Lulof, Patricia S., Manzini, Ilaria, Rescigno, Carlo, Lulof, Patricia S., Manzini, Ilaria, and Rescigno, Carlo
Terra-cotta sculpture, Roman--Italy--Congresses, Architecture, Ancient--Italy--Congresses, Architectural terra-cotta--Italy--Congresses, and Terra-cotta--Italy--Congresses
Temples are the most prestigious buildings in the urban landscape of ancient Italy, emerging within a network of centres of the then-known Mediterranean world. Notwithstanding the fragmentary condition of the buildings'remains, these monuments – and especially their richly decorated roofs – are crucial sources of information on the constitution of political, social and craft identities, acting as agents in displaying the meaning of images.The subject of this volume is thematic and includes material from the Eastern Mediterranean (including Greece and Turkey). Contributors discuss the network between patron elites and specialized craft communities that were responsible for the sophisticated terracotta decoration of temples in Italy between 600 and 100 BC, focusing on the mobility of craft people and craft traditions and techniques, asking how images, iconographies, practices and materials can be used to explain the organization of ancient production, distribution and consumption. Special attention has been given to relations with the Eastern Mediterranean (Greece and Anatolia). Investigating craft communities, workshop organizations and networks has never been thoroughly undertaken for this period and region, nor for this exceptionally rich category of materials, or for the craftspeople producing the architectural terracottas. Papers in this volume aim to improve our understanding of roof production and construction in this period, to reveal relationships between main production centres, and to study the possible influences of immigrant craftspeople.
Shrines--Greece--Athens, Relief (Sculpture), Roman--Greece--Athens, Votive offerings--Greece--Athens, Social archaeology--Greece--Athens, Excavations (Archaeology)--Greece--Athens, Relief (Sculpture), Classical--Greece--Athens, and Relief (Sculpture), Hellenistic--Greece--Athens
This volume includes all of the Classical, Hellenistic, and Roman votive reliefs found to date in the excavations of the Athenian Agora. In addition to providing a catalogue of the reliefs arranged according to their subjects, the author treats the history of their discovery, their production and workmanship, iconography, and function. A large part of the study is devoted to discussion of the original contexts of the reliefs, in an attempt to determine their relationship to shrines in the vicinity and to investigate what they can tell us about the character of religious activity in the vicinity of the Agora. The work will be an important reference for historians of Greek art as well as of Greek religion.
This groundbreaking study traces the development of Roman architecture and its sculpture from the earliest days to the middle of the 5th century BCE. Existing narratives cast the Greeks as the progenitors of classical art and architecture or rely on historical sources dating centuries after the fact to establish the Roman context. Author John North Hopkins, however, allows the material and visual record to play the primary role in telling the story of Rome's origins, synthesizing important new evidence from recent excavations. Hopkins's detailed account of urban growth and artistic, political, and social exchange establishes strong parallels with communities across the Mediterranean. From the late 7th century, Romans looked to increasingly distant lands for shifts in artistic production. By the end of the archaic period they were building temples that would outstrip the monumentality of even those on the Greek mainland. The book's extensive illustrations feature new reconstructions, allowing readers a rare visual exploration of this fragmentary evidence.
Madigan, Brian Christopher and Madigan, Brian Christopher
Idols and images--Rome, Sculpture, Roman, and Gods, Roman, in art
This study examines the visual and textual evidence for free-standing images of gods which functioned ceremonially in order to determine the distinct formats, the defining characteristics, and in which ceremony or ceremonies each type functioned.
Lulof, Patricia S., Rescigno, Carlo, Lulof, Patricia S., and Rescigno, Carlo
Architecture, Ancient--Italy--Congresses, Terra-cotta sculpture, Roman--Italy--Congresses, Architectural terra-cotta--Italy--Congresses, and Terra-cotta--Italy--Congresses
In Ancient Italy, temples were adorned with full-figure architectural terracotta images such as acroteria, statuary groups and high reliefs. These terracottas mostly show complex scenes of gods and heroes, legendary battles and mythical animals, as well as large volutes and palmettes. The fourth edition of the Deliciae Fictiles conferences focused on this specific class of mostly handmade terracotta roof decoration from Etruria and Central Italy, Campania, Magna Graecia and Sicily. The volume contains sixty contributions, publishing new material, new findings and many new reconstructions of this highly rare material from all over Italy from the Archaic period into the Hellenistic times. A vast bibliography and over seven hundred illustrations, many of which in colour, provide reference material for scholars and students of archaeology, ancient architecture and technique, art history and iconography.
This book provides analyses of different recarving methods in Late Antiquity, and argues on the basis of 500 recarved portraits that the late antique portrait style, which was formerly considered an expression of a new era, was rather a technical consequence.
Art and society--Rome, Portrait sculpture--Italy--Rome, and Portrait sculpture, Roman--Italy--Rome
The highest honour a Roman citizen could hope for was a portrait statue in the forum of his city. While the emperor and high senatorial officials were routinely awarded statues, strong competition existed among local benefactors to obtain this honour, which proclaimed and perpetuated the memory of the patron and his family for generations. There were many ways to earn a portrait statue but such local figures often had to wait until they had passed away before the public finally fulfilled their expectations. It is argued in this book that our understanding and contemplation of a Roman portrait statue is greatly enriched, when we consider its wider historical context, its original setting, the circumstances of its production and style, and its base which, in many cases, bore a text that contributed to the rhetorical power of the image.