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NEW: I reperti e i motivi egizi ed egittizzanti a Pompei Indagine preliminare per una loro contestualizzazione by Nikola D. Bellucci. Paperback; 174x245mm; 596 pages; 51 figures, 63 plates (colour throughout). Italian text. 773 2021 Archaeopress Roman Archaeology 83. Available both in printed and e-versions. Printed ISBN 9781789699241. £65.00 (No VAT). Epublication ISBN 9781789699258. £16.00 (Exc. VAT) Institutional Price £65.00 (Exc. UK VAT) Book contents pageBuy Now

I reperti e i motivi egizi ed egittizzanti a Pompei. Indagine preliminare per una loro contestualizzazione presents a synthesis of Nikola Belluci’s research on Egyptian and Egyptianizing material from Pompeii. Starting from the historical context in which to frame these phenomena and proceeding with a review of terminology in order to offer a common lexicon for future research, the work provides a first up to date corpus of Egyptian and Egyptianizing subjects and finds from Pompeii. More specific analysis focuses on the various Nilotic scenes. Furthermore, the first results of correlations between frescoes and finds allow us to understand better the general and particular distribution of the various types of subjects and finds, evaluating their diffusion among regiones, insulae and domus. The volume includes numerous plates and a rich and up to date bibliography.

About the Author
Nikola D. Bellucci holds Masters degrees in Classical Philology and in Archaeology and Cultures of the Ancient World from the Alma Mater Studiorum (University of Bologna), and a doctorate from the University of Bern, where he is a member of the Department of Mediterranean Archaeology. He is a collaborator with the Pompeii Artistic Landscapes Project (PALP) and is the author of numerous scientific publications, including L’Egitto dei Flavi (with Brunella L. Longo) (2020) and Racconto d’Egitto (with Ahmed F. Kzzo) (2020), both published by Archaeopress.

in italiano
I reperti e i motivi egizi ed egittizzanti a Pompei. Indagine preliminare per una loro contestualizzazione, rappresenta la sintesi delle ricerche svolte dal dott. Bellucci su questa complessa e articolata tematica. Partendo dal contesto storico in cui inquadrare tali fenomeni e proponendo una riflessione terminologica al fine di offrire un lessico comune per future e auspicabili ricerche, l’opera raccoglie, mette in luce, definisce e fornisce un primo e aggiornato corpus dei soggetti e dei reperti egizi ed egittizzanti nel contesto pompeiano, permettendo così anche analisi più specifiche riguardo le diverse scene nilotiche presenti a Pompei. Inoltre, primi risultati di correlazioni tra affreschi e reperti consentono ora di comprendere meglio la distribuzione generale e particolare di questa varia tipologia espressiva valutandone la diffusione tra Regiones, Insulae e domus. Composta di due sezioni per un totale di nove capitoli, con cinque appendici di dati e tre tavole di supplemento fotografico, il volume offre inoltre una ricca e aggiornata bibliografia sul tema.

Nikola D. Bellucci, dottore magistrale in Filologia classica (Th. Papirologia), dottore magistrale in Archeologia e culture del mondo antico (Th. Egittologia) presso l’
NEW: A Catalogue of the Pictures and Drawings at Wilton House by Francis Russell. Hardback with Dust Jacket; 229x305mm; 310 pages; 126 plates in full colour. 779 2021. ISBN 9781789699845. £80.00 (No VAT). Buy Now

The collection of pictures at Wilton has been celebrated since the seventeenth century; and its historic arrangement is uniquely well documented in a series of catalogues of which the first, issued in 1731, was the earliest such publication about any private collection in England. Of successive owners of the house, three made significant contributions: William, 4th Earl of Pembroke, who commissioned van Dyck’s monumental portrait of his family that dominates the Double Cube Room he had created; his grandson, Thomas, 8th Earl of Pembroke who assembled what was in some respects a pioneering collection of old master pictures for the house; and his grandson, Henry, 10th Earl of Pembroke, patron of Reynolds and Wilson, among others. Such masterpieces as Lucas van Leyden’s Card Players, Cesare da Sesto’s Leda – long attributed to Leonardo – and Ribera’s Democritus are matched by remarkable portrait drawings by Raphael and Holbein. These are complemented by a substantial deposit of family portraits and other pictures that attest to the tastes and interests of successive generations of the Herbert family.

About the Author
Francis Russell is a Deputy Chairman of Christie’s. He has contributed numerous articles on subjects ranging from Italian Renaissance painting and Grand Tour portraiture and patronage to the history of collecting to scholarly periodicals, including the Burlington Magazine, Apollo and Master Drawings, to Country Life and to exhibition catalogues. Previous books include John, 3rd Earl of Bute: Patron and Collector, 2004; Places in Italy, 2007 (enlarged editions 2014 and 2019); Places in Turkey, 2010 (enlarged edition 2017); Places in Syria, 2011; and Places in Jordan, 2012.
FORTHCOMING: A Quaint & Curious Volume: Essays in Honor of John J. Dobbins edited by Dylan K. Rogers and Claire J. Weiss. Hardback; 174x245mm; 204 pages; 87 figures, 10 tables (colour throughout). Print RRP: £49.00 (Open Access eBook). 801 2021. ISBN 9781789692181. Book contents pageBuy Now

John J. Dobbins, Professor of Roman Art and Archaeology, taught at the University of Virginia in the Department of Art from 1978 until his retirement in 2019. His legacy of research and pedagogy is explored in A Quaint & Curious Volume: Essays in Honor of John J. Dobbins. Professor Dobbins’ research in the field of Roman art and archaeology spans the geographical and chronological limits of the Roman Empire, from Pompeii to Syria, and Etruria to Spain. This volume demonstrates some of his wide-reaching interests, expressed through the research of his former graduate students. Several essays examine the city of Pompeii and cover the topics of masonry analysis, re-examinations of streets and drains, and analyses of the heating capacity of baths in Pompeii. Beyond Pompeii, the archaeological remains of bakeries are employed to elucidate labor specialization in the Late Roman period across the Mediterranean basin. Collaborations between Professor Dobbins and his former students are also explored, including a pioneering online numismatic database and close examination of sculpture and mosaics, including expressions of identity and patronage through case studies of the Ara Pacis and mosaics at Antioch-on-the-Orontes. A Quaint & Curious Volume not only demonstrates John Dobbins’ scholarly legacy, but also presents new readings of archaeological data and art, illustrating the impact that one professor can have on the wider field of Roman art and archaeology through the continuing work of his students.

About the Editors
Dylan K. Rogers, PhD (2015), University of Virginia, is Lecturer of Roman Art and Archaeology at UVa and previously served as the Assistant Director of the American School of Classical Studies at Athens from 2015-2019. He is the author of Water Culture in Roman Society (2018), and is the co-editor of the volumes, What’s New in Roman Greece? (2019) and The Cambridge Companion to Ancient Athens (2021). His research specialty is Roman fountains throughout the Roman Empire, investigating their impact on surrounding landscapes through the lens of sensory archaeology. He has also published on the topics of wall-painting in Pompeii, Roman mosaics, the siege of Athens by L. Cornelius Sulla in 86 BC, and archaeological archives. Rogers has worked on archaeological excavations in Pompeii, Sicily, Greece, and Turkey. ;

Claire J. Weiss, PhD (2018), University of Virginia, is a classical archaeologist whose research focuses on Roman urbanism, especially the sidewalks of ancient Roman cities and the relationship of these structures to urban social and economic organization. She has conducted archaeological field work and excavations in Pompeii since 2001, serving as the Assistant Director and Project Coordinator of the Via Consolare Project in Pompeii from 2006 to 2018, and now co-directing the Roman Colonial Urbanism Project.
FORTHCOMING: Hunde in der römischen Antike: Rassen/Typen - Zucht - Haltung und Verwendung by Heidelinde Autengruber-Thüry. Paperback; 205x290mm; 482 pages; 487 figures, 8 maps (colour throughout). German text. Print RRP: £70.00. 786 2021 Archaeopress Roman Archaeology 84. ISBN 9781789698367. Book contents pageBuy Now

Hunde in der römischen Antike: Rassen/Typen, Zucht, Haltung und Verwendung deals extensively with the living environment of the dog in Roman antiquity, based on literary and iconographic sources as well as archaeological and archaeozoological finds. The knowledge gained from this is documented by numerous images. Older research opinions, some of which have gone unchecked for more than a hundred years, are examined and—where necessary—corrected.

For the first time, a catalogue of the more than eighty dog breeds/types documented from antiquity is presented with their names, origins, appearance and the special characteristics of these animals. The ancient theories of dog breeding are compared with modern practices. A catalogue of the previously known dog names has been revised with around sixty new names added. The book examines how dogs were housed, what accessories were used and how the animals were fed. It sheds light on illnesses, medical treatment and the care of elderly dogs. A catalogue of epitaphs and extant canine tombstones gives an insight into the emotional world of grieving animal owners. Dogs not only served as guards, shepherds, hunters and lap dogs but also had other important roles such as sacred animals in temples or as waste disposers for sanitation. But they were also used corporeally: their fur was tanned, and their body parts were needed for magical rituals. In short, dogs played an important role in many areas of life, such that everyday life in the Classical world could not be imagined without them.

About the Author
Heidelinde Autengruber-Thüry completed her studies in history at the University of Vienna with a master's degree (with distinction) in 1999 and a doctorate in 2017. She acquired her specialist practical and theoretical knowledge in the field of cynology through many years of collaboration with the Irish Setter Club of Austria.

