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The Villanovan and Etruscan collections of the Detroit Institute of Arts not only represent an important source of Classical Antiquity in the United States, but also serve as a historical model of how such artifacts were acquired by large American museums from the late-nineteenth through mid-twentieth centuries. These collections provide museum visitors, scholars, and students with an indepth view into one of antiquity's most fascinating peoples, the Etruscans and their predecessors. The wide-ranging collections contain artifacts from every aspect of Etruscan life such as utilitarian tools and weapons, objects for personal adornment, votive statuettes, and cinerary urns to house the dead. One statuette, the Detroit Rider, is considered to be among the finest surviving examples of Etruscan small sculpture. The catalogue brings together all of these pieces for the first time with photographs and relevant bibliographic sources on their cultural and religious functions in antiquity.
Based on the author's thesis, University of Oxford.
The condemnation of memory inexorably altered the visual landscape of imperial Rome. This volume catalogues and interprets the sculptural, glyptic, numismatic and epigraphic evidence for "damnatio memoriae" and ultimately reveals its praxis to be at the core of Roman cultural identity.
Professor Lawrence discusses the evolution of the Hellenic age and the remaining legacy of ruins and artefacts, emphasising the continuity of their art. This edition has been revised and new illustrations have been added.
This lavishly illustrated volume presents a comprehensive architectural study of 87 individual temples and sanctuaries built in the Roman East between the end of the 1st century BCE and the end of the 3rd century CE, within a broad region encompassing the modern states of Syria, Lebanon, Israel and Jordan. Religious architecture gave faithful expression to the complexity of the Roman East and to its multiplicity of traditions pertaining to ethnic and religious aspects as well as to the powerful influence of Imperial Rome. The source of this power lay in the uniformity of the architectural language, the inventory of forms, the choice of styles and the spatial layout of the buildings. Thus, while temples have an eclectic character, there is an underlying unity of form comprising the podium, the stairway between the terminating walls (antae) and the columns along the entrance front - in other words, the axiality, frontality and symmetry of the temple as viewed from outside. The temples and sanctuaries studied in this volume demonstrate individual nuances of plan, spatial design, location in the sanctuary and interrelations with the immediate vicinity but can be divided into two main categories: Vitruvian temples (derived from Hellenistic-Roman architecture) and Non-Vitruvian temples (those with plans and spatial designs that cannot be analysed according to architectural criteria such as those defined by Vitruvius). The individual descriptions presented focus solely upon the analysis of the external and internal space of the temples of all types and do not involve any cultural or ethnic discussion.
New Directions and Paradigms for the Study of Greek Architecture comprises 20 chapters by nearly three dozen scholars who describe recent discoveries, new theoretical frameworks, and applications of cutting-edge techniques in their architectural research. The contributions are united by several broad themes that represent the current directions of study in the field, i.e.: the organization and techniques used by ancient Greek builders and designers; the use and life history of Greek monuments over time; the communication of ancient monuments with their intended audiences together with their reception by later viewers; the mining of large sets of architectural data for socio-economic inference; and the recreation and simulation of audio-visual experiences of ancient monuments and sites by means of digital technologies.
This book provides an enquiry into the distinguishing traits of Greek and Roman figural imagery. A detailed analysis of a wide range of material conveys an understanding of the figural imagery of classical antiquity as a whole, counterbalancing studies conducted on single genres. Through in-depth studies of six major production categories—Greek painted pottery, Roman decorated walls, Greek gravestones, Roman sarcophagi, Greek and Roman official sculpture, and Greek and Roman coins—the reader gains insights into the making of classical figural imagery. The images are explored within their contextual frameworks, paying attention to both functional purposes and pictorial traditions. Image–viewer relations offer a perspective that is maintained across the chapters. The bottom-up approach and the many genres of imagery discussed provide the basis for an extensive synthesis. Lavishly illustrated with over 100 images, Excursions into Greek and Roman Imagery provides a valuable resource for students of classical antiquity and history of art. The book also offers classical scholars, museum curators and others interested in classical art a fresh approach to the figural imagery of antiquity.