 et 25 novembre 1995. Paris: La Documentation française, 1999, 373–400.Google Scholar

Andreotti, Alessia et al. “Characterisation of Natural Substances in Ancient Polychromies,” in Liverani, Paolo and Santamaria, Ulderico, eds., Diversamente bianco: la policromia della scultura romana. Rome: Edizioni Quasar, 2014, 191–206.Google Scholar

Andreuccetti, P. A., and Cervelli, I. L., eds. Il colore del medioevo: arte, simbolo, tecnica. Lucca: Fondazione Cassa di Risparmio di Lucca, 2009.Google Scholar

Andronikos, Manolēs. Vergina: The Royal Tombs and the Ancient City. Athens: Ekdotike Athenon, 1992.Google Scholar

Andronikos, Manolēs, and de Jongh, Brian. Delphi. Athens: Ekdotike Athenon, 1994.Google Scholar

Anguissola, Anna, and Grüner, Andreas, eds. The Nature of Art: Pliny the Elder on Materials. Turnhout: Brepols, 2021.Google Scholar

Appiah, Kwame Anthony. “There Is No Such Thing as Western Civilization.” The Guardian (November 9, 2016).Google Scholar

Arvanitakis, Konstantinos. “Athena Parthenos: Inscriptions.” Acropolis Museum. www.theacropolismuseum.gr/en/athena-parthenos-inscriptions.Google Scholar

Asmis, Elizabeth. “Art and Morality,” in Destrée, P. and Murray, P., eds., A Companion to Ancient Aesthetics. Malden: Wiley Blackwell, 2015, 486–504.Google Scholar

Aston, B., Harrell, J., and Shaw, I.. “Stone,” in Nicholson, P. T. and Shaw, I., eds., Ancient Egyptian Materials and Technology. Cambridge: Cambridge University Press, 2000, 39–40.Google Scholar

Asuni, Michele. Pathos Visible: Color, Emotion, and Affect in Ancient Greece from Homer to Heliodorus, Johns Hopkins University PhD thesis, 2022.Google Scholar

Astier, Marie-Bénédicte. “Le Judgment de Paris.” Louvre (2012). www.louvre.fr/en/oeuvre-notices/mosaic-judgment-paris.Google Scholar

Backes, Clarus J., Cheetham, David, and Neff, Hector. “The Color of Influence: A Provenance Study of Hematite-Based Paints on Early Olmec Carved Pottery.” Latin American Antiquity 23.1 (2012): 70–92.Google Scholar

Bal, Mieke, and Bryson, Norman. Looking In: The Art of Viewing. London: Routledge, 2001.Google Scholar

Baldwin, James. “On Being White … and Other Lies.” Essence, 1984, republished in Roediger, David R., ed., Black on White: Black Writers on What It Means to Be White. New York: Schocken Books, 1998.Google Scholar

Barker, Simon J., and Perna, Simona. “Alabaster: Quarrying and Trade in the Roman World.” ASMOSIA XI Interdisciplinary Studies on Ancient Stone: Proceedings of the Eleventh International Conference of ASMOSIA, Split, 18–22 May 2015. Split: University of Split, 2019, 45–64.Google Scholar

Barletta, Barbara. “Archaic and Classical Magna Graecia,” in Palagia, Olga, ed., Greek Sculpture. Function, Materials and Techniques in the Archaic and Classical Periods. Cambridge: Cambridge University Press, 2008, 77–118.Google Scholar

Barringer, Judith. “The Legacy of Phidian Zeus at Olympia,” in McWilliam, Janette, ed., Statue of Zeus at Olympia: New Approaches. Newcastle-upon-Tyne: Cambridge Scholars Publishing, 2011, 61–78.Google Scholar

Barringer, Judith. “Olympia: More than Meets the Eye,” Classics Ireland 19–20 (2012): 26–49.Google Scholar

Barthes, Roland. Camera Lucida: Reflections on Photography, trans. Howard, Richard. New York: Hill and Wang, 1981.Google Scholar

Bartsch, Shadi. The Mirror of the Self: Sexuality, Self-Knowledge, and the Gaze in the Early Roman Empire. Chicago: University of Chicago Press, 2006.Google Scholar

Balachandran, Sanchita. “Mysteries of the Kylix,” http://archaeologicalmuseum.jhu.edu/the-collection/object-stories/recreating-ancient-greek-ceramics/film-mysteries-of-the-kylix/ (2015).Google Scholar

Balachandran, Sanchita. “Uncovering Ancient Preparatory Drawings on Greek Ceramics.” The Getty Iris, September 2018.Google Scholar

Balachandran, Sanchita. “Bringing Back the (Ancient) Bodies: The Potters’ Sensory Experiences and the Firing of Red.” Black and Purple Greek Vases” Arts 8 (2019): 70.Google Scholar

Balachandran, Sanchita. “Malignant Patina: A Love Story.” West 86th 27. 1 / Spring–Summer (2020).Google Scholar

Batchelor, David. (ed.). Colour. London: Whitechapel, 2008.Google Scholar

Batchelor, David. Chromophobia. London: Reaktion Books, 2000.Google Scholar

Baxandall, Michael. Giotto and the Orators. Oxford: Oxford University Press, 1986.Google Scholar

Baxandall, Michael. Painting and Experience in Fifteenth Century Italy. Oxford: Oxford University Press, 1988.Google Scholar

Becker, Hilary. “Grading for Colour: Pliny’s Hierarchy of Pigment Quality,” in Anna Anguissola and Grüner, Andreas, eds., The Nature of Art: Pliny the Elder on Materials. Turnhout: Brepols, 2021, 200–215.Google Scholar

Becker, Hilary. “Technology and Trade,” in Warburton, David, ed., A Cultural History of Color in Antiquity. London: Bloomsbury, 2021, 35–48.Google Scholar

Becker, Hilary. Commerce in Color: The Mechanics of the Roman Pigment Trade, forthcoming.Google Scholar

Becker, Lawrence, and Kondoleon, Christine. The Arts of Antioch: Art Historical and Scientific Approaches to Roman Mosaics and a Catalogue of the Worcester Art Museum Antioch Collection. Worcester: Worcester Art Museum, 2005.Google Scholar

Becker, Lawrence, Kondoleon, Christine, Newman, R., and Wypyski, Mark T. “The Atrium House Triclinium,” in Becker, Lawrence and Kondoleon, Christine, eds., The Arts of Antioch: Art Historical and Scientific Approaches to Roman Mosaics and a Catalogue of the Worcester Art Museum Antioch Collection. Worcester: Worcester Art Museum, 2005, 17–74.Google Scholar

Becker, Lawrence, and Wypyski, Mark. T.. “Material Study: The Glass,” in Becker, Lawrence and Kondoleon, Christine, eds., The Arts of Antioch: Art Historical and Scientific Approaches to Roman Mosaics and a Catalogue of the Worcester Art Museum Antioch Collection. Worcester: Worcester Art Museum, 2005, 49–61.Google Scholar

Bee, Samantha. “White at the Museum.” Full Frontal with Samantha Bee www.youtube.com/watch?v=TkwUCUwt3Rs (April 3, 2019).Google Scholar

Belis, Alexis. “Cat. 1: Mosaic Floor with Head of Medusa,” in Belis, Alexis, ed., Roman Mosaics in the J. Paul Getty Museum. Los Angeles: J. Paul Getty Museum, 2016: www.getty.edu/publications/romanmosaics/catalogue/1/.Google Scholar

Bellos, D. “Through the Language Glass,” review of Through the Language Glass by Guy Deutscher. The Guardian, 12 June 2010.Google Scholar

Bellmer, E. H. “The Statesman and the Ophthalmologist: Gladstone and Magnus on the Evolution of Human Colour Vision, One Small Episode of the Nineteenth-century Darwinian Debate.” Annals of Science 56.1 (1999): 25–45.CrossRef Google Scholar PubMed

Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction (1935),” in Arendt, Hannah, ed., Illuminations. New York: Houghton Mifflin, 1968, 217–252.Google Scholar

Bennett, Jane. Vibrant Matter: A Political Ecology of Things. Durham, NC: Duke University Press, 2010.Google Scholar

Bent, J. Theodore. “On the Gold and Silver Mines of Siphnos.” The Journal of Hellenic Studies 6 (1885): 195–198.Google Scholar

Bergmann, Bettina. “Greek Masterpieces and Roman Recreative Fictions.” Harvard Studies in Classical Philology 97 (1995): 79–120.Google Scholar

Berlin, Brent, and Kay, Paul. Basic Color Terms: Their Universality and Evolution. Berkeley: University of California Press, 1999 [1969].Google Scholar

Berlin, Brent, et al. World Color Survey. Berkeley: University of California Berkeley, 2010.Google Scholar

Beta, Simone, and Sassi, Maria Michela, eds. I colori nel mondo antico: esperienze linguistiche e quadri simbolici: atti della giornata di studio, Siena, 28 marzo 2001. Fiesole: Cadmo, 2003.Google Scholar

Bianchi, Emanuela. “Receptacle/Chōra: Figuring the Errant Feminine in Plato’s Timaeus.” Hypatia 21.4 (2006): 124–146.Google Scholar

Bibring, et al. “Coupled Ferric Oxides and Sulfates on the Martian Surface.” Science (August 31, 2007): 1206–1210.Google Scholar

Bielfeldt, Ruth. “Candelabrus and Trimalchio: Embodied Art Histories and Roman Lampstands and Their Slaves.” Art History (2018): 420–443.CrossRef Google Scholar

Bimson, Mavis. “Cosmetic Pigments from the ‘Royal Cemetery’ at Ur.” Iraq 42.1 (1980): 75–77.Google Scholar

Birren, Faber. Color and Human Response: Aspects of Light and Color Bearing on the Reactions of Living Things and the Welfare of Human Beings. New York: Van Nostrand Reinhold Co., 1978.Google Scholar

Blair, Elizabeth. “‘Ugly,’ ‘Discordant’: New Executive Order Takes Aim at Modern Architecture.” NPR, December 21, 2020.Google Scholar

Blegen, Elizabeth Pierce. “News Items from Athens.” American Journal of Archaeology 46.4 (1942): 477–487. https://doi.org/10.2307/499080.Google Scholar

Blühm, A. The Colour of Sculpture 1840–1910. Amsterdam: B. V. Waanders, 1996.Google Scholar

Blühm, A. “Living Colour,” in Blühm, A., ed., The Colour of Sculpture: 1840–1910. Amsterdam: B. V. Waanders, 1996, 11–60.Google Scholar

Blume-Jung, Clarissa. “Ganosis and Kosmesis: On the Polishing of Marble Statues with Wax,” in Anguissola, Anna and Grüner, Andreas, eds., The Nature of Art: Pliny the Elder on Materials. Turnhout: Brepols, 2021, 111–124.Google Scholar

Boardman, John. Greek Sculpture: The Late Classical Period and Sculpture in Colonies and Overseas. New York: Thames and Hudson, 1995.Google Scholar

Bohrer, F. N. Orientalism and Visual Culture: Imagining Mesopotamia in Nineteenth-Century Europe. Cambridge: Cambridge University Press, 2003.Google Scholar

Bol, Peter. Antike Bronzetechnik: Kunst und Handwerk Antiker Erzbildner. Munich: C. H. Beck, 1985.Google Scholar

Bolmarcich, Sarah, and Muskett, Georgina. “Artists’ Signatures on Archaic Vases from Athens,” in Seaman, Kristen and Schultz, Peter, eds., Artists and Artistic Production in Ancient Greece. Cambridge: Cambridge University Press, 2017, 154–176.Google Scholar

Bommelaer, J.-F. Guide de Delphes: le Site. Paris: Editions de Boccard, 1991.Google Scholar

Bond, Sarah E. “Why We Need to Start Seeing the Classical World in Color,” Hyperallergic (June 7, 2017).Google Scholar

Bonfante, Larissa. “Nudity as a Costume in Classical Art” AJA 93.4 (1989): 543–570.Google Scholar

Borell, Brigitte, and Rittig, Dessa, Orientalische und Griechische Bronzereliefs aus Olympia: Der Fundcomplex aus Brunnen 17. Berlin: W. de Gruyter, 1998.Google Scholar

Borg, Barbara. Mumienporträts: Chronologie und kultureller Kontext. Mainz: von Zabern, 1996.Google Scholar

Boschetti, Cristina. “Vitreous Materials in Early Mosaics in Italy: Faience, Egyptian Blue, and Glass.” Journal of Glass Studies 53 (2011): 59–91.Google Scholar

Bourgeois, Brigitte. “Fragments of a Revolution: The Laoköon in Paris (1798–1815),” in Tronzo, W., ed., The Fragment: An Incomplete History. Los Angeles: Getty Publications, 2009, 61–82.Google Scholar

Bourgeois, Brigitte. “Thérapéia: Taking Care of Colour in Hellenistic Greece,” in Østergaard, Jan Stubbe, Nielsen, Anne Marie, and Stanford, Neil Martin, eds., Transformations: Classical Sculpture in Colour. Copenhagen: Ny Carlsberg Glyptotek, 2014, 190–207.Google Scholar

Bourgeois, Brigitte, and Jockey, Philippe. “Polychrome Hellenistic Sculpture in Delos Part I” in Lazzarini, L., ed., ASMOSIA 6, Interdisciplinary Studies on Ancient Stone – Proceedings of the Sixth International Conference of the Association for the Study of Marble and Other Stones in Antiquity, Venice, June 15–18, 2000,. Padua: Bottega d’Erasmo, 2002, 497–506.Google Scholar

Bourgeois, Brigitte, and Jockey, Philippe. “New Researches on the Polychromy of Hellenistic Sculptures in Delos, III: The gilding,” in Jockey, Philippe, ed., Leukos lithos: marbres et autres roches de la Méditerranée antique: études interdisciplinaires : actes du VIIIe colloque international de l’Association for the Study of Marble and Other Stones Used in Antiquity (ASMOSIA) = Interdisciplinary Studies on Mediterranean Ancient Marble and Stones: Proceedings of the VIIth International Conference of the Association for the Study of Marble and Other Stones used in Antiquity (ASMOSIA). Paris: Maison méditerranéenne des sciences de l’homme, 2009, 645–662.Google Scholar

Bourgeois, Brigitte, and Jockey, Philippe. “The Polychromy of Hellenistic Marble Sculpture in Delos,” in Brinkmann, Vinzenz, Primavesi, Oliver, and Hollein, Max, eds., Circumlitio: The Polychromy of Antique and Mediaeval Sculpture. Munich: Hirmer Verlag, 2010, 224–239.Google Scholar

Bourgeois, Brigitte, and Jockey, Philippe. “La Sculpture hellénestique polychrome et dorée de Délos,” in Jockey, Philippe, ed., Les Arts de la couleur en Grèce ancienne…et ailleurs: approches interdisciplinaires. Athens: École française d’Athènes, 2018.Google Scholar

Bourgeois, Brigitte Giovanni, Verri, Vasiliadis, Constantinos, and Farmaki, Ioanna. “Scientific investigation of the polychromy of the Lyon kore (ca. 540 bc),” in Bracci, Susanna, Giachi, Gianna, Liverani, Paolo, Pallecchi, Pasquino, and Paolucci, Fabrizio, eds., Polychromy in Ancient Sculpture and Architecture. Livorno: Sillabe, 2018, 59–73.Google Scholar

Bowden, H. Classical Athens and the Delphic Oracle: Divination and Democracy. Cambridge: Cambridge University Press, 2005.Google Scholar

Boyle, Robert. Experiments and Considerations Touching Colours: First Occasionally Written, Among Some Other Essays to a Friend, and Now Suffer'd to Come Abroad as the Beginning of an Experimental History of Colours. London: Printed for Henry Herringman …, 1664.Google Scholar

Bradley, Mark. “Review of Laurence Villard,” Couleurs et vision dans l’antiquité classique (2002).” Bryn Mawr Classical Review 08.47 (2006).Google Scholar

Bradley, Mark. Colour and Meaning in Ancient Rome. Cambridge and New York: Cambridge University Press, 2009.Google Scholar

Bradley, Mark. “The Importance of Colour on Ancient Marble Sculpture.” Art History 32 (2009): 427–457.Google Scholar

Bradley, Mark. “Review of Panzanelli, R. 2008.” BMCR 04.55 (2009c).Google Scholar

Bradley, Mark. “Colour as Synaesthetic Experience in Antiquity” in Butler, Shane and Purves, Alex, eds., Synaesthesia and the Ancient Senses. Hoboken, NJ: Taylor and Francis, 2014, 127–140.Google Scholar

Braidotti, Rosi. Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Theory. New York: Columbia University Press, 1994.Google Scholar

Braudel, Fernand. The Mediterranean and the Mediterranean world in the Age of Philip II, trans. Berkeley, S. Reynolds: University of California Press, 1995.Google Scholar

Brecoulaki, Hariclia. La Peinture funéraire de Macédoine – emplois et fonctions de la couleur IVe–IIe siècle avant J-C. Paris: Diffusion de Boccard, 2006.Google Scholar

Brécoulaki, Hariclia. “Considerations sur les peintres tetrachromatistes et les colores austeri et floridi: l’economie des moyens picturaux contre l’emploi de materiaux onereux dans la peinture ancienne,” in Rouveret, Agnès, Dubel, Sandrine and Naas, Valérie, eds., Couleurs et matières dans l’antiquité: texts, techniques et pratiques. Paris: Éditions Rue d’Ulm/Presses de l’École normale supérieure, 2006, 29–42.Google Scholar

Brecoulaki, Hariclia, Kavvadis, George, and Verri, Giovanni. “Colour and Luxury: Three Classical Painted Marble Pyxides from the Collection of the National Archaeological Museum, Athens,” in Østergaard, Jan and Nielsen, Anne Marie, eds., Transformations. Copenhagen: Ny Carlsberg Glyptotek, 2014, 153–165.Google Scholar

