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Since the Renaissance, it has been generally accepted that almost all Roman sculptures depicting ideal figures were copies of Greek originals. This text traces the origin of this idea to the academic belief in the mythical perfection of now-lost Greek art.
This is the third out of eight projected volumes making available to the public the contents in the collection of Greek and Roman Antiquities in one of Canada’s most prestigious museums. Here are presented a variety of metal objects (mostly bronze figurines, medical instruments, brooches, weaponry and a lead sarcophagus), the small collection of jewelry and the ancient gems and seal stones (mainly Roman) some still set in rings. Ce volume est le troisième de la série de huit volumes projetés qui vise à publier la collection des antiquités grecques et romaines d’un des grands musées canadiens. Nous présentons ici des objets métalliques très variés (surtout des statuettes de bronze, des instruments médicaux, des épingles, des armes et un sarcophage de plomb), un petit nombre de bijoux et de gemmes anciennes (surtout romaines) certaines encore serties dans une bague.
Peter Lampe's work has covered a wide range of fields, the common denominator being his interest in contextualizing belief systems. Mirroring his multifaced work, the authors pursue his interest from different interdisciplinary angles, addressing the interdependence between religious expressions and their situations or contexts. The application of theoretical models to texts examples flanks the inspiring theoretical – epistemological and methodological – reflections. Studies in socio-economic and political history adjoin archaeological, epigraphic, papyrological and iconographic investigations. (Social-)psychological interpretations of texts complement rhetorical analyses. The hermeneutical reception of biblical materials in, for example, the Koran and Christian Chinese or Orthodox contexts, as well as in religious education and homiletics, rounds off the volumes.
In Giuseppe Arcimboldo’s most famous paintings, grapes, fish, and even the beaks of birds form human hair. A pear stands in for a man’s chin. Citrus fruits sprout from a tree trunk that doubles as a neck. All sorts of natural phenomena come together on canvas and panel to assemble the strange heads and faces that constitute one of Renaissance art’s most striking oeuvres. The first major study in a generation of the artist behind these remarkable paintings, Arcimboldo tells the singular story of their creation. Drawing on his thirty-five-year engagement with the artist, Thomas DaCosta Kaufmann begins with an overview of Arcimboldo’s life and work, exploring the artist’s early years ...
This volume records and illustrates the minting of silver pennies in Winchester between the reigns of Alfred the Great and Henry III. Five and a half thousand survive in museums and collections all over the world. Sought out and photographed (some 3200 coins in 6400 images detailing both sides), they have been minutely catalogued for this volume.
Explores the formation of clemency as a human and social value in the Roman Empire
This volume brings together a set of articles by Professor Anton Scharer dealing with the themes of conversion, court culture and royal representation in Anglo-Saxon England and Carolingian Europe. It includes two previously unpublished papers, and another four specially translated into English for this publication. Three papers focus on different aspects of conversion: the spread of Christianity in Anglo-Saxon England by means of social relations, the role of language in this process and the monastic and social background of the insular mission to the Continent. With conversion came the import of Latin written culture, including charters, and one study focuses on royal styles in Anglo-Saxon...
Opulent jeweled objects ranked among the most highly valued works of art in the European Middle Ages. At the same time, precious stones prompted sophisticated reflections on the power of nature and the experience of mineralized beings. Beyond a visual regime that put a premium on brilliant materiality, how can we account for the ubiquity of gems in medieval thought? In The Mineral and the Visual, art historian Brigitte Buettner examines the social roles, cultural meanings, and active agency of precious stones in secular medieval art. Exploring the layered roles played by gems in aesthetic, ideological, intellectual, and economic practices, Buettner focuses on three significant categories of ...