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Living with Myths
"Provides a comprehensive introduction to this important genre, exploring such subjects as the role of the mythological images in everyday life of the time, the messages they convey about the Romans' view of themselves, and the reception of the sarcophagi in later European art and art history."--Publisher's website
Life, Death and Representation
This volumepresents acollection of essays on different aspects of Roman sarcophagi. These varied approaches will produce fresh insights into a subject which is receiving increased interest in English-language scholarship, with a new awareness of the important contribution that sarcophagi can make to the study of the social use and production of Roman art. The book will therefore be a timely addition to existing literature. Metropolitan sarcophagi are the main focus of the volume, which will cover a wide time range from the first century AD to post classical periods (including early Christian sarcophagi and post-classical reception). Other papers will look at aspects of viewing and representation, iconography, and marble analysis. There will be an Introduction written by the co-editors.
Roman Children's Sarcophagi
This is the first major study of the themes used in the decoration of sarcophagi made for children in Rome and Ostia from the late first to early fourth century AD. Using the subject categories adopted by other recent books on Roman Sarcophagi, Huskinson catalogs examples of each type, and discusses how these fit into the general pattern. Huskinson also discerns the differing themes that resulted from pagan and Christian attitudes towards children and beliefs about life and death.
Sarcophagi from the Jewish Catacombs of Ancient Rome
This comprehensive inventory of all known sarcophagi from the Jewish catacombs of Rome, is the first specialized treatment of this subject in monograph form. It describes and analyses each sarcophagus and provides full reference material which it critically examines. This work thus fills a lacuna in the literature on this field, which has up to now been confined to the treatment of early Christian and pagan sarcophagi of the period. �We have here a complete overview of the Jewish sarcophagi of ancient Rome, all of them illustrated by photographs and provided with extensive bibliographies. This work thus fills a lacuna in the literature on this field.� Journal for the Study of Judaism �Until this book, however, no one has attempted to assemble all of the Jewish sarcophagi separately in one place and to provide relevant information in the form of a well-ordered catalogue. For this reason, Konikoff's book provides a welcome resource for anyone interested in the material evidence of ancient Judaism and forms a good beginning for study of the sarcophagi, especially from a bibliographic point of view.� Gnomon .
What did the sarcophagus of Symmachus look like?
This book concerns the chronology of Roman mythological sarcophagi. The traditional chronology assumes a peak in production during the reign of Gallienus (AD 259-268) that fades away in the reign of Constantine. This chronology has some obvious flaws. The supposed peak under the reign of Gallienus, when the empire was falling apart, can only be described as a mirage. Some very fine sarcophagi were indeed produced in this period, but the number is very limited. With the reign of Constantine (AD 306-337) came wealth, and the so-called 'villa boom' that also revived sculpture in the round. At that time, it is believed that production of pagan sarcophagi had ceased to be replaced by Christian sarcophagi. This raises a very simple question, however: how were pagans buried? No doubt production of pagan sarcophagi continued beyond the turn of the century and Symmachus, who died in AD 402, was buried in such a sarcophagus.
Depicting the Dead
The present monograph takes its place in a now well-established tradition of seeing sarcophagi as visual statements of deceased individuals that used allegories to plot lives and personal memories against mythological and other idealised narratives. It focuses on Roman sarcophagi, often referred to as stadtromisch, which reflects the fact that the field has traditionally been dominated by German scholars. The aim of the book is twofold: Firstly, it is an exploration of how to read Roman sarcophagi, which starts from those with portraits, but which can contribute more broadly to the study of sarcophagi in general. Secondly, this book investigates gender values as represented through images and how to locate the individual in standardised iconography.