Brécoulaki, Hariclia, Kavvadis, George, and Verri, Giovanni. “Greek Polychromy and Painting: Material Aspects and Symbolic Values.” Revue Archaeologique 1 (2014): 1–35.Google Scholar

Brécoulaki, Hariclia, Kavvadis, George, and Verri, Giovanni. “‘Precious Colours’ in Ancient Greek Polychromy and Painting, Aspects and Symbolic Values.” Revue Archéologique 1 (2014): 19–22.Google Scholar

Brinkmann, Vinzenz. Die Polychromie der archaischen und frühklassischen Skulptur. Munich: Biering und Brinkmann. 2003.Google Scholar

Brinkmann, Vinzenz. “The Polychromy of Ancient Greek Sculpture,” in Panzanelli, Roberta, ed., The Color of Life, Los Angeles: Getty Publications, 2008, 18–39.Google Scholar

Brinkmann, Vinzenz. “Research History: The Polychromy of Greek and Roman Sculpture,” in Østergaard, Jan Stubbe, Nielsen, Anne Marie, and Stanford, Neil Martin, eds., Transformations: Classical Sculpture in Colour. Copenhagen: Ny Carlsberg Glyptotek, 2014.Google Scholar

Brinkmann, Vinzenz, and Koch-Brinkmann, Ulriche. “On the Reconstruction of Ancient Polychromy Techniques,” in Brinkmann, Vinzenz, Primavesi, Oliver, and Hollein, Max, eds., Circumlitio: The Polychromy of Antique and Mediaeval Sculpture. Munich: Hirmer Verlag, 2010, 114–135.Google Scholar

Brinkmann, Vinzenz, and Koch-Brinkmann, Ulriche. Golden Edition – Bunte Götter: die Farbigkeit antiker Skulptur. Frankfurt: Liebinghaus, 2020.Google Scholar

Brinkmann, Vinzenz, Koch-Brinkman, Ulrike, and Piening, Heinrich. “On the Rendering of Human Skin in Ancient Marble Sculpture,” in Østergaard, Jan, Nielsen, A., and Stanford, N., eds., Transformations: Classical Sculpture in Colour. Copenhagen: Ny Carlsberg Glyptotek, 2014, 141–149.Google Scholar

Brinkmann, Vinzenz, and Wünsche, Raimond. Bunte Götter: die Farbigkeit antiker Skulptur. Munich: Biering and Brinkmann, 2004 (2010).Google Scholar

Brinkmann, Vinzenz, and Wünsche, Raimond. Polychromoi Theoi. Munich: Biering und Brinkmann, 2007.Google Scholar

Brinkmann, Vinzenz, and Wünsche, Raimond. Gods in Color. Cambridge, MA: Harvard University Art Museums, 2008.Google Scholar

Brody, Aaron. “Each Man Cried Out to His God”: The Specialized Religion of Canaanite and Phoenician Seafarers. Cambridge, MA: Harvard Semitic Museum Publications, 1999.Google Scholar

Brown, A. S. “Aphrodite and the Pandora Complex.” The Classical Quarterly 47.1 (1997): 26–47.Google Scholar

Bruno, Vincent. Form and Color in Greek Painting. New York: Norton, 1977.Google Scholar

Brusatin, Mario. Histoire des Couleurs, trans. Marin, Louis. Paris: Flammarion, 1986 [1983].Google Scholar

Brysbaert, Ann. “Lapis Lazuli in an Enigmatic ‘Purple’ Pigment from a Thirteenth-Century bc Greek Wall Painting.” Studies in Conservation 51.4 (2006): 252–266.Google Scholar

Bryson, Norman. Vision and Painting: The Logic of the Gaze. New Haven: Yale University Press, 1986.Google Scholar

Bryson, Norman. Looking at the Overlooked: Four Essays on Still Life Painting. London: Reaktion Books, 2013.Google Scholar

Buitron-Oliver, Diana, Palagia, Olga, Gage, Nicholas, and Pollitt, Jerome Jordan, eds. The Greek Miracle: Classical Sculpture from the Dawn of Democracy, the Fifth Century b.c., Washington DC: National Gallery of Art, 1992.Google Scholar

Bundrick, Sheramy. “The Fabric of the City: Imaging Textile Production in Classical Athens.” Hesperia 77.2 (2008): 283–334.Google Scholar

Burnett Grossman, J., ed. History of Restoration of Ancient Stone Sculptures. Los Angeles: Getty Publications, 2003.Google Scholar

Butler, Judith. Bodies That Matter: On the Discursive Limits of “Sex.” New York: Routledge, 1993.Google Scholar

Butler, Shane, and Purves, Alex. “Introduction,” in Butler, Shane and Purves, Alex, eds., Synaesthesia and the Ancient Senses. Hoboken, NJ: Taylor and Francis, 2014, 1–8.Google Scholar

Byrne, A. “Is Snow White? and Other Questions about Qppearance and Reality.” Boston Review (2005): (April/May).Google Scholar

Calamiotou, M., Siganidou, M., and Filippakis, S. E.. “X-Ray Analysis of Pigments from Pella, Greece.” Studies in Conservation 28.3 (1983): 117–121.Google Scholar

Cammack, Daniela. “Deliberation in Ancient Greek Democracies.” The Journal of Political Philosophy 115 (2020): 488–489.Google Scholar

Canevaro, Lilah Grace. “Materiality and Classics: (Re) Turning to the Material.” The Journal of Hellenic Studies 139 (2019): 222–232.Google Scholar

Carastro, Marcello. “L’Illusion produite par la couleur: pharmakon, d’Homère à Platon,” in Jockey, Philippe, ed., Les Arts de la couleur en Grèce ancienne … et ailleurs. Athens: École Française d’Athènes.Google Scholar

Carastro, Marcello. ed., L’Antiquité en couleurs: catégories, pratiques, representations. Grenoble: Millon, 2009.Google Scholar

Carson, Anne. If Not, Winter: Fragments of Sappho. New York: Alfred A. Knopf, 2002.Google Scholar

Casanova, Michèle. “Le Lapis-Lazuli dans l’Orient ancient,” in Caubet, Annie, ed., Cornaline et pierres précieuses: La Méditerranée, de l’Antiquité àl’Islam: actes du colloque organisé au musée du Louvre par le Service culturel les 24 et 25 novembre 1995. Paris: La Documentation française, 1999, 189–210.Google Scholar

Casanova, Michèle. “Lapis Lazuli,” in Aruz, Joan, Benzel, Kim, and Evans, Jean M., eds., Beyond Babylon: Art, Trade, and Diplomacy in the Second Millennium b.c. New York: Metropolitan Museum of Art, 2008, 68.Google Scholar

Casson, Ronald. “Color Shift: Evolution of English Color Terms from Brightness to Hue,” in Hardin, C. L. and Maffi, Luisa, eds., Color Categories in Thought and Language. New York: Cambridge University Press, 1997, 224–239.Google Scholar

Cast, David. The Calumny of Apelles: A Study in the Humanist Tradition. New Haven: Yale Publications in the History of Art, 28, 1981.Google Scholar

Castillo, J. S. “Išdī māti, the Foundations of the Earth?” Journal of the American Oriental Society 121.1 (2001): 91–92.Google Scholar

Caston, Victor, “Perception in Ancient Greek Philosophy,” in Matthen, Mohan, ed., The Oxford Handbook of Philosophy of Perception. Oxford: Oxford University Press, 2015, 29–50.Google Scholar

Caubet, Annie, ed. Cornaline et pierres précieuses: La Méditerranée, de l’Antiquité àl’Islam: actes du colloque organisé au musée du Louvre par le Service culturel les 24 et 25 novembre 1995. Paris: La Documentation française, 1999.Google Scholar

Cavassa, Laetitia. “La Production du bleu égyptien durant l’époque hellenistique et l’empire romain (III s. av. J.-C.-I s. apr. J.-C.),” in Jockey, Philippe, ed., Les arts de la couleur en Gréce ancienne…et ailleurs, BCH, Suppl. 56 (2018): 13–34.Google Scholar

Cerchiai, Luca, Jannelli, Lorena, and Longo, Fausto. The Greek Cities of Magna Graecia and Sicily. Los Angeles: J. Paul Getty Museum, 2004.Google Scholar

Cixous, Hélène. “The Laugh of the Medusa,” trans., Cohen, Keith and Cohen, Paula Signs 1.4 (1976): 875–893.Google Scholar

Chamoux, François. “L’Aurige de Delphes.” Réimp. conformé à l’édition de 1955 dans la collection “Fouilles de Delphes”, TIV, fasc. 5. Paris: E. de Boccard, 1989.Google Scholar

Chankowski, Veronique “Un Marché de la couleur? Quelques considerations sur les enjeux économiques de la polychromie,” in Jockey, Philippe, ed., Les Arts de la couleur en Grèce ancienne … et ailleurs. Athens: École Française d’Athènes, 2018, 81–94.Google Scholar

Chantraine, P., Taillardat, J., Masson, O. and Perpillou, Jean-Louis Dictionnaire Étymologique de la Langue Grecque: Histoire des Mots. Paris: Klincksieck, 2009 [1968].Google Scholar

Chatzidakis, Andreas, Hakim, Jamie, Littler, Jo, Rottenberg, Catherine, and Segal, Lynne. “From Carewashing to Radical Care: The Discursive Explosions of Care during COVID-19.” Feminist Media Studies 20.6 (2020): 889–895.Google Scholar

Chen, Mel Y. Animacies: Biopolitics, Racial Mattering, and Queer Affect. Durham, NC: Duke University Press, 2012.Google Scholar

Chevreul, Eugène, and Chevreul, Henri. De la loi du contraste simultané des couleurs: et de l’assortiment des objets colorés. Paris: BnF-P, 2016.Google Scholar

Cleland, Liza. The Brauron Clothing Catalogues: Text, Analysis, Glossary and Translation. Oxford: British Archaeological Reports, 2005.Google Scholar

Cleland, Liza. “The Semiosis of Description: Some Reflections on Fabric and Colour in the Brauron Inventories,” in Cleland, Liza, Harlow, Mary, and Llewellyn-Jones, Lloyd, eds., The Clothed Body in the Ancient World. Oxford: Oxbow Books, 2005, 87–95.Google Scholar

Cleland, Liza, and Stears, Karen, eds. with Davies, Glenys. Colour in the Ancient Mediterranean World. Oxford: Hedges, 2004.Google Scholar

Clements, Jacquelyn. “The Terrain of Autochthony: Shaping the Athenian Landscape in the Late Fifth Century b.c.e.” in Kennedy, R. F and Jones-Lewis, M., eds., The Routledge Handbook of Identity and the Environment in the Classical and Medieval Worlds. New York: Routledge, 2016, 315–340.Google Scholar

Coates, P. “Kieślowski and the Antipolitics of Color: A Reading of the ‘Three Colors’ Trilogy.” Cinema Journal 41.2 (2002): 41–66.Google Scholar

Cockerell, C. R. “On the Aegina Marbles.” Journal of Science and the Arts (1819): 340–341.Google Scholar

Cohen, Ada. The Alexander Mosaic: Stories of Victory and Defeat. Cambridge: Cambridge University Press, 1997.Google Scholar

Cohen, Beth. The Colors of Clay. Los Angeles: Getty Publications, 2006.Google Scholar

Alessandri, Colacicchi, Olimpia, Marco Ferreti, and Formigli, Edilberto, “Locchio pesto del pugile: Indagini archeometriche sulla statua in bronzo del Museo Nazionale Romano” in Formigli, Edilberto ed. Colore e luce nella stuarua antica in bronzo (Rome: L’erma di Bretschneider, 2013), 25–31.Google Scholar

Collignon, Maxime. “La Polychromie dans la Sculpture Grecque.” Revue des Deux Mondes 127.4 (1895): 823–848.Google Scholar

Connelly, Joan Breton. The Parthenon Enigma. New York: Alfred A. Knopf, 2014.Google Scholar

Connelly, Joan Breton. Portrait of a Priestess: Women and Ritual in Ancient Greece. Princeton: Princeton University Press, 2007.Google Scholar

Connor, Carolyn L. Saints and Spectacle: Byzantine Mosaics in Their Cultural Setting. New York: Oxford University Press, 2016.Google Scholar

Cookson, C. “Review of through the Language Glass by Guy Deutscher.” Financial Times (June 21, 2010).Google Scholar

Corbett, Greville G. Gender. Cambridge: Cambridge University Press, 1991.Google Scholar

Crawford, Harriet. Ur: The City of the Moon God. London: Bloomsbury Academic, 2015.Google Scholar

Crowley, Patrick R. “Crystalline Aesthetics and the Classical Concept of the Medium.” West 86th 23.2 (2016), 220–251.Google Scholar

Crowley, Patrick R. The Phantom Image: Seeing the Dead in Ancient Rome. Chicago: University of Chicago Press, 2019.Google Scholar

Curtis, John. “The Site of Babylon Today,” in Finkel, Irving, Seymour, M. J., and Curtis, John, eds., Babylon: Myth and Reality. London: British Museum Press, 2008: 213–220.Google Scholar

Daehner, Jens, and Lapatin, Kenneth D. S.. Power and Pathos: Bronze Sculpture of the Hellenistic World. Los Angeles: J. Paul Getty Museum, 2015.Google Scholar

d’Agostino, Bruno, and Palmieri, Maria Grazia “Potters, Hippeis and Gods at Penteskouphia (Corinth), Seventh to Sixth Centuries bc,” in Bintliff, J. L., and Rutter, N. K, eds., The Archaeology of Greece and Rome: Studies in Honour of Anthony Snodgrass. Edinburgh: Edinburgh University Press, 2016, 155–182.Google Scholar

Darby, Elizabeth S. “John Gibson, Queen Victoria, and the Idea of Sculptural Polychromy.” Art History 4, no. 1 (1981): 37–53.Google Scholar

Dalley, Stephanie. Myths from Mesopotamia: Creation, the Flood, Gilgamesh and Others. Oxford, Oxford University Press, 1991.Google Scholar

Danto, Arthur. What Art Is. New Haven: Yale University Press, 2013.Google Scholar

Davidovits, F. “Notes on the Nature of Creta Anularia and Vitruvius’ Recipe for Egyptian Blue,” in Cleland, Liza and Stears, Karen, eds. with Davies, Glenys, Colour in the Ancient Mediterranean World. Oxford: British Archaeological Reports, 2004, 16–21.Google Scholar

Davidson, James N. The Greeks and Greek Love: A Bold New Exploration of the Ancient World. New York: Random House, 2007.Google Scholar

Davis, Angela. Women, Race and Class. New York: Random House, 1981.Google Scholar

Davis, W. M. Replications: Archaeology, Art History, Psychoanalysis. University Park: Pennsylvania State University Press, 1996.Google Scholar

Davis, W. M. “Winckelmann’s ‘Homosexual’ Teleologies,” in Kampen, Natalie B., ed., Sexuality in Ancient Art. Cambridge: Cambridge University Press, 1996, 262–276.Google Scholar

Davis, W. M. “Visuality and Pictoriality.” RES: Anthropology and Aesthetics 46 (2004): 9–31.Google Scholar

Davis, W. M. A General Theory of Visual Culture. Princeton: Princeton University Press, 2010.Google Scholar

Daux, Georges, Hansen, Erik, and Hellmann, Marie-Christine. Le Trésor de Siphnos. Paris: Diffusion, De Boccard, 1987.Google Scholar

Deacy, Susan, and Villing, Alexandra. “Athena Blues? Colour and Divinity in Ancient Greece,” in Cleland, Liza and Stears, Karen, eds., with Davies, Glenys. Colour in the Ancient Mediterranean World. Oxford: Hedges, 2004, 85–90.Google Scholar

Decker, Julie. Enid Yandell: Kentucky’s Pioneer Sculptor. Louisville: University of Kentucky Press, 2019.Google Scholar

De Giorgi, Andrea U., and Eger, A. Asa. Antioch: A History. Abingdon: Routledge, 2021.Google Scholar

Deleuze, Gilles, and Guattari, Félix. A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis: University of Minnesota Press, 1987.Google Scholar

Derbew, Sarah. “An Investigation of Black Figures in Classical Greek Art,” Getty Iris, April 25, 2018.Google Scholar

Derrida, Jacques, Eisenman, Peter, Kipnis, Jeffrey, and Leeser, Thomas. Chora L Works: Jacques Derrida and Peter Eisenman. New York: Monacelli Press, 1997.Google Scholar

Department of Greek and Roman Art 2002. “Roman Copies of Greek Statues,” in Heilbrunn Timeline of Art History. New York: Metropolitan Museum of Art, 2000–.Google Scholar

Descamps-Lequime, Sophie. “Les Révélations de Vergina: fouilles en Grèce du nord.” Revue Des Deux Mondes (2004): 112–122.Google Scholar

Descamps-Lequime, Sophie. “La Polychromie des bronzes grecs et romans,” in Rouveret, Agnès, Dubel, Sandrine, and Naas, Valérie, eds., Couleurs et matières dans l’antiquité: texts, techniques et pratiques. Paris: Éditions Rue d’Ulm/Presses de l’École normale supérieure, 2006, 79–92.Google Scholar

Descamps-Lequime, Sophie. ed. Peinture et couleur dans le monde grec antique. Paris: Éditions Louvre, 2009.Google Scholar

Descamps-Lequime, Sophie. “La Couleur des bronzes antiques: recherches récentes.” Technè 48 (2019): 72–82.Google Scholar

Detienne, Marcel. “The Mouth of Truth,” in Loraux, N., Nagy, G., and Slatkin, L., eds., with translations by Goldhammer, A. and Pache, C., Antiquities: Postwar French Thought, vol. III. New York: New Press, 2000, 205–224.Google Scholar

Detienne, Marcel, and Lloyd, Janet. “This Is Where I Intend to Build a Glorious Temple.” Arion: A Journal of Humanities and the Classics 4.3 (1997): 1–27Google Scholar

Detienne, Marcel, and Vernant, Jean-Pierre. Cunning Intelligence in Greek Culture and Society. Hassocks: Harvester Press, 1978.Google Scholar

