This volume is intended to supply some supplementary information about the gems and cameos published in A Collection of Classical and Eastern Intaglios, Rings and Cameos, published in 2003 as BAR S1136. These had been chosen from a large private collection formed mainly in Italy from about 1921 into the 1960s. It comprised ancient gems but there was a number of post-antique, and part of this publication is devoted to further consideration of some of them, as well as of some comparable examples in the collection not included before, and especially to their later, most distinctive mounts, a feature not always much remarked or explored in publications of ancient gems in later settings. Those on gems in this collection are mainly remarkable for demonstrating some characteristically elaborate Sicilian methods of mounting gems, mainly of the 18th century, and not commonly encountered in published collections. The opportunity is also taken to add a few more interesting examples from the collection, and to republish in colour some of the more important pieces in the original catalogue. The opportunity is, moreover, taken to reflect briefly upon the way in which the ancient traditions in gem engraving and the classical style and subject matter survived or was revived and rediscovered in later centuries. The accompanying text attempts also to summarise some of the problems of original and copy, not only à propos of gems. The study of such matters is extremely complex, requiring a breadth of knowledge about both antiquity and the artistic and literary activities of both the Renaissance and the Neo-Classical movements of the 17th to 19th centuries. A further essay explores the ways by which the subjects of the gems became known beyond the world of those who owned or could readily view the originals, since the publication of gems, by drawing or facsimile, plays a major role in the whole story. This offers the opportunity to illustrate pages from antiquarian books to demonstrate the style and quality of reproduction available and practised before photography.

Sir John Boardman is one of the foremost experts on ancient Greek art. His autobiography offers a mixture of scholarly reminiscence, reflection on family life, travelogue, and critique of classical scholarship worldwide. Illustrated with pictures of travels, friends and home life, it reflects on his experiences of more than 90 years.

The legacy of ancient Greece and Rome has been imitated, resisted, misunderstood, and reworked by every culture that followed. In this volume, some five hundred articles by a wide range of scholars investigate the afterlife of this rich heritage in the fields of literature, philosophy, art, architecture, history, politics, religion, and science.

A comprehensive, authoritative account of the development Greek Art through the 1st millennium BC. An invaluable resource for scholars dealing with the art, material culture and history of the post-classical world Includes voices from such diverse fields as art history, classical studies, and archaeology and offers a diversity of views to the topic Features an innovative group of chapters dealing with the reception of Greek art from the Middle Ages to the present Includes chapters on Chronology and Topography, as well as Workshops and Technology Includes four major sections: Forms, Times and Places; Contacts and Colonies; Images and Meanings; Greek Art: Ancient to Antique

During the nineteenth century in Rome, three generations of the Castellani family created what they called “Italian archaeological jewelry,” which was inspired by the precious Etruscan, Roman, Greek, and Byzantine antiquities being excavated at the time. The Castellani jewelry consisted of finely wrought gold that was often combined with delicate and colorful mosaics, carved gemstones, or enamel. This magnificent book is the first to display and discuss the jewelry and the family behind it. International scholars discuss the life and work of the Castellani, revealing the wide-ranging aspects of the family’s artistic and cultural activities. They describe the making and marketing of the jewelry, the survey collection of all periods of Italian jewelry on display in the Castellani’s palatial store, and the Castellani’s activities in the trade of antiquities, as they sponsored excavations, and restored, dealt, and exhibited antiques. They also recount the family’s involvement in the cultural and political life of their city and country.

This book is an anthology of passages gathered from the leading monks and teachers of the Pure Land, or Shin, school of Buddhist teaching. Extending from the foundational texts and first interpreters in the 4th century, to Rennyo in the 15th century, Professor Bloom’s selections trace the development of Shin Buddhist teaching from monastic visualization practices to the widely popular path to salvation through faith in, and recitation of, the name of Amida Buddha. The collection features a foreword by Kenneth K. Tanaka and an insightful introduction by renowned scholar and editor, Alfred Bloom, whose selected passages have been arranged topically for easy reference on issues of Pure Land teaching. The key interpreters featured are the Seven Great Teachers from India, China, and Japan (Nagarjuna, Vasubandhu; T’an-luan, Tao-ch’o, Shan-tao; Genshin, Honen), selected as doctrinal authorities by Shinran (1173-1263), the founder of the Japanese Pure Land sect.

This work provides a survey of the jewellery of Roman Britain. Fully illustrated and accessible to both the specialist and amateur enthusiast, it surveys the full range of personal ornament worn in Britain during the Roman period, the 1st to 4th centuries AD. It emphasizes the presence of two distinct cultural and artistic traditions, the classical element introduced by the Romans and the indigeneous Celtic background. The interaction of these traditions affected all aspects of Romano-British life and is illustrated in the jewellery.; The meaning and significance of personal ornament in a wide range of cultures is discussed, including such matters as symbolism and the display of wealth and status. The principal types of Romano-British jewellery are classified in detail, drawing attention to those which can be relatively closely dated. The coverage is not restricted to precious-metal objects, but includes jewellery made of base metals and materials such as bone, jet and glass. The final chapter is devoted to the techniques of manufacture, a subject which has become better understood in recent years as a result of scientific advances. The book should appeal to anyone who practices, teaches or studies Roman archaeology, together with all those with a professional or amateur interest in the history of jewellery and design.