Select Bibliography and Further Reading

Andrew Stewart

doi:10.1017/CBO9781107262270.021

NOTE: Short titles (e.g., Walbank (ed.), Hellenistic World) refer to the Select Bibliography.

Tazza Farnese: Furtwängler, A., Die antiken Gemmen (Leipzig and Berlin 1900), vol. 2, 253–56; Plantzos, D., “Ptolemaic Cameos of the 2nd and 1st Centuries B.C.,” Oxford Journal of Archaeology 15 (1996) 39–61; Belozerskaya, M., Medusa’s Gaze. The Extraordinary Journey of the Tazza Farnese (Oxford 2012). Euthenia: Jentel, M.-O., “Euthenia,” in Lexikon Iconographicum Mythologiae Classicae (Basel 1988) vol. 4, no. 1, pl. 63. Two alternative interpretations of the scene: E. J. Dwyer, “The Temporal Allegory of the Tazza Farnese” and J. Pollini, “The Tazza Farnese: ‘Augusto Imperatore Redeunt Saturnia Regna!’” American Journal of Archaeology 96 (1992) 255–82, 283–300.Google Scholar

Hellenistic history, economics, and culture: Walbank (ed.), Hellenistic World (1992) and Bugh (ed.), Cambridge Companion (2006) offer succinct accounts; Green, Alexander to Actium (1990) is far longer and more tendentious but more exciting; and Shipley, Greek World after Alexander (2000) is the most informative.

Written sources: Pollitt, Art of Ancient Greece (1990) offers a good selection, and Pollitt, Ancient View (1974) discusses Vitruvius, Pliny, and Pausanias; on V, see also the entries in Cancik and Schneider, Brill’s New Pauly (2002); Hornblower et al., Oxford Classical Dictionary (2012).

Archaeology: see especially Schnapp, A., The Discovery of the Past (New York 1997); Dyson, S. L., In Pursuit of Ancient Pasts: A History of Classical Archaeology in the Nineteenth and Twentieth Centuries (New Haven 2006); Christian, K. Wren, Empire without End: Antiquities Collections in Renaissance Rome, c. 1350–1527 (New Haven 2010); McHam, S. Blake, Pliny and the Artistic Culture of the Italian Renaissance: The Legacy of the Natural History (New Haven 2013).Google Scholar

Settlement: Shipley, Greek World after Alexander (2000) 1–5, 86–107; Billows, R., “The Cities,” in Erskine, A. (ed.), Companion to the Hellenistic World (2003) 196–215; Karageorghis, V. (ed.), The Greeks beyond the Aegean: From Marseilles to Bactria (New York 2005); Gruen, E. S., “Greeks and Non-Greeks,” in Bugh, G. (ed.), Cambridge Companion to the Hellenistic World (2006) 295–314.Google Scholar

Sites: Finley, M. I., Atlas of Classical Archaeology (Park Ridge, NJ 1976); Stillwell, R. (ed.), The Princeton Encyclopedia of Classical Sites (Princeton 1976); Talbert, R. J. A. (ed.), The Barrington Atlas of the Greek and Roman World (Princeton 2000); Cancik and Schneider, Brill’s New Pauly (2002).Google Scholar

Greece and Macedonia: Ginouvès, , Macedonia (1994); Habicht, C., Athens from Alexander to Antony (Cambridge, MA 1997); Camp, J., The Archaeology of Athens (New York 2001); Roisman, J. and Worthington, I. (eds.), A Companion to Ancient Macedonia (Chichester and Malden 2010); Kottaridi and Walker, Heracles to Alexander (2011); Fox, R. J. Lane (ed.), Brill’s Companion to Ancient Macedon (Leiden and Boston 2011).Google Scholar

Priene: Rumscheid, F., Priene: A Guide to the “Pompeii of Asia Minor” (Istanbul 1998); Ferla, K., Priene (Cambridge, MA, and London 2005) – includes plans, commentaries, and computerized reconstructions.Google Scholar