Deutscher, Guy. Through the Language Glass: Why the World Looks Different in Other Languages. New York: Random House, 2010.Google Scholar

de Vals, et al., “The Stones of the Sanctuary of Delphi: Northern Shore of the Gulf of Corinth.” Bulletin de la Société Géologique de France 191.1 (2020).Google Scholar

Devere, J. B. Impossible Purities: Blackness, Femininity, and Victorian Culture. Durham, NC: Duke University Press, 1998.Google Scholar

Diels, Hermann, and Kranz, Walther. Die Fragmente der Vorsokratiker, vol. 2, 6th ed. Berlin: Weidmann, 1952 (repr. 1966).Google Scholar

Dinsmoor, William Bell. “The Repair of the Athena Parthenos: A Story of Five Dowels.” American Journal of Archaeology 38.1 (1934): 93–106.Google Scholar

Dodson-Robinson, Eric. “Helen’s ‘Judgment of Paris’ and Greek Marriage Ritual in Sappho 16.” Aresthusa 43.1 (2010): 1–20.Google Scholar

Doherty, J. Keith. “The Judgment of Paris in Roman Painting.” Art Bulletin 94.4 (2012): 528–547.Google Scholar

Donnat, Sylvie. “Lumière, couleurs et peaux dans l’Égypte ancienne,” in Carastro, Marcello, ed., L’Antiquité en couleurs: catégories, pratiques, représentations, Grenoble: J. Millon, 2009, 189–206.Google Scholar

Downey, Glanville. “Libanius’ Oration in Praise of Antioch (Oration XI).” Proceedings of the American Philosophical Society 103.5 (1959): 652–686.Google Scholar

Dreyfus, Renée. “Rediscovering Color: Polychrome Art from Ancient Egypt and the Near East,” in Gods in Color: Polychromy in the Ancient World. San Francisco: Delmonico-Prestel, 2017, 53–68.Google Scholar

Drost, W. “Colour, Sculpture, Mimesis,” in Blühm, A., ed., The Colour of Sculpture: 1840–1910. Amsterdam: Van Gogh Museum. 1997, 61–72.Google Scholar

Dubel, Sandrine. “Quand la matière est couleur: du bouclier d’Achille aux ‘tableux de Bronze’ de Taxila,” in Rouveret, A., Dubel, S. and Naas, V., eds., Couleurs et matières dans l’antiquité: texts, techniques et pratiques. Paris: Éditions Rue d’Ulm/Presses de l’École Normale Supérieure, 2006, 161–184.Google Scholar

Dubois, Arnaud, Eczet, Jean-Baptiste, Grand-Clément, Adeline, and Ribeyrol, Charlotte. Arcs-en-ciel et couleurs: regards comparatifs. Paris: CNRS Éditions, 2018.Google Scholar

Duigan, Michael. “Pretending to Be What They Are Not: Colour and the Deceptive Gift,” in Cleland, Liza and Stears, Karen eds., with Davies, Glenys, Colour in the Ancient Mediterranean World. Oxford: Hedges, 2004, 78–84.Google Scholar

Dunbabin, Katherine. Mosaics of the Greek and Roman World. Cambridge: Cambridge University Press, 1999.Google Scholar

Eaverly, Mary Ann. “Colours of Power: Brown Men and Brown Women in the Art of Akhenaten,” in Cleland, Liza and Stears, Karen, eds., with Davies, Glenys, Colour in the Ancient Mediterranean World. Oxford: British Archaeological Reports, 2004, 53–55.Google Scholar

Eaverly, Mary Ann. Tan Men/Pale Women: Color and Gender in Archaic Greece and Egypt, a Comparative Approach. Ann Arbor: Michigan University Press, 2013.Google Scholar

Eco, Umberto. An Infinity of Lists. New York: Rizzoli, 2009.Google Scholar

Fedden, Sebastian, and Corbett, Greville. “New Approaches to the Typology of Gender,” in Fedden, Sebastian, Audring, Jenny, and Greville G. Corbett, , eds., Non-Canonical Gender Systems. Oxford: Oxford University Press, 2018, 9–35.Google Scholar

Elsner, Jaś. ed. Art and Text in Roman Culture. Cambridge: Cambridge University Press, 1996.Google Scholar

Elsner, Jaś. “Classicism in Roman Art,” in Porter, James I., ed., Classical Pasts: The Classical Traditions of Greece and Rome. Princeton: Princeton University Press, 2006, 270–297.Google Scholar

Elsner, Jaś. Roman Eyes. Princeton: Princeton University Press, 2007.Google Scholar

Farmanfarmaian, F. S. “Haft Qalam Ārāyish”: Cosmetics in the Iranian World.” Iranian Studies 33 (2000): 285–326.Google Scholar

Faroane, Christopher A. Ancient Greek Love Magic. Cambridge, MA: Harvard University Press, 1999.CrossRef Google Scholar

Faroult, G., Fumaroli, M., Leribault, C., and Scherf, G., eds. L’Antiquité rêvée: innovations et résistances au XVIIIe siècle. Paris: Louvre Publications, 2010.Google Scholar

Feldman, M. Diplomacy by Design: Luxury Arts and an “International Style” in the Ancient Near East, 1400–1200 bce. Chicago: University of Chicago Press, 2006.Google Scholar

Feldman, M. Communities of Style, Communities of Style. Chicago: University of Chicago Press, 2014.Google Scholar

Feldman, M. “Beyond Iconography: Meaning-Making in Late Bronze Age Eastern Mediterranean Visual and Material Culture,” in Bernard Knapp, A. and van Dommelen, Peter, eds., The Cambridge Prehistory of the Bronze and Iron Age Mediterranean. Cambridge: Cambridge University Press, 2015, 337–351.Google Scholar

Feldman, M. Felsen, Matt and Peters, Erin, “Color the Temple: Using Projected Light to Restore Color” (December 24, 2015): www.metmuseum.org/blogs/digital-underground/2015/color-the-temple.Google Scholar

Ferrari, Gloria. Figures of Speech: Men and Maidens in Ancient Greece. Chicago: University of Chicago Press, 2002.Google Scholar

Ferruzza, Maria Lucia. “Cat. 60: Head of Hades,” in Ancient Terracottas from South Italy and Sicily in the J. Paul Getty Museum. Los Angeles: Getty Publications, 2016.Google Scholar

Fillieres, Dominique, Harbottle, Garman, and Sayre, Edward V.. “Neutron-Activation Study of Figurines, Pottery, and Workshop Materials from the Athenian Agora, Greece.” Journal of Field Archaeology 10.1 (1983): 55–69.Google Scholar

Filippakis, S. E., Perdikatsis, B., and Assimenos, K.. “X-Ray Analysis of Pigments from Vergina, Greece (Second Tomb).” Studies in Conservation 24.2 (1979): 54–58.Google Scholar

Finglass, P. J. “Gazing at Helen with Stesichorus,” in Kampakoglou, Alexandros and Novokhatko, Anna, eds., Gaze, Vision, and Visuality in Ancient Greek Literature. Berlin: Walter de Gruyter, 2018, 140–159.Google Scholar

Finlay, Victoria. Color: A Natural History of the Palette. New York: Random House, 2004.Google Scholar

Finn, David, and Houser, Caroline. Greek Monumental Bronze Sculpture. New York: Vendome Press, 1983.Google Scholar

Formigli, Edilberto. “Alterazioni superficiali dei bronzi di Riace,” in Due bronze da Riace: rinvenimento, testauro, analisi ed ipotesi di Interpretazione. Rome: Istituto poligrafico e zecca dello Stato, 1984, 130, 132.Google Scholar

Formigli, Edilberto. “Le techniche del colore nella statuaria antica in bronzo,” in Formigli, Edilberto ed. Colore e luce nella statuaria antica in bronzo: indagini archeometriche e sperimentali. Rome: L’Erma di Bretschneider, 2013, 1–31.Google Scholar

Foster, B. “Gilgamesh, Sex, Love and the Ascent of Knowledge,” in Marks, John H. and McClive Good, Robert, eds., Love and Death in the Ancient Near East: Essays in Honor of Marvin H. Pope. Guilford, CT: Four Quarters Pub. Co., 1987, 21–42.Google Scholar

Fountoulakis, A. “The Colors of Desire and Death: Color Terms in Bion’s Epitaph on Adonis,” in Cleland, Liza and Stears, Karen, eds., with Davies, Glenys, Colour in the Ancient Mediterranean World. Oxford: British Archaeological Reports, 2004, 110–116.Google Scholar

Franks, Hallie, The World Underfoot: Mosaics and Metaphor in the Greek Symposium. New York: Oxford University Press, 2018.Google Scholar

Freud, Sigmund. “Fragment of an Analysis of a Case of Hysteria (1905 [1901]),” Strachey, James, ed. with Freud, Anna, assisted by Strachey, Alix, and Tyson, Alan. The Standard Edition of the Complete Psychological Works of Sigmund Freud, Volume VII (1901–1905): A Case of Hysteria, Three Essays on Sexuality and Other Works. London: Hogarth Press, 1953, 3–124.Google Scholar

Freud, Sigmund. Beyond the Pleasure Principle, trans. Strachey, J.. New York: Liveright Pub. Corp., 1961.Google Scholar

Frisch, Teresa Grace. Gothic Art 1140–C. 1450: Sources and Documents. Toronto: University of Toronto Press in association with the Medieval Academy of America, 1987.Google Scholar

Fritsche, Johannes. “Aristotle on Xώϱα in Plato’s ‘Timaeus’ (‘Physics’ IV:2, 209 B 6–17).” Archiv für Begriffsgeschichte 48 (2006): 27–44.Google Scholar

Frontisi-Ducroux, Françoise. Dédale: mythologie de l’artisan en Grèce ancienne. Paris: F. Maspero, 1975.Google Scholar

Frontisi-Ducroux, Françoise. “Living Statues,” in Nagy, Gregory, Slatkin, Laura M., and Loraux, Nicole, eds., Antiquities. New York: New Press, 2001, 164–175.Google Scholar

Frontisi-Ducroux, Françoise. “The Gorgon, Paradigm of Image-Creation,” in Garber, Marjorie B and Vickers, Nancy J, eds., The Medusa Reader. New York: Routledge, 2003, 262–267.Google Scholar

Frontisi-Ducroux, Françoise, and Vernant, Jean-Pierre. Dans L’œil du miroir. Paris: Editions Odile Jacob, 1997.Google Scholar

Gagarin, Michael, and Woodruff, Paul. Early Greek Political Thought from Homer to the Sophists. Cambridge: Cambridge University Press, 1995.Google Scholar

Gage, John. Color and Culture: Practice and Meaning from Antiquity to Abstraction. Boston: Little, Brown and Company, 1993.Google Scholar

Gage, John. Color and Meaning: Art, Science, and Symbolism. Berkeley: University of California Press, 1999.Google Scholar

Gage, John. Color in Art. New York: Thames & Hudson, 2006.Google Scholar

Gaifman, Milette. “Statue, Cult and Reproduction,” Art History 29:2 (2006): 258–279.Google Scholar

Gaiger, Jason. “Hegel’s Contested Legacy: Rethinking the Relation between Art History and Philosophy,” The Art Bulletin 93.2 (June 2011): 178–194.Google Scholar

Gainsford, Peter. “How to Make Sense of Ancient Greek Colours.” KiwiHellenist (May 2020): http://kiwihellenist.blogspot.com/2020/05/ancient-greek-colours.html.Google Scholar

Galanos, Amerimni, and Doganis., Yanna “The Remnants of the Epidermis on the Parthenon.” Studies in Conservation 48.1 (2003): 3–13.Google Scholar

Gamwell, Lynn, and Wells, Richard. Sigmund Freud and Art: His Personal Collection of Antiquities. Binghamton: State University of New York, 1989.Google Scholar

Ganetsos, T., Regkli, A., Laskaris, N., and Liritzis, I., “Spectroscopic Study of Colour Traces in Marble Sculptures and Architectural Parts of Monuments of Archaic Period in Delphi, Greece.” Mediterranean Archaeology and Archaeometry 19.3 (2019): 51–61.Google Scholar

Garani, Myrto, “Lucretius and Ovid on Empedoclean Cows and Sheep,” in Lehoux, Daryn, Morrison, A. D., and Sharrock, Alison, eds., Lucretius: Poetry, Philosophy, Science. Oxford: Oxford University Press, 2013, 1–34.Google Scholar

Garber, M., and Vickers, N. J.. The Medusa Reader. New York and London: Routledge, 2003.Google Scholar

Gazda, Elaine. The Ancient Art of Emulation: Studies in Artistic Originality and Tradition from the Present to Classical Antiquity. Ann Arbor: University of Michigan Press, 2002.Google Scholar

Gell, Alfred. Art and Agency: An Anthropological Theory. Oxford: Oxford University Press, 1998.Google Scholar

Gell, Alfred. “Technology and Magic,” Anthropology Today 4.2 (1988): 6–9.Google Scholar

Gell, William. Pompeiana: The Topogaphy, Edifices and Ornaments of Pompeii, the Result of Excavations Since 1819. London: L. A. Lewis, 1835.Google Scholar

George, A. R. “Observations on a Passage of ‘Inanna’s Descent,’” Journal of Cuneiform Studies 37.1 (1985): 109–112.Google Scholar

Gialourēs, Nikolaos. Olympia: Altis and Museum, 7th ed. Athens: Art Editions Meletzis & Papadakis, 1985.Google Scholar

Gibson, James Jerome. The Ecological Approach to Visual Perception. Boston: Houghton Mifflin, 1979.Google Scholar

Gilhuly, Kate, and Worman, Nancy. Space, Place, and Landscape in Ancient Greek Literature and Culture. Cambridge: Cambridge University Press, 2014.Google Scholar

Gissen, David. “Wake New History,” Log 46 (2019): 65–72.Google Scholar

Gladstone, W. E. “The Colour-Sense.” Nineteenth Century 2 (1877): 366–388.Google Scholar

Gladstone, W. E. Studies in Homer and the Homeric Age, vol. 2. Oxford: Oxford University Press, 1858.Google Scholar

Glastrup, J. “A Note on the Analysis of the Binding Medium from a Phoenician Shipwreck.” Studies in Conservation 40.1 (1995) 65–68.Google Scholar

Gombrich, Ernst. H. The Sense of Order: A Study in the Psychology of Decorative Art. London: Phaidon, 1994.Google Scholar

Goldman, Rachael. Color-Terms in Social and Cultural Context in Ancient Rome. Piscataway, NJ: Gorgias Press, 2013.Google Scholar

Gonzalez, Ella, and Coburn, Cynthia. “How to Teach Ancient Art in the Age of #Metoo” Hyperallergic (September 5, 2018) https://hyperallergic.com/456269/how-to-teach-ancient-art-in-the-age-of-metoo/.Google Scholar

Gottschalk, H. B. “The de Coloribus and Its Author.” Hermes 92, no. 1 (1964): 59–85.Google Scholar

Grand-Clément, Adeline. La Fabrique des couleurs: histoire du paysage sensible des Grecs anciens: Viiie–Début du Ve S. Av. N. È. Paris: De Boccard, 2011.Google Scholar

Grand-Clément, Adeline. “Poikilia” in Destrée, Pierre, ed., A Companion to Ancient Aesthetics. Hoboken, NJ: Wiley-Blackwell, 2015, 406–421.Google Scholar

Grand-Clément, Adeline. “L’Épiderme des statues grecques: quand le marbre se fait clair.” Images Re-vues 13 (2016): http://journals.openedition.org/imagesrevues/3932.Google Scholar

Gray, D. H. F. “Metal-Working in Homer.” The Journal of Hellenic Studies 74 (1954): 1–15.Google Scholar

Gray, Sally Hatch. “Kant’s Race Theory, Forster’s Counter, and the Metaphysics of Color.” The Eighteenth Century 53.4 (2012): 393–412.Google Scholar

Green, Peter. “Possession and Pneuma: The Essential Nature of the Delphic Oracle.” Arion: A Journal of Humanities and the Classics, Third Series 17.2 (2009): 27–47.Google Scholar

Greene, Virginia. “Conservation of a Lyre from Ur: A Treatment Review.” Journal of the American Institute for Conservation 42.2 (2003) 261–278.Google Scholar

Greithlin, Jonas. “Sight and Reflectivity: Theorizing Vision in Greek Vase-Painting,” in Squire, Michael, ed., Sight and the Ancient Senses. Abingdon, Oxon: Routledge, 2016, 85–106.Google Scholar

Grewal, David S. Network Power: The Social Dynamics of Globalization. New Haven: Yale University Press, 2007.Google Scholar

Mark, Griffith, Most, Glenn W, Grene, David, and Lattimore, Richmond, eds., The Complete Greek Tragedies: Euripides. Euripides IV (The Complete Greek Tragedies), rev. 3rd ed. Chicago: University of Chicago Press, 2013.Google Scholar

Griffith, R. “God’s Blue Hair in Homer and in Eighteenth-Dynasty Egypt.” The Classical Quarterly 55.2 (2005): 329–334.Google Scholar

Grose, David F. “Glass Forming Methods in Classical Antiquity: Some Considerations.” Journal of Glass Studies 26 (1984): 25–34.Google Scholar

Grosz, Elizabeth “Women, Chora, Dwelling.” ANY: Architecture New York (January/February 1994): 22–27.Google Scholar

Gruber, Ethan. “The House of the Faun in a New Light.” https://vimeo.com/38875794.Google Scholar

Grumpert, Matthew. Grafting Helen: The Abduction of the Classical Past. Madison: University of Wisconsin Press, 2001.Google Scholar

Guimier-Sorbets, Anne-Marie, and Nenna, Marie-Dominique “L’Emploi du verre, de la faïence et de la peinture dans les mosaïques de Délos.” Bulletin de Correspondance Hellénique 116.2 (1992): 607–632.Google Scholar