Auf Deutsch
Hunde in der römischen Antike beschäftigt sich umfassend mit dem Lebensumfeld des Hundes in der römischen Antike. Als Grundlagen dazu dienen die Quellen der griechisch-römischen Literatur, der Kunst und die archäologischen sowie archäozoologischen Funde. Durch zahlreiche Bilddarstellungen werden die daraus gewonnenen Erkenntnisse dokumentiert. Ältere Forschungsmeinungen, die zum Teil seit mehr als hundert Jahren ungeprüft übernommen und bis heute tradiert werden, werden überprüft und – wo nötig – richtiggestellt.

Erstmals wird ein Katalog der über achtzig aus der Antike belegten Hunderassen/-typen mit Namen, Herkunft, Aussehen und den speziellen Eigenschaften dieser Tiere vorgestellt. Der Wissensstand der Antike über Hundezucht wird mit den heutigen Standpunkten der modernen Hundezucht verglichen. Ein aus dem vorigen Jahrhundert stammender Katalog der bis dahin bekannten Hundenamen wurde adaptiert und konnte um circa sechzig neue Namen erweitert werden. Es wird untersucht, wie Hunde untergebracht wurden, welches Zubehör Verwendung fand und wie die Tiere ernährt wurden. Krankheiten, medizinische Behandlung und die fürsorgliche Pflege sehr alter Hunde zeigen weitere Aspekte der Hundehaltung. Eine Zusammenstellung der überlieferten Grabgedichte und erhaltenen Grabsteine für Hunde geben Einblicke in die Gefühlswelt der trauernden Tierbesitzer. Hunde dienten nicht nur als Wach-, Hirten-, Jagd- und Schoßhunde, sie hatten auch weitere wichtige Aufgaben wie zum Beispiel als heilbringende Tiere in Tempeln oder als Abfallentsorger für die Siedlungshygiene. Aber auch als Rohstofflieferanten wurden sie genützt, ihr Fell wurde gegerbt und ihre Körperteile wurden für magische Rituale benötigt. Kurz gefasst lässt sich sagen, dass Hunde in vielen Lebensbereichen des antiken Menschen eine wichtige Rolle spielten und sie aus dem täglichen Leben nicht wegzudenken waren.

Heidelinde Autengruber-Thüry legt hier die Druckfassung ihrer Dissertation vor. Sie hat ihr Studium der G
Enemy – Stranger – Neighbour: The Image of the Other in Moche Culture by Janusz Z. Wołoszyn. Paperback; 205x290mm; 200 pages; 350 figures, 4 tables (colour throughout). 748 2021. Available both in printed and e-versions. Printed ISBN 9781789698824. £40.00 (No VAT). Epublication ISBN 9781789698831. £16.00 (Exc. VAT) Institutional Price £40.00 (Exc. UK VAT) Book contents pageBuy Now

Enemy – Stranger – Neighbour: The Image of the Other in Moche Culture is dedicated to artistic renderings of the Recuay people in Moche art, in all available and preserved media. The Moche and the Recuay were the creators of the two main cultures of northern Peru in the Early Intermediate Period (approx. 100-750 CE). They were both illiterate and they left no written documents concerning the nature of their mutual contacts. The Moche, however, represented the Recuay quite extensively in their ceremonial art, which served as a powerful ideological tool of social influence and control. Its iconography gives an exceptional opportunity to study the mechanisms of perceiving and presenting the ‘other’ in a traditional society. This study offers an analysis of a set of several dozen complex, painted and bas-relief scenes, as well as several hundred mould-pressed, sculpted depictions of foreigners in Moche art. It tries to answer the questions of how the message regarding the ‘other’ was created and communicated, what its concept may have been and what social functions it may have served among the groups living in the Southern Moche Region. The attitude to foreigners – as reconstructed on the basis of Moche iconography – was not unidimensional. It was characterized by a combination of extreme feelings and emotions such as fear and admiration, resentment and interest, repulsion and fascination. It has many features of a typical approach to all ‘others’ studied by specialists of different disciplines in various contexts and cultures. The observations made in this book will prove of interest not only to Moche scholars, Andean archaeologists or, people interested in the pre-Columbian cultures of South America, but also – if only as an analogy – to historians, art historians, sociologists and anthropologists dealing with the issue of alterity.

About the Author
Janusz Z. Wołoszyn is Associate Professor of Archaeology at the University of Warsaw. He is author of four books and numerous articles on the archaeology and iconography of Pre-Columbian Andean cultures.
Spectacle and Display: A Modern History of Britain’s Roman Mosaic Pavements by Michael Dawson. Paperback; 176x250mm; 256 pages; 60 figures. 740 2021 Archaeopress Roman Archaeology 79. Available both in printed and e-versions. Printed ISBN 9781789698312. £40.00 (No VAT). Epublication ISBN 9781789698329. £16.00 (Exc. VAT) Institutional Price £40.00 (Exc. UK VAT) Book contents pageBuy Now

Spectacle and Display: A Modern History of Britain’s Roman Mosaic Pavements is the first narrative to explore responses and attitudes to mosaics, not just at the point of discovery but during their subsequent history. It is a field which has received scant attention in the literature and provides a compelling insight into the agency of these spectacular remains. Analysis shows how mosaics have influenced and have been instrumental in the commodification of the past, the development of conservation practice and promoting the rise of the archaeologist. ‘The most spectacular remains of Roman Britain’ is a familiar description applied to the discovery of mosaics floors. They are exceptional symbols of Roman life in the province of Britannia and each new discovery is eagerly reported in the press. Yet one estimate suggested that 75% of all known mosaics from Britain have been lost, and they are commonly displayed out of context, wall mounted as artwork in museums and exhibitions and far from their role as floors. This is a contested narrative in which spectacle and survival, conservation and fine art, ownership and curation provide the discourse and texts of contemporary attitudes.

About the Author
Michael Dawson is a heritage consultant, Heritage Director at RPS (UK and Ireland). He is editor of the international journal Historic Environment Policy and Practice and is panel lecturer with Oxford University Dept. of Continuing Education. He has excavated in Britain, Bulgaria and Romania, publishing widely both in Britain and eastern Europe and has been instrumental in making the case for the Roşia Montană World Heritage nomination.
The Statues at Rousham Park by Anne Schlee. Paperback; 250x280mm; 110 pages; 76 figures (colour throughout).ISBN 9780955892349. £19.99 (No VAT). Buy Now

Rousham and its landscape garden, located in rural Oxfordshire, is one of the few gardens of the first phase of English landscape design to have escaped alteration.

Informative and well-illustrated, The Statues at Rousham Park describes how the retired General James Dormer, who inherited Rousham in 1738, completed Charles Bridgeman’s garden design with the help of William Kent, but reserved for himself the choice of statues and their placement.

Taken together, the statues and busts, in both lead and stone, suggest an autobiographical portrait of Dormer.

Despite the gardens at Rousham being a popular local attraction, a site of pilgrimage to students of William Kent, and the backdrop to world-famous television drama including the BBC’s recent adaptation of Nancy Mitford’s The Pursuit of Love (2021), this is the first publication of its kind on its statues and their surrounding landscape.

Anne Schlee is a Booker Prize and Carnegie Medal shortlisted, and Guardian Prize winning, novelist whose work includes The Vandal (Macmillan 1980), Rhine Journey (1981) and The Time in Aderra (1996). She has judged a number of literary competitions including the Somerset Maugham Award, the David Higham Prize, and the Booker Prize. She was elected as a Fellow of the Royal Society of Literature in 2007.

Visions of the Roman North: Art and Identity in Northern Roman Britain by Iain Ferris. Paperback; 175x245mm; 236pp; 107 figures, colour throughout. 729 2021 Archaeopress Roman Archaeology 80. Available both in printed and e-versions. Printed ISBN 9781789699050. £35.00 (No VAT). Epublication ISBN 9781789699067. £16.00 (Exc. VAT) Institutional Price £35.00 (Exc. UK VAT) Book contents pageBuy Now

Visions of the Roman North: Art and Identity in Northern Roman Britain is the first book to present an analysis of art from the northern frontier zones of Roman Britain and to interpret the meaning and significance of this art in terms of the formation of a regional identity at this time. It argues that a distinct and vibrant visual culture flourished in the north during the Roman period, primarily due to its status as a heavily militarized frontier zone. Artworks from forts and the frontier-works of Hadrian’s Wall and the Antonine Wall, along with funerary monuments from military and civilian cemeteries, are analysed and discussed. The book also explores religious sculpture depicting classical deities, Romano-British gods and goddesses and eastern deities such as Mithras in terms of the use of imagery in various belief systems and in terms of the establishment of individual and group identities.

About the Author
Iain Ferris is an archaeologist living in Pembrey, Carmarthenshire, Wales. He has over forty years of experience working in professional archaeology in Britain and abroad and in teaching archaeology at Birmingham and Manchester universities. His research interests include Roman art and material culture and Romano-British archaeology and artefacts. He has directed major archaeological research excavations in northern and midland England and is a Fellow of the Society of Antiquaries. He has published widely in academic journals and is the author of nine books, all on Roman art and archaeology.

Reviews
‘…this is amongst the very best books on Roman Britain which I have ever read. It engages with what made Northern Britain special and culturally distinct in the Roman Empire. There is a real understanding for Northern Roman Britain here, and an understanding for a unique artistic culture that raises it very high indeed as a book on the provincial art of the Roman Empire.’ – Revd Professor Martin Henig, University of Oxford
Natter’s Museum Britannicum: British gem collections and collectors of the mid-eighteenth century by John Boardman, Julia Kagan and Claudia Wagner with contributions by Catherine Phillips. Paperback ; iv+304 pages; illustrated throughout in colour and black & white. Print RRP: £55.00. 379 2017. ISBN 9781789698107. £55.00 (No VAT). Book contents pageBuy Now

The German gem-engraver, medallist, and amateur scholar Lorenz Natter (1705- 1763), was so impressed by the size and quality of the collections of ancient and later engraved gems which he found in Britain that he proposed the publication of an extraordinarily ambitious catalogue – Museum Britannicum – which would present engravings and descriptions of the most important pieces. He made considerable progress to this end, producing several hundred drawings, but in time he decided to abandon the near completed project in the light of the apparent lack of interest shown in Britain. Only one of the intended plates in its final form ever appeared, in a catalogue which he published separately for Lord Bessborough’s collection. On Natter’s death the single copy of his magnum opus vanished mysteriously, presumed lost forever.