Pergamon: Hansen, E. V., The Attalids of Pergamon (2nd ed., Ithaca 1971); Radt, W., Pergamon: Geschichte und Bauten einer antiken Metropole (Darmstadt 1999) – in German but well-illustrated.Google Scholar

Alexandria and Egypt: G. Grimm, Alexandria (Mainz am Rhein 1998) – in German but well-illustrated; Walker and Higgs, Cleopatra of Egypt (2001); McKenzie, J., The Architecture of Alexandria and Egypt, c. 300 B.C. to A.D. 700 (New Haven and London 2007); Bagnall, R. and Rathbone, D. (eds.), Egypt from Alexander to the Early Christians: An Archeological and Historical Guide (Cairo 2008). Underwater excavations: La Riche, W., Alexandria: The Sunken City (London 1996); Empereur, J.-Y., Alexandria Rediscovered (New York 1998). On Ptolemaic history, society, and culture, see Bowman, A. K., Egypt after the Pharaohs (Berkeley and Los Angeles 1996); Hamma, K. (ed.), Alexandria and Alexandrianism (Malibu 1996); Hölbl, G., A History of the Ptolemaic Empire (London and New York 2001); Bingen, J., Hellenistic Egypt: Monarchy, Society, Economy, Culture (Berkeley and Los Angeles 2007).Google Scholar

Antioch and the Seleukid Empire: Downey, G., A History of Antioch in Syria (Princeton 1961); Kuhrt, A. and Sherwin-White, S. M., Hellenism in the East (Berkeley and Los Angeles 1987); S. M. Sherwin-White and A. Kuhrt, From Samarkhand to Sardis. A New Approach to the Seleucid Empire (Berkeley 1993); M. Austin, “The Seleukids and Asia,” in Erskine (ed.), Companion to the Hellenistic World (2003) 121–33.CrossRef Google Scholar

Baktria and India: Downey, S. B., Mesopotamian Religious Architecture: Alexander through the Parthians (Princeton 1988); Hiebert and Cambon, Afghanistan (2008); Holt, F., Lost World of the Golden King: In Search of Ancient Afghanistan (Berkeley and Los Angeles 2012).Google Scholar

Richter, G. M. A., The Portraits of the Greeks (rev. ed. by Smith, R. R. R., Ithaca 1986) 223–50; Smith, R. R. R., Hellenistic Royal Portraits (Oxford 1988); Stewart, A., Faces of Power: Alexander’s Image and Hellenistic Politics (Berkeley and Los Angeles 1993); updates, Stewart, A., “The Portraiture of Alexander,” in Roisman, J. (ed.), Brill’s Companion to Alexander the Great (Leiden 2003) 31–66; Stewart, A., Classical Greece and the Birth of Western Art (Cambridge 2008) 273–316; Trofimova, A., Imitatio Alexandri in the Hellenistic Art (Rome 2012). Ptolemaic Egyptianizing portraits: Ashton, S.-A., Ptolemaic Royal Sculpture from Egypt: The Interaction between Greek and Egyptian Traditions (Oxford 2001); Stanwick, P. E., Portraits of the Ptolemies: Greek Kings as Egyptian Pharaohs (Austin 2002). Gems and cameos: Plantzos, , Hellenistic Engraved Gems (1999) 42–65. Coins: Davis and Kraay, The Hellenistic Kingdoms (1973); for excellent photos, see Kraay and Hirmer, Greek Coins (1966); Jenkins, Ancient Greek Coins (1990/1972).Google Scholar

On the hymn to Demetrios, see Platt, V., Facing the Gods: Epiphany and Representation in Greco-Roman Art, Literature, and Religion (Cambridge 2011) 143–47.Google Scholar

“Pageants”: see H. von Hesberg, “The King on Stage,” and A. Kuttner, “Hellenistic Images of Spectacle, from Alexander to Augustus,” in Bergmann, B. and Kondoleon, C. (eds.), The Art of Ancient Spectacle (National Gallery of Art, Washington, Studies in the History of Art 56, New Haven and London 1999) 65–75, 97–124.