Guralnick, Eleanor. “A Group of Near Eastern Bronzes from Olympia.” American Journal of Archaeology 108 (2004): 187–222.Google Scholar

Hale, John R., de Boer, Jelle Zeilinga, Chanton, Jeffrey P., and Spiller, Henry A.. “Questioning the Delphic Oracle.” Scientific American 289.2 (2003): 66–73.Google Scholar

Hales, S. J. “Re-Casting Antiquity: Pompeii and the Crystal Palace.” Arion 14.1 (2006): 99–134.Google Scholar

Hallett, Christopher. “Kopienkritik and the Works of Polykleitos,” in Moon, Warren, ed., Polykleitos: the Doryphoros and Tradition. Madison: University of Wisconsin Press, 1995, 121–160.Google Scholar

Hanink, Johanna. The Classical Debt: Greek Antiquity in an Era of Austerity. Cambridge, MA: Harvard University Press, 2017.Google Scholar

Hanink, Johanna. “The Twists and Turns of Translation.” Eidolon (February 4, 2019): https://eidolon.pub/the-twists-and-turns-of-translation-33f1272dffa8.Google Scholar

Hamilakis, Yannis. “Sensorial Assemblages: Affect, Memory and Temporality in Assemblage Thinking.” Cambridge Archaeological Journal 27.1 (2017): 169–182.Google Scholar

Hamill, Sarah. “Polychrome in the Sixties: David Smith and Anthony Caro at Bennington,” in J. Paul Getty Museum Online Publications, 2010.Google Scholar

Hamill, Sarah. David Smith in Two Dimensions: Photography and the Matter of Sculpture. Oakland, CA: University of California Press, 2015.Google Scholar

Hannah, P. “The Cosmetic Use of Red Ochre (Miltos),” in Cleland, Liza and Stears, Karen, eds., with Davies, Glenys. Colour in the Ancient Mediterranean World. Oxford: British Archaeological Report, 2004, 100–116.Google Scholar

Harloe, Katherine. “Winckelmania: Hellenomania between ideal and experience” in Hellenomania, Harloe, Katherine, Momiligano, N., and Farnoux, A. eds. London: Routledge, 2018, 40–55.Google Scholar

Harrison, Jane E. “Delphika (A) The Erinyes. (B) The Omphalos.” The Journal of Hellenic Studies 19 (1899): 205–251.Google Scholar

Hart, George L. Pharoahs and Pyramids: A Guide through Old Kingdom Egypt. London: Herbert, 1991.Google Scholar

Haskell, Frances, and Penny, Nicolas. Taste and the Antique: The Lure of Classical Sculpture 1500–1900. New Haven: Yale University Press, 1981.Google Scholar

Hatton, G. D. “Production of Egyptian Blue and Green Frits,” in Tite, M. S. and Shortland, Andrew J., eds., Production Technology of Faience and Related Early Vitreous Materials. Oxford: Oxford University School of Archaeology, 2008, 150–185.Google Scholar

Haworth, Marina “The Impenetrable Body: Armour and the Male Nude in Greek Art,” in Cifarelli, Megan, ed., Fashioned Selves: Dress and Identity in Antiquity. Oxford: Oxbow Books, 2019, 161–176.Google Scholar

Hedreen, Guy. The Image of the Artist in Archaic and Classical Greece: Art, Poetry, and Subjectivity. New York: Cambridge University Press, 2016.Google Scholar

Haven, Cynthia. “Stanford’s Painted Ladies: Cantor Exhibition Shows How the Ancient World Used Color – and How Science Reveals the Faded Past,” Stanford Report, March 17, 2011.Google Scholar

Hegel, Georg Wilhelm Friedrich, and Knox, T. M.. Hegel’s Aesthetics: Lectures on Fine Art, vol. 2. Oxford: Oxford University Press, 2015.Google Scholar

Heiden, Joachim. Die Tondächer von Olympia. Berlin: de Gruyter, 1995.Google Scholar

Hellmann, M.-C., and Fraisse, P.. Paris-Rome-Athens: Travels in Greece by French Architects in the Nineteenth and Twentieth Centuries. Houston: Museum of Fine Arts, 1982.Google Scholar

Hemingway, Colette, and Hemingway, Sean. “The Technique of Bronze Statuary in Ancient Greece,” in Heilbrunn Timeline for Art History. New York: The Metropolitan Museum of Art, 2000–2003.Google Scholar

Henke, Felix. Die Farbigkeit der antiken Skulptur Die griechischen und lateinischen Schriftquellen zur Polychromie. Wiesbaden: Reichert Verlag, 2020.Google Scholar

Hendrix, E. “Polychromy on the Amathus Sarcophagus, a ‘Rare Gem of Art.’” Metropolitan Museum Journal 36 (2001): 43–60.Google Scholar

Héran, E. “Art for the Sake of the Soul,” in Blühm, A., ed., The Colour of Sculpture: 1840–1910. Amsterdam: Van Gogh Museum, 1996, 93–102.Google Scholar

Herder, Johann. Skulptur. Riga: Johann Friedrich Hartknoch, 1778.Google Scholar

Hersey, G. L. Falling in Love with Statues: Artificial Humans from Pygmalion to the Present. Chicago: University of Chicago Press, 2006.Google Scholar

Herz, N. “Greek and Roman White Marbles: Geology and Determination of Provenance” in Palagia, Olga, ed., Greek Sculpture. Function, Materials and Techniques in the Archaic and Classical Periods. Cambridge: Cambridge University Press, 2008, 280–306.Google Scholar

Herzfeld, Ernst. Iran in the Ancient East. New York and London: Oxford University Press, 1941.Google Scholar

Higgs, P. “Late Classical Asia Minor: Dynasts and Their Tombs,” in Palagia, Olga ed., Greek Sculpture. Function, Materials and Techniques in the Archaic and Classical Periods. Cambridge: Cambridge University Press, 2008, 163–207.Google Scholar

Hills, Paul. Venetian Colour: Marble, Mosaic, Painting and Glass, 1250–1550. New Haven: Yale University Press, 1999.Google Scholar

Hinds, Aimee. “Hercules in White: Classical Reception and Myth” (June 23, 2020) www.thejugaadproject.pub/home/hercules-in-white-classical-reception-art-and-myth.Google Scholar

Hittorf, Jacques I. “On the Polychromy of Greek Architecture,” in Falkener, E., ed., The Museum of Classical Antiquities. London: John W. Parker and Sons, 1851, 20–34.Google Scholar

Hoenig, Christina. Plato’s Timaeus and the Latin Tradition. Cambridge: Cambridge University Press, 2018.Google Scholar

Holmes, Brooke, Gender: Antiquity and Its Legacy. London: I. B. Tauris, 2012.Google Scholar

Holmes, Brooke, The Symptom and the Subject: The Emergence of the Physical Body in Ancient Greece. Princeton: Princeton University Press, 2010.Google Scholar

Hölscher, Tonio. “Greek Styles and Art in Augustan Rome,” in Porter, James I., ed., Classical Pasts: The Classical Traditions of Greece and Rome. Princeton, NJ: Princeton University Press, 2006, 237–269.Google Scholar

Homer., The Iliad. New York: Viking. 1990.Google Scholar

Homer., The Odyssey, trans. Fagles., Robert New York: Viking, 1996.Google Scholar

Homer., The Iliad of Homer, trans. Lattimore, Richard, introduction Martin., Richard R Chicago: University of Chicago Press, 2011.Google Scholar

Homer., The Odyssey, trans. and introduction Wilson., Emily New York: Norton, 2017.Google Scholar

Homolle, Théophile. “Nouvelles et correspondance. Delphes – trésor des Siphniens.” BCH 18 (1894): 175–200.Google Scholar

Homolle, Théophile et al. “Institut de correspondance hellénique.” BCH 19 (1895): 532–539.Google Scholar

Honig, Bonnie. A Feminist Theory of Refusal. Cambridge, MA: Harvard University Press, 2021.Google Scholar

Horden, Peregrine, and Purcell, Nicholas. The Corrupting Sea: A Study of Mediterranean History. Oxford: Blackwell, 2000.Google Scholar

Huffmon, Herbert B. “The Oracular Process: Delphi and the Near East.” Vetus Testamentum 57.4 (2007): 449–460.Google Scholar

Hurwit, Jeffrey M. The Art and Culture of Early Greece, 1100–480 b.c. Ithaca, NY: Cornell University Press, 1985.Google Scholar

Hurwit, Jeffrey M. “The Kritios Boy: Discovery, Reconstruction, Date.” American Journal of Archaeology 93.1 (1989): 41–80.Google Scholar

Hurwit, Jeffrey M. “Beautiful Evil: Pandora and the Athena Parthenos.” American Journal of Archaeology 99.2 (1995): 171–186.Google Scholar

Hurwit, Jeffrey M. Athenian Acropolis: History, Mythology, and Archaeology from the Neolithic era to the Present. Cambridge: Cambridge University Press, 1999.Google Scholar

Ierodiakonou, Katerina. “Empedocles and The Ancient Painters,” in Cleland, Liza and Stears, Karen, eds., with Davies, Glenys, Colour in the Ancient Mediterranean World. British Archaeological Reports Series 1267, 2004, 91–95.Google Scholar

Ierodiakonou, Katerina. “Empedocles on Colour and Colour Vision.” Oxford Studies in Ancient Philosophy 29 (2005): 1–37.Google Scholar

Ierodiakonou, Katerina. “Plato’s Theory of Colours in the Timaeus.” Rhizai 2 (2005): 219–233.Google Scholar

Ierodiakonou, Katerina. “Theophrastus”, The Stanford Encyclopedia of Philosophy (Summer 2016 Edition), Zalta, Edward N, ed., https://plato.stanford.edu/archives/sum2016/entries/theophrastus/.Google Scholar

Ierodiakonou, Katerina. “Theophrastus on Plato’s Theory of Vision.” Rhizomata 7:2 (2019): 249–268.Google Scholar

Ierodiakonou, Katerina. “Philosophy and Science,” in Warburton, David, ed., A Cultural History of Color in Antiquity. London: Bloomsbury, 2021.Google Scholar

Irigaray, Luce. Speculum de l’autre femme. Paris: Les Éditions de Minuit, 1974.Google Scholar

Irigaray, Luce. Speculum of the Other Woman. Ithaca, NY: Cornell University Press, 1985.Google Scholar

Isager, J. Pliny on Art and Society: The Elder Pliny’s Chapters on the History of Art. London: Routledge, 1991.Google Scholar

Irwin, E. Color Terms in Greek Poetry. Toronto: A. M. Hakkert Limited, 1974.Google Scholar

Jacob, Raphaël, “Piecing, Attachments, Repairs,” in Palagia, Olga, ed., Handbook of Greek Sculpture. Berlin: De Gruyter, 2019, 657–689.Google Scholar

James, Liz. Light and Colour in Byzantine Art. Oxford: Clarendon Press, 1996.Google Scholar

Jay, Martin. Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought. Berkeley: University of California Press, 1993.Google Scholar

Jenkins, Ian. “‘Sir, They Are Scrubbing the Elgin Marbles!’ – Some Controversial Cleanings of the Parthenon sculptures.” Minerva 10.6 (1999): 43–45.Google Scholar

Jenkins, Ian. “Cleaning and Controversy: The Parthenon Sculptures 1811 –1939.” The British Museum Occasional Papers, No. 146, 2001.Google Scholar

Jenkins, Ian, Gratziu, C., and Middleton, Arthur. “The Polychromy of the Mausoleum,” in Jenkins, Ian and Waywell, Geoffrey B, eds., Sculptors and Sculpture of Caria and the Dodecanese. London: Published for the Trustees of the British Museum by British Museum Press, 1997, 35–40.Google Scholar

Jenkins, Ian, and Middleton, Arthur. “Paint on the Parthenon Sculptures.” The Annual of the British School of Archaeology at Athens 83 (1988): 183–207.Google Scholar

Jockey, Philippe ed. Les Arts de la couleur en Grèce ancienne… et ailleurs: approches interdisciplinaires: BCH supplement. Athens: École française d’Athènes, 2018.Google Scholar

Jones, Owen. An Apology for the Colouring of the Greek Court in the Crystal Palace. London: Crystal Palace Library and Bradbury & Evans, 1854.Google Scholar

Jones, Owen. The Greek Court Erected in the Crystal Palace. Marlborough: Adam Matthew Digital, 2016.Google Scholar

Judd, Deanne B. “Introduction,” Goethe Theory of Colors with notes and translation by Eastlake, Charles Lock, 1840. Cambridge, MA: MIT Press, 1970, v–xvi.Google Scholar

Kakoulli, Ioanna. Greek Painting Techniques and Materials: From the Fourth to the First Century bc. London: Archetype Publications, 2009.Google Scholar

Kalba, Laura. Color in the Age of Impressionism: Commerce, Technology, Art, University Park. University Park: Pennsylvania State University Press, 2017Google Scholar

Kaltsas, Nikos E. Sculpture in the National Archaeological Museum, Athens. Los Angeles: J. Paul Getty Museum, 2002.Google Scholar

Kamen, Deborah. Status in Classical Athens. Princeton: Princeton University Press, 2013.Google Scholar

Kamtekar, Rachana, “Knowledge by Likeness in Empedocles.” Phronesis 54.3 (2009): 215–238.Google Scholar

Kandinsky, Wassily, Friedel, Helmut, and Chichlo, Boris P. Concerning the Spiritual in Art. New York: Dover Publications, 1977.Google Scholar

Kandinsky, Wassily, Friedel, Helmut, and Chichlo, Boris P. Wassily Kandinsky: Gesammelte Schriften 1889–1916: Farbensprache, Kompositionslehre und Andere Unveröffentlichte Texte. Munich: Prestel, 2007.Google Scholar

Kant, Immanuel. Critique of Judgment, trans. Pluhar, Werner S. Indianapolis: Hackett Publishing, 1987.Google Scholar

Kant, Immanuel, and Wilson, Holly, and Zöller, Günter trans. “Determination of the Concept of a Human Race (1785)” in Louden, Robert B and Zöller, Günter, eds., and trans. The Cambridge Edition of the Works of Immanuel Kant. Cambridge: Cambridge University Press, 2013, 143–159.Google Scholar

Kant, Immanuel, and Wilson, Holly, and Zöller, Günter Determination of the Concept of a Human Race (Bestimmung des Begriffs einer Menschenrace) Berlinische Monatsschrift no. 11 (November 1775), in B. Louden, Robert and Zöller, Günter, eds., and trans. The Cambridge Edition of the Works of Immanuel Kant. Cambridge: Cambridge University Press, 2013, 390–417.Google Scholar

Karakasi, Elena. Archaic Korai. Los Angeles: J. Paul Getty Museum, 2004.Google Scholar

Karaglou, Kiki. “Dangerous Beauty: Medusa in Classical Art” The Metropolitan Museum of Art Bulletin 75.3 (Winter, 2018).Google Scholar

Karydas, A. G., Brecoulaki, Hariclia, Bourgeois, Brigitte, and Jockey, Philippe, “In-situ X-ray Fluorescence Analysis of Raw Pigments and Traces of Polychromy on Hellenistic Sculpture at the Archaeological Museum of Delos.” Bulletin de Correspondance Hellénique 51 (2009): 811–829.Google Scholar

Katsaros, Thomas. “Pigments – Composition and Origin,” in Pandermalis, Demetrios, ed., Archaic Colors. Athens: Acropolis Museum, 2012. 22–23, www.worldcat.org/title/archaic-colors/oclc/814408353.Google Scholar

Keesling, Catharine M. “Greek Statue Terms Revisited: What Does νδριάς mean?” Greek, Roman, and Byzantine Studies 57 (2017): 837–861.Google Scholar

Kekulé, Reinhard, Griechische Thonfiguren aus Tanagra. Stuttgart: W. Spemann, 1878.Google Scholar

Kemp, Martin. Leonardo. Oxford: Oxford University Press, 2005.Google Scholar

Kennedy, Clarence. The Treasury of the Siphnians at Delphi: Photographs. Northampton, MA: Smith College, 1929.Google Scholar

Kennedy, Rebecca Futo. Immigrant Women in Athens: Gender, Ethnicity, and Citizenship in the Classical City. New York: Routledge, 2014.Google Scholar

Kennedy, Rebecca F., Sydnor Roy, C., and Goldman, Max L., Race and Ethnicity in the Classical World: An Anthology of Primary Sources in Translation. Indianapolis: Hackett, 2013.Google Scholar

Keuls, Eva C. Plato and Greek Painting. Leiden: Brill, 1978.Google Scholar

Keyser, Paul T., and Scarborough, John. The Oxford Handbook of Science and Medicine in the Classical World. New York: Oxford University Press, 2018.Google Scholar

Kiilerich, Bente. “Towards a ‘Polychrome History’ of Greek and Roman History.” Journal of Art Historiography 15 (2016): 1–18.Google Scholar

Kindt, J. “Delphic Oracle Stories and the Beginning of Historiography: Herodotus’ Croesus Logos.” Classical Philology 101.1 (2006): 34–51.Google Scholar

King, Helen. “Bound to Bleed: Artemis and Greek Women,” in McClure, Laura, ed., Sexuality and Gender in the Classical World: Readings and Sources. Oxford: Blackwell, 2002, 77–101.Google Scholar

Kingsley, P. Ancient Philosophy, Mystery, and Magic: Empedocles and Pythagorean Tradition. Oxford: Oxford University Press, 1995.Google Scholar

Kirk, Athena. Ancient Greek Lists. Cambridge: Cambridge University Press, 2021.Google Scholar

Kirk, G. S., Raven, J. E, and Schofield, Malcolm. The Presocratic Philosophers: A Critical History with a Selection of Texts, 2nd ed. Cambridge: Cambridge University Press, 1983.Google Scholar

Klein, Alex. “Twisted Ribbon: Design and Geometry.” The Antioch Recovery Project: http://antiochrecoveryproject.org/twisted-ribbon-design-and-geometry/.Google Scholar