All hope of recovering Natter’s unpublished papers seemed vain, and their very existence had come to be doubted. Yet they were to be found more than two hundred years after his death, in Spring 1975, when the classical scholar and renowned expert in gems, Oleg Neverov, chanced upon them at the bottom of a pile of papers in the archives of the State Hermitage Museum in St Petersburg. Neverov and his colleague Julia Kagan carried out the initial research on the Hermitage manuscripts and produced the first published account of this archival treasure.

The present volume builds upon their earlier work to produce the first comprehensive publication of Museum Britannicum, offering full discussion in English and presenting Natter’s drawings and comments alongside modern information on the gems that can be identified and located through fresh research. This book is the result of a ten-year collaboration between scholars on the Beazley Archive gems research programme at Oxford’s Classical Art Research Centre and the State Hermitage Museum. It fulfills Natter’s vision for the Museum Britannicum – albeit two and a half centuries late – to the benefit of art historians, cultural historians, curators, and gem-lovers of today.

Please note, the hardback edition (ISBN 9781784917272) is now sold out.

The Global Connections of Gandhāran Art Proceedings of the Third International Workshop of the Gandhāra Connections Project, University of Oxford, 18th-19th March, 2019 edited by Wannaporn Rienjang and Peter Stewart. DOI: 10.32028/9781789696950; Paperback; 203x276mm; 276 pages; illustrated throughout. 669 2020. Available both in print and Open Access. Printed ISBN 9781789696950. £45.00 (No VAT). Epublication ISBN 9781789696967. Book contents pageDownload Full PDF   Buy Now

Gandhāran art is often regarded as the epitome of cultural exchange in antiquity. The ancient region of Gandhāra, centred on what is now the northern tip of Pakistan, has been called the ‘crossroads of Asia’. The Buddhist art produced in and around this area in the first few centuries AD exhibits extraordinary connections with other traditions across Asia and as far as the Mediterranean. Since the nineteenth century, the Graeco-Roman associations of Gandhāran art have attracted particular attention. Classically educated soldiers and administrators of that era were astonished by the uncanny resemblance of many works of Gandhāran sculpture to Greek and Roman art made thousands of miles to the west. More than a century later we can recognize that the Gandhāran artists’ appropriation of classical iconography and styles was diverse and extensive, but the explanation of this ‘influence’ remains puzzling and elusive. The Gandhāra Connections project at the University of Oxford’s Classical Art Research Centre was initiated principally to cast new light on this old problem.

This volume is the third set of proceedings of the project’s annual workshop, and the first to address directly the question of cross-cultural influence on and by Gandhāran art. The contributors wrestle with old controversies, particularly the notion that Gandhāran art is a legacy of Hellenistic Greek rule in Central Asia and the growing consensus around the important role of the Roman Empire in shaping it. But they also seek to present a more complex and expansive view of the networks in which Gandhāra was embedded. Adopting a global perspective on the subject, they examine aspects of Gandhāra’s connections both within and beyond South Asia and Central Asia, including the profound influence which Gandhāran art itself had on the development of Buddhist art in China and India.

About the Editors
Wannaporn Rienjang obtained her doctorate in Archaeology from University of Cambridge. She is now Lecturer in Archaeology, Museum and Heritage Studies at the Faculty of Sociology and Anthropology, Thammasat University and a project consultant for the Gandhāra Connections Project at the Classical Art Research Centre, Oxford. Her research focuses on the art and archaeology of Greater Gandhāra, Indian Ocean Trade and ancient working technologies of stone beads and vessels. ;

Peter Stewart is Director of the Classical Art Research Centre and Associate Professor of Classical Art and Archaeology at the University of Oxford. He has worked widely in the field of ancient sculpture. His publications include Statues in Roman Society: Representation and Response (2003) and The Social History of Roman Art (2008). Much of his research concerns the relationship between Gandhāran a
A Catalogue of the Sculpture Collection at Wilton House by Peter Stewart with new photography by Guido Petruccioli. Hardback with Dust Jacket; 229x305mm; 438 pages; 14 figures and 154 plates in full colour throughout. 661 2020. ISBN 9781789696554. £90.00 (No VAT). Book contents pageBuy Now

The Wilton House sculptures constituted one of the largest and most celebrated collections of ancient art in Europe. Originally comprising some 340 works, the collection was formed around the late 1710s and 1720s by Thomas Herbert, the eccentric 8th Earl of Pembroke, who stubbornly ‘re-baptized’ his busts and statues with names of his own choosing. His sources included the famous collection of Cardinal Mazarin, assembled in Paris in the 1640s and 1650s, and recent discoveries on the Via Appia outside Rome. Earl Thomas regarded the sculptures as ancient – some of them among the oldest works of art in existence – but in fact much of the collection is modern and represents the neglected talents of sixteenth-and seventeenth-century artists, restorers and copyists who were inspired by Greek and Roman sculpture.

About half of the original collection remains intact today, adorning the Gothic Cloisters that were built for it two centuries ago. After a long decline, accelerated by the impact of the Second World War, the sculptures have been rehabilitated in recent years. They include masterpieces of Roman and early modern art, which cast fresh light on Graeco-Roman antiquity, the classical tradition, and the history of collecting.

Illustrated with specially commissioned photographs, this catalogue offers the first comprehensive publication of the 8th Earl’s collection, including an inventory of works dispersed from Wilton. It re-presents his personal vision of the collection recorded in contemporary manuscripts. At the same time, it dismantles some of the myths about it which originated with the earl himself, and provides an authoritative archaeological and art-historical analysis of the artefacts.

About the Author
Peter Stewart is Director of the Classical Art Research Centre and Associate Professor of Classical Art and Archaeology at the University of Oxford. His research ranges across many aspects of Greek and Roman sculpture and the relationships between different artistic traditions. His previous publications include, Statues in Roman Society: Representation and Response (2003) and The Social History of Roman Art (2008).

Guido Petruccioli is an Oxford University-trained classical archaeologist and professional photographer with specialist interests in Roman imperial portraiture and the documentation of ancient sculpture.

Reviews
'This volume on the marbles at Wilton House forms an impressive addition to the literature on the privately owned collections of antiquities in Britain.'—Clare Hornsby, Journal of the History of Collections
A Classical Archaeologist’s Life: The Story so Far An Autobiography by John Boardman. Paperback; 156x234mm; 271 pages; 43 illustrated plates, 28 in colour. 656 2020 Archaeological Lives . Available both in printed and e-versions. Printed ISBN 9781789693430. £25.00 (No VAT). Epublication ISBN 9781789693447. £9.99 (Exc. VAT) Institutional Price £25.00 (Exc. UK VAT) Book contents pageBuy Now

A Classical Archaeologists’s Life: The Story so Far shows that a scholar’s life is not all scholarship, though much of this book is devoted to the writing of books and, especially, travel to classical and other lands. Boardman is a Londoner, born in Ilford and attending school in Essex (Chigwell). His teenage years were spent often in air raid shelters rather than with ‘mates‘ (all evacuated). There are distinctive ‘aunties’, the rituals of daily life in a London suburb. The non-scholarly figures live large in this account of his life, marriage, children, new houses. At Cambridge he learned about classical archaeology as a necessary addition to reading Homer and Demosthenes, even being obliged to recite the latter. And those were the days of Bertrand Russell’s lectures in a university reawakening after the war. Thence to the British School at Athens to learn about excavation (Smyrna, Knossos, later Libya). His return from Greece was to Oxford, not Cambridge, at first in the Ashmolean Museum, then as Reader and Professor. A spell in New York gives an account of the city before the troubles, when Petula Clark’s Down Town was dominant. There is much here to reflect on university life and teaching, and on the reasons for and problems with the writing of his many books (some 40), with reflection on the university, colleges and their ways. Travels are well documented – a notable trip through Pakistan and China, in Persia, Egypt, Turkey – with comment on what he saw and experienced beyond archaeology. A lecture tour in Australia provides comment beyond the academic. He visited Israel often, lecturing and publishing for the Bible Lands Museum. Several tours in the USA took him to most of their museums and universities as well many other sights, from glaciers to alligators.

This book is a mixture of scholarly reminiscence, reflection on family life, travelogue, and critique of classical scholarship (not all archaeological) worldwide, illustrated with pictures of travels, friends, home life, and, for a historian, a reflection on experiences of over 90 years.

About the Author
Sir John Boardman is one of the foremost experts on ancient Greek art. Having served as Assistant Director of the British School at Athens (1952-1955), he was Assistant Keeper at the Ashmolean Museum and later Lincoln Professor of Classical Archaeology and Art at the University of Oxford (1978-1994). He continues to work in Oxford, at the Classical Art Research Centre, where he is mainly preoccupied with the study of ancient gems.