Alexander Mosaic: Stewart, Faces of Power (1993) 130–50; Cohen, A., The Alexander Mosaic: Stories of Victory and Defeat (Cambridge 1997); Moreno, P., Apelles: The Alexander Mosaic (Milan 2001).Google Scholar

Boscoreale frescoes: Smith, R. R. R., “Spear-Won Land at Boscoreale,” Journal of Roman Archaeology 7 (1994) 100–28; on their Roman setting, Bergmann, B. et al., “Roman Frescoes from Boscoreale,” Bulletin of the Metropolitan Museum of Art 67.4 (2010).CrossRef Google Scholar

The Celts: Pollitt Art in the Hellenistic Age (1986) 79–97; Marszal, J., “Ubiquitous Barbarians,” in de Grummond, N. and Ridgway, B. S. (eds.), From Pergamon to Sperlonga (Berkeley and Los Angeles 2000) 191–234; Sassi, M. M., The Science of Man in Ancient Greece (London 2001) ch. 3 (barbarians); S. Mitchell, “The Galatians: Representation and Reality,” in Erskine (ed.), Companion to the Hellenistic World (2003) 280–93; Stewart, A., Attalos, Athens, and the Akropolis: The Pergamene Little Barbarians and their Roman and Renaissance Legacy (Cambridge 2004). Marble provenance: Attanasio, D., M. Bruno, and W. Prochaska, “The Docimian Marble of the Ludovisi and Capitoline Gauls and Other Replicas of the Pergamene Dedications,” American Journal of Archaeology 115 (2011) 575–87; and (with A. B. Yavuz), “Aphrodisian Marble from the Göktepe Quarries: The Little Barbarians, Roman copies from the Attalid Dedication in Athens,” Proceedings of the British School at Rome 80 (2012) 65–87.Google Scholar

Nike of Samothrace: No monograph in English; for two different perspectives, see, for example, Stewart, A., “Narration and Allusion in the Hellenistic Baroque,” in Holliday, P. J. (ed.), Narrative and Event in Ancient Art (Cambridge 1993) 130–74; and Palagia, O., “The Victory of Samothrace and the Aftermath of the Battle of Pydna,” in Palagia, O. and Wescoat, B. D. (eds.), Samothracian Connections: Essays in Honor of James R. McCredie (Oxford 2010) 154–64.Google Scholar

Unfortunately, the only comprehensive study is in German: Bringmann, K. and von Steuben, H. (eds.), Schenkungen hellenistischer Herrscher an griechische Städte und Heiligtümer (Berlin 1995–2000) vols. 1–2.2; on individual buildings, see Winter Studies in Hellenistic Architecture (2004). For Athens, see Habicht, Athens from Alexander to Antony (1997) 220–27; Camp Archaeology of Athens (2001);and Travlos, J., Pictorial Dictionary of Ancient Athens (London and New York 1970) for pictures. For Delos, see Bruneau, P. and Ducat, J., Guide de Délos (Athens 2005). In general, see Ma, J., Statues and Cities. Honorific Portraits and Civic Identity in the Hellenistic World (Oxford 2013). On the much rarer sculptural benefactions, see, for example, Stewart, Attalos, Athens, and the Akropolis (2004) 181–200.Google Scholar

Synopsis: Pollitt Art in the Hellenistic Age (1986) 97–110; comprehensive monograph in French, with good photographs: Queyrel, F., L’Autel de Pergame (Paris 2005). Functions: Stewart, in de Grummond and Ridgway (eds.), From Pergamon to Sperlonga (2000) 32–57. Architecture and the Telephos frieze: Dreyfus, R. and Schraudolph, E. (eds.), Pergamon: The Telephos Frieze from the Great Altar (2 vols., San Francisco and Austin 1996–97); Ridgway Hellenistic Sculpture II (2000) 19–102. Baroque style and narrative: A. Stewart, “Narration and Allusion in the Hellenistic Baroque,” in Holliday (ed.), Narrative and Event (1993) 153–72.Google Scholar