Kondoleon, Christine. “Mosaics of Antioch,” in Kondoleon, Christine, ed., Antioch: The Lost City. Princeton: Princeton University Press, 2000, 63–77.Google Scholar

Kousser, Rachel. The Afterlives of Greek Sculpture. New York: Cambridge University Press, 2017.Google Scholar

Kramer, S. N. “‘Inanna’s Descent to the Nether World’ Continued and Revised. Second Part: Revised Edition of ‘Inanna’s Descent to the Nether World.’” Journal of Cuneiform Studies 5.1 (1951): 1–17.Google Scholar

Kramer, S. N. Enmerkar and the Lord of Aratta: A Sumerian Epic Tale of Iraq and Iran. Philadelphia: University Museum, University of Pennsylvania, 1952.Google Scholar

Krauss, Rosalind. “Changing the Work of David Smith.” Art in America 62.5 (1974): 30–34.Google Scholar

Kraut, Richard. The Cambridge Companion to Plato. Cambridge: Cambridge University Press, 1992.Google Scholar

Kristeva, Julia. La Révolution du langage poétique: l’avant-garde à la fin du Xixe siècle, Lautréamont et Mallarmé. Paris: Éditions du Seuil, 1974.Google Scholar

Kristeva, Julia. The Severed Head. New York: Columbia University Press, 2012.Google Scholar

Kugler, Franz. Über die polychromie der griechischen architektur und sculptur und ihre Grenzen. Berlin: G. Gropius, 1835.Google Scholar

Khullar, Sonal. Worldly Affiliations: Artistic Practice, National Identity, and Modernism in India, 1930–1990. Oakland, CA: University of California Press, 2015.Google Scholar

Kuehn, Manfred. Kant: A Biography. Cambridge: Cambridge University Press, 2001.Google Scholar

Kunze, Emil. Neue Meisterwerke Griechischer Kunst aus Olympia. Munich: Filser-Verlag, 1948.Google Scholar

Kurke, Leslie. “Inventing the Hetaira.” Classical Antiquity 16.1 (1997): 106–150.Google Scholar

Kurke, Leslie. Coins, Bodies, Games and Gold: The Politics of Meaning in Archaic Greece. Princeton: Princeton University Press, 1999.Google Scholar

Kurke, Leslie. “Archaic Lyric Poetry,” in The Cambridge Companion to Archaic Greece, Shapiro, H. A., ed., Cambridge: Cambridge University Press, 2007, 158–168.Google Scholar

Kuspit, Donald. “A Mighty Metaphor: The Analogy of Archaeology and Psychoanalysis,” in Gamwell, Lynn and Wells, Richard, eds., Sigmund Freud and Art: His Personal Collection of Antiquities. Binghamton: State University of New York, 1989, 133–152.Google Scholar

Lacan, Jacques “Le Stade du Mirroir comme formateur de la function de Je, tell qu’elle nous est rélevée dans l’expérience psychoanalytique” Écrits. Paris: Seuil, 1966 [1949], 93–101.Google Scholar

Lahusen, G., and Formigli, E.. Römische Bildnisse aus Bronze: Kunst und Technik. Munich: Hirmer Verlag, 2001.Google Scholar

Laks, André and Most, Glenn, eds. Early Greek Philosophy V: Western Greek Thinkers, Part 2. Cambridge: Harvard University Press, 2016.Google Scholar

Lambert, Stephen, and Osborne, Robin trans., Attic Inscriptions Online: https://atticinscriptions.com.Google Scholar

Land, Norman E. “Blood as Paint: Rubens, Guido Reni, and Parrhasius.” Notes in the History of Art 31.2 (2012): 22–23.Google Scholar

La Niece, S., Shearman, F., Taylor, J., and Simpson, A.. “Polychromy and Egyptian Bronze: New Evidence for Artificial Coloration.” Studies in Conservation, 47.2 (2002): 95–108.Google Scholar

Landa, Edward R., and Fairchild, Mark D.. “Charting Color from the Eye of the Beholder: A Century Ago, Artist Albert Henry Munsell Quantified Colors Based on How They Appear to People; Specializations of His System Are Still in Wide Scientific Use.” American Scientist 93.5 (2005): 436–443.Google Scholar

Landwehr, C. Die antiken Gipsabgüsse aus Baiae. Berlin: Gebr. Mann, 1985.Google Scholar

Laneyrie-Dagen, N., Apeloig, P., and Lessing, E., eds. Détails vus au Louvre. Paris: Editions de la Martinière, 2009.Google Scholar

Lapatin, Kenneth. “Pheidias Elephantourgos.” American Journal of Archaeology 101.4 (1997): 663–682.Google Scholar

Lapatin, Kenneth. Chryselephantine Statuary in the Ancient Mediterranean World. Oxford: Oxford University Press, 2001.Google Scholar

Lapatin, Kenneth. “The Statue of Athena and Other Treasures,” in Neils, Jennifer, ed., The Parthenon: from Antiquity to the Present. Cambridge: Cambridge University Press, 2005, 261–292.Google Scholar

Lapatin, Kenneth. “Representing Zeus,” in McWilliam, Janette, ed., Statue of Zeus at Olympia: New Approaches. Newcastle upon Tyne: Cambridge Scholars Publishing, 2011, 79–108.Google Scholar

Lapatin, Kenneth. Luxus: The Sumptuous Arts of Greece and Rome. Los Angeles: J. Paul Getty Museum, 2015.Google Scholar

Lapatin, Kenneth D. S., and Allen, Ruth. Buried by Vesuvius: The Villa Dei Papiri at Herculaneum. Los Angeles: J. Paul Getty Museum, 2019.Google Scholar

Lather, Amy. Materiality and Aesthetics in Archaic and Classical Greek Poetry. Edinburgh: University Press, 2021.Google Scholar

Lattimore, Richard, and Martin, Richard R., The Iliad of Homer. Chicago: University of Chicago Press, 2011.Google Scholar

Laugier, Marc-Antione. Essai sur l’architecture, nouv. éd., revue, corrigée et augmentée. Paris: Duchesne, 1755.Google Scholar

Laugier, Marc-Antione. An Essay on the Study and Practice of Architecture. London: printed for Stanley Crowder and Henry Woodgate, at the Golden-Ball in Pater-Noster-Row, 1756.Google Scholar

Lavin, Sylvia. Quatremère de Quincy and the Invention of a Modern Language of Architecture. Cambridge, MA: MIT Press, 1992.Google Scholar

Leatherbury, Sean. “Framing Late Antique Inscriptions as Texts and Images,” in Platt, Verity and Squire, Michael, eds., The Frame in Classical Art: A Cultural History. Cambridge: Cambridge University Press, 2017, 544–581.Google Scholar

Lecznar, Adam. “Shut Your Eyes and See: Digesting the Past with Nietsche and Joyce,” in Deep Classics: Rethinking Classical Reception. London: Bloomsbury, 2016, 127–144.Google Scholar

Liebermann, Rosanne. “Feeling Blue: Israel, Assyria, and the History of a Color,” Color and Identity in the Ancient World, Society of Design Arts, Baltimore, MD (June 0, 2020): www.sodabaltimore.com/past-programs/color-amp-identity-in-the-ancient-world.Google Scholar

Liebermann, Rosanne. Exile, Incorporated: The Body in the Book of Ezekiel. Forthcoming.Google Scholar

Leipen, Neda. Athena Parthenos: A Reconstruction. Toronto: Royal Ontario Museum, 1971.Google Scholar

Lending, Mari. “Origins in Translation” Drawing Matter (20 January 2020): https://drawingmatter.org/origins-in-translation/Google Scholar

Lerner, Judith. “A Painted Relief from Persepolis.” Archaeology 26.2 (1973): 116–122.Google Scholar

Llewellyn-Jones, Lloyd. “Body and Clothing,” in Warburton, David, ed., A Cultural History of Color in Antiquity. London: Bloomsbury, 2021, 81–102.Google Scholar

Lichtenstein, Jacqueline. The Eloquence of Color: Rhetoric and Painting in the French Classical Age, trans. McVarish, E.. Berkeley: University of California Press, 1993.Google Scholar

Lichtenstein, Jacqueline. La Tâche aveugle: essai sur les relations de la peinture et de la sculpture à l’âge modern. Paris: Gallimard, 2003.Google Scholar

Lichtenstein, Jacqueline. The Blind Spot: An Essay on the Relations between Painting and Sculpture in the Modern Age, trans. Miller, Chris. Los Angeles: Getty Research Institute, 2008.Google Scholar

Lichtenstein, Jacqueline. “Fragment: Elements of a Definition,” in Tronzo, William, ed., The Fragment: An Incomplete History. Los Angeles: Getty Publications, 2009, 115–130.Google Scholar

Linders, Tullia. Studies in the Treasure Records of Artemis Brauronia Found in Athens. Stockholm: Svenska Institutet I Athen, 1972.Google Scholar

Ling, Roger. Ancient Mosaics. Princeton: Princeton University Press, 1998.Google Scholar

Locke, John. An Essay Concerning Human Understanding. New York: Dover Publications, [1690] 1959.Google Scholar

Loraux, Nicole. Né de la terre: mythe et politique à Athènes. Paris: Seuil, 1996.Google Scholar

Loraux, Nicole. The Children of Athena: Athenian Ideas about Citizenship and the Division between the Sexes. Princeton: Princeton University Press, 1993.Google Scholar

Lorde, Audre. Sister Outsider. New York: Random House, 1984, 2007.Google Scholar

Lowe, Benedict. “The Industrial Exploitation of Murex: Purple Dye Production in the Western Mediterranean,” in Cleland, Liza and Stears, Karen, eds. with Davies, Glenys. Colour in the Ancient Mediterranean World. Oxford: Hedges, 2004, 46–48.Google Scholar

Lucas, A., and Harris, J. Richard Ancient Egyptian Materials and Industries. Mineola, NY: Dover Publications, 1999.Google Scholar

Luckenbill, D. D. Ancient Records of Assyria and Babylonia. Chicago: University of Chicago Press, 1926–7.Google Scholar

Lucretius, , and Stallings, A. E.. The Nature of Things. London: Penguin, 2007.Google Scholar

Lyons, Claire L., Bennett, Michael J., and Marconi, Clemente. Sicily: Art and Invention between Greece and Rome. Los Angeles: J. Paul Getty Museum, 2013.Google Scholar

Macrì, Sonia. “Lynx-stone and Coral: ‘Liquid Rocks’ between Natural History and Myths of Transformation,” in Gildenhard, Ingo and Zissos, Andrew, eds., Transformative Change in Western Thought: A History of Metamorphosis from Homer to Hollywood. Abingdon: Modern Humanities Research Association and Routledge, 2013, 131–152.Google Scholar

Maish, Jeffrey. “The Getty Herm of Dionysos: Technical Observations, Review, and Interpretation,” in Daehner, Jens M., Lapatin, Kenneth, and Spinelli, Ambra, eds., Artistry in Bronze: The Greeks and Their Legacy (XIXth International Congress on Ancient Bronzes. Los Angeles: J. Paul Getty Museum; Getty Conservation Institute, 2017, 41.Google Scholar

McWilliam, Janette. Statue of Zeus at Olympia: New Approaches. Newcastle-upon-Tyne: Cambridge Scholars Publishing, 2011.Google Scholar

Malamat, A. “Mari.” The Biblical Archaeologist 34.1 (1971): 1–22.Google Scholar

Malraux, A. The Voices of Silence. Princeton: Princeton University Press, 1978 [1951].Google Scholar

Maniscalco, Laura. “Terracotta Figurines and the Acrolithic Statues of Demeter and Kore from Morgantina.” Les Carnets de l’ASCoST 17 (2018): https://doi.org/10.4000/acost.1101.Google Scholar

Manning, Gideon, ed. Matter and Form in Early Modern Science and Philosophy. Leiden: Brill, 2012.Google Scholar

Mansfield, Elizabeth. Too Beautiful to Picture: Zeuxis, Myth, and Mimesis. Minneapolis: University of Minnesota Press, 2007.Google Scholar

Manzelli, Valentina. La policromia nella statuaria greca arcaica. Rome: “L’Erma” di Bretschneider, 1994.Google Scholar

Margaroni, Maria. “‘The Lost Foundation’: Kristeva’s Semiotic Chora and Its Ambiguous Legacy.” Hypatia 20.1 (2005): 78–98.Google Scholar

Marconi, Clemente. “Kosmos: The Imagery of the Archaic Greek Temple.” RES: Anthropology and Aesthetics 45 (2004): 211–224.Google Scholar

Marconi, Clemente. “The Parthenon Frieze: Degrees of Visibility.” RES 55.66 (2009): 156–173.Google Scholar

Marconi, Clemente. “The Birth of an Image: The Painting of a Statue of Herakles and Theories of Representation in Ancient Greek Culture.” RES: Anthropology and Aesthetics 59.60 (2011): 145–167.Google Scholar

Marketou, Ariadne Kostomitsopoulou. “The Pigment Production Site of the Ancient Agora of Kos (Greece): Revisiting the material evidence.” Thiasos: Rivista di Archeologia e Architettura Antica 8.1 (2019): 61–80.Google Scholar

Marketou, Ariadne Kostomitsopoulou, Kelly Kouzeli, , and Yorgos Facorellis, , “Colourful Earth: Iron-containing Pigments from the Hellenistic Pigment Production Site of the Ancient Agora of Kos (Greece).” Journal of Archaeological Science: Reports 26. 101843 (2019): 1–13.Google Scholar

Marquardt, Savannah. “The Nashville Parthenon Glorifies Ancient Greece – and the Confederacy.” Eidolon (January 15, 2018).Google Scholar

Marrey, Bernard. Le grand palais: sa construction, son histoire. Paris: Picard, 2006.Google Scholar

Marshall, C. W. The Structure and Performance of Euripides’ Helen. Cambridge: Cambridge University Press, 2014.Google Scholar

Martin, S. Rebecca. The Art of Contact: Comparative Approaches to Greek and Phoenician Art, 1st ed. Philadelphia: University of Pennsylvania Press, 2017.Google Scholar

Martineau, James. A Study of Religion: Its Sources and Contents, 2nd rev. ed. Oxford: Clarendon Press, 1900.Google Scholar

Marzahn, Joachim. “Koldewey’s Babylon,” in Finkel, Irving, Seymour, M. J., and Curtis, John, eds., Babylon: Myth and Reality. London: British Museum Press, 2008, 46–53.Google Scholar

Matthews, Roger, and Curtis, John, eds. Proceedings of the 7th International Congress on the Archaeology of the Ancient Near East, vol. 2, Ancient and Modern Issues in Cultural Heritage; Colour and Light in Architecture, Art and Material Culture; Islamic Archaeology. Wiesbaden: Harrassowitz, 2012.Google Scholar

Matthews, T. The Biography of John Gibson, R.A. Sculptor, Rome. London: William Heinemann, 1911.Google Scholar

Mattias, Alfred et al. “The Eye of the Medusa: XRF Imaging Reveals Unknown Traces of Antique Polychromy.” Analytical Chemistry 89.3 (2016): 1493–1500.Google Scholar

Mattusch, Carol C. Bronze and Iron Working in the Athenian Agora.” Hesperia 46.4 (1977): 340.Google Scholar

Mattusch, Carol C. “The Berlin Foundry Cup: The Casting of Greek Bronze Statuary in the Early Fifth Century b.c.” American Journal of Archaeology 84.4 (1980): 435–444.Google Scholar

Mattusch, Carol C. Greek Bronze Statuary: From the Beginnings through the Fifth Century b.c. Ithaca, NY: Cornell University Press, 1988.Google Scholar

Mattusch, Carol C. Classical Bronzes. Ithaca, NY: Cornell University Press, 1996.Google Scholar

Mattusch, Carol C. “In Search of the Greek Bronze Original.” Memoirs of the American Academy in Rome. Supplementary Volumes 1 (2002): 99–115.Google Scholar

Mattusch, Carol C. “Archaic and Classical Bronzes,” in Palagia, Olga, ed., Greek Sculpture: Function, Materials and Techniques. London, 2006.Google Scholar

Maurizio, L. “Anthropology and Spirit Possession: A Reconsideration of the Pythia’s Role at Delphi.” The Journal of Hellenic Studies 115 (1995): 69–86.Google Scholar

Maxwell-Stuart, P. G. Studies in Greek Colour Terminology I. Leiden: Brill, 1981.Google Scholar

McCroskey, Denise Eileen. Race: Antiquity and Its Legacies. New York: Oxford University Press, 2012.Google Scholar

McGill, D. C. “Plaster Casts of Statues: from Storage into Vogue.” The New York Times (1 January, 1987), 9.Google Scholar

Mertens, Joan R., and Conte, Lisa, “Watercolors of the Acropolis: Émile Gilliéron in Athens.” The Metropolitan Museum of Art Bulletin (Spring 2019): 5–46.Google Scholar

Miller, Daniel. Materiality. Durham, NC: Duke University Press, 2005.Google Scholar

Miller, Margaret C. “Orientalism and Ornamentalism: Athenian Reactions to Achaemenid Persia.” Arts: The Journal of the Sydney University Arts Association 28 (2006): 117–146.Google Scholar

Minh-, Ha, Trinh, T. “Difference: A Special Third World Women Issue,” reprinted in Jones, Amelia, ed., The Feminist Material Culture Reader. New York: Routledge, 2003, 184–207.Google Scholar

Mills, Charles W. Black Rights / White Wrongs: The Critique of Racial Liberalism. New York: Oxford University Press, 2017.Google Scholar

Moignard, Elizabeth. “Review of John Boardman, Greek Sculpture: The Late Classical Period and Sculpture in Colonies and Overseas, a Handbook.” The Journal of Hellenic Studies 117 (1997): 262.Google Scholar

Moi, Toril. “From Femininity to Finitude: Freud, Lacan, and Feminism Again.” Signs (Spring 2004): 841–878.Google Scholar

Molholt, Rebecca. “Roman Labyrinth Mosaics and the Experience of Motion.” The Art Bulletin 93.3 (2011): 287–303.Google Scholar