Reviews
'Few who have investigated the world of classical archaeology over the past 60 years can have failed to benefit from consulting John Boardman’s many and varied publications. His central position continues to be paramount, and in this book we have his spirited account of his career, the researches he has carried out, the travels he has undertaken, and the home life and friendships he has enjoyed over the past 90 years.'—Brian A. Sparkes, Classics for All, August 2020

'From his hilarious reminisces about his relatives growing up as a child, to his experiences during World War 2, to his young adulthood travelling the world as an archaeologist, there's something for everyone in this book. It also illuminates the culture he lived in, from his very beginnings in Essex, to becoming a knight, it's all in here. This is by far the best book I have read in this genre; you will not be able to put it down.'—Mr. S. P. Pyatt, Amazon, September 2020

'How John managed any teaching is amazing, given his travel accounts. Numerous and fascinating, whether undertaken for research or for pleasure (e.g., the Swan Hellenic Cruises), they cover most of Asia, part of the Near East and Africa, a great deal of Australia as well as Europe, and even the New World (Mexico), many of them revealing his ever expanding interest in the Greek
Glazed Brick Decoration in the Ancient Near East edited by Anja Fügert and Helen Gries. Paperback; 205x290mm; 130 pages; 97 figures, 5 tables (61 colour pages). 645 2020. Available both in print and Open Access. Printed ISBN 9781789696059. £30.00 (No VAT). Epublication ISBN 9781789696066. Book contents pageDownload Full PDF   Buy Now

Glazed bricks applied as a new form of colourful and glossy architectural decor first started to appear in the early Iron Age on monumental buildings of the Ancient Near East. It surely impressed the spectators then as it does the museum visitors today. Glazed Brick Decoration in the Ancient Near East comprises the proceedings of a workshop held at the 11th International Congress of the Archaeology of the Ancient Near East (ICAANE) at Munich in April 2018, organised by the editors. Over the last decade excavations have supplied new evidence from glazed bricks that once decorated the facades of the Ancient Near East’s public buildings during the Iron Age (1000–539 BC) and especially significant progress has been achieved from revived work on glazed bricks excavated more than a century ago which today are kept in various museum collections worldwide. Since the latest summarising works on Ancient Near Eastern glazed architectural décors have been published several decades ago and in the meantime considerable insight into the subject has been gained, this volume aims to provide an updated overview of the development of glazed bricks and of the scientific research on the Iron Age glazes. Furthermore, it presents the on-going research on this topic and new insights into glazed bricks from Ashur, Nimrud, Khorsabad, and Babylon.

About the Editors
Anja Fügert received her master’s degree in Near Eastern Archaeology at the Freie Universität Berlin in 2005 with a dissertation on the Old Babylonian palace at Uruk. From 2005 to 2014 she was a staff member of the research project Tell Sheikh Hamad / Syria and in 2013 she defended her PhD on the Neo-Assyrian glyptics from this site. After working as a freelance illustrator in the Egyptian National Museum in Cairo she did a 2-year traineeship at the Vorderasiatisches Museum Berlin. She also taught courses of Near Eastern Archaeology at the Freie Universität Berlin and at the Georg-August-Universität Göttingen. Since December 2017 she is the head of the editorial office of the Orient-Department of the German Archaeological Institute. Together with Helen Gries, she initiated and directs the project The Reconstruction of the Glazed Brick Facades from Ashur in the Vorderasiatisches Museum Berlin (GlAssur).

Helen Gries obtained MA in Near Eastern Archaeology at Johannes Gutenberg-Universität of Mainz in 2010. In 2011 she started her PhD as a member of the Graduate School ‘Formen von Prestige in Kulturen des Altertums’ at Ludwig-Maximilians- Universität of Munich. In 2014 she completed her PhD at Munich with a dissertation on the Ashur temple at Ashur. She has undertaken fieldwork in Syria, Iran, Lebanon, and Jordan. In 2014 and 2015 she was postdoc researcher and lecturer at Institute of Near Eastern Archaeology at the University of Munich. Since 2015 she is researcher and curator for Mesopotamia at the Vorderasiatisches Museum Berlin. Together with Anja Fügert, she directs the project The Reconstruction of the Glazed Brick Facades from Ashur in the Vorderasiatisches Museum Berlin (GlAssur), which is funded by the German Research Foundation since 2018.
Domi militiaeque: Militär- und andere Altertümer Festschrift für Hannsjörg Ubl zum 85. Geburtstag edited by Günther E. Thüry. 150 figures; 4 tables; 4 plates (86 colour pages). Papers in German (3 in English). 644 2020 Archaeopress Roman Archaeology 68. Available both in printed and e-versions. Printed ISBN 9781789695328. £45.00 (No VAT). Epublication ISBN 9781789695335. £16.00 (Exc. VAT) Institutional Price £45.00 (Exc. UK VAT) Book contents pageBuy Now

This volume is in honour of the Austrian scholar Prof. Dr Hannsjörg Ubl. It contains a tabula gratulatoria, a bibliography and 24 contributions covering a wide range of topics. The focus being Greek and Roman, the volume includes papers about the Langobards, renaissance replicas of classical sculpture, and the archaeology of World War I. The 'classical' papers deal with Greek and Roman art and art looting; dogs in Greek and Roman warfare; Roman looking-glasses; erotic inscriptions of Gaulish spindle whorls; military equipment and dress accessories; Roman military history and the non-military archaeology of Raetia, Noricum and Pannonia.

Günther E. Thüry is a lecturer at the Department of Classical Studies at Salzburg University, specialising in Roman cultural history, archaeobiology, epigraphy and numismatics. His bibliography includes some 300 publications, including books on ancient coinage, Greek and Roman environmental history, Roman diet and Roman eroticism.

German Description
Dem österreichischen Archäologen Prof. Dr. Hannsjörg Ubl ist diese Festschrift gewidmet. Sie umfasst eine tabula gratulatoria, die Bibliographie des Jubilars und 24 Beiträge, die sich mit einem weiten Spektrum von Themen beschäftigen. Während ihr Schwerpunkt auf der griechischrömischen Antike liegt, widmen sich Aufsätze von Michael P. Speidel auch den Langobarden, von Kurt Gschwantler renaissancezeitlichen Nachbildungen griechisch-römischer Skulpturfunde und von Rupert Gietl und Reinfrid Vergeiner der Archäologie des Ersten Weltkriegs. Die Arbeiten zur klassischen Antike behandeln Themen der griechischen und römischen Kunst (Claudia Lang- Auinger, Erwin Pochmarski); den Kunstraub im Altertum (Ernst Künzl); den Einsatz von Hunden im Krieg (Heidelinde Autengruber-Thüry); römische Spiegel (Lawrence Okamura); erotische Inschriften auf gallischen Spinnwirteln (Günther E. Thüry); militärische Ausrüstungs- und Bekleidungsgegenstände (Thomas Fischer, Christian Koepfer, José Remesal Rodríguez, Bernd Steidl, Paula Zsidi); die römische Militärgeschichte (Martin Mosser, Bernhard Palme, Michael A. Speidel, Zsolt Visy, Ekkehard Weber); und die zivile Kultur der Provinzen Rätien, Noricum und Pannonien (Gerald Grabherr, Renate Miglbauer, Beatrix Petznek, Peter Scherrer, Gerhard Waldherr und Magdalena Waser).

Günther E. Thüry ist Lehrbeauftragter am Fachbereich Altertumswissenschaften der Universität Salzburg. Er arbeitet vor allem über Themen der römischen Kulturgeschichte, Archäobiologie, Epigraphik und Numismatik. Zu seinen ca. 300 Veröffentlichungen zählen Bücher über antike Münzkunde, griechische und römische Umweltgeschichte, römische Ernährung und römische Erotik.
Barbaric Splendour: The Use of Image Before and After Rome edited by Toby F. Martin with Wendy Morrison. Paperback; 203x276mm; 152 pages; 38 figures (30 colour pages). 119 2020. Available both in print and Open Access. Printed ISBN 9781789696592. £35.00 (No VAT). Epublication ISBN 9781789696608. Book contents pageDownload Full PDF   Buy Now

Barbaric Splendour: the use of image before and after Rome comprises a collection of essays comparing late Iron Age and Early Medieval art. Though this is an unconventional approach, there are obvious grounds for comparison. Images from both periods revel in complex compositions in which it is hard to distinguish figural elements from geometric patterns. Moreover, in both periods, images rarely stood alone and for their own sake. Instead, they decorated other forms of material culture, particularly items of personal adornment and weaponry. The key comparison, however, is the relationship of these images to those of Rome. Fundamentally, the book asks what making images meant on the fringe of an expanding or contracting empire, particularly as the art from both periods drew heavily from – but radically transformed – imperial imagery.

About the Editors
Toby Martin currently works as a lecturer at Oxford University’s Department for Continuing Education, where he specialises in adult and online education. His research concentrates on theoretical and interpretative aspects of material culture in Early Medieval Europe. Toby has also worked as a field archaeologist and project officer in the commercial archaeological sector and continues to work as a small finds specialist.

Wendy Morrison currently works for the Chilterns Conservation Board managing the NLHF funded Beacons of the Past Hillforts project, the UK’s largest high-res archaeological LiDAR survey. She also is Senior Associate Tutor for Archaeology at the Oxford University Department for Continuing Education. Wendy’s research areas are Prehistoric European Archaeology and Landscape Archaeology. She has over a decade’s excavation experience in Southern Britain, the Channel Islands, and India.
EurASEAA14 Volume I: Ancient and Living Traditions Papers from the Fourteenth International Conference of the European Association of Southeast Asian Archaeologists: Volume I edited by Helen Lewis. Paperback; 203x276mm; 244 pages; 170 figures, 13 tables. (Print RRP: £45.00). 114 2020. Available both in print and Open Access. Printed ISBN 9781789695052. £45.00 (No VAT). Epublication ISBN 9781789695069. Book contents pageDownload Full PDF   Buy Now

EurASEAA14: Ancient and Living Traditions is the first of two volumes comprising papers originally presented at the EurASEAA14 (European Association of Southeast Asian Archaeologists) conference in 2012, updated for publication. The aim of the EurASEAA is to facilitate communication between different disciplines, to present current work in the field, and to stimulate future research. This international initiative aims to foster international scholarly cooperation in the field of Southeast Asian archaeology, art history and philology.

This volume focuses substantially on topics under the broad themes of archaeology and art history, epigraphy, philology, historic archaeology, ethnography, ethnoarchaeology, ethnomusicology, materials studies, and long-distance trade and exchange.

