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There have been many books on Britain's Roman roads, but none have considered in any depth their long-term strategic impact. Mike Bishop shows how the road network was vital not only in the Roman strategy of conquest and occupation, but influenced the course of British military history during subsequent ages. ??The author starts with the pre-Roman origins of the network (many Roman roads being built over prehistoric routes) before describing how the Roman army built, developed, maintained and used it. Then, uniquely, he moves on to the post-Roman history of the roads. He shows how they were crucial to medieval military history (try to find a medieval battle that is not near one) and the governance of the realm, fixing the itinerary of the royal progresses. Their legacy is still clear in the building of 18th century military roads and even in the development of the modern road network. Why have some parts of the network remained in use throughout??The text is supported with clear maps and photographs. ??Most books on Roman roads are concerned with cataloguing or tracing them, or just dealing with aspects like surveying. This one makes them part of military landscape archaeology.
Ancient artefacts that comprise the private collections of Malta came largely from the Phoenician and later Punic burial grounds of the archipelago. In many respects, the perception of the island's ancient population as depicted in recent historic accounts has suffered from a limited knowledge of what has been found in the islands over the last few centuries. Co-authored with Isabelle Vella Gregory and Anton Bugeja, this book forms a companion volume to Claudia Sagona's “The Archaeology of Punic Malta (2002, Peeters) and “Punic Antiquities of Malta and Other Ancient Artefacts Held in Ecclesiastic and Private Collections (2003, Peeters). More than 700 objects, many brought into the public arena for the first time, are documented in this volume. The artefacts are held in three collections: that of Joseph Attard Tabone, of the Palazzo Parisio (Naxxar) and of St George's Parish Church (Qormi). While much of the material is characteristically Phoenician and Punic, imported Cypriot, Greek, Italian and other wares demonstrate that the islands were drawn into the ancient economic and political exchanges of the Mediterranean region.
Caves have been used in various ways across human society, but despite the persistence within popular culture of the iconic caveman, deep caves were never used primarily as habitation sites for early humans. Rather, in both ancient and contemporary contexts, caves have served primarily as ritual spaces. In Sacred Darkness, contributors use archaeological evidence as well as ethnographic studies of modern ritual practices to envision the cave as place of spiritual and ideological power that emerges as a potent venue for ritual practice. Covering the ritual use of caves in Europe, Asia, Australia, Africa, Mesoamerica, and the US Southwest and Eastern woodlands, this book brings together case studies by prominent scholars whose research spans from the Paleolithic period to the present day. These contributions demonstrate that cave sites are as fruitful as surface contexts in promoting the understanding of both ancient and modern religious beliefs and practices. This state-of-the-art survey of ritual cave use will be one of the most valuable resources for understanding the role of caves in studies of religion, sacred landscape, or cosmology and a must-read for any archaeologist interested in caves.
The Renaissance of Etching is a groundbreaking study of the origins of the etched print. Initially used as a method for decorating armor, etching was reimagined as a printmaking technique at the end of the fifteenth century in Germany and spread rapidly across Europe. Unlike engraving and woodcut, which required great skill and years of training, the comparative ease of etching allowed a wide variety of artists to exploit the expanding market for prints. The early pioneers of the medium include some of the greatest artists of the Renaissance, such as Albrecht Dürer, Parmigianino, and Pieter Bruegel the Elder, who paved the way for future printmakers like Rembrandt, Goya, and many others in their wake. Remarkably, contemporary artists still use etching in much the same way as their predecessors did five hundred years ago. Richly illustrated and including a wealth of new information, The Renaissance of Etching explores how artists in Germany, the Netherlands, Italy, and France developed the new medium of etching, and how it became one of the most versatile and enduring forms of printmaking. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}