Monteiro, Lyra. “How a Trump Executive Order Aims to Set White Supremacy in Stone.” Hyperallergic, January 12, 2021.Google Scholar

Moorey, P. R. S. “Blue Stones in the Ancient Near East: Turquoise and Lapis-Lazuli,” in Caubet, Annie, ed., Cornaline et pierres précieuses: la Méditerranée, de l’Antiquité àl’Islam: actes du colloque organisé au musée du Louvre par le service culturel les 24 et 25 novembre 1995. Paris: La Documentation française, 1999, 175–184.Google Scholar

Morales, Helen. Vision and Narrative in Achilles Tatius’ Leucippe and Clitophon. Cambridge: Cambridge University Press, 2004.Google Scholar

Moreno, P. Les Bronzes de Riace. Paris: Gallimard, 1999.Google Scholar

Morgan, L. “Enlivening the Body: Color and Stone Statues in Old Kingdom Egypt.” Source: Notes in the History of Art 30.3 (2011): 4–11.Google Scholar

Morris, Sarah, and Papadopoulos, John. “Greek Towers and Slaves: An Archaeology of Exploitation,” American Journal of Archaeology (April 2005): 155–225.Google Scholar

Moten, Fred. “Knowledge of Freedom.” CR: The New Centennial Review 4.2 (2004): 269–310.Google Scholar

Moten, Fred. Stolen Life. Durham, NC: Duke University Press, 2018.Google Scholar

Moustaka, Aliki. Grossplastik aus Ton in Olympia. Berlin: de Gruyter, 1993.Google Scholar

Müller, V. “The Origin of Mosaic.” Journal of the American Oriental Society 59.2 (1939), 247–250.Google Scholar

Mulvey, Laura. Visual and Other Pleasures. New York: Palgrave Macmillan, 2006.Google Scholar

Nagel, Alexander. “Colors, Gilding and Painted Motifs in Persepolis: Approaching the Polychromy of Achaemenid Persian Architectural Sculpture, c. 550–330 bce.” Dissertation. University of Michigan, 2010.Google Scholar

Nagel, Alexander. “Ernst Herzfeld” and “Farbe in Persepolis,” in Helwing, B., Raheimpour, O., eds., Teheran 50. Eine Ausstellung im Museum für Isalmische Kunst in Berlin, 1 Dezmeber 2011 bis 28 Februar. Mainz: Von Zabern, 2012.Google Scholar

Nagel, Alexander. “Color and Gilding in Achaemenid Architecture and Sculpture,” in Potts, Daniel T., ed., The Oxford Handbook of Ancient Iran. Oxford: Oxford University Press, 2013: DOI: 10.1093/oxfordhb/9780199733309.013.0014Google Scholar

Nagel, Alexander. “Color in Ancient Near Eastern and Egyptian Sculpture”, in Stubbe Østergaard, Jan, Nielsen, Anne Marie, and Stanford, Neil Martin, eds., Transformations: Classical Sculpture in Colour. Copenhagen, Denmark: Ny Carlsberg Glyptotek, 2014, 130–145.Google Scholar

Nagel, Alexander. “Painters’ Workshops in the Ancient Near East: A Reassessment,” in Gondet, Sebastien and Haerinck, Ernie, eds., L’Orient est son Jardin. Hommage à Rémy Boucharlat. Leuven: Peeters, 2018, 377–386.Google Scholar

Nagel, Alexander. “Research on Color Matters: Towards a Modern Archaeology of Ancient Polychromies,” in Bock von Wuelfingen, B., ed., Science in Color. Visualizing Achromatic Knowledge. Berlin: De Gruyter, 2019, 45–58.Google Scholar

Nagel, Alexander. ”Preserving the Achaemenid Persian Legacy: Aspects of Conservation, Technology, Polychromy, and Material Culture in Persepolis,” in Dusinberre, E., Garrison, M., Henkelman, W., eds., The Art of Empire in Achaemenid Persia. Festschrift in Honor of Margaret Cool Root. Leiden: NINO, 2020): 113–136.Google Scholar

Napoli, John Nicholas, and Tronzo, William, eds., Radical Marble: Architectural Innovation from Antiquity to the Present. Abingdon: Routledge, 2018.Google Scholar

Nash, Susie. “The Lord’s Crucifix of Costly Workmanship”: Colour, Collaboration and the Making of Meaning on the Well of Moses,” in Brinkmann, Vinzenz, Primavesi, Oliver, and Hollein, Max. Circumlitio: The Polychromy of Antique and Mediaeval Sculpture. Munich: Hirmer Verlag, 2010, 356–381.Google Scholar

Neer, Richard. “Framing the Gift: The Politics of the Siphnian Treasury at Delphi.” Classical Antiquity 20.2. (2001): 273–344.Google Scholar

Neer, Richard. Style and Politics in Athenian Vase-Painting: The Craft of Democracy, ca. 530–460 b.c.e. Cambridge: Cambridge University Press, 2002.Google Scholar

Neer, Richard. “The Athenian Treasury at Delphi and the Material of Politics.” Classical Antiquity 23.1 (2004): 63–93.Google Scholar

Neer, Richard. The Emergence of the Classical Style in Greek Sculpture. Chicago: University of Chicago Press, 2010.Google Scholar

Neer, Richard, and Kurke, Leslie. Pindar, Song, and Space: Towards a Lyric Archaeology. Baltimore: Johns Hopkins University Press, 2019.Google Scholar

Neils, Jennifer. “Color and Carving: Architectural Decoration in Mainland Greece,” in Miles, Margaret, ed., A Companion to Greek Architecture. Chichester, West Sussex: John Wiley & Sons, 2016, 164–177.Google Scholar

Nelson, Charmaine. The Color of Stone: Sculpting the Black Female Subject in Nineteenth-Century America. Minneapolis: University of Minnesota Press, 2007.Google Scholar

Neudecker, Richard. “Sphyrelaton,” in Cancik, Hubert and Schneider, Helmuth, eds., Brill’s New Pauly, Encyclopaedia of the Ancient World. Leiden; Boston: Brill, 2002.Google Scholar

Newby, Zahra, and Leader-Newby, Ruth. Art and Inscriptions in the Ancient World. Cambridge: Cambridge University Press, 2007.Google Scholar

Newitz, Analee. “Opinion: What New Science Techniques Tell Us About Ancient Women Warriors.” The New York Times, 1 January 2021.Google Scholar

Newman, Richard. “Material Study: The Stone,” in Becker, L. and Kondoleon, C., eds., The Arts of Antioch: Art Historical and Scientific Approaches to Roman Mosaics and a Catalogue of the Worcester Art Museum Antioch Collection. Worcester: Worcester Art Museum, 2000, 62–71.Google Scholar

Newton, Isaac. Opticks or a Treatise of the Reflections, Refractions, Inflections and Colours of Light. Originally published 1730 by Innys, W.. Amherst, NY: Prometheus Books, 2003.Google Scholar

Nichols, Marden Fitzpatrick. The Politics of Display: Public Cast Galleries Enter the Twenty-First Century. University of Cambridge, M.Phil thesis, 2005.Google Scholar

Nichols, Marden Fitzpatrick. Author and Audience in Vitruvius’ de Architectura. Cambridge: Cambridge University Press, 2017.Google Scholar

Nichols, Marden Fitzpatrick. “The Vitruvian Body in De architectura’s Third Preface: Architecture and Rhetoric Between Nature and Art,” in Hudreen, Guy, ed., At the Limits of the Material World: The Intersection of Art, Science, and Nature in Ancient Literature and its Renaissance Reception. Leiden: Brill, forthcoming.Google Scholar

Nightingale, Andrea. “Sight and Philosophy in Ancient Greece: Democritus, Plato and Aristotle,” in Squire, Michael, ed., Sight and the Ancient Senses. Abingdon: Routledge, 2016, 54–67.Google Scholar

Norlock, Kathryn, “Feminist Ethics,” in Zalta, Edward N, ed., The Stanford Encyclopedia of Philosophy (Summer 2019 Edition): https://plato.stanford.edu/archives/sum2019/entries/feminism-ethics/.Google Scholar

Nolan, Ginger. “Architecture’s Death Drive: The Primitive Hut Against History.” Log 42 (2018): 91–102.Google Scholar

Nooter, Sarah, Review of Mario Telò, Melissa Mueller, The Materialities of Greek Tragedy: Objects and Affect in Aeschylus, Sophocles, and Euripides. London: Bloomsbury, 2018, https://bmcr.brynmawr.edu/2019/2019.11.03/.Google Scholar

Norton, Charles Eliot. The Dimensions and Proportions of the Temple of Zeus at Olympia. Boston, 1877.Google Scholar

Nunn, Astrid, “Catalogue of the 59 Statues with Colour Residues and Resulting Analysis,” in Nun, Astrid and Piening, Heinrich, eds., Mesopotamian Sculpture in Colour. Berlin: PeWe-Verlag-Gladbeck, 2020, 46–125.Google Scholar

Nunn, Astrid, and Piening, Heinrich, eds., Mesopotamian Sculpture in Colour. Gladbeck: PeWe-Verlag, 2020.Google Scholar

Ouellette, Jennifer. “True Colors: Those Painted Sculptures in Assassin’s Creed: Odyssey Are True to History.” Ars Technica (October 23, 2018).Google Scholar

Osbourne, Robin, and Alcock, Susan E.. Placing the Gods: Sanctuaries and Sacred Space in Ancient Greece. Oxford: Clarendon Press, 1994.Google Scholar

Østergaard, Jan Stubbe. “The Copenhagen Polychromy Network: A Research Project on Ancient Greek and Roman Sculptural Polyhcromy in the Ny Carlsberg Glyptothek,” in Brinkmann, Vinzenz, Primavesi, Oliver, and Hollein, Max, eds., Circumlitio: The Polychromy of Antique and Mediaeval Sculpture. Munich: Hirmer Verlag, 2010, 324–337.Google Scholar

Østergaard, Jan Stubbe. Tracking Colour – The Polychromy of Greek and Roman Sculpture in the Ny Carlsberg Glyptothek. Preliminary Report 3. Denmark: The Copenhagen Polychromy Network, 2011.Google Scholar

Østergaard, Jan Stubbe. “Colour Shifts: On Methodologies in Research on the Polychromy of Greek and Roman Sculpture.” Proceeding of the Danish Institute at Athens VIII (2017): 149–176.Google Scholar

Østergaard, Jan Stubbe, Nielsen, A., and Stanford, N., eds. Transformations: Classical Sculpture in Colour. Copenhagen: Ny Carlsberg Glyptotek, 2014.Google Scholar

Painter, Nell Irvin. The History of White People. New York: W.W. Norton, 2010.Google Scholar

Palagia, Olga. Euphranor. Leiden: Brill, 1980.Google Scholar

Palagia, Olga. ed. Greek Sculpture: Function, Materials, and Techniques in the Archaic and Classical Periods. New York: Cambridge University Press, 2006.Google Scholar

Palagia, Olga. “The Gold and Ivory Cult Statues of Pheidias in Athens and Olympia,” Handbook of Greek Sculpture De Gruyter, 2019, 328–346.Google Scholar

Pandermalis, Dimitrios, ed. Archaic Colors. Athens: Acropolis Museum, 2012.Google Scholar

Panzanelli, Roberta, ed. The Color of Life. Los Angeles: Getty Publications, 2008.Google Scholar

Papaionnou, Dimitris. “Birthplace” filmed 2004 in Athens, Greece: www.dimitrispapaioannou.com/gr/recent/birthplace-2004.Google Scholar

Partida, Elena C. The Treasuries at Delphi: An Architectural Study. Jonsered: Paul Åströms Förlag, 2000.Google Scholar

Parlama, Liana, and Stampolidēs, Nikolaos C.. Athens: The City Beneath the City: Antiquities from the Metropolitan Railway Excavations. New York: Harry N. Abrams, 2001.Google Scholar

Pasqui, Angelo. “Roma: nuove scoperte di antichità nella città e nel suburbia.” Notizie degli Scavi 8 (1911): 338–339.Google Scholar

Patay-Horváth, András. New Approaches to the Temple of Zeus at Olympia. Newcastle upon Tyne: Cambridge Scholars Publisher, 2015.Google Scholar

Penrose, Francis Cranmer. An Investigation of The Principles of Athenian Architecture, or The Results of a Recent Survey Conducted Chiefly with Reference to the Optical Refinements Exhibited in The Construction of The Ancient Buildings at Athens. London: The Society of Dilettanti, 1851.Google Scholar

Peristeri, Katerina, and De Serrès, Éphorie. “Les Fouilles récentes du tumulus Kastas et le lion d’Amphipolis (2012–2014).” Revue Archéologique, Nouvelle Série 1 (2016): 163–171.Google Scholar

Peters, Erin A. “Coloring the Temple of Dendur.” Metropolitan Museum Journal 53 (2018): 8–23.Google Scholar

Picard, Charles. Sculptures Grecques de Delphes. Paris: E. de Boccard, 1927.Google Scholar

Pistolesi, Erasmo, Antiquities of Herculaneum and Pompeii: Being a Selection of All the Most Interesting Ornaments and Relics Which Have Been Excavated from the Earliest Period to the Present Time; Forming a Complete History of the Eruptions of Vesuvius. To Which is Added, a Selection of Remarkable Paintings by the Old Masters. Comprising the Principal Objects Preserved in the Museo Borbonico, at Naples. Naples: Royal Press, 1842.Google Scholar

Pharos, Classics: http://pages.vassar.edu/pharos/white-nationalism-white-supremacy.Google Scholar

Plantzos, Dimitris. The Art of Painting in Ancient Greece. Athens: Kapon Editions, 2018.Google Scholar

Plantzos, Dimitris. “Beyond Mimesis: Reflections on the Early Greek Technologies of Looking.” AURA 3 (2020): 73–99.Google Scholar

Platt, Verity. Facing the Gods: Epiphany and Representation in Graeco-Roman Art, Literature and Religion. Cambridge: Cambridge University Press, 2011.Google Scholar

Platt, Verity. “The Artist as Anecdote: Creating Creators in Ancient Texts and Modern Art History,” in Fletcher, Richard and Hanink, Johanna, eds., Creative Lives in Classical Antiquity: Poets, Artists and Biography. Cambridge: Cambridge University Press, 2016, 274–304.Google Scholar

Platt, Verity. “The Matter of Classical Art History.” Daedalus (2016): 69–78.Google Scholar

Platt, Verity. “Re-membering the Belvedere Torso: Ekphastic Restoration and the Teeth of Time.” Critical Inquiry Autumn (2020): 49–75.Google Scholar

Platt, Verity. “Colour in Religion and Ritual,” in Warburton, David, ed., A Cultural History of Color in Antiquity. London: Bloomsbury, 2021.Google Scholar

Platt, Verity, and Gaifman, Milette. “Introduction: From Grecian Urn to Embodied Object.” Art History 41.3 (2018): 402–419.Google Scholar

Platt, Verity, and Squire, Michael. “Getting to Grips with Classical Art: Rethinking the Haptics of Graeco-Roman Visual Culture,” in Butler, Shane and Purves, Alex, eds., Synaesthesia and the Ancient Senses. Hoboken, NJ: Taylor and Francis, 2014, 75–104.Google Scholar

Platt, Verity, and Squire, Michael. “Framing the Frame,” in Verity Platt and Michale Squire, eds., The Frame in Classical Art: A Cultural History. Cambridge: Cambridge University Press, 2017, 3–100.Google Scholar

Pleket, H. W., and Stroud, R. S. “SEG 40–150. Athens. Inventories of Dedications to Artemis Brauronia, 355/4–334/3 b.c.,” in Supplementum Epigraphicum Graecum, ed., A. T. E. N. Chaniotis Corsten Stavrianopolou Papazarkadas. SEG 40=αρ.κατ. 150, SEG 37=αρ.κατ. 108, IG II2 , αρ.κατ. 1524.Google Scholar

Plesters, Joyce. “Ultramarine Blue, Natural and Artificial.” Studies in Conservation 11.2 (1966): 62–91.Google Scholar

Podany, Jerry. “From Floor to Wall: Lifting and Exhibition Practices Applied to Ancient Floor Mosaics,” in Khader, Ben, Abed, Aïcha Ben, eds., Stories in Stone: Conserving Mosaics of Roman Africa: Masterpieces from the National Museums of Tunisia. Los Angeles: J. Paul Getty Museum, 2006, 115–127.Google Scholar

Pomeroy, Sarah. B. Goddess, Whores, Wives, and Slaves. New York: Shocken Books, 1995.Google Scholar

Pollitt, Jerome J., ed. The Art of Greece: Sources and Documents. Cambridge: Cambridge University Press, 1990.Google Scholar

Pollitt, Jerome J., “Peri Chrōmatōn: What Ancient Greek Painters Thought About Color,” in Michalē, A. Tiverios, and Tsiaphakē, D. S, eds., Color in Ancient Greece: The Role of Color in Ancient Greek Art and Architecture (700–31 b.c.): Proceedings of the Conference Held in Thessaloniki, 12th–16th April, 2000, Organized by the J. Paul Getty Museum and Aristotle University of Thessaloniki. Thessaloniki: Aristotelio Panepistēmio Thessalonikēs, Hidryma Meletōn Lamprakē, 2002, 1–8.Google Scholar

Pollitt, Jerome J., The Cambridge History of Painting in the Classical World. New York: Cambridge University Press, 2014.Google Scholar

Porter, James I. “What is ‘Classical’ about Classical Antiquity?” in Porter, James I., ed. Classical Pasts: The Classical Traditions of Greece and Rome. Princeton: Princeton University Press, 2006, 1–65.Google Scholar

Porter, James I. The Origins of Aesthetic Thought in Ancient Greece: Matter, Sensation, and Experience. Cambridge: Cambridge University Press, 2010.Google Scholar

The Postclassicisms Collective. Postclassicisms. Chicago: University of Chicago Press, 2019.Google Scholar