Farnese Herakles and bodybuilding (Eugen Sandow): Wyke, Maria, “Herculean Muscle! The Classicizing Rhetoric of Bodybuilding,” Arion 4.3 (1997) 54–55, reprinted in J. Porter (ed.), Constructions of the Classical Body (Ann Arbor 1999) 355–79; Todd, Jan, “The History of Cardinal Farnese’s Weary Heracles,” Iron Game History 9.1 (2005) 29–34 (Joe Weider).Google Scholar

Baroque groups: Stewart, A., “Baroque Classics: The Tragic Muse and the Exemplum,” in Porter, J. (ed.), Classical Pasts: The Classical Traditions of Greece and Rome (Princeton 2005) 127–71. Laokoon, Pasquino, and Sperlonga: Rice, E. E., “Prosopographia Rhodiaca,” Annual of the British School of Archaeology at Athens 81 (1986) 209–50; Brilliant, R., My Laocöon: Alternative Claims in the Interpretation of Artworks (Berkeley and Los Angeles 2000); de Grummond and Ridgway (eds.), From Pergamon to Sperlonga (2000) 78–190.Google Scholar

Athletes: Smith, Hellenistic Sculpture (1991) 51–62; Mattusch, C. C., The Victorious Youth (Los Angeles 1997); Hemingway, S., The Horse and Jockey from Artemision (Berkeley and Los Angeles 2004).Google Scholar

Frischer, B., The Sculpted Word. Epicureanism and Philosophical Rrecruitment in Ancient Greece (Berkeley and Los Angeles 1982); Richter (rev. ed. Smith), Portraits of the Greeks (1986) 73–222; Smith, R. R. R., “Kings and Philosophers,” in Bulloch, A. et al. (eds.), Images and Ideologies: Self-Definition in the Hellenistic World (Berkeley and Los Angeles 1993) 202–11; Zanker, P., The Mask of Socrates: The Image of the Intellectual in Antiquity (Berkeley and Los Angeles 1995) 90–197; Ma, Statues and Cities (2013).Google Scholar

Hellenistic religion: Shipley, Greek World after Alexander (2000) 153–91; Erskine (ed.), Companion to the Hellenistic World (2003) 405–46; Bugh (ed.), Cambridge Companion (2006) 208–22; on military epiphanies, see Pritchett, W. K., The Greek State at War III: Religion (Berkeley and Los Angeles 1979) 11–46.Google Scholar

Venus de Milo: Curtis, G., Disarmed. The Story of the Venus de Milo (New York 2003); Kousser, R., “Creating the Past. The Vénus de Milo and the Hellenistic Reception of Classical Greece,” American Journal of Archaeology 109 (2005) 227–50.Google Scholar

Damophon: Themelis, P., “Damophon,” in Palagia, O. and Pollitt, J. J., (eds.), Personal Styles in Greek Sculpture (Yale Classical Studies 30, Cambridge 1996) 154–85; Platt, Facing the Gods (2011) 125–34.Google Scholar

Sarapis: Hornbostel, W., Sarapis (Études préliminaires sur les religions orientales 32, 1993); in German, but well-illustrated; Hölbl, Ptolemaic Empire (2001) 99–101.

Portraits: Dillon, S., The Female Portrait Statue in the Greek World (New York and Cambridge 2010); Ma, Statues and Cities (2013).Google Scholar

Ruler cult: Thompson, D. B., Ptolemaic Oenochoai and Portraits in Faience (Oxford 1968); Smith, Hellenistic Royal Portraits (1988) 11, 13, 18–26, cf. 38–45; Hölbl, Ptolemaic Empire (2001) 101–12; A. Chaniotis, “The Divinity of Hellenistic Rulers,” in Erskine (ed.), Companion to the Hellenistic World (2003) 431–46.Google Scholar

General: Kondoleon, Aphrodite and the Gods of Love (2011).