About the Editor
Helen Lewis is an associate professor at University College Dublin School of Archaeology. Her research in Southeast Asia has mostly focused on cave sites in Laos, Malaysian Borneo, and the Philippine island of Palawan, where she co-directs the Palawan Island Palaeohistory Research Project. She chaired the EurASEAA14 Conference in Dublin in 2012.

Table of Contents (provisional)
Editorial introduction to EurASEAA14 Volumes 1 and 2 – Helen Lewis ;
Events in the Life of the Buddha: Pagan sculptures in the Hermitage collection and their context in the art of mainland Southeast Asia – Olga Deshpande and Pamela Gutman† ;
A note on two peculiar stone pedestals in the form of atlas dwarfish figures (yakṣas) – Valérie Zaleski ;
Representations of the female in Thai Buddhist manuscript paintings – Jana Igunma ;
Prajñāpāramitā in thirteenth century Java and Sumatra: two sculptures disconnected by textile designs – Lesley S Pullen ;
Islamic calligraphy, re-interpreted by local genius in Javanese mosque ornamentation, Indonesia (fifteenth century CE to present) – Hee Sook Lee-Niinioja ;
Understanding the Champa polity from archaeological and epigraphic evidence – a critical stocktaking – Bishnupriya Basak ;
A tale of two Khmer bronzecasting families, the Chhem and the Khat: how traditional bronzecasting revived in the area around Phnom Penh after the Khmer Rouge (1975-1979), and the expansion and modernization of that tradition in the 1990s: a preliminary report – Jane P. Allison ;
The history and distribution of the free-reed mouth-organ in SE Asia – Roger Blench ;
The ethnoarchaeology of Southeast Asian foragers: resiliency in Ata indigenous knowledge and cultural expression in the pre-Hispanic and Hispanic Philippines – Larissa Smith ;
Megalithic rituals of the Maram tribe of Manipur – Binodini Devi Potshangbam ;
The hidden, unique, bronze battleship from Mt. Dobo, East Flores, Indonesia, assumed to date to the Dong-So’n period – Herwig Zahorka† ;
Kattigara of Claudius Ptolemy and Óc Eo: the issue of trade between the Roman Empire and Funan in the Graeco-Roman written sources – Kasper Hanus and Emilia Smagur ;
Cowries in southwestern China, and trade with India and Myanmar in ancient and modern times – Xiao Minghua ;
The source of the seashells and ivories found in southwest China in the pre-Qin Period – Duan Yu ;
Southeast Asia and the development of advanced sail types across the Indian Ocean – Tom Hoogervorst ;
Mediaeval Fansur: a long-lost harbor in Aceh – Edmund Edwards McKinnon and Nurdin A.R. ;
‘The world turned upside down’: sago-palm processors in northeast India and the origins of Chinese civilization – Roger Blench ;
Bibliography
Engraved Gems and Propaganda in the Roman Republic and under Augustus by Paweł Gołyźniak. Hardback; 618 pages; fully illustrated catalogue containing 1,015 figures (in colour). 627 2020 Archaeopress Roman Archaeology 65. Available both in print and Open Access. Printed ISBN 9781789695397. £90.00 (No VAT). Epublication ISBN 9781789695403. Book contents pageDownload Full PDF   Buy Now

Engraved Gems and Propaganda in the Roman Republic and under Augustus deals with small, but highly captivating and stimulating artwork – engraved gemstones. Although in antiquity intaglios and cameos had multiple applications (seals, jewellery or amulets), the images engraved upon them are snapshots of people's beliefs, ideologies, and everyday occupations. They cast light on the self-advertising and propaganda actions performed by Roman political leaders, especially Octavian/Augustus, their factions and other people engaged in the politics and social life of the past.

Gems can show both general trends (the specific showpieces like State Cameos) as well as the individual and private acts of being involved in politics and social affairs, mainly through a subtle display of political allegiances, since they were objects of strictly personal use. They enable us to analyse and learn about Roman propaganda and various social behaviours from a completely different angle than coins, sculpture or literature.

The miniaturism of ancient gems is in inverse proportion to their cultural significance. This book presents an evolutionary model of the use of engraved gems from self-presentation (3rd-2nd century BC) to personal branding and propaganda purposes in the Roman Republic and under Augustus (until 14 AD). The specific characteristics of engraved gems, their strictly private character and the whole array of devices appearing on them are examined in respect to their potential propagandistic value and usefulness in social life.

The wide scope of this analysis provides a comprehensive picture covering many aspects of Roman propaganda and a critical survey of the overinterpretations of this term in regard to the glyptic art. The aim is the incorporation of this class of archaeological artefacts into the well-established studies of Roman propaganda, as well as the Roman society in general, brought about by discussion of the interconnections with ancient literary sources as well as other categories of Roman art and craftsmanship, notably coins but also sculpture and relief.

About the Author
Paweł Gołyźniak works as a Research Fellow in the Institute of Archaeology, Jagiellonian University in Krakow. His research interests include engraved gems (ancient and neo-classical), Roman Republican and Augustan numismatics, history of antiquarianism, collecting and scholarship as well as 18th century drawings of intaglios and cameos and the legacy of antiquary and connoisseur Philipp von Stosch (1691-1757).

Reviews
'... this volume—splendidly produced at an extraordinarily low price for what it contains (and actually free to download in PDF format)—is a book of enduring worth. Gołyźniak deserves our gratitude for writing one of the best books on Roman gems to have been published for a very long time.'—Dr Martin Henig, The Journal of Gemmology, Volume 37, No. 3, 2020
‘Scènes de Gynécées’ Figured Ostraca from New Kingdom Egypt by Joanne Backhouse. Paperback; 205x290mm; 136 pages; 170 figures approx. 600 2020 Archaeopress Egyptology 26. Available both in printed and e-versions. Printed ISBN 9781789693454. £28.00 (No VAT). Epublication ISBN 9781789693461. £16.00 (Exc. VAT) Institutional Price £28.00 (Exc. UK VAT) Book contents pageBuy Now

‘Scènes de Gynécées’ Figured Ostraca from New Kingdom Egypt: Iconography and intent examines images of women and children drawn on ostraca from Deir el-Medina, referred to in previous scholarship as ‘Scènes de Gynécées’. The images depict women with children either sitting on beds in a domestic setting or in outdoor kiosks. The former are likely to show celebrations carried out in the home to mark the birth of a child. This may have included the bringing of gifts, mainly consumables and small household items. It is possible this was recorded in hieratic texts, also on ostraca, described in earlier research as gift-giving lists. The kiosk scenes may have depicted the place women gave birth in or more likely the place of confinement after birth. However, given the dense nature of settlement at Deir el-Medina it is possible these scenes were symbolic evoking the protection of Isis who nurtured Horus in the papyrus thicket of the Delta. In order to understand the purpose and intent of these images, repeat motifs are considered and their similarities to wall paintings within the village are examined. The objects are important as they represent rare examples of regional art, found only at Deir el-Medina. Also, women are the main protagonists in the scenes, which is unusual in Egyptian art as women are generally depicted alongside the male patron of the work, as his wife, daughter or sister. This publication represents the first systematic study of this material and it brings together ostraca from museums worldwide to form a corpus united contextually, thematically and stylistically.

About the Author
Joanne Backhouse completed her PhD at the University of Liverpool in 2016. Her research interests focus on depictions of non-royal women in ancient Egypt, both two and three-dimensional. She teaches in the Continuing Education department at the University of Liverpool and a variety of educational venues in the North West of England, focusing on the material culture of ancient Egypt.
Sources of Han Décor: Foreign Influence on the Han Dynasty Chinese Iconography of Paradise (206 BC-AD 220) by Sophia-Karin Psarras. Paperback; 175x245mm; x+138 pages; 4 maps, 69 figures. 591 2019. Available both in printed and e-versions. Printed ISBN 9781789693256. £30.00 (No VAT). Epublication ISBN 9781789693263. £16.00 (Exc. VAT) Institutional Price £30.00 (Exc. UK VAT) Book contents pageBuy Now

Sources of Han Décor: Foreign Influence on the Han Dynasty Chinese Iconography of Paradise (206 BC-AD 220) uses archaeological data to examine the development of Han dynasty Chinese art (206 BC-AD 220), focussing on three major iconographies (the animal master, the tree of life, and animal predation), together with a series of minor motifs (particularly the griffin and several vegetal forms). All of these are combined in what may be considered the most important iconographic creation of the Han: images of paradise. While influence from the Chinese Bronze Age (especially, c. the 14th-3rd centuries BC) on Han art is expected, a surprisingly profound debt to Greece, the Near East, and the steppe is evident not only in the art of the Han era, but in that of the preceding Eastern Zhou (c. 771-221 BC). Initial Eastern Zhou incorporation of this largely-Western influence appears concentrated in chronological parallel to the Orientalization of Greek art (c. the 7th century BC) and the eastern spread of Hellenism (c. the 4th century BC), followed by repeated introduction of foreign motifs during the Han, when these influences were fully integrated into Chinese art.

