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'The primary purpose of an engraved gem or ring-bezel, cut in intaglio, was to make an impression upon some fictile material., which would be understood by the owner of the device, and by his associates, as a personal signature.' So began Martin Henig's original BAR Number 7 from 1978, in the British Series of British Archaeological Reports, a catalogue and study of over 1000 Roman engraved gemstones from the British Isles. Nearly 30 years later comes the third edition of this study, the new Preface to which concludes: 'Over the years I have thought more about gems in relation to other arts and have integrated glyptics into my book on The Art of Roman Britain (1995). Several papers I have written recently have attempted to use gems, like sculpture, painting and bronzes to elucidate general artistic problems. This should be obvious but how many art-historians seem to have the inclination to take gems seriously? At least interest in provincial glyptics seems greater today and that gives me grounds for hope Important studies are being conducted across the Empire ranging from Belgium . and Portugal ., toTurkey . andIsrael. It is for each new generation to reassess theevidence, in the case of our subjectwith the aid of new techniques, of computing on the one hand and scientific analysis of materials and cutting techniques on the other. In addition the fresh eye of youth is always invaluable. Someone else can often see what should have been obvious to one all the time. (Wolfson College, Oxford. Feast of St Frideswide, 2005)'
This work provides a survey of the jewellery of Roman Britain. Fully illustrated and accessible to both the specialist and amateur enthusiast, it surveys the full range of personal ornament worn in Britain during the Roman period, the 1st to 4th centuries AD. It emphasizes the presence of two distinct cultural and artistic traditions, the classical element introduced by the Romans and the indigeneous Celtic background. The interaction of these traditions affected all aspects of Romano-British life and is illustrated in the jewellery.; The meaning and significance of personal ornament in a wide range of cultures is discussed, including such matters as symbolism and the display of wealth and status. The principal types of Romano-British jewellery are classified in detail, drawing attention to those which can be relatively closely dated. The coverage is not restricted to precious-metal objects, but includes jewellery made of base metals and materials such as bone, jet and glass. The final chapter is devoted to the techniques of manufacture, a subject which has become better understood in recent years as a result of scientific advances. The book should appeal to anyone who practices, teaches or studies Roman archaeology, together with all those with a professional or amateur interest in the history of jewellery and design.
One of the few studies that deals with Roman domestic religion as practised by the lower classes. The author collects and analyzes the enormous epigraphic and archaeological evidence for Silvanus, The Roman god of agriculture and forests, challenging the widely-held view that private cult was subordinate or inferior to civic paganism.