Knidia, etc.: Havelock, C. M., The Aphrodite of Knidos and Her Successors (Ann Arbor 1995); Stewart, A., Art, Desire and the Body in Ancient Greece (Cambridge 1996) 205–30; update, Stewart, A., “A Tale of Seven Nudes: The Capitoline and Medici Aphrodites, Four Nymphs at Elean Herakleia, and an Aphrodite at Megalopolis,” Antichthon 44 (2010) 12–32.CrossRef Google Scholar

Hermaphrodites: Stewart, Art, Desire and the Body (1996) 228–30; Ajootian, A., “The Only Happy Couple,” in Lyons, C. and Kozlowski-Ostrow, A. O. (eds.), Naked Truths (London and New York 1997) 220–42.Google Scholar

Dunbabin, Mosaics (1999) 5–52; Westgate, R., “Pavimenta atque emblemata vermiculata: Regional Styles in Hellenistic Mosaic and the First Mosaics at Pompeii,” American Journal of Archaeology 104 (2000) 255–75; Andreae, Antike Bildmosaiken (2012) – in German; and Pappalardo and Ciardiello, Greek and Roman Mosaics (2012) – both superbly illustrated.CrossRef Google Scholar

Macedonia: Ginouvès, Macedonia (1994); Cohen, Art in the Era of Alexander (2010).

Symposia and the sea: Davies, M. I., “Sailing, Rowing, and Sporting in One’s Cups on the Wine-Dark Sea,” in Childs, W. A. P. (ed.), Athens Comes of Age: From Solon to Salamis (Princeton 1978) 72–95.Google Scholar

Delos: Bruneau, P., Éxploration archéologique de Délos. Vol. 29: Les Mosaïques (Paris 1972) – in French, with full photographic coverage.Google Scholar

Ptolemy’s festival: Rice, E. E., The Grand Procession of Ptolemy Philadelphos (Oxford 1983); compare H. von Hesberg, “The King on Stage,” J. C. Edmondson, “The Cultural Politics of Public Spectacle in Rome and the Greek East, 167–166 B.C.E.,” and Kuttner, A., “Hellenistic Images of Spectacle, from Alexander to Augustus,” in Bergmann, B. and Kondoleon, C. (eds.), Art of Ancient Spectacle (1999) 65–75, 77–95, 97–124.Google Scholar

The court and luxury: Herman, G., “The Court Society of the Hellenistic Age,” in Cartledge, P., Garnsey, P., and Gruen, E. (eds.), Hellenistic Constructs (Berkeley and Los Angeles 1997) 199–224; Bing, P., “The Politics and Poetics of Geography in the Milan Posidippus,” and A. Kuttner, “Cabinet Fit for a Queen,” in Gutzwiller, K. (ed.), The New Posidippus: A Hellenistic Poetry Book (New York and Oxford 2005) 119–40, 141–63.Google Scholar

Palaces and mansions: Ginouvès, Macedonia (1994) 82–90; Nielsen, I., Hellenistic Palaces: Tradition and Renewal (Aarhus 1994); Nevett, L., House and Society in the Ancient Greek World (Cambridge 1999); Nielsen, I. (ed.), The Royal Palace Institution in the First Millennium B.C. (Aarhus 2001).Google Scholar

Dor mosaic and symposion settings: Stewart, A. and Martin, S. R., “Hellenistic Discoveries at Tel Dor, Israel,” Hesperia 72 (2003) 121–45; Wootton, W., “Making and Meaning: The Hellenistic Mosaic from Tel Dor,” American Journal of Archaeology 116 (2012) 209–34.CrossRef Google Scholar

Fine tableware: Strong, Greek and Roman Gold (1966); Andronikos et al., Search for Alexander (1982); Pfrommer, M., Metalwork from the Hellenized East (Malibu 1993); Campbell (ed.), Grove Encyclopedia (2007) “Metalwork: Greek”; Zimi, Late Classical and Hellenistic Silver (2011).Google Scholar

Furniture: Richter, G. M. A., The Furniture of the Greeks, Etruscans, and Romans (London 1966).Google Scholar

Jewelry: Richter, Engraved Gems (1966); Boardman, Greek Gems and Finger-Rings (1970); Higgins, Greek and Roman Jewellery (1980); Andronikos et al., Search for Alexander (1982); Plantzos, Hellenistic Engraved Gems (1999); Pfrommer, M., Greek Gold from Hellenistic Egypt (Los Angeles 2001).Google Scholar