Potts, Alex. Flesh and the Ideal: Winckelmann and the Origins of Art History. New Haven: Yale University Press, 2000.Google Scholar

Powell, Richard J., “Colorstruck! Painting, Pigment, Affect” The 71st A. W. Mellon Lectures in the Fine Arts, Part 1, National Gallery of Art, Washington, DC, March 20, 2022: https://www.nga.gov/research/casva/meetings/mellon-lectures-in-the-fine-arts/powell-2022.html Google Scholar

Prescod-Weinstein, Chanda. The Disordered Cosmos: A Journey into Dark Matter, Spacetime, and Dreams Deferred. New York: Bold Type Books, 2021.Google Scholar

Price, T. R. “The Color System of Vergil.” The American Journal of Philology 4.1 (1883): 1–20.Google Scholar

Prier, Raymond. Thauma Idesthai: The Phenomenology of Sight and Appearance in Archaic Greek. Tallahassee: Florida State University Press, 1989.Google Scholar

Primavesi, Oliver. “Farbige Plastik in der Antiken Literatur?” in Brinkmann, Vinzenz, Wünsche, Raimund, and Wurnig, Ulrike. Bunte Götter: Die Farbigkeit Antiker Skulptur: Eine Ausstellung der Staatlichen Antikensammlungen und Glyptothek München in Zusammenarbeit mit der Ny Carlsberg Glyptotek Kopenhagen und den Vatikanischen Museen, Rom; Glyptothek München, Königsplatz, 16. Dezember 2003 Bis 29. Februar 2004. 2. Aufl. Munich: Staatliche Antikensammlungen und Glyptothek, 2004, 219–237.Google Scholar

Primavesi, Oliver. “Artemis, her Shrine, and Her Smile: Winckelmann’s Discovery of Ancient Greek Polychromy,” in Brinkmann, Vinzenz, Primavesi, Oliver, and Hollein, Max. Circumlitio: The Polychromy of Antique and Mediaeval Sculpture. Munich: Hirmer Verlag, 2010, 24–77.Google Scholar

Profi, S., Perdikatsis, B., and Filippakis, S. E.. “X-Ray Analysis of Greek Bronze Age Pigments from Thera (Santorini).” Studies in Conservation 22.3 (1977): 107–115.Google Scholar

Purdy, Daniel L. On the Ruins of Babel: Architectural Metaphor in German Thought. Ithaca, NY: Cornell University Press, 2011.Google Scholar

Purves, Alex, ed. Touch and the Ancient Senses. London: Routledge, 2018.Google Scholar

Quatremère de Quincy, A. C. De l’architecture égyptienne: considérée dans son origine, ses principes et son goût, et comparée sous les mêmes rapports à l’architecture grecque ; dissertation qui a remporté en 1785 … Paris: Barrois, 1803.Google Scholar

Quatremère de Quincy, A. C. Le Jupiter olympien: ou, l’art de la sculpture antique considéré sous un nouveau point de vue; ouvrage qui comprend un essai sur le goût de la sculpture polychrome, l’analyse explicative de la toreutique, et l’histoire de la statuaire en or et ivoire chez les crecs et les romains, avec la restitution des principaux monuments de cet art et la démonstration pratique ou le renouvellement de ses procédés mécaniques. Paris: Chez De Bure frères, 1814.Google Scholar

Quatremère de Quincy, A. C. Restitution de la Minerve en or et ivoire, de Phidias, au Parthénon. Paris: BnF-P, 2016.Google Scholar

Radiolab, “Colors” (May 21, 2012): https://radiolab.org/episodes/211119-colors;Google Scholar

Raft, A. “About Theophilus’ Blue Colour, ‘Lazur.’” Studies in Conservation 13.1 (1968): 1–6.Google Scholar

Rayor, Diane J. The Homeric Hymns. Berkeley: University of California Press, 2004.Google Scholar

Reade, Julian E. “Nineteenth-century Exploration and Interpretation,” in Finkel, Irving, Seymour, M. J., and Curtis, John, eds., Babylon: Myth and Reality. London: British Museum Press, 2008, 34–41.Google Scholar

Rehren, Thilo, Vanhove, Doris, Mussche, Herman, and Oikonomakou, Mary. “Litharge from Laurion: A Medical and Metallurgical Commodity from South Attika.” L’Antiquité Classique 68 (1999): 299–308.Google Scholar

Restrepo Hernández, Fabio. Ceci est mon testament, Universidad de los Andes Bogotá, PhD thesis , 2010.Google Scholar

Reuterswärd, Patrik. Studien zur Polychromie der Plastik. Stockholm: Almqvist & Wiksell, 1958.Google Scholar

Reynolds, Margaret, and Sappho, . The Sappho Companion. New York: Palgrave for St. Martin’s Press, 2001.Google Scholar

Ribeyrol, Charlotte. “The Changing Colours of Nineteenth-Century Art and Literature.” Word & Image 36.1 (2020): 1–6.Google Scholar

Richter, Gisela. “Polychromy in Greek Sculpture with Special Reference to the Archaic Attic Gravestones in the Metropolitan Museum.” American Journal of Archaeology 48.4 (1944): 62–91.Google Scholar

Richter, Gisela. “An Aristogeiton from Baiae.” American Journal of Archaeology 74.3 (1970): 296–297.Google Scholar

Richter, Gisela, and Hall, Lindsey F.. “Polychromy in Greek Sculpture.” The Metropolitan Museum of Art Bulletin 2.8 (1944): 233–240.Google Scholar

Rilke, Rainer Maria. “Archaic Torso of Apollo,” trans. Mitchell, S.. Ahead of All Parting: Selected Poetry and Prose of Rainer Maria Rilke. New York: Modern Library, 1995.Google Scholar

Risser, Erik, Saunders, David, and Gisler, Jean-Robert. “The Bronze Apollo and Diana from Pompeii: An Example of Serial Production.” Antike Kunst 58 (2015): 78–96.Google Scholar

Robertson, Martin. “Greek Mosaics.” The Journal of Hellenic Studies 85 (1965): 72–89.Google Scholar

Roche, Carole. “The Lady of Ugarit.” Near Eastern Archaeology 63.4 (2000): 214–215.Google Scholar

Roller, Stefan. “The Polychromy of Mediaeval Sculpture: A Brief Overview” in Brinkmann, Vinzenz, Primavesi, Oliver, and Hollein, Max. Circumlitio: The Polychromy of Antique and Mediaeval Sculpture. Munich: Hirmer Verlag, 2010, 338–355.Google Scholar

Rolley, Claude. “En regardant l’Aurige.” BCH 114 (1990): 285–297.Google Scholar

Rood, Tim. “Xenophon’s Changing Fortunes in the Modern World,” in Flower, M., ed., The Cambridge Companion to Xenophon. Cambridge: Cambridge University Press, 2016, 435–448.Google Scholar

Rosen, Ralph. “Plato, Beauty, and Philosophical Synaesthesia”, in Butler, Shane and Purves, Alex, eds., Synaesthesia and the Ancient Senses. Hoboken, NJ: Taylor and Francis, 2014, 89–102.Google Scholar

Roßberger, Elisa “Shining, Contrasting, Enchanting: Composite Artefacts from the Royal Tombs of Qatna,” in Silvana, di Paolo, ed., Composite Artefacts in the Ancient Near East: Exhibiting an Imaginative Materiality, Showing a Genealogical Nature. Oxford: Archaeopress Publishing, 2018, 39–50.Google Scholar

Roth, M. et al. “uqnu” in The Chicago Assyrian Dictionary, vol. 20 U/W. Chicago: University of Chicago Press, 227–234.Google Scholar

Rouveret, Agnès. Histoire et imaginaire de la peinture ancienne (Ve siècle av. J.-C.– Ier siècle ap. J.-C.). Rome: Ecole française de Rome, 1989.Google Scholar

Rouveret, Agnès. “Les Yeux pourpres: l’experience de la couleur dans la peinture Classique entre realités et fictions,” in Rouvert, Agnès, Dubel, Sandrine, and Naas, Valérie, eds., Couleurs et matières dans l’antiquité: texts, techniques et pratiques. Paris: Éditions Rue d’Ulm/Presses de l’École Normale supérieure, 2006, 17–28.Google Scholar

Rudolph, Kelli. “Democritus’ Theory of Colour.” Rhizomata 7.2 (2019): 269–305.Google Scholar

Runge, P. O. Color Sphere, trans. Stehl, Georg. New York: Princeton Architectural Press, 2010.Google Scholar

Runge, P. O. “Sight and the Presocratics: Approaches to Visual Perception in Early Greek Philosophy,” in Squire, Michael, ed., Sight and the Ancient Senses. Abingdon: Routledge, 2016, 36–53.Google Scholar

Rutter, N. K., and Sparks, N.. Word and Image in Ancient Greece. Edinburgh: Edinburgh University Press, 2000.Google Scholar

Ryckman, Tatiana. “The Legacy of Louisville Sculptor Enid Yandell.” Louisville Magazine (8 November, 2019).Google Scholar

Rykwert, Joseph. On Adam’s House in Paradise: The Idea of the Primitive Hut in Architectural History. Cambridge, MA: MIT Press, 1981.Google Scholar

Salta, M. “Hyper tes gunaikos euxamenos Praxias Asklepio,” in Volume in Memory of Gerhard Neumann, Mouseio Benaki, 2nd Supplement. Athens: Benaki Museum, 2003.Google Scholar

Sapirstein, Philip. “The Columns of the Heraion at Olympia: Dörpfeld and Early Doric Architecture,” American Journal of Archaeology 120.4 (2016): 565–601.Google Scholar

Sassi, M. Michela. “Perceiving Colors,” in Destrée, Pierre and Murray, Penelope, eds., A Companion to Ancient Aesthetics. Hoboken, NJ: Wiley-Blackwell, 2015, 262–273.Google Scholar

Schaeffer, P. “Where the Homeric Greeks Really Color-blind?” 2010a: http://philipschaefer.com/2010/08/01/were-the-homeric-greeks-color-blind/.Google Scholar

Schaeffer, P. 2010b: “Does language shape how we see color?” http://philipschaefer.com/2010/01/10/does-language-shape-how-we-see-color/.Google Scholar

Schäfer, Thomas. “Marmo e bronzo: sui materiali di lusso nella plastica greca di età tardo-arcaica,” in Formigli, Edilberto, ed., Colore e luce nella statuaria antica in bronzo: indagini archeometriche e sperimentali. Rome: L’Erma di Bretschneider, 2013, 77–89.Google Scholar

Scheibler, Ingeborg. Griechische Malerei der Antike. Munich: C. H. Beck, 1994.Google Scholar

Scheibler, Ingeborg. ”Die ‘Vier Farben’ der Griechischen Malerei.” Antike Kunst 17 (1974): 92–102.Google Scholar

Schopenhauer, A. On Vision and Colors, trans. Stehl, Georg. New York: Princeton Architectural Press, 2010.Google Scholar

Schor, Gabriele. “The Death of the Housewife,” in Morineau, Camille and Pesapane, Lucia, eds.,Women House. Washington, DC: National Museum of Women in the Arts, 2017.Google Scholar

Scott, Michael. Delphi: A History of the Center of the Ancient World. Woodstock: Princeton University Press, 2014.Google Scholar

Schultz, Gretchen, and Atik, Anne. “Sur le rythme sapphique,” in Schultz, G. and Atik, A., eds., An Anthology of Nineteenth-Century Women’s Poetry from France: In English Translation, with French Text. New York: Modern Language Association of America, 2008, 354–355.Google Scholar

Schröter, Jens. “Mosaic: A Deep History of the Digital Image,” presented at Siren Echoes, Cornell University, November 9, 2019.Google Scholar

Scruton, R. Kant: A Very Short Introduction. Oxford: Oxford University Press, 2001.Google Scholar

Seaman, Kristen. “Introduction,” in Seaman, Kristen and Schultz, Peter, eds., Artists and Artistic Production in Ancient Greece. Cambridge: Cambridge University Press, 2017, 1–8.Google Scholar

Seaman, Kristen, and Schultz, Peter. Artists and Artistic Production in Ancient Greece. Cambridge: Cambridge University Press, 2017.Google Scholar

Sear, F. B. “The Earliest Wall Mosaics in Italy.” Papers of the British School at Rome 43 (1975): 83–97.Google Scholar

Sedley, David N. Lucretius and the Transformation of Greek Wisdom. Cambridge: Cambridge University Press, 1998.Google Scholar

Seferis, George. Delphi. Munich: Knorr & Hirth, 1962.Google Scholar

Seferis, George, and Clay, Diskin. “Delphi” Arion 3.12.3 (2005): 1–15.Google Scholar

Sellers Strong, Eugénie. The Elder Pliny’s Chapters on the History of Art, 2nd ed. Chicago: Ares Publishers, 1976.Google Scholar

Semper, G. “On the Study of Polychromy and its Revival,” in Falkener, E., ed., The Museum of Classical Antiquities. London: John W. Parker and Sons, 1851, 228–246.Google Scholar

Sepper, Dennis L. Goethe Contra Newton: Polemics and the Project for a New Science of Color. Cambridge: Cambridge University Press, 1988.Google Scholar

Sepper, Dennis L. Newton’s Optical Writings: A Guided Study. New Brunswick, NJ: Rutgers University Press, 1994.Google Scholar

Seymour, Michael. “Robert Koldewey and the Babylonian excavations,” in Finkel, Irving, Seymour, Michael J, and Curtis, John, eds., Babylon: Myth and Reality. London: British Museum Press, 2008, 41–45.Google Scholar

Sgarbi, Claudio. “A Newly Discovered Corpus of Vitruvean Images.” RES 23 Spring (1993), 31–51.Google Scholar

Shapiro, Alan E. “Artists’ Colors and Newton’s Colors.” Isis 85.4 (1994): 600–30.Google Scholar

Shaw, I. et al. British Museum Dictionary of Ancient Egypt. London: British Museum Publications, 1995.Google Scholar

Sheldon, Rebekah. “Form/Matter/Chora: Object-Oriented Ontology and Feminist New Materialism,” in Grusin, Richard A, ed.,The Nonhuman Turn. Minneapolis: University of Minnesota Press, 2015, 211–218.Google Scholar

Shirazi, Ava. “The Liver and the Mirror: Images Beyond the Eye in Plato’s Timaeus,” in Gerolemou, Maria and Diamantopoulou, Lilia eds., Mirrors and Mirroring: From Antiquity to the Early Modern Period. London: Bloomsbury Academic, 2020.Google Scholar

Skarsouli, P. “‘S’interroger sur la relation entre couleurs et mots. Le terme pharmakon chez Empédocle,” in Carastro, Marcello, eds., L’antiquité en couleurs: catégories, pratiques, representations. Grenoble: J. Millon, 2009.Google Scholar

Skovmøller, Amalie. Facing the Colours of Roman Portraiture: Exploring the Materiality of Ancient Polychrome Forms. Berlin: Walter de Gruyter, 2020.Google Scholar

Skovmøller, Amalie, Brøns, C., and Sargent, M.. “Egyptian Blue: Modern Myths, Ancient Realities.” Journal of Roman Archaeology 29 (2016): 371–387.Google Scholar

Smith, D. W. “Phenomenology,” in Zalta, E. N., ed., The Stanford Encyclopedia of Philosophy, 2011.Google Scholar

Sourvinou-Inwood, C. “The Myth of the First Temples at Delphi.” The Classical Quarterly 29.2, 1979, 231–251.Google Scholar

Sontag, Susan, On Photography. New York: Farrar, Straus and Giroux, 1977.Google Scholar

Squire, Michael. “Introduction,” in Squire, Michael, ed., Sight and the Ancient Senses. Abingdon: Routledge, 2016, 24.Google Scholar

Squire, Michael. “Hegel, Classical Art and the Reformation of Art History,” in Kottman, Paul A. and Squire, Michael, eds., The Art of Hegel’s Aesthetics: Hegelian Perspectives and the Perspectives of Art History. Paderborn: Wilhelm Fink Verlag, 2018, 132–133.Google Scholar

Stager, Jennifer, “The Materiality of Color,” in Goldman, Rachael, ed., Essays in Global Color History: Interpreting the Ancient Spectrum. Piscataway, NJ: Gorgias Press, 2016, 97–119.Google Scholar

Stager, Jennifer, “The Unbearable Whiteness of Whiteness,” Art Practical (2018): https://wayback.archive-it.org/15633/20210127222931/ www.artpractical.com/column/feature-the-unbearable-whiteness-of-whiteness/Google Scholar

Stager, Jennifer, “Aslı Cavuşoğlu: the Place of Stone.” ASAP/J (January 8, 2019): http://asapjournal.com/asli-cavusoglu-the-place-of-stone-jennifer-stager.Google Scholar

Stager, Jennifer, “Sophia’s Double: Photography, Archaeology, and Modern Greece,” Classical Receptions Journal, forthcoming 2022.Google Scholar

Stager, Jennifer, “Toward an Archaeology of Care,” in Knappett, Carl and Watts, Christopher, eds., Ancient Art Revisited: Global Perspectives from Archaeology and Art History. London: Routledge, forthcoming 2023.Google Scholar

Stark, Werner, translated by Reinhardt, Olaf, “Kant’s Lectures on ‘Physical Geography’: A Brief Outline of its Origins, Transmission, and Development,” in Elden, Stuart and Mendieta, Eduardo, eds., Reading Kant’s Geography. Albany: State University of New York Press, 2011, 69–86.Google Scholar

Stieber, Mary C. The Poetics of Appearance in the Attic Korai. Austin: University of Texas Press, 2004.Google Scholar

Stieber, Mary C. Euripides and the Language of Craft. Leiden: Brill, 2011.Google Scholar

Steiner, Deborah, Images in Mind: Statues in Archaic and Classical Greek Literature and Thought. Princeton, NJ: Princeton University Press, 2001.Google Scholar

Stewart, Andrew F. “Review of Plato and Greek Painting by Eva C. Keuls.” The Art Bulletin 62.4 (1980): 648–650.Google Scholar