About the Author
Sophia-Karin Psarras is a specialist of the archaeology and political history of China and the non-Chinese during the Han dynasty (206 BC-AD 220). Much of her work focuses on retracing intercultural exchange through material culture, together with an exploration of how that culture reflects the past. Her work has appeared in journals such as Monumenta Serica, Early China, and Central Asiatic Journal; her research on Han dynasty Chinese archaeology was published in Han Material Culture: An Archaeological Analysis and Vessel Typology (Cambridge University Press, 2015).
Eν Σοφίᾳ μαθητεύσαντες: Essays in Byzantine Material Culture and Society in Honour of Sophia Kalopissi-Verti edited by Charikleia Diamanti and Anastasia Vassiliou. Paperback;205x290mm; 454pp; illustrated throughout (116 pages in colour). 593 2019. Available both in printed and e-versions. Printed ISBN 9781789692624. £60.00 (No VAT). Epublication ISBN 9781789692631. £16.00 (Exc. VAT) Institutional Price £60.00 (Exc. UK VAT) Book contents pageBuy Now

En Sofía mathitéfsantes. Essays in Byzantine Material Culture and Society in Honour of Sophia Kalopissi-Verti contains a collection of thirty studies dedicated to Sophia Kalopissi-Verti by her students which celebrate the multifaceted academic and teaching career of Professor Kalopissi-Verti, Emerita of Byzantine Archaeology at the National and Kapodistrian University of Athens. The contributions cover a large variety of topics presenting unpublished archaeological material, suggesting new approaches to various aspects of Byzantine archaeology, material culture and art history. Geographically topics span a vast area from Constantinople to South Sinai and from Cyprus and Antiocheia to the Aegean Islands, continental Greece and Italy. Covering the period from the Early Byzantine to the Post-Byzantine period, they are organised in seven thematic sections: Urbanism and Architecture; Painting and Iconography; Stone Carving and Sculpture; Ceramics; Bone, Metal and Textiles; Coinage and Sigillography; Inscriptions, Portraits and Patronage. The broad thematic, chronological and geographic scope of the volume’s essays reflects the wide range of Kalopissi-Verti’s pioneering research and her own interests, to which she introduced her students and with which she inspired them.

About the Editor Charikleia Diamanti obtained a PhD from the National and Kapodistrian University of Athens. She is curator of Byzantine Antiquities at the Ephorate of Antiquities of the Cyclades, Hellenic Ministry of Culture, specialising in pottery, settlements and economy of the Late Roman/Early Byzantine period.

Anastasia Vassiliou obtained a PhD from the National and Kapodistrian University of Athens. She is curator of Byzantine Antiquities at the Ephorate of Antiquities of Argolis, Hellenic Ministry of Culture, specialising in medieval pottery and aspects of everyday life.
Public Archaeology: Arts of Engagement edited by Howard Williams, Caroline Pudney and Afnan Ezzeldin. Paperback; 203x276mm; xiv+270 pages; 82 figures, 5 tables (101 pages in colour). 99 2019. Available both in print and Open Access. Printed ISBN 9781789693737. £58.00 (No VAT). Epublication ISBN 9781789693744. Book contents pageDownload Full PDF   Buy Now

How should communities be engaged with archaeological research and how are new projects targeting distinctive groups and deploying innovative methods and media? In particular, how are art/archaeological interactions key to public archaeology today?

This collection provides original perspectives on public archaeology’s current practices and future potentials focusing on art/archaeological media, strategies and subjects. It stems from the 2nd University of Chester Archaeology Student Conference, held on 5 April 2017 at the Grosvenor Museum, Chester: Archaeo-Engage: Engaging Communities in Archaeology.

About the Editors
Howard Williams is Professor of Archaeology at the University of Chester and researches mortuary archaeology, archaeology and memory, the history of archaeology and public archaeology. He regularly writes an academic blog: Archaeodeath.

Caroline Pudney is a Senior Lecturer in Archaeology at the University of Chester with research interests in Iron Age and Roman Britain, material culture, public archaeology and applied archaeology.

Afnan Ezzeldin graduated with a BA (Hons) Archaeology degree in 2017 from the University of Chester. Subsequently, in 2018, she completed the MA Archaeology of Death and Memory from the University of Chester, with a thesis focused on manga mortuary archaeology.
La parure en callaïs du Néolithique européen edited by Guirec Querré, Serge Cassen and Emmanuelle Vigier; preface by Yves Coppens. Hardback; 203x276mm; viii+634 pages; illustrated in full colour throughout. Papers in French and English. (Print RRP £130.00). 568 2019. Available both in print and Open Access. Printed ISBN 9781789692808. £130.00 (No VAT). Epublication ISBN 9781789692815. Book contents pageDownload Full PDF   Buy Now

Callaïs refers to the green stones from which the remarkable ornaments discovered in several Neolithic sites in Western Europe are made. A term used at the beginning of our era by Pliny the Elder and taken up by the first archaeologists of the early 20th century during the first excavations of the large tumuli of the Carnac region (Morbihan), callaïs includes several mineral species, especially variscite and turquoise, both hydrated aluminium phosphates with a green to blue colour. Beads and pendants made of this precious material, combined with other objects such as axes made of alpine jade, fibrolite, amber or jet beads, sometimes from very distant sources, were deposited with the deceased, reflecting their high rank among the first agropastoral societies, or «sacrificed» in the form of deposits. The question of the nature and origin of these Callaïs pearls and pendants has been discussed many times during the last century by mineralogists and prehistorians. Since the first discoveries on this gem, many researches have been carried out both in the field and in the laboratory to elucidate what some had called ‘the mysteries of the callaïs’.

This volume, prefaced by Yves Coppens, Honorary Professor of the Collège de France, brings together the contributions of the best European specialists in callaïs, variscite and turquoise, who spoke at a symposium on this ancient gemstone held in April 2015 in Carnac. The objective of this book is to disclose the results of the latest research relating to these jewels by scanning multiple fields: variscite geology, gemmology, Neolithic but also Roman exploitations, chemical characterization, production of objects and their diffusion, inventory, dating, place of these jewels within agropastoral societies that occupied part of Europe from the 5th to the 3rd millennium.

French Description:
La callaïs désigne les pierres vertes dont sont faites les remarquables parures découvertes dans plusieurs sites néolithiques d’Europe occidentale. Terme utilisé au début de notre ère par Pline l’Ancien et repris par les premiers archéologues du début du XXème siècle lors des premières fouilles des grands tumulus de la région de Carnac (Morbihan), la callaïs regroupe plusieurs espèces minérales, surtout la variscite et la turquoise, tous deux des phosphates d’aluminium hydratés de couleur verte à bleue. Les perles et pendeloques en cette matière précieuse, associées à d’autres objets tels que haches en jade alpin, en fibrolite, perles en ambre ou en jais, provenant de sources parfois très éloignées, étaient déposés auprès des défunts, témoignant de leur haut rang au sein des premières sociétés agropastorales, ou « sacrifiées » sous forme de dépôts. La question de la nature et de l’origine de ces perles et pendeloques en callaïs a été maintes fois abordée durant le siècle dernier par les minéralogistes et les préhistoriens. Depuis les premières découvertes sur cette gemme, de nombreuses recherches ont été menées tant sur le terrain qu’en laboratoire afin d’élucider ce que certains avaient baptisé « les mystères de la callaïs ».

Ce volume, préfacé par Yves Coppens, Professeur honoraire du Collège de France, regroupe les contributions des meilleurs spécialistes européens de la callaïs, variscite et turquoise, qui sont intervenus lors d’un colloque consacré à cette gemme ancienne qui s’est tenu en avril 2015 à Carnac. L’objectif de cet ouvrage est de divulguer le fruit des dernières recherches relatives à ces bijoux en balayant de multiples domaines : géologie de la variscite, gemmologie, exploitations néolithiques mais aussi romaines, caractérisation chimique, production des objets et leur diffusion, inventaire, datation, place de ces bijoux au sein de sociétés agropastorales qui occupaient une partie de l’Europe du 5ème au 3ème millénaire.
Culture and Society at Lullingstone Roman Villa by Caroline K. Mackenzie. Paperback; 205x255 pages; viii+50 pages; 40 figures (colour throughout). 563 . Available both in printed and e-versions. Printed ISBN 9781789692907. £14.99 (No VAT). Epublication ISBN 9781789692914. £9.99 (Exc. VAT) Institutional Price £14.99 (Exc. UK VAT) Book contents pageBuy Now

Culture and Society at Lullingstone Roman Villa paints a picture of what life might have been like for the inhabitants of the villa in the late third and fourth centuries AD. The villa today, in the Darent Valley, Kent, has an unusual amount of well-preserved evidence for its interior decoration and architecture. Seventy years on from the commencement of the excavation of the site, this study draws on the original reports but also embraces innovative approaches to examining the archaeological evidence and sheds new light on our understanding of the villa’s use. For the first time, the site of Lullingstone Roman Villa is surveyed holistically, developing a plausible argument that the inhabitants used domestic space to assert their status and cultural identity.

An exploration of the landscape setting asks whether property location was as important a factor in the time of Roman Britain as it is today and probes the motives of the villa’s architects and their client. Lullingstone’s celebrated mosaics are also investigated from a fresh perspective. Why were these scenes chosen and what impact did they have on various visitors to the villa? Comparison with some contemporary Romano-British villas allows us to assess whether Lullingstone is what we would expect, or whether it is exceptional. Examples from the wider Roman world are also introduced to enquire how Lullingstone’s residents adopted Roman architecture and potentially the social customs which accompanied it.

About the Author
Caroline K. Mackenzie read Classics at Pembroke College, Cambridge. As an undergraduate she gained a place to study for a month at the British School at Athens. After Cambridge, she continued her studies at law school where she was awarded a distinction and then practised as a Private Client solicitor in London for over a decade. Caroline subsequently pursued a teaching career, first as a law lecturer and then as Head of Classics at a preparatory school in Sevenoaks, Kent. In 2018 Caroline was awarded a Master of Arts with distinction in Classical Art and Archaeology at King’s College London.

