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Preliminary material /Elmar Schwertheim -- EINLEITUNG.ZIELSETZUNG UNO AUFBAU DER ARBEIT /Elmar Schwertheim -- GERMANIA INFERIOR /Elmar Schwertheim -- GERMANIA SUPERIOR /Elmar Schwertheim -- RAETIA /Elmar Schwertheim -- NORICUM /Elmar Schwertheim -- BELGICA /Elmar Schwertheim -- GERMANIA MAGNA /Elmar Schwertheim -- MATERIALSICHTUNG /Elmar Schwertheim -- DIE VEREHRUNG ORIENTALISCHER GOTTHEITEN IM ROMISCHEN DEUTSCHLAND /Elmar Schwertheim -- ZUSAMMENFASSUNG /Elmar Schwertheim -- ADDENDA /Elmar Schwertheim -- VERZEICHNIS DER WICHTIGSTEN LITERATUR UND ABKÜRZUNGEN /Elmar Schwertheim -- KATALOGREGISTER /Elmar Schwertheim -- ALPHABETISCHES FUNDORTVERZEICHNIS /Elmar Schwertheim -- TAFELVERZEICHNIS /Elmar Schwertheim -- TAFELN 1-121 /Elmar Schwertheim.
English summary: The catalogue of all the Egyptian terracotta objects of the Hellenistic and Roman periods in the Museum of Fine Arts, Budapest. The presentation of the individual pieces includes a full discussion of their relative chronology and their iconography. Since the material is mostly of unknown provenance, it has been possible to propose a dating almost exclusively on the basis of careful stylistic analysis. Italian description: La catalogazione di tutti gli oggetti in terracotta egiziani di epoca ellenistica e romana conservati nel Museum of Fine Arts di Budapest. La presentazione dei singoli pezzi comprende unampia discussione sulla loro cronologia relativa e sulla loro iconografia. Trattandosi infatti per la maggior parte di materiale di cui non si conosce la provenienza, e stato possibile proporre una datazione quasi esclusivamente sulla base di unaccurata analisi stilistica.
For the first time, this publication comprehensively documents and analyzes the Greek and Roman statuary discovered to date in the greater area of Syria. The text portion describes nearly all monuments in detail and classifies them in the context of the history of ancient sculpture. The associated volume of plates documents every item in detail, typically with four photographic views.
It has long been thought that imperial portrait types were officially commissioned to commemorate specific historical moments and that they were made available to both the mint and the marble workshops in Rome, assuming a close correspondence between portraits on coins and in the round. All ofthis, however, has never been clearly proven, nor has it been disproven by a close systematic examination of the evidence on a broad material basis by those scholars who have questioned it.Through systematic case studies of Faustina the Younger's and Marcus Aurelius' portraits on coins and in sculpture, this book provides new insights into the functioning of the imperial image in Rome in the second century AD that move a difficult, much-discussed subject forward decisively. The newevidence presented here has made it necessary to adjust the established model; more flexibility is needed to describe the processes and practices behind the phenomenon of 'repeated' imperial portraits and how the imperial portrait worked in the mint of Rome and in the metropolitan marbleworkshops.
Includes entries for maps and atlases.