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During the Roman Empire lavish marble monuments to the dead were erected to decorate tombs and cemeteries. A group of these memorials, often so opulent that they required considerable economic sacrifice from the families who commissioned them, is catalogued in this volume.
Situates the study of Roman sculpture within the fields of art history, classical archaeology, and Roman studies, presenting technical, scientific, literary, and theoretical approaches.
Explores four key questions around Roman funerary customs that change our view of the society and its values.
"Davies sets out to ask, How did the Romans bury Caesar? And with what monuments did they sing his praises? . . . The architectural elaboration of these structures, their siting in the capital, the lines of vision and approaches that exposed them to view, the paths their complex outworks formed for visitors to walk, are all picked out with skill and presented with care in Death and the Emperor." ?Times Literary Supplement "This concise and lucidly written book is a very valuable new contribution to the studies of Roman imperial cult, political propaganda, and topography, and has the added benefit of discussing complex scholarly disputes in a manner that the non-specialist will probably follow with ease. . . . There is material in this volume that will be immensely useful to researchers in many areas: archaeology, history of architecture, iconography, history of religion, and Roman political propaganda, to name just a few. I strongly recommend it to scholars interested in any or all of the above topics." ?Bryn Mawr Classical Review "Even though its focus is on only seven specimens of architecture, the book touches upon a broad array of aspects of Roman imperial culture. Elegantly written and generously illustrated . . . this book should be of great interest to the general public as well as to the scholarly community." ?American Journal of Archaeology
Cripina and Her Sisters explores visual imagery found on burial artifacts of prominent early Christian women. It carefully situates the tomb art within the cultural context of customary Roman commemorations of the dead and provides an in-depth review of women‘s history in the first four centuries of Christianity. From this, a fascinating picture emerges of women‘s authority in the early church--a picture either not readily available or recognized, or even sadly distorted in the written history.
This important new study looks at coffins, masks, shrouds, and tombs from the Roman Period in Egypt, when naturalistic Greek art forms, like portraits, were combined with traditional Egyptian art. The book presents more than 150 objects and tombs, many for the first time, and reveals how they created a 'beautiful burial' to glorify the dead in the changing cultural landscape of Roman Egypt.
The frames of classical art are often seen as marginal to the images that they surround. Traditional art history has tended to view framing devices as supplementary 'ornaments'. Likewise, classical archaeologists have often treated them as tools for taxonomic analysis. This book not only argues for the integral role of framing within Graeco-Roman art, but also explores the relationship between the frames of classical antiquity and those of more modern art and aesthetics. Contributors combine close formal analysis with more theoretical approaches: chapters examine framing devices across multiple media (including vase and fresco painting, relief and free-standing sculpture, mosaics, manuscripts and inscriptions), structuring analysis around the themes of 'framing pictorial space', 'framing bodies', 'framing the sacred' and 'framing texts'. The result is a new cultural history of framing - one that probes the sophisticated and playful ways in which frames could support, delimit, shape and even interrogate the images contained within.
The most comprehensive book on Roman burial practices—now available in paperback Never before available in paperback, J. M. C. Toynbee's study is the most comprehensive book on Roman burial practices. Ranging throughout the Roman world from Rome to Pompeii, Britain to Jerusalem—Toynbee's book examines funeral practices from a wide variety of perspectives. First, Toynbee examines Roman beliefs about death and the afterlife, revealing that few Romans believed in the Elysian Fields of poetic invention. She then describes the rituals associated with burial and mourning: commemorative meals at the gravesite were common, with some tombs having built-in kitchens and rooms where family could stay overnight. Toynbee also includes descriptions of the layout and finances of cemeteries, the tomb types of both the rich and poor, and the types of grave markers and monuments as well as tomb furnishings.
For centuries, statuary décor was a main characteristic of any city, sanctuary, or villa in the Roman world. However, from the third century CE onward, the prevalence of statues across the Roman Empire declined dramatically. By the end of the sixth century, statues were no longer a defining characteristic of the imperial landscape. Further, changing religious practices cast pagan sculpture in a threatening light. Statuary production ceased, and extant statuary was either harvested for use in construction or abandoned in place. The Afterlife of Greek and Roman Sculpture is the first volume to approach systematically the antique destruction and reuse of statuary, investigating key responses to statuary across most regions of the Roman world. The volume opens with a discussion of the complexity of the archaeological record and a preliminary chronology of the fate of statues across both the eastern and western imperial landscape. Contributors to the volume address questions of definition, identification, and interpretation for particular treatments of statuary, including metal statuary and the systematic reuse of villa materials. They consider factors such as earthquake damage, late antique views on civic versus “private” uses of art, urban construction, and deeper causes underlying the end of the statuary habit, including a new explanation for the decline of imperial portraiture. The themes explored resonate with contemporary concerns related to urban decline, as evident in post-industrial cities, and the destruction of cultural heritage, such as in the Middle East.
Funerary Sculpture is the first volume on sculpture from the Agora in over 50 years, bringing together all the sculpted funerary monuments of the Athenian Agora, Classical through Roman periods, which were discovered during excavation from 1931 through 2009. The wide chronological span allows the author to trace changes in funerary monuments, particularly the break in customs that took place in 317 B.C., and the revival of figured monuments in the Roman period. The study consists of three essays followed by a catalogue of 389 objects. The author places the Agora sculptural fragments within the greater context of Attic funerary sculpture, moving from a general to a specific treatment of the funerary sculpture. The first essay is an overview of the study of Attic types of sculpture; the second discusses the specific features of funerary sculpture from Athens and Attica; and the third examines the characteristics of the funerary sculptures found in the Agora, thereby forming an introduction to the catalogue that follows. The catalogue includes stelai and naiskoi with female and/or male figures, sirens, decorative anthemia, funerary vessels, lekythoi, loutrophoroi, animals, mensa, columnar monuments, and more. There are separate indexes of museums, names, demes, places, and findspots, as well as a general index.