First published in 2005. With updated documents including papyri, inscriptions and ostraka, this book casts fresh and original light on the administration and economy issues faced with the transition of Egypt from an allied kingdom of Rome to a province of the Roman Empire.

This book examines the appetite for Egyptian and Egyptian-looking artwork in Italy during the century following Rome's annexation of Aegyptus as a province. In the early imperial period, Roman interest in Egyptian culture was widespread, as evidenced by works ranging from the monumental obelisks, brought to the capital over the Mediterranean Sea by the emperors, to locally made emulations of Egyptian artifacts found in private homes and in temples to Egyptian gods. Although the foreign appearance of these artworks was central to their appeal, this book situates them within their social, political, and artistic contexts in Roman Italy. Swetnam-Burland focuses on what these works meant to their owners and their viewers in their new settings, by exploring evidence for the artists who produced them and by examining their relationship to the contemporary literature that informed Roman perceptions of Egyptian history, customs, and myths.

An examination of the main characters in the Aeneid - Aeneas himself, Dido and Turnus - in the light of Virgil's contemporary Augustan political and literary ideology. The characters and the plot and incident of the epic are seen as embodying and exemplifying first the ancient ideals of kingship and concord, and second the Roman self-identification as at once 'Italian' and 'Trojan', and finally as reflecting the literary self-evaluation of the Augustan age. In the literary area, Virgil's relations with contemporary Roman elegy, with early Greek lyric and, most important, with Homer, are studied and reevaluated. Virgilian scholars and students of Augustan literature in general will find this book of interest to them.

This book presents an archaeological overview of the presence and development of Egyptian material culture in the context of Augustan Rome. The Augustan period was a crucial turning point for the urban landscape of Rome, which became specifically characterised by a complex, and often flexible repertoire of cultural diver¬sity. Studies in the past have focused primarily on (classical) Greek influences on the development of Augus¬tan material culture, while objects featuring Egyptian styles, themes and materials have remained generally categorised as exoticism, a fashion trend, or signs of so-called 'Egyptomania'. The research presented and discussed in this book, in contrast, raises the question whether and how 'Egypt' constituted an integral part of this Augustan material culture repertoire. By comprising for the first time a comprehensive and interpretative overview of such manifestations of Egypt in Rome, including public monuments, paintings, and architectural elements, as well as pottery, gems, and jewellery from private contexts, the study offers wide-ranging case studies, featuring object reappraisals as well as new archaeological finds and contextual analyses. By focusing on the archaeological data, rather than on the often better-known historical and textual sources, this books offers new arguments and evidence that the role of 'Egypt', as represented in the material culture of the city of Rome, was not that of an exotic outsider, but constituted a remarkably diverse and inherent part of the Augustan material culture repertoire and urban landscape.

An authoritative and multidisciplinary Companion to Egypt during the Greco‑Roman and Late Antique period With contributions from noted authorities in the field, A Companion to Greco-Roman and Late Antique Egypt offers a comprehensive resource that covers almost 1000 years of Egyptian history, starting with the liberation of Egypt from Persian rule by Alexander the Great in 332 BC and ending in AD 642, when Arab rule started in the Nile country. The Companion takes a largely sociological perspective and includes a section on life portraits at the end of each part. The theme of identity in a multicultural environment and a chapter on the quality of life of Egypt's inhabitants clearly illustrate this objective. The authors put the emphasis on the changes that occurred in the Greco-Roman and Late Antique periods, as illustrated by such topics as: Traditional religious life challenged; Governing a country with a past: between tradition and innovation; and Creative minds in theory and praxis. This important resource: Discusses how Egypt became part of a globalizing world in Hellenistic, Roman and Byzantine times Explores notable innovations by the Ptolemies and Romans Puts the focus on the longue durée development Offers a thematic and multidisciplinary approach to the subject, bringing together scholars of different disciplines Contains life portraits in which various aspects and themes of people’s daily life in Egypt are discussed Written for academics and students of the Greco-Roman and Late Antique Egypt period, this Companion offers a guide that is useful for students in the areas of Hellenistic, Roman, Byzantine and New Testament studies.

An imperial adjudication against the Jews prompted the riots of 38 CE in Alexandria. The Roman prefect and the Alexandrian citizenry acted within their institutional roles to the effect that most of the Jews lost their legal residence for good.

Presenting a large body of evidence for the first time, this book offers a comprehensive treatment of Nubian architecture, sculpture, and minor arts in the period between 300 BC-AD 250. It focuses primarily on the Nubian response to the traditional pharaonic, Hellenistic/Roman, Hellenizing, and “hybrid” elements of Ptolemaic and Roman Egyptian culture. The author begins with a history of Nubian art and a critical survey of the literature on Ptolemaic and Roman Egyptian art. Special chapters are then devoted to the discussion of the Egyptian-Greek interaction in the arts of Ptolemaic Egypt, the place of Egyptian Hellenistic and Hellenizing art within the oikumene, the pluralistic visual world of Ptolemaic and Roman Egypt, as well as on the specific genre of terracotta sculpture. Utilizing examples from Meroe City and Musawwarat es Sufra, the author argues that cultural transfer from Ptolemaic and Roman Egypt to Nubia resulted in an inward-focused adaptation. Therefore, the resulting Nubian art from this period expresses only those aspects of Egyptian and Greek art that are compatible with indigenous Nubian goals.