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Mosaics in Roman Britain
The stories illustrated in the mosaic pavements that have survived from Roman Britain graphically link us to the world of the Romans in a way that literature, with its nuances of interpretation, cannot. After explaining how and why mosaic pavements were made, Dr. Patricia Witts looks at many of the 200 figured Roman mosaics that can be enjoyed in museums and sites throughout the country. Most portray mythological characters, and the author explains the underlying myths; others are taken from daily life or depict animals, birds, and marine creatures. This lavishly illustrated study is accompanied by a full glossary of technical terms and a gazetteer of relevant sites and museums.
In The Shelter Of Her Arms
In 1981, An American Student In Europe, Gretchen McGregor Walked Into A Bookstore And Bought A Book That Would Change Her Life Forever, A History Of The Worship Of The Divine Mother. Gripped By The Possibility That This Ancient Tradition Must Still Exist Today, She Embarked On A Journey That Would Take Her From The Hills Of Pennsylvania To The Mountains Of New Mexico, And By 1983 To A Remote Village In Kerala, South India, Where She Would Find A Mahatma, Known Only To The Pious Locals And A Handful Of Spiritual Seekers Who Had Gathered Around Her. They Called Her, Simply, Amma. Convinced That She Had Found The Divine Mother In A Human Form, Gretchen Settled Down To Seek The Highest Truth As ...
Lessons Learned
Mosaik - Konservierung - Restaurierung.
Villas, Sanctuaries and Settlement in the Romano-British Countryside
This volume brings together a range of papers on buildings that have been categorised as ‘villas’, mainly in Roman Britain, from the Isle of Wight to Shropshire. It comprises the first such survey for almost half a century.
A Mosaic Menagerie
Over 700 creatures of land, sea and sky have been recorded from at least 140 Romano-British mosaics. This comprehensively illustrated book is the first detailed study of them. It identifies and discusses the animals, assesses their role in floor decoration, and explains how they were much more than appealing decoration.
Minerva
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The Art of Roman Britain
With the help of over 100 illustrations, many of them little known, Martin Henig shows that the art produced in Britannia rivals that of other provinces and deserves comparison with the art of metropolitan Rome.
The Art of Empire
In recent years, art historians such as Johannes Deckers (Picturing the Bible, 2009) have argued for a significant transition in fourth- and fifth-century images of Jesus following the conversion of Constantine. Broadly speaking, they perceive the image of a peaceful, benevolent shepherd transformed into a powerful, enthroned Jesus, mimicking and mirroring the dominance and authority of the emperor. The powers of church and state are thus conveniently synthesized in such a potent image. This deeply rooted position assumes that ante-pacem images of Jesus were uniformly humble while post-Constantinian images exuded the grandeur of power and glory. The Art of Empire contends that the art and imagery of Late Antiquity merits a more nuanced understanding of the context of the imperial period before and after Constantine. The chapters in this collection each treat an aspect of the relationship between early Christian art and the rituals, practices, or imagery of the Empire, and offer a new and fresh perspective on the development of Christian art in its imperial background.
Emperors and Gladiators
Of all aspects of Roman culture, the gladiatorial contests for which the Romans built their amphitheatres are at once the most fascinating and the most difficult for us to come to terms with. They have been seen variously as sacrifices to the gods or, at funerals, to the souls of the deceased; as a mechanism for introducing young Romans to the horrors of fighting; and as a direct substitute for warfare after the imposition of peace. In this original and authoritative study, Thomas Wiedemann argues that gladiators were part of the mythical struggle of order and civilisation against the forces of nature, barbarism and law breaking, representing the possibility of a return to new life from the point of death; that Christian Romans rejected gladiatorial games not on humanitarian grounds, but because they were a rival representation of a possible resurrection.
The Isle of Wight
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