Stewart, Andrew F. Greek Sculpture: An Exploration. Cambridge: Cambridge University Press. 1990.Google Scholar

Stewart, Andrew F. Faces of Power: Alexander’s Image and Hellenistic Politics. Berkeley: University of California Press, 1993.Google Scholar

Stewart, Andrew F. Art, Desire, and the Body in Ancient Greece. Cambridge: Cambridge University Press, 1997.Google Scholar

Stewart, Andrew F. Classical Greece and the Birth of Western Art. Cambridge: Cambridge University Press, 2009.Google Scholar

Stewart, Andrew F. Art in the Hellenistic World: An Introduction. Cambridge: Cambridge University Press, 2014.Google Scholar

Stewart, Andrew F. “Polyclitus (2), Argive Sculptor,” in Oxford Classical Dictionary (December 1, 2015).Google Scholar

Stodulski, L., Farrell, E., and Newman, R., “Identification of Ancient Persian Pigments from Persepolis and Pasargadae.” Studies in Conservation 29.3 (1984): 143–154Google Scholar

Sturgeon, M. C. “Archaic Athens and the Cyclades,” in Palagia, Olga, ed., Greek Sculpture. Function, Materials and Techniques in the Archaic and Classical Periods. Cambridge: Cambridge University Press, 2006, 32–76.Google Scholar

Suger, Abbot, Panofsky, Erwin, and Panofsky-Soergel, Gerda. Abbot Suger on the Abbey Church of St.Denis and Its Art Treasures. Princeton: Princeton University Press, 1979.Google Scholar

Summers, D. Real Spaces: World Art History and the Rise of Western Modernism. New York: Phaidon, 2003.Google Scholar

Syson, Luke, Wagstaff, Sheena, Bowyer, Emerson, Kumar, Brinda, and Kher, Bharti. Like Life: Sculpture, Color, and the Body. New York: The Metropolitan Museum of Art, 2018.Google Scholar

Talbot, Margaret “The Myth of Whiteness on Classical Sculpture.” New Yorker (October 22, 2018).Google Scholar

Tanner, Jeremy. “Nature, Culture and the Body in Classical Greek Religious Art.” World Archeology 33.2 (2001): 257–276.Google Scholar

The Invention of Art History in Ancient Greece: Religion, Society and Artistic Rationalisation. Cambridge and New York: Cambridge University Press, 2006.Google Scholar

Tanner, Jeremy, and Osborne, Robin, ed., 2007. Art’s Agency and Art History. Malden, MA: Blackwell Pub., 2010Google Scholar

Tillia, A. B. Studies and Restorations at Persepolis and Other Sites of Fars II. Rome: IsMEO, 1978.Google Scholar

Thavapalan, Shiyanthi. The Meaning of Color in Ancient Mesopotamia. Leiden: Brill, 2020.Google Scholar

Thavapalan, Shiyanthi. ”Speaking of Colours,” in Nunn, Astrid and Piening, Heinrich, eds., Mesopotamian Sculpture in Colour. Gladbeck: PeWe-Verlag, 2020, 194–199.Google Scholar

Thavapalan, Shiyanthi, and Warburton, David A. The Value of Colour: Material and Economic Aspects in the Ancient World. Berlin: Topoi, 2019.Google Scholar

Theophrastus, Earle Radcliffe Caley, and Richards, John F. C. On Stones; Introd., Greek Text, English Translation, and Commentary. Columbus: Ohio State University, 1956.Google Scholar

Theophrastus, Earle Radcliffe Caley, Richards, John F. C, and Hort, Arthur. Theophrastus; Enquiry into Plants and Minor Works On Odours and Weather Signs. London: W. Heinemann, 1916.Google Scholar

Trinquier, Jean. “Cinnabaris et ‘sang-dragon’ : le ‘cinabre’ des anciens entre minéral, végétal et animal.” Revue archéologique 56. 2 (2013), 305–346.Google Scholar

Tronto, Joan C. Caring Democracy: Markets, Equality, and Justice. New York University Press, 2013.Google Scholar

Tronto, Joan C. Who Cares? How to Reshape a Democratic Politics. London: Cornell Selects, 2016.Google Scholar

Toner, Jerry. A Cultural History of the Senses in Antiquity. London: Bloomsbury, 2014.Google Scholar

Tuma, K. A. “Cézanne and Lucretius at the Red Rock.” Representations 78 (2002), 56–85.Google Scholar

Topper, Kathryn. “Perseus, the Maiden Medusa, and the Imagery of Abduction.” Hesperia: The Journal of the American School of Classical Studies at Athens 76.1 (2007): 73–105.Google Scholar

Treu, Georg. “Bemalter Marmorkopf im Britischen Museum”, JdI 4 (1889), 18–24 pl. 1.Google Scholar

Treu, Georg. Die Technische Herstellung und Bemalung der Giebelgruppen am Olympischen Zeustempel, Jahrbuch. Berlin: Archäologisches Institut des Deutschen Reichs (1889) 175–188, pl. 5–6Google Scholar

Timpson, Trevor. “Fear and Fury among the Marbles.” BBC (September 12, 2007): http://news.bbc.co.uk/2/hi/uk_news/6986756.stm.Google Scholar

Trimble, J., and Elsner, J., eds. “Art and Replication: Greece, Rome and Beyond.” Art History 29.2 (2006): 201–339.Google Scholar

Tronzo, William, ed. The Fragment: An Incomplete History. Los Angeles: Getty Publications, 2009.Google Scholar

van Zanten, D. Architectural Polychromy of the 1830s. New York: Garland Publishing, 1977.Google Scholar

Vasari, Giorgio. The Lives of the Artists, trans. Conway Bondadella, Julia and Bondadella, Peter. New York: Oxford University Press, 1991.Google Scholar

Verri, Giovanni , Opper, T., and Deviese, T., “The ‘Treu Head’: A Case Study in Roman Sculptural Polychromy,” The British Museum Technical Research Bulletin 4 (2010): 39–54.Google Scholar

Verri, Giovanni, Saunders, David, Ambers, Janet, and Sweek, Tracey, “Digital Mapping of Egyptian Blue: Conservation Implications.” Studies in Conservation 55 (2010): 220–224.Google Scholar

Verri, Giovanni, Janet Ambers, and Paul Collins. “Assyrian Colours: Pigments on a Neo-Assyrian Relief of a Parade Horse.” The British Museum Technical Review Bulletin 3 (2009): 57–62.Google Scholar

Vernant, Jean-Pierre. “Dim Body, Dazzling Body,” in Feher, Michel, ed., Fragments for a History of the Human Body. New York: Zone Books, 1989, 18–47.Google Scholar

Vernant, Jean-Pierre. “Figuration de l’invisible et catégorie psychologique du double: le colossus,” in Mythe et pensée chez les Grecs. Paris, Éditions La Découverte, 1965, rééd. 1990, 325–338.Google Scholar

Vernant, Jean-Pierre. Myth and Society in Ancient Greece, trans. Lloyd, Janet. New York: Zone Books, 1990.Google Scholar

Vernant, Jean-Pierre. La Mort dans les yeux – figures de l’autre en Grèce ancienne. Paris: Hachette, 2008.Google Scholar

Vernant, Jean-Pierre, and Zeitlin, Froma. “Semblances of Pandora: Imitation and Identity.” Critical Inquiry 37.3 (2011): 404–418.Google Scholar

Villard, Laurence, ed. Couleurs et vision dans l’antiquité classique. Rouen: Publications de l’Université de Rouen, 2002.Google Scholar

Visnjic, Jack. The Invention of Duty: Stoicism as Deontology. Leiden: Brill, 2021.Google Scholar

Vlassopoulou, Christina. “New Investigations into the Polychromy of the Parthenon, ” in Brinkmann, Vinzenz, Primavesi, Oliver, and Hollein, Max, eds., Circumlitio: The Polychromy of Antique and Mediaeval Sculpture. Munich: Hirmer Verlag, 2010, 218–223.Google Scholar

von Bothmer, Dietrich. “Enkaustes Agalmaton.” The Metropolitan Museum of Art Bulletin 9.6 (1951), 156–161.Google Scholar

von de Mücke, Dorothea. “Beyond the Paradigm of Representation: Goethe on Architecture.” Grey Room. 35 (2009): 6–27.Google Scholar

von Goethe, Johann Wolfgang. Goethe’s Theory of Colours, trans. with notes by Lock Eastlake, Charles. London: John Murray, 1840.Google Scholar

von Staden, Heinrich. “Affinities and Elisions: Helen and Hellenocentrism.” Isis 83.4 (1992): 578–595.Google Scholar

von Staden, Heinrich. “The Discovery of the Body: Human Dissection and Its Cultural Contexts in Ancient Greece,” The Yale Journal of Biology and Medicine 65 (1992): 223–241.Google Scholar

von Ulmann, A. “The Virtual Reconstruction of Medieval Polychromy,” in Brinkmann, Vinzenz, Primavesi, Oliver, and Hollein, Max, eds., Circumlitio: The Polychromy of Antique and Mediaeval Sculpture. Munich: Hirmer Verlag, 2010, 382–393.Google Scholar

Waelkens, M., De Paepe, P., Moens, L.. “Quarries and the Marble Trade in Antiquity,” in Herz, N., Waelkens, M., eds., Classical Marble: Geochemistry, Technology, Trade, NATO ASI Series, Series E: Applied Sciences, vol. 153 Dordrecht: Springer, 1988, 11–28.Google Scholar

Walter, P. “Nature et échange des produits de maquillage: preparation, mise en forme et circulation des matières,” in Jockey, Philippe, ed., Les Arts de la couleur en Grèce ancienne … et ailleurs Athens: École Française d’Athènes, 2018.Google Scholar

Walter-Karydi, Eleni. “The Coloring of the Relief Background in Archaic and Classical Greek Sculpture,” in Brinkmann, V. and Wünsche, R., eds., Gods in Color. Cambridge, MA: Harvard University Art Museums, 2008, 172–177.Google Scholar

Walter-Karydi, Eleni. “The Emergence of Polychromy in Ancient Greek Art in the 7th century bc,” in Jockey, Philippe, ed., Les Arts de la couleur en Grèce ancienne…et ailleurs. Athens: École Française d’Athènes, 2018, 95–114.Google Scholar

Warburton, David. “Colours in Bronze-Age Egyptian Art and Language,” in Brinkmann, Vinzenz, Primavesi, Oliver, and Hollein, Max, eds., Circumlitio: The Polychromy of Antique and Mediaeval Sculpture. Munich: Hirmer Verlag, 2010, 171–187.Google Scholar

Watrous, Livingston Vance. “The Sculptural Program of the Siphnian Treasury at Delphi.” American Journal of Archaeology 86.2 (1982): 159–172.Google Scholar

Waywell, G. B. “Athena Mattei.” The Annual of the British School at Athens 66 (1971): 373–382.Google Scholar

Weglowska, Kasia “Paint and the Parthenon: Conservation of Ancient Greek, sculpture,” 2018: https://blog.britishmuseum.org/paint-and-the-parthenon-conservation-of-ancient-greek-sculpture/.Google Scholar

Westphal, J. “White” Mind 95 (1986): 310–328.Google Scholar

Weigand, Theodor. Die Archaische Poros Architektur der Akropolis zu Athen. Kassel: T. G. Fisher & Co., 1904.Google Scholar

Weiss, Naomi. “The Choral Architecture of Pindar’s Eighth Paean.” TAPA 146 (2016): 237–255.Google Scholar

West, Martin L. “Rhapsodes at Festivals.” Zeitschrift für Papyrologie und Epigraphik 173 (2010): 1–13.Google Scholar

Williams, Dyfri. “Picturing Potters and Painters,” in Oakley, John H and Palagia, Olga, eds., Athenian Potters and Painters II. Oxford: Oxbow Books, 2009, 306–317.Google Scholar

Wilson, Emily. “Oh How Miserable.” London Review of Books, October 8, 2020.Google Scholar

Wilson, Emily. “Found in Translation: How Women Are Making the Classics Their Own.” The Guardian, July 7, 2017.Google Scholar

Wilson, Emily, and Cowan, Tyler, “Emily Wilson on Translations and Language,” March 27, 2019, in Conversations with Tyler, ep. 63, podcast: https://conversationswithtyler.com/episodes/emily-wilson.Google Scholar

Winckelmann, J.J. Versuch einer Allegorie and De l’allègorie, trans. Jansen, H. J. New York: Garland Publishers, 1979.Google Scholar

Winckelmann, J.J. Geschichte der Kunst des Altertums. Mainz: Verlag Phillip von Zabern, 2002.Google Scholar

Winckelmann, J.J. “Description of the Belvedere Torso,” in Bowman, Curtis, ed., Essays on the Philosophy and History of Art, vol. 1. London: Continuum, 2005, xiii–xviii.Google Scholar

Winckelmann, J.J. Letter and Report on the Discoveries at Herculaneum, trans. Mattusch, Carol C. Los Angeles: J. Paul Getty Museum, [1976, 1766, 1799] 2011.Google Scholar

Winkler, John J. The Constraints of Desire. New York & London: Routledge, 1990.Google Scholar

Winter, Irene J. “‘Seat of Kingship’/‘A Wonder to Behold’: The Palace as Construct in the Ancient Near East.” Ars Orientalis 23. (1993): 27–55.Google Scholar

Winter, Irene J. “The Aesthetic Value of Lapis Lazuli,” in Caubet, Annie, ed., Cornaline et pierres précieuses: La Méditerranée, de l’Antiquité àl’Islam: actes du colloque organisé au musée du Louvre par le Service culturel les 24 et 25 novembre 1995. Paris: La Documentation française, 1999, 43–58.Google Scholar

Winter, Irene J. “The Eyes Have It: Votive Statuary, Gilgamesh’s Axe and Cathected Viewing in the Ancient Near East,” in Nelson, Robert S., ed., Visuality Before and Beyond the Renaissance. Cambridge: Cambridge University Press, 2000, 22–44.Google Scholar

Winter, Irene J. “Gold! Light and Lustre in Ancient Mesopotamia,” in Matthews, R. and Curtis, J., eds., Proceedings of the 7th International Congress on the Archaeology of the Ancient Near East. Wiesbaden: Harrassowitz Verlag, 2012, 153–171.Google Scholar

Wittgenstein, Ludwig. Remarks on Color, trans. Anscombe, G. E. M.. Berkeley: University of California Press, 2007.Google Scholar

Wohl, Victoria, ed., Probabilities, Hypotheticals, and Counterfactuals in Ancient Greek Thought. Cambridge: Cambridge University Press, 2014.Google Scholar

Wollheim, Richard. Art and Its Objects. Cambridge: Cambridge University Press, 1980.Google Scholar

Wolters, Paul. Der Westgiebel des Olympischen Zeustempels. Munich: Königlich bayerische akademie der wissenschaften, 1908.Google Scholar

Wood, Christopher S. A History of Art History. Princeton: Princeton University Press, 2019.Google Scholar

Woodhead, A. G. “SEG 23–264. Pitsà. Dedicationes Nymphis, c. a. 540/25a,” in Chaniotis Corsten Stavrianopolou Papazarkadas, A. T. E. N. and Rizakēs, A. D., eds., Supplementum Epigraphicum Graecum, Achaïe III: les cités achéennes: épigraphie et histoire. Athènes: Centre de Recherches de l’Antiquité Grecque et Romaine, Fondation Nationale de la Recherche Scientifique, 2008, 248–254.Google Scholar

Wootton, Will. “Making and Meaning: The Hellenistic Mosaic from Tel Dor.” American Journal of Archaeology 116.2 (2012): 209–234.Google Scholar

Worman, Nancy. Tragic Bodies: Edges of the Human in Greek Drama. London: Bloomsbury, 2020.Google Scholar

Wünsche, Raimond et al., Der Torso: Ruhm und Rätsel. Munich: Statliche Antikensammlungen, 1998.Google Scholar

Wynter, Sylvia, and Scott, David. “The Re-enchantment of Humanism.” small axe 08 (2000): 119–207.Google Scholar

Wypyski, M. T. and Becker, L.. “Glassmaking Technology at Antioch: Evidence from the Atrium House Triclinium and Later Mosaics,” in Becker, Lawrence and Kondoleon, Christine, eds., The Arts of Antioch: Art Historical and Scientific Approaches to Roman Mosaics and a Catalogue of the Worcester Art Museum Antioch Collection. Worcester: Worcester Art Museum, 2005, 115–176.Google Scholar

Yarrington, A. “Under the Spell of Madame Tussaud,” in Blühm, A., ed., The Colour of Sculpture: 1840–1910. Amsterdam: Van Gogh Museum, 1997, 83–92.Google Scholar

Zeitlin, Froma. “The Artful Eye: Vision, Ekphrasis and Spectacle in Euripidean Theatre,” in Goldhill, Simon and Osborne, Robin, eds., Art and Text in Ancient Greek Culture. Cambridge: Cambridge University Press, 1994, 138–196.Google Scholar

Ziderman, I. Irving. “Purple Dyeing in the Mediterranean World: Characterisation of Biblical Tekhelet,” in Cleland, Liza and Stears, Karen, eds. with Davies, Glenys, Colour in the Ancient Mediterranean World. Oxford: Hedges, 2004, 40–45.Google Scholar

Zink, Stephen “Polychromy, Architectural, Greek and Roman,” Oxford Classical Dictionary, March 26, 2019: https://oxfordre.com/classics/view/10.1093/acrefore/9780199381135.001.0001/acrefore-9780199381135-e-8184.Google Scholar

Zorach, Rebecca. Blood, Milk, Ink, Gold: Abundance and Excess in the French Renaissance. Chicago: University of Chicago Press, 2005.Google Scholar

Book contents

Select Bibliography

Summary

Access options

References

Select Bibliography

Book contents

Select Bibliography

Summary

Access options

References

Select Bibliography

Save book to Kindle

Save book to Dropbox

Save book to Google Drive