Nile Mosaic: Meyboom, P. G. P., The Nile Mosaic of Palestrina (Leiden and New York 1995); H. Whitehouse, Ancient Mosaics and Wallpaintings (The Paper Museum of Cassiano dal Pozzo Series A, Part 1, London 2001) 70–131; cf. Shipley, Greek World after Alexander (2000) 192–201; Sassi, Science of Man in Ancient Greece (2001) ch. 3; J. Rowlandson, “Town and Country in Ptolemaic Egypt,” in Erskine (ed.), Companion to the Hellenistic World (2003) 249–63; Bingen, Hellenistic Egypt (2007) 213–78. “Olympian” perspective in Dutch art: Alpers, S., The Art of Describing; Dutch Art in the Seventeenth Century (Chicago and London 1983) ch. 4.Google Scholar

Old Derelicts and Grotesques: Unfortunately, the bibliography is mostly in German. See Garland, R., The Eye of the Beholder: Deformity and Disability in the Greco-Roman World(London 1995); Stewart, Art, Desire and the Body (1996) 224–28. Later history: Connelly, F. S., The Grotesque in Western Art and Culture: The Image at Play (Cambridge and New York 2012).Google Scholar

Romans: Gruen, E. S., Culture and National Identity in Republican Rome (Ithaca 1993) 152–82; Smith (1991) 255–58; Tanner, J., “Portraits, Power, and Patronage in the Late Republic,” Journal of Roman Studies 90 (2000) 18–50; and especially Hallett, C. H., The Roman Nude (Oxford 2005) 102–8; and Fejfer, J., Roman Portraits in Context (Berlin and New York 2008) 262–70.Google Scholar

Surveys: Boardman, J. and Kurtz, D. C., Greek Burial Customs (London and Ithaca 1971); Fedak, J., Monumental Tombs of the Hellenistic Age (Toronto 1990); P. Zanker, “The Hellenistic Grave Stelai from Smyrna: Identity and Self-Image in the Polis,” in Bulloch et al. (eds.), Images and Ideologies (1993) 212–30; cf. Garland, R., The Greek Way of Death (Ithaca 1985).Google Scholar

Macedonia: Andronikos et al., Search for Alexander (1982); Ginouvès, Macedonia (1994) 144–90; Palagia, O., “Hephaestion’s Pyre and the Royal Hunt of Alexander,” in Bosworth, A. B. and Baynham, E. (eds.), Alexander the Great in Fact and Fiction (Oxford 2000) 167–206; Borza, E. N. and Palagia, O., “The Chronology of the Macedonian Royal Tombs at Vergina,” Jahrbuch des deutschen archäologischen Instituts 122 (2007) 81–124; Cohen, Art in the Era of Alexander (2010); Barr-Sharrar, B., The Derveni Krater: Masterpiece of Classical Greek Metalwork (Princeton 2008); Franks, H. M., Hunters, Heroes, Kings: The Frieze of Tomb II at Vergina (Princeton 2012); and relevant essays in Lane Fox (ed.), Brill’s Companion to Ancient Macedon (2011); and Roisman and Worthington (eds.), Companion to Ancient Macedonia (2010). For color reproductions of most of the frescoes, see Brecoulaki, H., La Peinture funéraire de Macédoine: Emplois et fonctions de la couleur, IVe–IIe s. av. J.-C. (2 vols., Athens 2006); Descamps-Lequime, S. (ed.), Peinture et couleur dans le monde grec antique (Milan and Paris 2007).Google Scholar

Alexander Sarcophagus: Stewart, Faces of Power (1993) 294–306; Cohen, Art in the Era of Alexander (2010) 119–23; Franks, Hunters, Heroes, Kings (2012) 34–35.

Tanagras: Higgins, Tanagra (1986); Jeammet (ed.), Tanagras (2010).