Caroline’s current work includes private tutoring in Latin and Greek, providing workshops for schools and leading short courses in Classical Art and Archaeology as well as Classical literature. She also teaches on the annual Summer School in Homer at University College London. Caroline writes regularly for Argo, a journal of the Hellenic Society, and various other Classical publications. She has lectured for English Heritage who invited her to deliver a study day including a private tour of Lullingstone Roman Villa. Her website is: www.carolinetutor.co.uk

Reviews
'This book offers a unique interpretation of the Lullingstone Roman Villa in the Darent Valley of Kent, exploring how its inhabitants used space to assert their position in society, as well as their cultural identity. The first section of the book looks at the position of the villa and its ancillary buildings in the wider landscape, focusing on how the hills and views of the river valley might have been used to impress visitors. The second section turns to the interior of the building, particularly the central room and apse, exploring how the position and use of certain mosaics and inscriptions were used to highlight the villa owner's wealth and education, perhaps in an attempt to emulate Roman aristocrats. Richly illustrated with photographs of mosaics and wall-paintings from the villa, as well as reconstruction drawings of how both the interior and exterior may have looked during the Roman period, it takes the reader on an in-depth, but not remote, tour of the villa.' — Kathryn Krakowka, Current Archaeology, November 2019

'The author weaves into her text numerous references to other villas and compares them with Lullingstone. This feature and the broader discussion of the social setting makes the book much more
The Geography of Gandhāran Art Proceedings of the Second International Workshop of the Gandhāra Connections Project, University of Oxford, 22nd-23rd March, 2018 edited by Wannaporn Rienjang and Peter Stewart. DOI: 10.32028/9781789691863. Paperback; 203x276mm; xii+186 pages; illustrated throughout in colour and black & white (60 plates in colour). (Print RRP £38.00). 533 2019. Available both in print and Open Access. Printed ISBN 9781789691863. £38.00 (No VAT). Epublication ISBN 9781789691870. Book contents pageDownload Full PDF   Buy Now

Gandhāran art is usually regarded as a single phenomenon – a unified regional artistic tradition or ‘school’. Indeed it has distinctive visual characteristics, materials, and functions, and is characterized by its extensive borrowings from the Graeco-Roman world. Yet this tradition is also highly varied. Even the superficial homogeneity of Gandhāran sculpture, which constitutes the bulk of documented artistic material from this region in the early centuries AD, belies a considerable range of styles, technical approaches, iconographic choices, and levels of artistic skill.

The geographical variations in Gandhāran art have received less attention than they deserve. Many surviving Gandhāran artefacts are unprovenanced and the difficulty of tracing substantial assemblages of sculpture to particular sites has obscured the fine-grained picture of its artistic geography. Well documented modern excavations at particular sites and areas, such as the projects of the Italian Archaeological Mission in the Swat Valley, have demonstrated the value of looking at sculptures in context and considering distinctive aspects of their production, use, and reuse within a specific locality. However, insights of this kind have been harder to gain for other areas, including the Gandhāran heartland of the Peshawar basin. Even where large collections of artworks can be related to individual sites, the exercise of comparing material within and between these places is still at an early stage. The relationship between the Gandhāran artists or ‘workshops’, particular stone sources, and specific sites is still unclear.

Addressing these and other questions, this second volume of the Gandhāra Connections project at Oxford University’s Classical Art Research Centre presents the proceedings of a workshop held in March 2018. Its aim is to pick apart the regional geography of Gandhāran art, presenting new discoveries at particular sites, textual evidence, and the challenges and opportunities of exploring Gandhāra’s artistic geography.

About the Editors
WANNAPORN RIENJANG is Project Assistant of the Gandhāra Connections Project at the Classical Art Research Centre, Oxford. She completed her doctoral degree in Archaeology at the University of Cambridge on Buddhist relic cult in Afghanistan and Pakistan. Before starting her PhD, she worked as a research assistant for the Masson Project at the Department of Coins and Medals, the British Museum. Her research interests include the art and archaeology of Greater Gandhāra, Buddhist studies, and working technologies of stone containers and beads.

PETER STEWART is Director of the Classical Art Research Centre and Associate Professor of Classical Art and Archaeology at the University of Oxford. He has worked widely in the field of ancient sculpture. His publications include Statues in Roman Society: Representation and Response (2003) and The Social History of Roman Art (2008). Much of his research concerns the relationship between Gandhāran art and Roman sculpture.
Greek Art in Motion Studies in honour of Sir John Boardman on the occasion of his 90th Birthday edited by Rui Morais, Delfim Leão, Diana Rodríguez Pérez with Daniela Ferreira. Paperback; iv+510 pages; illustrated throughout in colour and black & white (230 colour plates). 485 2018. Available both in printed and e-versions. Printed ISBN 9781789690231. £75.00 (No VAT). Epublication ISBN 9781789690248. £16.00 (Exc. VAT) Institutional Price £75.00 (Exc. UK VAT) Book contents pageBuy Now

This publication on Greek Art gathers a large number of studies presented at the International Congress ‘Greek Art in Motion’. Held in honour of Sir John Boardman’s 90th birthday, the congress took place at the Calouste Gulbenkian Foundation in Lisbon, 3-5 May, 2017.

The volume first presents eight contributions by the keynote speakers who, as friends and students of Sir John, present a debate and a problematisation of Greek Art from the archaeological and historical point of view.

Thereafter, 45 papers are divided into the different themes considered during the congress, all of which have greatly benefited from Sir John's researches throughout his long and distinguished academic career: Sculpture, Architecture, Terracotta and Metal, Greek Pottery, Coins, Greek History and Archaeology, Greeks Overseas, Reception and Collecting, Art and Myth.

About the Editors
RUI MORAIS was born in Porto in 1969 and has a degree in History, variant of Archaeology from the University of Coimbra. He has a Masters in Urban Archaeology, PhD in Archaeology, Technology and Materials from University of Minho. He was Professor at Minho University and is currently an Assistant Professor with Aggregation at the Faculty of Arts, Oporto University. Among his research, he has dedicated special attention to the study of trade in antiquity, with numerous published works, individually or with other national and foreign authors. He is researcher in the Classical and Humanistic Centre at Coimbra University (CECH). He was a consultant of the Calouste Gulbenkian Foundation for antiques. He is a member of the Scientific Committee of the IBERIA GRAEGA Project.

DELFIM LEÃO is a Professor at the Institute of Classical Studies and a researcher at the Center for Classical and Humanistic Studies, University of Coimbra. His main areas of interest are ancient history, law and political theory of the Greeks, theatrical pragmatics, and the ancient novel. He also has a strong interest in digital humanities. Among his main recent works are D. F. Leão and P. J. Rhodes, ‘The Laws of Solon. A new Edition, with Introduction, Translation and Commentary’ (London, I. B. Tauris, 2015), and a second revised edition in 2016; D. F. Leão and G. Thür (Hrsg.) ‘Symposion 2015. Vorträge zur griechischen und hellenistischen Rechtsgeschichte’ (Wien, Verlag der Österreichischen Akademie der Wissenschaften, 2016). Along with Lautaro Roig Lanzillotta, he is the editor of Brill’s ‘Plutarch Studies’.

DIANA RODRÍGUEZ PÉREZ is a Junior Research Fellow at Mougins Museum in Classical Art and Material Culture at Wolfson College, University of Oxford, and was previously the Research Assistant for the Beazley Archive Pottery Database at the Classical Art Research Centre. Before moving to Oxford, she held a postdoctoral fellowship at the University of Edinburgh (FECYT). She received a PhD (Doctor Europaea) from the University of León, Spain (The Snake in the Ancient Greek World: Myth, Rite and Image), an MPhil in History of Art from the University of León, and an MPhil in Archaeology and Heritage from the Universidad Autónoma de Madrid. From 2010 to 2011 she worked as a translator at the European Parliament in Luxemburg, and was a DAAD Fellow at the Institut für klassische Archäologie of the University of Heidelberg from 2008 to 2009. In the summer of 2017 she was Tytus Scholar at the Department of Classical Studies of the University of Cincinnati (US).

DANIELA FERREIRA is currently a PhD student at the Department of Prehistory, Ancient History and Archeology of Complutense University of Madrid, Spain, and a researcher at UI&D CITCEM - Transdisciplinary Research Centre «Culture, Space and Memory», Portugal. She is also a recipient of a FCT (Portuguese national funding agency for science, research and technology) grant since 2015. Daniela holds a Master’s degree in Archaeology from the University of Oporto (Portugal), with a focus
Artistic Practices and Archaeological Research by Dragoş Gheorghiu and Theodor Barth. Paperback; 205x290mm; ii+184 pages; illustrated throughout in colour and black & white (79 plates in colour). 524 2019. Available both in printed and e-versions. Printed ISBN 9781789691405. £40.00 (No VAT). Epublication ISBN 9781789691412. £16.00 (Exc. VAT) Institutional Price £40.00 (Exc. UK VAT) Book contents pageBuy Now

Artistic Practices and Archaeological Research aims to expand the field of archaeological research with an anthropological understanding of practices which include artistic methods. The project has come about through a collaborative venture between Dragoş Gheorghiu (archaeologist and professional visual artist) and Theodor Barth (anthropologist).

This anthology contains articles from professional archaeologists, artists and designers. The contributions cover a scale ranging from theoretical reflections on pre-existing archaeological finds/documentation, to reflective field-practices where acts of ‘making’ are used to interface with the site. These acts feature a manufacturing range from ceramics, painting, drawing, type-setting and augmented reality (AR). The scope of the anthology – as a book or edited whole – has accordingly been to determine a comparative approach resulting in an identifiable set of common concerns.

Accordingly, the book proceeds from a comparative approach to research ontologies, extending the experimental ventures of the contributors, to the hatching of artistic propositions that demonstrably overlap with academic research traditions, of epistemic claims in the making. This comparative approach relies on the notion of transposition: that is an idea of the makeshift relocation of methodological issues – research ontologies at the brink of epistemic claims – and accumulates depth from one article to the next as the reader makes her way through the volume.