Alexandria: Venit, M. S., Monumental Tombs of Ancient Alexandria: The Theater of the Dead (Cambridge and New York 2002); McKenzie, Architecture of Alexandria and Egypt (2007) 71–74; Bagnall and Rathbone (eds.), Egypt from Alexander (2008) 69–73.Google Scholar

Petra: Markoe, Petra Rediscovered (2003).

Nemrud Dag: Sanders, D. H. (ed.), Nemrud Dagi: The Hierothesion of Antiochus I of Commagene (Winona Lake, IN, 1996).

Epigram, enargeia, ekphrasis: Zanker, G., Realism in Alexandrian Poetry (London and Wolfboro, NH 1987); Goldhill, S., “The Naive and Knowing Eye: Ekphrasis and the Culture of Viewing in the Hellenistic World,” in Goldhill, S. and Osborne, R. (eds.), Art and Text in Ancient Greek Culture (Cambridge 1994) 197–224; Zanker, Modes of Viewing (2004); Gutzwiller (ed.), New Posidippus (2005). See also M. Krieger, Ekphrasis: The Illusion of the Natural Sign (Baltimore 1992); Bing, P., The Scroll and the Marble (Ann Arbor 2009); Webb, R., Ekphrasis, Imagination and Persuasion in Ancient Rhetorical Theory and Practice (Farnham and Burlington, VT 2009); and essay collections in Ramus 31 (2002) and Classical Philology 102 (2007).Google Scholar

Woman’s eye, woman’s tongue: Skinner, M. B., “Nossis Thēlyglōssos,” in Greene, E. (ed.), Women Poets in Ancient Greece and Rome (Norman, OK 2005) 112–38; Zanker, G., Herodas: Mimiambi (Oxford 2009) 99–131.Google Scholar

Poetry into art; art into poetry: Squire, M., Image and Text in Greco-Roman Antiquity (Cambridge 2009).Google Scholar

Kallixeinos: Rice, Grand Procession (1983).

Art criticism, history, theory, phantasia: Pollitt, Ancient View (1974) 52–55, 61, 293–97; A. Stewart, “Poseidippos and the Truth in Sculpture,” in Gutzwiller (ed.), New Poseidippos (2005) 183–205; Tanner, Invention of Art History (2006) 212–34, 259–60, 283–95.

No synoptic study: see Coulton, , Ancient Greek Architects at Work (1977) ch. 1; Stewart, Greek Sculpture (1990) 295–310; update, Stewart, “Patronage, Compensation, and the Social Status of Sculptors,” in O. Palagia (ed.), A Handbook of Greek Sculpture (Berlin, forthcoming); Plantzos, Hellenistic Engraved Gems (1999) 38–41, 64–65, 88–89, 92–97; Tanner, Invention of Art History (2006) 212–34; Pollitt, Art of Ancient Greece (1990) 108–23 (sculptors), 177–80 (painters and mosaicists), 202–5 (architects), 217–20 (decorative artists), 221–34 (art history and criticism); H. Perry Chapman, “The Problem with Artists,” Art Bulletin 95 (2013) 484–87 (critical review of key studies of artists and anecdotes about them).

Collaborating sculptors: Goodlett, V. C., “Rhodian Sculpture Workshops,” American Journal of Archaeology 95 (1991) 669–81; the Athanodoros workshop: Rice, “Prosopographia Rhodiaca” (1986).CrossRef Google Scholar

Architects’ salaries, etc.: Coulton, Ancient Greek Architects at Work (1977) 18, 25–29.

Artists running for civic office: see, for example, Rice, “Prosopographia Rhodiaca” (1986); A. Stewart, Attika: Studies in Athenian Sculpture of the Hellenistic Age (London 1979) ch. 4; update, Stewart, A., “Hellenistic Free-Standing Sculpture from the Athenian Agora, Part 2: Demeter, Kore, and the Polykles Family,” Hesperia 81 (2012) 665–89, at 668–70, 681–87.Google Scholar

Rice, E. E., The Grand Procession of Ptolemy Philadelphos (Oxford 1983); for computerized color reconstructions of the pavilion and ship, see Grimm, Alexandria (1998) frontispiece and figs. 53–54.Google Scholar