However, instead of proposing a set method, the book offers a lighter touch in highlighting the role of operators between research and writing, rather entailing a duplication of practice, in moving from artistic ideas to epistemic claims. This, in the lingo of artistic research, is known as exposition. Emphasising the construct of the ‘learning theatre’ the volume provides a support structure for the contributions to book-project, in the tradition of viewing from natural history. The contributions are hands-on and concrete, while building an agenda for a broader contemporary archaeological discussion.

About the Editors
DRAGOŞ GHEORGHIU is an historical anthropologist/archaeologist (PhD) and professional visual artist (BA Arch. and BA/MA Design) whose studies focus on the process of cognition, material culture and art. He began to produce works of art-and-archaeology starting in 1980, a concept he developed into artchaeology, and worked as a land-artist to reveal prehistoric monuments in Romania, Wales, Portugal and Sardinia. His recent research deals with the problem of immersion in reconstructed contexts in Augmented and Mixed Reality. Professor Gheorghiu is on the board of the UISPP Neolithic Commission, and is a member of the European Association of Archaeologists. He is a Paul Mellon Fellow at the Centre of Advanced Studies in the Visual Arts, National Gallery of Art, Washington, D.C.

THEODOR BARTH (Dr. Philos. Social Anthropology) works as a professor of theory and writing at the Oslo National Academy of the Arts (KHiO). His fieldwork is from Sarajevo and Zagreb in the mid-nineties. At the academy he works to involve writing in artistic practice, and to develop an experience-based understanding of artistic research and practice as a field, in aspects that resemble what anthropologists understand as fieldwork. He is involved in the development of the field of artistic research, publication as making and making public. His professional background: he has worked as a scientific researcher at the Norwegian Foundation of Research in Science and Technology (SINTEF), and as a research fellow at the University of Oslo. He is currently a member of the European Association of Archaeologists.
The Hypogeum of the Aurelii A new interpretation as the collegiate tomb of professional scribae by John Bradley. Paperback; 205x290mm; xiv+192 pages; 4 tables, 136 figures (81 plates in colour). 486 2019 Archaeopress Roman Archaeology 50. Available both in printed and e-versions. Printed ISBN 9781789690477. £38.00 (No VAT). Epublication ISBN 9781789690484. £16.00 (Exc. VAT) Institutional Price £38.00 (Exc. UK VAT) Book contents pageBuy Now

The Hypogeum of the Aurelii: A new interpretation as the collegiate tomb of professional scribae examines the frescoes of one of the most enigmatic funerary monuments of ancient Rome. The three chambers of the Hypogeum of the Aurelii, so-named from an mosaic inscription in one of the surviving chambers, contain a varied series of images that have long been considered an example of early Christian or Gnostic iconography. One hundred years after the monument’s discovery Dr Bradley challenges earlier theories and concludes that far from having religious significance the pictures reveal a world of professional pride among a group of what we might today call ‘white collar workers’. Although not among the rich and famous of Imperial Rome, the deceased nevertheless rose from a state of slavery to positions within the bureaucracy at the centre of an empire at its height. Although part of a strictly hierarchical, and male-dominated, society the community to which the Aurelii belonged provided an environment of comparative equality: a community that acknowledged the contribution and expertise of both women and children in their profession. The pride in their achievement is reflected in the decoration of the tomb in which they expected to spend eternity. This study, the first in modern times to examine all the extant images in detail, will be of interest, not only to historians of ancient Roman art, but also to social historians who wish to more fully understand the lives of those who helped support the running of an empire.

About the Author
JOHN W. BRADLEY was born in Birmingham in 1956. He graduated with a degree in Construction and Economics before embarking on a thirty year career in the construction industry primarily in London and the Middle East. During the 1990s he was also involved in environmental politics using his background in industry to challenge the conventional rationale behind many of today’s political and economic decisions. Changing profession in 2005 Dr Bradley gained a first-class degree and Masters in Classics at Royal Holloway College, University of London with dissertations on early Christian art and republican Roman religion. In 2011 he commenced his PhD at the same college, initially under the supervision of Professor Amanda Claridge then Dr Zena Kamash. An initial project on the broader aspects of the evolution of art in the catacombs of Rome ultimately focused on the frescoes that make up the subject of this book when existing theories and explanations appeared unsatisfactory. In addition to his interest in the art of ancient Rome his interests include classical music, military history and environmentalism. He has lived in Brentford, west London for thirty years where he shares a home and allotment with his wife Susan.
Perspectives on materiality in ancient Egypt – agency, cultural reproduction and change edited by Érika Maynart, Carolina Velloza and Rennan Lemos. Paperback; 203x276mm; iv+110 pages; illustrated throughout with 8 plates in colour. 62 2018. Available both in print and Open Access. Printed ISBN 9781784919337. £30.00 (No VAT). Epublication ISBN 9781784919344. Book contents pageDownload Full PDF   Buy Now

Perspectives on materiality in ancient Egypt – agency, cultural reproduction and change expresses the authors’ broad theoretical interest on materiality and how it helps us to understand the crucial role of material culture in ancient Egyptian society in a more complex way. In the volume, mainly young scholars in Brazil, France, Germany and the UK approach the potential of materiality based on several case studies covering a wide range of topics such as Egyptian art, recent perspectives on sex and gender, hierarchies, and the materiality of textual sources and images.

The idea of gathering young scholars to discuss ‘materiality’ first took place in the form of a colloquium organised in São Paulo, but soon after became a more encompassing project aspiring to produce a publication. The editors’ aimed to include researchers from various places, which makes the volume a materialisation of fruitful collaborations between individuals coming from different scholarly traditions. The combination of different ways of looking at the ancient material culture can hopefully contribute to the renovation of theory and practice in Egyptology. The editors believe that the emphasis on diversity— of background histories, national traditions and mind-sets—is one the main elements that can be used to boost new perspectives in a connected, globalised and hopefully less unequal world.
The Life and Works of W.G. Collingwood A wayward compass in Lakeland by Malcolm Craig. Paperback; 148x210mm; xii+254 pages; 38 figures, 13 plates in colour. 466 2018 Archaeological Lives . Available both in printed and e-versions. Printed ISBN 9781784918712. £25.00 (No VAT). Epublication ISBN 9781784918729. £16.00 (Exc. VAT) Institutional Price £25.00 (Exc. UK VAT) Book contents pageBuy Now

The son of a watercolour artist, William Gershom Collingwood (1854-1932) studied at University College, Oxford where he met John Ruskin, whose secretary he later became and with whom he shared a wide range of interests. Collingwood travelled extensively, sketching as he went, and after studying at the Slade School of Art, moved to the Lake District where he wrote extensively about the Lakes, Icelandic sagas and Norse mythology, as well as publishing a biography on Ruskin in 1893. He was an accomplished artist, founding the Lake Artists Society in 1904 and serving as Professor of Fine Art at the University of Reading from 1905-11. His interest in art and Scandinavia prompted his research into the Pre-Norman Crosses of Cumbria and the North of England. In 1927 he published ‘Northumbrian Crosses of the Pre-Norman Age’, illustrated with his own drawings. He was also an accomplished musician, climber, swimmer and walker. His son was the noted archaeologist (a leading authority on Roman Britain), philosopher and historian R. G. Collingwood. This well researched biography provides a comprehensive account of the life and works of a nineteenth century polymath whose story should be better known.

About the Author
Malcolm Craig PhD lives with his wife Margaret in Histon, Cambridgeshire; they have a daughter, Alison and son, Andrew. He began working life as a marine engineer in the Merchant Navy, his voyages taking him to the far east and twice around the world. A keen mountaineer, between voyages he worked in the Alps of Switzerland, Italy and Austria. He became Chief Instructor at Outward Bound schools in Wales and Malaysia before moving back to engineering as a Training Manager in shipbuilding. He joined the Industrial Training Research Unit in Cambridge and completed a PhD in engineering at Cranfield Institute of Technology (now University), where he subsequently lectured, and worked as a Tutor for the Open University in Britain and Russia. He has written seven books, most with mountains as a theme, and became interested in the work of W.G. Collingwood while rock climbing as a young man in the English Lake District.
Representations of Animals on Greek and Roman Engraved Gems Meanings and interpretations by Idit Sagiv. Paperback; 175x245mm; vi+198 pages; 98 illustrations (51 plates in colour). 439 2018. Available both in printed and e-versions. Printed ISBN 9781784918699. £35.00 (No VAT). Epublication ISBN 9781784918705. £16.00 (Exc. VAT) Institutional Price £35.00 (Exc. UK VAT) Book contents pageBuy Now

Whereas animals are a frequent depiction on gemstones within the Greek and Roman periods, and play a key role in symbolic representations on these engraved gems, they have generally been overlooked with little in the way of focussed academic study.

In the present research, a large group of Greek and Roman gems (intaglios) bearing depictions of animals was selected. The gems are presented through a detailed study of the themes described in an attempt to form a comprehensive approach to the depictions of animals and their significance on Greek and Roman gems. The work examines the associations between animal depictions and the type of gemstone and its believed qualities. The study also discusses the changes in representation of animals on gems compared to other, larger media, and questions the significance of these changes. It is concluded here that as far as animal motifs are concerned, the gems could be accorded with a deeper symbolism, such as good luck, abundance and fertility, health, success, and victory. All these motifs are perceived as capable of weakening hostile forces. The animals engraved can also symbolise nature's abundance and fertility, especially when represented along with their offspring, pasturing and grazing, or accompanied by such fertility symbols as cornucopia, ears of corn, and wine goblets. Other animals are related to certain gods, and even comprise their attributes, and thus it was believed that the owner of an engraved gem was accorded divine protection.

About the Author
Dr. Idit Sagiv is a researcher of Classical Art. She completed her MA and PhD studies at Tel Aviv University. Her research and publications focus on Greek and Roman engraved gems. Since 2016, she is an academic member of the History of Art Department, Tel-Aviv University, where she teaches courses on Classical Art.